Your whole roster, checked without you lifting a finger.
Nobody opens forty artist pages every morning. So it surfaces when a manager calls, which is the most expensive moment to find out.
$19 a month, ten artists included, then a dollar each.
What actually turns up on a roster
Very little of it's piracy. Most of it's the ordinary mess of a catalogue that has been through more than one set of hands.
Catalogue coming back
A licence ends and the masters stay live, or get re-delivered by whoever held them last. On the profile it looks like any other release.
Releases you were not told about
An artist putting music out through someone else drops on the same profile you're responsible for. Whether that's a problem is your call. Hearing about it months later isn't.
Not your artist at all
A mis-tagged delivery from another distributor, or a fake trading on a name you spent years building. Same evidence, same routing, different letter.
This stops being one person's job
Someone recognises the release, someone decides what to do, someone sends it. Often three different people. These are the tools for the handoffs.
One queue, not forty profiles
Everything waiting on an answer across the whole roster sits in one list, oldest first. You work it, rather than remembering to check.
Everyone gets their own login
The label manager, the product manager, the lawyer. No shared password, and no forwarding screenshots to whoever is around.
Roles decide who can send
Any of your team can mark a release as yours or not, so the queue never waits on one person. Recording that a service was contacted is restricted to the people you pick.
A record of who decided what
Every answer carries a name and a timestamp, and every dispute keeps the evidence it went out with. Useful six months later when somebody asks why.
You're usually the one who can act on it.
A copyright notice has to be written and signed by whoever owns the recording. An artist acting alone has to do their own. Where you control the masters, that's you, so a genuine infringement can be dealt with the same day it's found instead of waiting on somebody to come back to you.
Most of what you find won't need one. A release filed against the wrong artist goes to the distributor who delivered it, and we put that name on the release wherever a service publishes it. Working out who to write to is our problem rather than yours, so nobody on your side is hunting for an address.
Put the roster on watch.
Add your artists, invite the people who handle this, and decide who acts on a case.