The questions people actually ask, answered short.

Write to info@unisonrights.com and say whether you are an author, a publisher, or both. Somebody comes back to you about the steps for your situation.

Applications are handled case by case rather than through a signup flow, because the answer genuinely depends on the catalogue and on how it is managed today.

They concern your current rights-management situation, and the number and type of works you hold. Unison is not currently accepting every application, and each one is looked at on its own terms.

That is a real constraint and not a sales technique — it is more useful to hear it now than after three weeks of conversation.

No. Generating them is part of registering the works, and Unison has the capacity to generate IPI and ISWC codes weekly rather than requesting them and waiting.

A catalogue arriving without codes is the normal case, not the exception.

CWR 2.1 or CWR 2.2 if you have it, and a plain CSV template if you do not. Whatever you already produce is almost certainly usable.

It is a documented, ordinary process, and it is the part most rights holders assume will be the hardest. Get in touch and you will be walked through the order of the steps.

No. There is no fixed fee and no annual fee — not a signup fee, not a per-work fee, and no cost in a year where the catalogue earned nothing.

The only charge is an administration fee taken from the royalties collected on your behalf. If nothing is collected, nothing is charged.

It is agreed as part of your agreement, before anything is signed, with your client manager. It is not published as a single number because terms are settled per application.

Wherever it lands, it appears on every statement against the usage it relates to — a fee you cannot locate on a statement is a fee you cannot check.

Nothing is stored in a shape only Unison can read. CWR goes in, ISWC and IPI come out, which is what makes a catalogue portable — including away from Unison.

A platform competing on how hard it is to leave is competing on the wrong thing.

A collective management organisation operates a mandate: the same terms for everybody, because that is what a collective is. An independent entity administers rights under terms that are agreed.

Unison Rights OGI, S.L. is the second kind, and a CISAC Client Member. That is the structural reason applications can be looked at case by case.

Yes. Direct agreements with DSPs and UGC platforms cover multi-territorial digital rights, including pan-European territories and beyond.

For everything else there are more than 100 representation agreements covering more than 120 countries, and direct collection in Spain.

Four channels: digital, radio and TV, background music, and live. They are measured differently and reported differently, so they appear as separate figures rather than as one total.

What was collected, broken down by channel, territory and work, with the usage behind each figure — and what was retained, against the usage it relates to.

Also what has not matched yet, or is in conflict. That is on it on purpose: a statement showing only what worked is hiding its own error rate.

It is raised as a conflict rather than quietly split between them. Conflicting claims and duplicate registrations each have their own place in the system, which is what makes them resolvable instead of invisible.

A licence covering the channels you actually use — background music in premises, broadcast, digital, live, or a combination. Tell us which, at what scale, and in which territories.

From four things: the channel, your reach or scale, how much music you use, and how use can be reported. Change one of those and the rate moves for a reason you can see.

There is no published tariff, because a table covering four channels at every scale would be either wrong or so hedged as to be useless. The inputs are public; the number comes from applying them to your case.

Where you can, it works in your favour: a licence priced against reported use follows what you actually used rather than the scale you were sorted into.

And it does not mean a new process. A file from your scheduling or playout system, a setlist, or a platform report is normally enough.

Barcelona. That is the head office and where the operations team sits, not just a registered address.

An assigned client manager who knows you and your catalogue, and who is the same person next quarter. Not a support address that routes to whoever is free.

info@unisonrights.com, or the contact form. Technical questions are welcome — formats, identifiers, how a contested claim gets resolved — and they get a technical answer.