Find My Royalties™

“When you ain’t got no money, you got the blues.”
- Howlin' Wolf

Find My Royalties.

Progress, Infrastructure & Pipeline Overview

The Problem Hiding in Plain Sight. Music travels globally by default.

A single recording may appear across streaming platforms, metadata databases, rights systems and distribution environments, each relying on accurate identification to support reporting and payment flows.

When metadata fragments, through mismatched titles, duration drift, missing identifiers or alternate versions, revenue can become delayed, misdirected or unresolved within complex rights systems.

Find My Royalties exists to introduce structured visibility into that environment.

Current Status
🧪 Private Beta in Development
📍 Infrastructure Deployed
🎵 Full Catalogue Fingerprinted
🔍 Live API Comparison Active
📡 Discrepancy Engine Operational

Planned public launch: July 2026

What Find My Royalties Actually Does

Find My Royalties is an independent metadata verification and reporting platform for recorded music rights.
It helps artists and rights holders understand how their recordings are represented across streaming platforms and public metadata systems.

The objective is visibility, not speculation.
If everything is aligned, that confirmation is valuable.
If it isn’t, knowing where to look matters.

From Concept to Working System

Find My Royalties is now operating as a live, automated metadata pipeline.
This is not a prototype sitting in development.

The system is deployed, the catalogue is processed, and discrepancy detection is active.

Phase One is functionally complete.

The Metadata Pipeline

Find My Royalties operates as a structured three-stage automated pipeline.
All processing runs in background job queues. The dashboard remains responsive while thousands of API calls and comparisons execute in parallel.

Stage 1 : Audio Fingerprinting

Every track in the SoundFoundation catalogue is fingerprinted.
An audio fingerprint is a unique signature derived from the actual waveform of the recording, its digital DNA.
This allows the system to identify a track regardless of how it is titled, formatted or tagged externally.

Current status:
1,371 tracks fingerprinted
1,238 active catalogue tracks
85 artists
142 albums
7.6GB of master audio stored in S3
Full Dropbox backup verified (1,059 files, 100% match)
Fingerprinting ensures verification is based on the recording itself, not solely on metadata.

Stage 2 : External Metadata Retrieval

For each fingerprinted track, the system queries external platforms to retrieve their representation of the recording.

Sources currently integrated:
Spotify
TIDAL
YouTube
MusicBrainz
Discogs
AcoustID (global fingerprint database of 50M+ recordings)

Across the full catalogue run:
6,055 metadata entries retrieved
1,909 track matches found on external platforms
2,913 not found (platform does not list them)
1,233 API failures
(YouTube metadata checks are paused due to API quota limits. System will retry automatically)

The system uses fingerprint-based matching to connect recordings across global databases and restore missing identifiers where available. Each platform is processed independently, ensuring reliable results even when external services apply limits or delays.

INXS's
“Listen Like Thieves” (1985) marked INXS’s move into international release cycles a point where catalogues begin to cross borders, systems, and accounting frameworks.

Stage 3 : Comparison & Discrepancy Detection

Each external metadata record is compared against SoundFoundation’s canonical data using tolerance-based matching.

Comparison includes:
Title and artist similarity
Duration tolerance bands
ISRC exact matching (when available)

Results are classified:
🟢 OK - aligned within tolerance
🟡 WARN - minor difference
🔴 ERROR - significant mismatch

Full catalogue comparison (1,918 comparisons across 958 tracks):
🟢 OK 55%
🟡 WARN 15%
🔴 ERROR 30%

For a largely independent, pre-streaming catalogue (many releases pre-2015), this discrepancy level is expected.
The system is detecting exactly what it was designed to surface: metadata fragmentation across platforms.

These findings highlight metadata inconsistencies; they do not in themselves confirm financial impact.
Revenue validation and reconciliation are planned for Phase 3 of the project.

What the System Found

By source:
Discogs : 77% OK (most consistent metadata)
Spotify : 63% OK (partially complete, rate-limited)
TIDAL : 61% OK (low catalogue coverage)
MusicBrainz : 43% OK (community-edited, many variants)
YouTube : 0% OK (no structured metadata, expected)
These results confirm platform variance in metadata consistency.

Current Source Status March 2026

Complete:
MusicBrainz
Discogs
TIDAL
AcoustID

Partial:
Spotify (57% complete - rate-limited, will resume)

Pending:
YouTube metadata checks are paused due to API quota limits. System will retry automatically.

Planned:
Amazon Music (Phase E)
Apple Music (developer account activation March 2026)
Once Spotify and YouTube runs complete, comparisons will be re-run for final metrics.

“I am very emotionally affected by sound.
Sounds are the inexplicable… There is a sound you hear in your head, it’s your nerves, or your blood running.”

Lou Reed - The Velvet Underground

Phase One : Functional Delivery

Phase One is operational.

An authorised user can:
Log in via secure email OTP authentication
View dashboard summary of catalogue and comparison statistics
Browse artists, albums and tracks
Play audio within the interface
View side-by-side canonical vs external metadata comparisons
Filter discrepancies by platform and severity
Download CSV reports of all WARN and ERROR records
See fingerprint and source status per track

Phase One delivers a working metadata audit engine.

Private Beta Interface Phase 1

Functional Build (March 2026)

Early private beta view of the live metadata pipeline. The interface prioritises functionality and verification during development, with styling refinement scheduled for later phases.

Engineering Resilience

Building a multi-platform pipeline required solving real infrastructure challenges.

These included:
API rate limiting with multi-hour and multi-day backoffs
Platform-specific data inconsistencies
Quota limits
Incorrect endpoint documentation
Metadata mapping errors
Initial comparison logic that produced false mismatches

All systematic comparison errors have now been resolved.

The system was re-run, producing valid and stable results
🟢 55% OK / 🟡 15% WARN / 🔴 30% ERROR

Each source operates in its own queue with independent rate limiting and retry controls.
Failed requests can be re-run per source without restarting the entire pipeline.
Raw API responses are stored for traceability.

This ensures audit integrity.

"If you don't own your masters, your master owns you,"
Prince

Introducing The Vault (Phase 2)

The Vault will provide a secure reference layer for master recordings.

It will allow rights holders to:
Store authoritative master versions
Preserve metadata and ISRC alignment
Maintain version continuity
Generate clean distribution-ready files
Fingerprint authentication ensures stored files remain verifiable over time.
Vault storage remains optional and fully controlled by the rights holder.

What This Platform Is Not

Find My Royalties does not replace collection societies.
It does not interfere with distribution platforms.
It does not collect royalties without authorisation.
It does not speculate on missing income.
It provides structured metadata visibility.

What Comes Next

Phase One (Visibility Engine) : Operational

Phase 2:
Amazon Music integration
APRA/AMCOS CSV cross-matching
Two-factor authentication
ISRC enrichment from verified matches

Private beta target: July 2026.

"We're a rock group. We're noisy, rowdy, sensational and weird,"
Bonn Scott

Where Your Music Lives

Modern recordings exist across a distributed network:
Streaming platforms
Social platforms
Public metadata databases
Distribution networks
Rights organisations
Collection societies
Each environment may represent the same recording slightly differently.

Find My Royalties provides structured visibility across that distributed landscape, beyond any single platform.

“The fact is that we take music very seriously”
Peter Garrett

Pre-Release Metadata Review

Music is paid based on the information attached to it. Titles, contributor splits, ownership details and identifiers determine how recordings are recognised across platforms and rights systems.

As a separate service, Find My Royalties offers a structured pre-release metadata review process. Artists can upload recordings for validation before distribution, without requiring ongoing Find My Royalties platform membership.

The purpose is preventative:
To help ensure music enters the ecosystem with accurate, structured identity from day one.
Where discrepancies or missing data are identified, structured guidance is provided prior to release.
This service is optional and operates independently from the metadata audit engine.

“When the power of love overcomes the love of power, the world will know peace.”
Jimi Hendrix

How It Will Work

Planned workflow rolling out through beta.

1. Submit For Review
A recording or catalogue is submitted for analysis within the secure system environment.
All processing occurs within controlled infrastructure.

2. Fingerprint & Identify
Each recording is fingerprinted to create a unique audio signature.
This ensures the system identifies the recording itself, not just its metadata.

3. External Representation Scan
The system queries multiple external platforms and public databases to retrieve how the recording is represented elsewhere. This includes titles, artist formatting, duration, ISRC data and release information.

4. Structured Comparison
External representations are compared against canonical catalogue data.

Each result is categorised:
🟢 OK — aligned within tolerance
🟡 WARN — minor difference
🔴 ERROR — significant mismatch

Discrepancies are logged and organised by platform and severity.

5. Visibility & Insight
Results are presented within the dashboard interface.
Users can:
Browse discrepancies
Review side-by-side comparisons
Filter by source or status
Export structured CSV reports
The objective is clarity and continuity, not complexity.

6. Guided Next Steps

Where discrepancies are identified, the platform provides structured visibility into where attention may be warranted.
Find My Royalties does not intervene directly in rights systems.
It equips rights holders with the information needed to take informed action.

"When I'm dead, I want to be remembered as a musician of some worth and substance."
Freddie Mercury

Built on Independent Music Infrastructure

Find My Royalties builds on more than two decades of independent music experience through SoundFoundation.
This is infrastructure built by practitioners who understand how recordings move through real-world rights environments.
Music moves globally by default.

Understanding how it is represented should as well.

Arctic Monkeys Independently, broke history with their debut album became the fastest-selling debut in UK chart history, moving ~360k+ copies in its first week.

THE PLATFORMS

Streaming & Social

Recordings today exist across a diverse landscape of streaming services, social platforms and digital environments that shape how music is discovered, shared and monetised.

Distribution

Recordings today exist across a diverse landscape of streaming services, social platforms and digital environments that shape how music is discovered, shared and monetised.

Rights & Royalties

Distribution connects releases to a wide network of platforms, territories and rights environments, where accurate representation influences reporting and revenue flows.

Logos displayed represent platforms where recordings are commonly distributed or monetised. Find My Royalties operates independently and is not affiliated with, endorsed by, or formally connected to these services.