3TEX checks every registration, recording and writer credit in your catalog against the MLC’s full database. We find where the money stops, build the filing that fixes it, and follow it until the money moves.
The MLC matches money to recordings by ISRC and pays it out by song code, but it never shows you how the two connect. Bulk and manual submissions get no response file. A CWR acknowledgment can say CONFLICT without naming the work. The portal tells you a recording is “already matched” but not to which work. So your team registers everything and still can’t see what’s being paid, what isn’t, or who’s collecting instead.
“We have zero insight into which ISRCs are associated with the work.”
Your writer’s recording, matched to another party’s work. Sometimes it’s a same-title mix-up, sometimes it’s a claim. Either way they’re paid every month until it’s fixed. We show your registration, theirs, and the stores paying it.
EnterpriseUsage the MLC holds against an ISRC with no work attached. The MLC matches store by store, so one recording can be paid on Apple and sitting unmatched on Spotify. We find every copy.
Recordings that are earning, with no work for the money to attach to. We build the registration in the MLC’s own template, every ISRC in the column the MLC reads.
A registration that drops one of your writers pays everyone else on it. We find the registrations missing your writer’s line.
A stage name where the legal name goes, a one-letter typo, a credit with no IPI. The MLC treats it as a different writer, and the share sits unclaimed. We search by legal name, every stage name and every former name, so the credit still lands on the right writer.
The same work registered twice. The recordings land on one copy and the royalties follow it, even when it’s not the one you control.
Open percentages on your works that no one has claimed, with the usage the MLC is holding for them.
Your team doesn’t need to learn the MLC’s templates, bulk-match files or CWR. Every finding comes with the filing that fixes it and the proof behind it.
Every unmatched recording, matched to the right song code with proof, in the exact format the MLC’s matching desk takes.
Missing works, missing writers and missing recordings, in the MLC’s own template.
Wrong matches and duplicates written the way the MLC asks: member number, both song codes, the ISRCs and the proof. Each one asks the MLC to correct every payment made on the wrong match.
We read every reply back against the MLC’s data. Accepted but still not paid? We catch it.
CWR and ACK files, an export from your royalty system, a spreadsheet, or just your writers’ names and IPIs.
Every work, writer and recording checked against the MLC’s full database. Your team starts reading as the first writers finish.
Every row with its proof. Your team approves.
Through your MLC account, the bulk-matching desk and CWR, until each fix is made.
Every month: new matches, new claims, new unclaimed shares. On Enterprise, an alert the moment a new registration at the MLC picks up one of your recordings, so you can act before the money moves.
The MLC holds unmatched royalties for at least three years. Starting in early 2027 it pays them out to everyone by market share, one month at a time, beginning with January 2021. Once a month is paid out that way, your share of it is gone. Match your recordings before it reaches them.
Not for the audit. We run it from the MLC’s data. To file, we work through your MLC account with your approval on every filing.
No. We read what it exports and show you what the MLC did with it.
Every writer in the catalog, by legal name, not just the recording artists.
We show them, and who administers them. Only the administrator can file on them, so we tell you who that is.
A flat monthly plan, by catalog, not a cut of what we recover. See Pricing.
U.S. digital mechanical royalties. We read BMI, ASCAP and SESAC registrations to check your writers’ claims, but the filings we make are at the MLC.
Send us your catalog. We’ll show you where the money stops.