How it works
Finding money that never got matched to you.
Music earns royalties when it's broadcast. That only works if every use can be traced back to a registered writer. Plenty can't.
Two ways it reaches us
Most of our work starts one of these ways. The second one is the point.
You spot it
You hear your track under a trailer, or someone messages you about a documentary. You tell us, and we go and check.
We spot it
Your catalogue sits with us and we keep checking on your behalf. Nobody can watch ten countries' television on the off-chance.
What we actually check
When a broadcaster uses music, they pay a collection society in that country. The society works out which registered work was used and pays the writers behind it. When it can’t work that out, the money doesn’t vanish. It waits.
Societies have to publish what they collected but couldn’t allocate. Those records exist so the right people can come forward. Almost nobody does, because almost nobody knows to look.
We check those published records against the catalogues of the writers we work for.
That’s the whole idea. We’re not listening to broadcasts and we’re not guessing. We’re reading what the societies themselves have said they couldn’t pay out.
We don’t monitor television. Other companies already do that at enormous scale, and they do it well.
So what do we do instead?
The part nobody bothers with. The admin behind one small claim, for one writer, in one country.
That work has always cost more than a single independent claim is worth, which is exactly why independent writers have never been served. The monitoring companies aren’t villains here. They serve the major publishers because that’s where the volume is.
What we charge
Nothing upfront. We take an agreed share of whatever we actually get back for you, and if we get nothing back you owe nothing.
The share is written down before we start and it’s the same for everyone. We’d rather publish it than make you ask. If a royalty-recovery company won’t tell you their rate before you sign, that tells you something about them.
What if there's nothing to claim?
Often there isn’t, at least not yet. A lot of unclaimed money exists because the work was never registered properly to begin with, so the society had nothing to match against.
When that’s the case, the useful thing isn’t a recovery. It’s getting you registered so the next payment finds you on its own. Over a few years that’s usually worth more than any single back claim.
Think your music has been used?
Tell us what you write and where you think it's been played. If there's something to recover we'll say so, and if there isn't, we'll tell you that too.