Music rights that work
Every ad that uses a song makes two promises. The brand gets the music. The people who made it get asked, and get paid.
Today the second promise often breaks. A campaign license still runs on weeks of calls and emails, a process built for a few big campaigns a year. Brands now publish every day, on every channel, and that process cannot keep up. So music gets used without a license, and the people who made it find out later, if at all.
We think it can work the other way round. Every use of music in an ad can be identified, priced and approved before it goes live, then licensed and paid for when it is published, within limits the rights holders set themselves. The price follows the use: a local bakery pays little, a multinational pays what its use is worth. A person looks at every case in doubt. What never goes live costs nothing.
The market gets there in four steps. First, campaign licenses by hand. Then a flood of unlicensed use on social. Then enforcement at scale, which is where we are now: finding the use, proving it, putting a value on it and recovering it. Then licensing that runs by itself.
That is why we built four companies, each at its own moment. Before it airs: Charlie. If it's disputed: Sync Valuations. Aired without a license: TrackShield. Even before it exists: Howl.
We have worked in sync since 2008, and our partnership started in a hardcore/punk band. We know all sides of the table.
We make music rights work for brands, creators and rights holders through tech.