Rekon audits your catalogue after delivery: the registrations nobody filed, the recordings that never earned, and every figure traced back to the statement line it came from.
Your books, not ours · Nothing is filed on your behalf · We never take a cut
Neighbouring rights split in two directions: the performers on one side, the owner of the recording on the other. A label that helped its artists register as performers, and never registered itself as the owner, is collecting one half of a royalty it is entitled to both halves of.
Nothing in a distributor statement will ever show you this, because the distributor is not involved.
Registered by the artists, at a performer society. Most labels help with this, and it is the half that usually gets done.
Registered by whoever owns the master. If that is the label, the label has to register itself, separately, as a producer.
Four steps, an afternoon at most. After that the audit re-runs every night, and the one question that changes is whether the records you released since have been filed.
Every question on the desk is derived from your home territory and the markets your catalogue has actually earned in. Nothing is asked that does not apply to you.
No society publishes a searchable producer register, so Rekon asks instead of pretending to detect. An unanswered question stays a question: it never quietly becomes a no.
Findings are ordered by what has to be fixed first, and each one names the source it was checked against and the day it was checked. Dismiss one and it stays dismissed.
Registering is one form. Filing the recordings is the work.
A membership collects nothing on its own: each society pays against the recordings lodged with it. Rekon builds the file in the society's own columns. You upload it, and record the date so the audit stops asking.
Producer-side bodies the Rights desk resolves from your home territory and your earned markets.
5 territories in the registry have no producer-side body we can name yet. The desk says so, instead of guessing.
The registration that exists for every label owning masters, and the one almost nobody makes.
There is no lookup for whether you are registered as a producer, so Rekon works out which societies should matter to you, from your home territory and the markets your catalogue actually earned in, and asks.
Ordered by what has to be fixed first, not by size.
Every finding names the source it was checked against and the day it was checked. A dismissal survives the next run. A society we could not reach produces silence, never a false all-clear.
Not by you, and not by us. The database refuses the write, and corrections are posted as reversals, so a balance is always the sum of what actually happened rather than a number somebody typed.
Money that reaches the label without a distributor statement: sync fees, licensing, Bandcamp, direct sales.
Sync fees, licensing, Bandcamp, wires and vinyl sales post through the same engine as a streaming line, so they recoup and split identically. Nothing sits outside the books.
A read-only login where an artist sees their recoupment position, their balance, every ledger line behind it, and downloads a statement as a PDF.
PPL's own thirty-one columns, read from their published import guide. Every other society gets Rekon's column set to map onto their form.
A statement is matched against your catalogue by ISRC and shown to you as a dry run. What does not match is surfaced, not silently absorbed.
Admins, managers scoped to the artists they are assigned, and artist logins. A manager sees their roster and nothing else.
No checkout, because no two rosters are the same size. We never take a cut of what you collect.
Audit the rights your distributor never touches, on books your artists can read.
Bring your roster onto one ledger, answer what the desk asks, and find out what your catalogue has never been registered to collect.