Hello all:

Is anyone familiar with:



The technology for tracking a copyrighted work's usage seems to be in its infancy. With digital transmission, there should be ample room for some sort of watermarking or fingerprinting, etc. 

Does anyone have any experience with any effective means of tracking performances of your works? 

I use ISRC's but I don't think they're very effective.


Eric Waters

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  • Thanks Chris. It just seems that, with the huge increase in digital transmission, tracking should be easier.

    It surprises me that it's been ignored so long.

    There may also be a bit of the "cat guarding the canary" scenario. They (PRO's etc.) don't have to pay for what they can't see.

    Hope you're doing well.
    This domain may be for sale!
  • Technically (I have some knowledge in this area), detecting a broadcast of a registered soundtrack, or a renamed audio file, or a fragment, or even a synchronous sound with this as a component, is not a problem up to 85-99% accuracy. I can easily imagine a Google-style service a la "sounds like", which is not too hard to implement. The question is, who is going to initiate such a service. Probably a piracy is more beneficial in the Internet age. Alas!.
  • I have a bit of experience with TuneSat and its Fingerprinting process. Some of my music is in a library with a TuneSat account and has been fingerprinted.

    Basically, TuneSat is providing the service Andrew Gleibman described. They take your recordings, make fingerprints of them, and compare the fingerprints to television as it is broadcast. Their algorithm does a very good job of finding, marking, and recording detections. I've had my music detected despite voiceover and background noise on television broadcast.

    The benefit of fingerprinting over watermarking is that a watermark needs to be recirculated, whereas you can fingerprint a track already in circulation and it will be detected.

    I don't have my own account as I don't have enough music floating around television to justify a subscription yet. I can say that I have seen the detection results and heard the recordings of my fingerprinted tracks, and it's a very impressive experience. Having audio files of each time your music is used is useful in tracking down and monetizing unlicensed use and is also just a good way to monitor what your payments should look like for the quarter.

    What I like most about this system is that TuneSat provides these audio files as proof, and since they aren't a PRO they have no interest/reason to pad, guestimate, or falsify data.

    There's lots more info on this technology at
  • Hello Isaac:

    Yes. I've been to the Tunesat site. Seems similar to BMI's Landmark Digital technology. At the moment, Tunesat is not worth the expense for me. I'm not sure that ASCAP would pay any attention to it anyhow.

    May I ask the name of the library that uses Tunesat? If you prefer to converse privately (

  • Hey Eric, I think I have to ask permission from the Library...Shouldn't be a problem, but I don't want to step on anyone's toes...especially cause I need them to get my music out there :).
  • Of course. Thanks Isaac.
  • Just wanted follow up, I got permission to let you know that the library I'm in is called Listen Hear Now.
  • Thanks Isaac. I'll check out their site.
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