EST. 2026 · LONDON
Broadcast royalties.
Recovered.
Your music was used on television abroad and nobody could match it back to you. We find that money and get it paid to the people who wrote it.
Your music was on television. Nobody could work out it was yours.
A broadcaster used your track. They paid for it properly, to the collection society in that country. Then somebody had to match that use back to a registered writer, and the paperwork didn’t line up.
Usually it’s something small. A misspelt name, or a cue sheet filed without you on it. Sometimes the work was never registered at all. The money is still sitting there, still owed to you, waiting for somebody to notice.
What happens next
Unclaimed money doesn’t wait forever. It gets shared out by market share.
Societies hold money they can’t allocate for a fixed period, often around three years. While that window is open, the writer it belongs to can still come forward and claim it.
After that it gets divided among rights holders in proportion to what they already earn, which in practice means the biggest publishers. Money earned by a writer nobody could identify ends up paid to somebody else entirely.
The scale of what goes uncollected
Collected in music royalties across Central and Eastern Europe each year, growing 17.9% annually.
SOURCE: CISAC GLOBAL COLLECTIONS REPORT 2025
How long societies typically hold royalties they cannot match. After that it gets shared out by market share, which means it goes to the biggest publishers.
SOURCE: UK & EU COLLECTIVE MANAGEMENT REGULATIONS
How it works
01
Spot
You bring us a use you've spotted, or we keep an eye on your catalogue for you.
02
Identify
We work out which recording it was, which underlying work, and who wrote it, using established music registries.
03
Check
Societies have to publish what they collected but couldn't allocate. We check those records against your catalogue.
04
Recover
We claim what's owed. If there's nothing yet, we get you registered so the next use pays out on its own.
Who this is for
The big monitoring companies serve the major publishers, and they do it well. We do the part nobody else finds worth the admin.
Independent writers
Self-released, unsigned, or signed to a deal that doesn't chase this. Your music travels further than your paperwork does.
Small labels and publishers
A catalogue big enough that uses slip through, and nobody spare to audit ten countries by hand.
Production music
Library and cue music gets used constantly and retitled between countries. It's the repertoire most likely to go unmatched.
Estates
Catalogues that still earn, looked after by people who didn't choose the job and were never handed the paperwork.
The money exists. We find it.