Everything you own, in one catalog.
The compositions and the masters, the writers and their identifiers, the shares and who agreed to them — held together instead of in four different places.
The catalog tells you what is wrong with it.
A song with no writer, a share that never got agreed, a release with no registration behind it. You do not have to go looking — the gaps are listed.
What a catalog holds here
Songs. Titles and alternate titles, the ISWC, lyrics, status from demo through unreleased to released, and a registration status that is tracked rather than assumed.
Recordings. The ISRC, the version, the display artist, the explicit flag, and the derivative masters — an Atmos mix, a mastered variant, the stems — held against the recording they came from rather than as four unrelated rows.
People and their identifiers. Writers with their songwriter identity and IPI, publishers as entities rather than free text, and performing credits with their real roles — primary and featured, producer, mixer, mastering engineer.
The paperwork behind the shares. The split sheet and the registration-facing agreement are two different records, because they are two different things, and conflating them is how a catalog quietly ends up wrong.
What is in it
Send a photo of a split sheet, get structured shares. Writers, publishers and identifiers are read out of what was sent instead of retyped, and the split sheet goes out for agreement from the same place.
Splits and registration kept apart. The agreement your writers sign and the credited-writer rows that go to a registration are separate records that reference each other. One can be in progress while the other is done, which is the real state of most songs.
Writer identities carry their IPI. A writer is a record, not a spelling. So the same person credited three ways across a catalog is one person, and their identifier travels with them.
Gaps listed, not hunted. Released and never registered. Overclaimed, underclaimed or disputed shares. A song with no writer. A split sheet started and never finished. A recording with no composition behind it, or no deal linked to it. Each one is a row you can act on.
Duplicates merged, not left. Two versions of the same song become one, with the merge recorded rather than silently overwriting.
Matches you confirm. When incoming data suggests two records are the same, high-confidence matches go through and borderline ones wait for a person. Auto match, needs review, approved, rejected — the decision is stored, so the same borderline pair is not re-litigated every sync.
Streaming popularity alongside the rights. So the cleanup queue can be ordered by what is actually earning, rather than alphabetically.
Why a music catalog is not a list of songs
A song and a recording are different assets with different owners. The composition has writers and publishers; the recording has performers, producers and a label. They are two hundred-percent pools that do not inherit from each other, and a system with one row per track cannot hold both.
The same song has several correct titles. Alternate titles, translations, live and remix versions. Matching on the title alone is why catalogs fill with duplicates, and why a share ends up split across two records that are the same work.
A name is not an identity. Two writers share a name; one writer is credited five ways. Until the identifier is attached, every downstream registration is a guess.
Being registered somewhere is not being registered correctly. Overclaimed, underclaimed and disputed shares all look like “registered” from a distance. The gap between a catalog that exists and a catalog that collects is made of those three words.
Four things worth getting right
Attach the identifier before the registration, not after. Fixing a wrong claim costs an order of magnitude more than getting the writer identity right the first time.
Finish the split sheet while everyone is still speaking. The agreement is easiest to get on the day of the session and hardest to get once the song is earning.
Treat a duplicate as a live problem, not tidiness. Two records for one work means the shares add to more than a hundred percent somewhere, and that is what a dispute is.
Work the gaps in earning order. An unregistered song nobody streams costs nothing this quarter. Fix the ones that are already generating money first.
Common questions
Do I have to type in every song?
No. A catalog can be built from what you already have — a spreadsheet, a database tool, or a registration data source connected to the workspace — and getting it in is white-glove rather than your evening.
How are splits handled?
The split sheet your writers agree to and the credited-writer rows that face a registration are two separate records that reference each other. That matters: one can be finished while the other is still open, and treating them as one record is how a catalog ends up quietly wrong.
What happens to duplicate songs?
They can be merged into one record, with the merge kept as history rather than an overwrite. Where incoming data suggests a match, confident ones go through and borderline ones wait for a person to decide — and that decision is stored, so the same pair is not asked about again.
Can it tell me what is missing?
That is the point of it. Songs released and never registered, over- and underclaimed shares, disputes, missing writers, unfinished split sheets, recordings with no composition or deal behind them — each is listed as something to act on rather than something to discover.
Know what you own. And what is missing.
