Kept safe automatically. Told when something's out of line.
Paste a link and the rest runs on its own until something needs a person. Here is every step of what happens in between.
Setup takes about a minute. The first scan won't ask you a thing.
Setting it up
Two steps, and only the first one needs you.
Paste a link to an artist page
A Spotify, Apple Music, Deezer, TIDAL or YouTube Music artist URL is enough. Paste it and that page is being watched from the moment you press add. Put the others in when you have them, and as many artists as you look after.
The first scan imports what is already there
Everything on the profile the day you link it is recorded as your existing catalogue. You're never asked to confirm your own back catalogue, however long it is, because a tool that opens with two hundred questions is a tool nobody finishes setting up.
Then you can forget about it
Every profile you have linked is re-read roughly every twelve hours. Not when you remember to look, and not once a week.
Not only the newest few, either. The whole catalogue, every time, so something quietly slipped into the middle of it years back is caught just as surely as something that turns up at the top today.
Spotify, Apple Music, Deezer, TIDAL and YouTube Music are read directly. Whatever turns up there, we then go looking for on the rest, which is why a release almost always reaches you with the full picture attached rather than a single sighting you have to go and check.
- · Title, and whether it's a single, EP, album or compilation
- · Release date
- · UPC and ISRC
- · The label and the copyright line
- · Everyone credited on it
- · The artwork a listener sees
- · Every service it's live on
- · The distributor that delivered it, where a service publishes one
The last one is the only one we can't always get. Where nobody publishes it, we say so rather than put up a guess.
One release, one question
A release almost never drops in one place. One delivery goes out to hundreds of stores and services, and the same record comes back looking slightly different on every one of them. We put them back together before we ask you anything, so a release on twenty services is one question, not twenty.
Then there are two ways to answer, and the answer decides everything after it. Anything you haven't answered yet simply stays where it is, so there's nothing to lose by leaving a question until you have checked with somebody.
Yes, that's mine
It joins your catalogue and we stop asking. Most answers are this one, and they take a second.
No, that's not mine
This is where a dispute starts, and where we ask what is actually wrong with it.
What happens when you say it's not yours
Four steps, and the last one is you. We never contact anybody on your behalf.
We ask what happened
Somebody else's record on your page, something trading on your name, or your own recording put out by someone with no right to it. Three plain options. This is the decision the rest hangs on, because each one goes to a different desk.
We find the right desk
A mis-filed release usually goes to the distributor that delivered it, because they can correct it at source and a fix there reaches every service at once. A copyright claim usually goes to the service's designated agent, because that is the address services publish for it and only the service can pull the material. Where we can't see a distributor, we give you the services.
We gather the evidence
A timestamped snapshot: the release and its identifiers, the artwork, every credited name, the profiles it dropped on and every service it's live on. A complaint without identifiers tends to get a form reply, so you have them all in one block to paste.
You write to them
You get the address and the whole pack, ready to paste into their form or your email. What you say is yours: we don't draft letters and we don't send them. Where the claim is genuinely about copyright, the notice has to be written and signed by the rights holder, and that is you.
The three claim types, and why the difference matters, are set out on the disputes page.
After you get in touch
A case isn't a thing you raise and then lose track of. Mark it contacted, keep their ticket number against it, and record how it ended: resolved, refused, or dropped.
Their reply comes to you, because you wrote to them. When the release comes down, we see it go on the next scan and the case closes with the proof.
What it doesn't do
Worth knowing before you sign up, rather than after.
Contact anybody for you
We gather the evidence and find the address. Writing to them is yours, and so is what you say.
Guess at a distributor
Where no service publishes who delivered a release, we tell you that instead of putting up a likely name.
Move your catalogue
It reads the streaming services from the outside. Nothing about where you distribute has to change, and we never need access to your accounts.