Reading releases, one by one…
Finding the profile. The first time takes a while — after that it opens instantly.
Person · DE
| Year | Releases |
|---|---|
| 1961 | 1 |
| 1962 | 0 |
| 1963 | 1 |
| 1964 | 1 |
| 1965 | 2 |
| 1966 | 0 |
| 1967 | 0 |
| 1968 | 1 |
| 1969 | 0 |
| 1970 | 3 |
| 1971 | 0 |
| 1972 | 1 |
| 1973 | 2 |
| 1974 | 0 |
| 1975 | 0 |
| 1976 | 1 |
| 1977 | 0 |
| 1978 | 1 |
| 1979 | 0 |
| 1980 | 0 |
| 1981 | 0 |
| 1982 | 1 |
| 1983 | 0 |
| 1984 | 3 |
| 1985 | 3 |
| 1986 | 2 |
| 1987 | 4 |
| 1988 | 8 |
| 1989 | 5 |
| 1990 | 6 |
| 1991 | 3 |
| 1992 | 0 |
| 1993 | 0 |
| 1994 | 2 |
| 1995 | 1 |
| 1996 | 4 |
| 1997 | 6 |
| 1998 | 2 |
| 1999 | 1 |
| 2000 | 1 |
| 2001 | 1 |
| 2002 | 0 |
| 2003 | 0 |
| 2004 | 1 |
| 2005 | 0 |
| 2006 | 0 |
| 2007 | 1 |
| 2008 | 2 |
| 2009 | 0 |
| 2010 | 0 |
| 2011 | 0 |
| 2012 | 0 |
| 2013 | 1 |
| 2014 | 0 |
| 2015 | 0 |
| 2016 | 0 |
| 2017 | 0 |
| 2018 | 0 |
| 2019 | 0 |
| 2020 | 0 |
| 2021 | 0 |
| 2022 | 0 |
| 2023 | 0 |
| 2024 | 1 |
Potentially at risk · per year
Sizing what may be missing…
Reading releases, one by one…
Reading credits from public databases. The first time takes a while — after that it opens instantly.
Potentially at risk · per year
15 songs flagged. Every discrepancy, where it is and how to fix it, is below. Want every song checked at every society? Get the full report.
Plays are estimated from ListenBrainz listening data, scaled to all streaming services.
Publishing: estimated plays × writer-side rate × the chance the song is really unregistered.
Neighbouring rights: a radio and public-performance proxy for tracks where you perform or produce.
An indicative estimate, not a statement of money owed. Full method →
Publishing · the songs
Paid by authors' societies (SIAE, SACEM, PRS…) to writers and publishers. We read open music databases; your society's own register is the final word.
Recording · the masters
Paid by performers' and producers' societies (NUOVOIMAIE, PPL, GVL…) for radio and public play.
Composition, writers, ISWC and ISRC are all in public data for these — the basics that let societies match plays to you.
We become the publisher (admin only, you keep your rights): we register every song, fix the splits and claim what is owed, back to the oldest period still open. No upfront fee — a commission on what comes back.
Intermezzo · 2008
Recording has no ISRC in public databases
Intermezzo · 2008
Recording has no ISRC in public databases
Intermezzo · 2008
Recording has no ISRC in public databases
Intermezzo · 2008
Recording has no ISRC in public databases
Intermezzo · 2008
Recording has no ISRC in public databases
Intermezzo · 2008
Recording has no ISRC in public databases
1439 as vocal
Producers and session players are often missing from platform credits and from neighbouring-rights registrations.
Signals come from public databases and can be wrong or incomplete; a missing code here does not prove a song is unregistered.
Neighbouring rights in the US can also be checked directly on SoundExchange's ISRC search ↗.
For the parts we can't estimate from public data, your own files are exact: add your distributor report and society statements.
Two lines from the map above: the songwriting slice of your streams, and an estimate of neighbouring rights for the recordings you play on. The recording money your distributor pays for streams is not here — it is already in your distributor statements.
Calculated automatically from 8 listens on ListenBrainz, an open listening panel that is much stronger in the UK and US than in most other countries — so elsewhere it is often an underestimate.
Plays are scaled to all services, then multiplied by a per-play rate and by your share of the songwriting.
Playlists published by public broadcasters, loaded every night (back to 5 Oct 2025): triple j Unearthed (Australia), BBC Radio 2 (United Kingdom), ABC Jazz (Australia), ABC Classic (Australia), BBC Radio 3 (United Kingdom), triple j (Australia), Sveriges Radio P3 Din gata (Sweden), Double J (Australia), Sveriges Radio P1 (Sweden), Sveriges Radio P2 (Sweden), Sveriges Radio P3 (Sweden), BBC Radio 6 Music (United Kingdom), BBC Radio 1Xtra (United Kingdom), Sveriges Radio P4 Stockholm (Sweden), KEXP 90.3 FM Seattle (United States), BBC Radio 1 (United Kingdom).
Commercial radio, TV and most countries don't publish playlists, so a song missing here can still be played elsewhere. These plays are what authors' and performers' societies pay on — compare them with your statements.
Drop it in and the figures come from your real streams, country by country — it never leaves your browser.
Intermezzo, op. 72: Act I. "Anna, Anna! Wo bleibt denn nur die dumme Gans?" · Intermezzo, op. 72: Act II. "Guten Abend, meine Herrn!" · Intermezzo, op. 72: Act II. "Was gibt's? Doch nichts Unangenehmes?" · Intermezzo, op. 72: Act II. "Es ist einfach zum Rasendwerden" · Intermezzo, op. 72: Act II. "Er kommt! Herrgott, wie ich mich freue" · Intermezzo, op. 72: Act II. "Wer war denn das?"
All mein' Gedanken, die ich hab · Mein Mädel hat einen Rosenmund · Wach auf, mein' Herzensschöne · Erlaube mir, fein's Mädchen · Ich stand auf hohem Berge · Es steht ein' Lind' · Da unten im Tale · Die Sonne scheint nicht mehr · In stiller Nacht · Intermezzo, op. 72: Act I. "Anna, Anna! Wo bleibt denn nur die dumme Gans?" · Intermezzo, op. 72: Act II. "Guten Abend, meine Herrn!" · Intermezzo, op. 72: Act II. "Was gibt's? Doch nichts Unangenehmes?" · Intermezzo, op. 72: Act II. "Es ist einfach zum Rasendwerden" · Intermezzo, op. 72: Act II. "Er kommt! Herrgott, wie ich mich freue" · Intermezzo, op. 72: Act II. "Wer war denn das?"
Assumed 100–500 paid tickets per show (from how much your music is listened to) at a typical local price (e.g. €15–40), × each society's published concert tariff, × the share of the set that is your own songs, × your share of the writing (50%, assumed).
Put your real ticket numbers on the shows page for a precise figure. Countries without a published tariff (e.g. the US) aren't counted.
Intermezzo, op. 72: Act I. "Anna, Anna! Wo bleibt denn nur die dumme Gans?" · Intermezzo, op. 72: Act II. "Guten Abend, meine Herrn!" · Intermezzo, op. 72: Act II. "Was gibt's? Doch nichts Unangenehmes?" · Intermezzo, op. 72: Act II. "Es ist einfach zum Rasendwerden" · Intermezzo, op. 72: Act II. "Er kommt! Herrgott, wie ich mich freue" · Intermezzo, op. 72: Act II. "Wer war denn das?"
Intermezzo, op. 72: Act I. "Anna, Anna! Wo bleibt denn nur die dumme Gans?" · Intermezzo, op. 72: Act II. "Guten Abend, meine Herrn!" · Intermezzo, op. 72: Act II. "Was gibt's? Doch nichts Unangenehmes?" · Intermezzo, op. 72: Act II. "Es ist einfach zum Rasendwerden" · Intermezzo, op. 72: Act II. "Er kommt! Herrgott, wie ich mich freue" · Intermezzo, op. 72: Act II. "Wer war denn das?"