How we look for your money — and what we can't see.
Everything on a profile comes from public data, societies' published lists and published tariffs. The numbers are honest bands, never promises. Here is exactly how they are made.
From a name to a list of things to fix
Read
Releases, recordings, credits, ISRC and ISWC codes from MusicBrainz; listening counts from ListenBrainz.
Match
Your stage name, legal name and the names you sign songs with are treated as one person; recordings are tied to their compositions.
Check
Each song gets a status per side — songwriting and recording — and is looked up on societies' published unclaimed lists.
Size
Conservative bands: money at risk per year, what you should receive per semester, what your shows should pay.
Point
For every song, a direct link to the right society's own search — you run the check, we never query them for you.
Two sides of every song
Songwriting rights
Paid to writers and publishers by authors' societies (SIAE, SACEM, PRS, GEMA, ASCAP, BMI…) whenever the song is streamed, broadcast or played in public.
Needs: the composition registered, every writer and split, an ISWC.
Neighbouring rights
Paid to performers and producers by their societies (NUOVOIMAIE, PPL, GVL, SoundExchange…) mainly for radio and public play — not for on-demand streams in most countries.
Needs: an ISRC, the line-up declared, registration in each country.
What each status means
Four ways we size the money
Per year
Plays × per-play rate × the chance the song really leaks, damped for big catalogues usually administered by labels and publishers. Rounded so it never looks more precise than it is.
Per semester
Six months of plays × the same rates × your share of the writing, plus the performers' half of recording money where you play. With your own stream count it becomes precise.
Per show
Ticket sales × the society's published concert tariff (PRS for Music, SACEM, SIAE, GEMA…) minus its published deduction × your songs in the set × your share.
On the lists
Entries on societies' published unclaimed lists that match your ISRCs, or your name with one of your titles. Each links to the society's claim procedure.
Every assumption, in one table
| Parameter | Value | Why |
|---|---|---|
| Listening panel → real plays, UK/US | × 300–800 | ListenBrainz is strongest there (anchored on a known hit) |
| … Italy · France · Germany | × 17k–74k · 8k–47k · 1.0k–23k | calibrated on certified singles: certified minimum streams ÷ ListenBrainz listens |
| … Spain · Brazil · Mexico | × 1.7k–11k · 23k–140k · 31k–214k | same method; 130 certified singles in six markets |
| Songwriting per play | €0.0003–0.001 | writer + publisher, performance + mechanical |
| Recording per play-equivalent | €0.00002–0.0001 | radio and public play proxy — lowest confidence |
| Performers' share of recording money | 50% | the other half goes to the producer / label |
| Chance a “not found” song really leaks | 20% | 3% for a signal to check |
| Chance a performer is unregistered somewhere | 20% | until you tell us where you are registered |
| Thin-data threshold | 40% | below this share of documented compositions, “not found” counts as “to check” |
Confidence stays low on purpose: these are reasons to look, not figures to bank on. Your royalty statements always beat them.
What we can see — and what we can't
- Public music databases (MusicBrainz, ListenBrainz, Wikidata)
- Unclaimed lists published by STIM (Sweden), OSA (Czechia), SOZA (SK), MESAM (Türkiye), GEMA (Germany), GVL (Germany), Gramex (Finland), SAYCO (CO)
- Concert tariffs published by 11 societies
- What you choose to type in (it stays in your browser)
- Societies' own registers — their searches forbid automated lookups, so we link you
- Your royalty statements and contracts
- Platforms' private “black box” reports
- Lists that societies only show to their members
Questions
Why is my estimate lower than what I earn?
It counts streaming only (plus a radio proxy), from a small open listening panel that is strongest in the UK and US. Live shows, sync, TV and broadcast are outside the band. Enter your own stream count in the semester card for a precise figure.
Does “missing ISWC” mean my song is unregistered?
No. It means public databases don't show the code. That is a reason to check at your society, never proof. When public data on a catalogue is thin, we say so and weight the estimate down.
Do you contact societies or log in for me?
No. Societies' searches forbid automated lookups, so we link you to them. If you want it done for you, our team does it by hand on commission.
How fresh is the data?
Profiles are re-read weekly, listening counts daily, and societies' unclaimed lists weekly — each list as the society last published it.
Is “same name” on a list really me?
Not necessarily. We only call an entry “very likely yours” when the ISRC matches, or your name appears together with one of your song titles. A name alone is shown as “carries your name — check”.
What do I get when I unlock?
Every song to check, the societies in each country with direct links, the steps to register or claim, and your entries on the unclaimed lists with each society's claim procedure.
Rather not do it yourself?
We contact every society, fix the registrations and file the claims — no upfront fee, a commission on what comes back.