Transparent reporting
See the data behind every use and clear statements, with full visibility of what played and what it earned.
Independent rights management · Barcelona
Take control of your music rights.The new model for rights management the industry has been waiting for.
We're the fastest, most advanced and most transparent independent rights management platform on the market. We collect your songwriting and composition royalties more accurately and in less time, and give you more analytics — with a specialised human team alongside you at every step.
3 Mmusical works whose rights we manage
1,000+clients across more than 30 countries
120+countries covered by over 100 representation deals
€0fixed or annual fee to be a client
The platform
Built for performance.
We've built our own rights management platform, optimising every step of the cycle from registration to payment. It processes vast volumes of data to register works, match them, identify them, collect and distribute what each client is owed — with the capacity to generate IPI and ISWC codes weekly.
Global collections
Direct deals with digital and user-generated content platforms to collect multi-territorial digital rights, direct collection in Spain, and representation deals across the rest of the world.
Efficient administration
Complex rights management, handled with dedicated support and industry-leading expertise.
The path of a single play
Money isn't lost at the end of the chain. It's lost when nobody knows whose work it is.
That's why the second step decides everything, and it's where we put the technology and the people. Identifying well and early is the difference between getting paid and swelling an unidentified-works account.
Usage collection
We gather the usage that platforms, broadcasters, venues and promoters declare and report. The industry doesn't run in real time: we work with the sources that exist, and with the timelines they have.
- Platform reports
- Broadcast schedules
- Performance returns
Identification
We match each use to a specific work using correct metadata and industry identifiers. What doesn't match first time isn't abandoned: it enters a conflict queue and gets worked until it's resolved.
- ISWC · IPI · Unison ID
- Duplicate detection
- Conflict resolution
Attribution
We apply the ownership shares declared in your catalogue. Writers, publishers and co-publishers receive their share of each identified use, not of an average.
- Shares per work
- Publishing agreements
- Co-publishing
Collection and settlement
We claim wherever the right was generated, in Spain and abroad, and settle with a line-by-line breakdown of what came in and why.
- International collection
- Breakdown by use
- Download per catalogue
Where usage is measured
Where usage can be measured well, it can be collected well. Digital is where we've gone furthest.
A song plays in many ways and each leaves a different trail. Digital data is the most granular that exists today, and it's the ground where our identification performs at its best.
Digital
Our groundStreaming and downloads. It's the channel with the finest data there is: every play arrives with metadata, and that's where good identification makes an enormous difference against approximate identification.
We hold direct deals with digital and user-generated content platforms to collect multi-territorial rights, and we reconcile their reports work by work against your repertoire. What stays unmatched, we chase — instead of letting it fall into unidentified.
Source · digital platform reports
Radio & TV
Radio and television broadcasts, identified from schedules and from the audio fingerprinting our technology partners provide.
Source · schedules and audio fingerprinting
Background music
Music in venues: hospitality, retail, hotels, gyms. The least visible use, and one of the most frequent.
Source · venue declarations
Live
Concerts, venues and festivals, from the performance returns promoters declare.
Source · performance returns
Your portal
Not a PDF report every so often. A dashboard you can open on any given Tuesday.
The same data we operate on is the data you see — including what hasn't matched yet. No summary version for the rights holder and a good version for the house.
- Works and catalogues
Register repertoire via CWR file or our CSV template, and check the status of every work.
- Uses of works
What played, on which channel and in which territory, in whatever detail each source allows.
- Earnings
What each work and each catalogue has generated, before the settlement arrives.
- Settlements
Full history, with separate downloads per catalogue.
The team
Technology powers Unison. People define it.
Our team combines deep industry knowledge with genuine care for every client. Every client is assigned a manager who knows them and their catalogues intimately, and who offers real solutions with speed and professionalism.
On the operations side, our specialists come from publishers, collecting societies and legal representation, with decades of experience behind them.
“From the very beginning, working with Unison has been a huge benefit for me and my team. They were really hands-on and helpful, taking the time to explain everything and helping me get the most out of my songs and my music.”
La Muchacha
Why this matters
The industry calls it the black box. It's the reason we work the way we do.
Every year, money is collected for music that never reaches whoever wrote it, because nobody manages to identify the work. It sits there marked as unidentified, and many societies end up distributing it by market share. That's why we put the effort where we put it: identifying well, and early.
≈$2.5 bn
unallocated worldwide, held as unidentified works
Industry estimate · Synchtank, 2020≈$1 bn
held at The MLC alone, the US mechanical licensing collective
CMU, 2024By market share
is how many societies end up distributing that ownerless money
Standard industry practiceThat money is largely generated by the independent sector.And it is largely collected by whoever holds the most market share.
Standards and evolution
Industry standards don't sit still. Neither do we.
We're a Rights Management Entity (RME) and a CISAC Client Member, and we work alongside the industry's leaders. Every time the sector adopts a new identifier, format or practice, the platform moves with it — because data that matches today and not tomorrow is money lost.
CISACClient Member
RMERights Management Entity
CWR 2.1Works registration
CWR 2.2Recommended: more data per work
ISWCWork identifier
IPIRights holder identifier
Switching
Switching is simpler than it looks.
There's no fixed or annual fee to be a Unison client. Only our administration fee is deducted from the royalties we collect for you.
And withdrawing from your current society is a fairly simple process. Write to us and we'll walk you through it, step by step.
We're an independent management entity, not a collective management society. That category exists for exactly this: so a writer or a publisher can decide who they work with — and decide again if the result doesn't convince them.
Backed by
Get started
Bring us your catalogue. We'll tell you what's identified and what isn't.
Registration takes a CWR file or our CSV template. If you're not sure which one you have, write to us and we'll look at it together.
Independent artists · Music publishers · Catalogue rights holders