Every recording ever released, identified and connected.
Audioatlas is the reference map of recorded music: 156 million commercial and production tracks, every release since 1950, each resolved to the work and the identifiers your revenue depends on.
The whole of recorded music, in one place.
Completeness is the point. A rights database missing a recording is missing the revenue attached to it, so Audioatlas is built to leave nothing out: every master, every territory, every re-release, resolved and accounted for.
commercial and production recordings, every release since 1950.
new recordings added every day, so the map never falls behind the industry.
unbroken coverage, from the dawn of commercial recorded music to this week’s releases.
One entry, and everything attached to it.
For each track, Audioatlas carries the identifiers rights administration actually runs on: ISRC and ISWC, record company, label, publisher, composer, and cover data. Fully discoverable, and consistent across the whole catalogue. If it was made public since 1950, we can identify it.
The clean identity underneath the mess.
Recorded music is duplicated, mislabelled, and re-registered constantly, and every gap is revenue that never reaches its owner. Audioatlas resolves each recording to a single work and connects the identifiers around it, so a catalogue can be collected on in full.
Duplicate deposits, unified
Every registration of one recording, folded into a single work.
ISRC linked to ISWC
Every master tied to the composition and the writers behind it.
Machine-generated music, flagged
AI-generated tracks identified from the audio itself, not the tags.
A century of music, and where it goes next.
Because the catalogue is complete, it also reads as history. Audioatlas Trends tracks how sound has moved across every decade of recorded music, and its deterministic models project where it is heading, drawn from the audio itself rather than from tags.
Built for the people who administer rights.
Audioatlas is made for the organisations that collect and account for music revenue, not for pursuing it in court. Complete repertoire, clean identity, correct routing.
Collective management
PROs and CMOs match usage to the right work and rights holder at scale, so collections land where they are owed and repertoire stays clean.
Publishers
See the full footprint of a catalogue across every recording of every work, and stop leaving mechanical and performance income on the table.
Labels and distributors
One clean identity per recording across every territory and service, so metadata disputes and misroutes stop eroding revenue.
The same identity layer, under every flag.
MatchTune’s brand audits run on Audioatlas. When an audit finds a track in a post, Audioatlas is what ties that recording to the right work, label, and publisher, so a flag points to the real rights holder rather than a guess. The database is proven at audit scale first, then opened to the industry on its own.
The engine behind the audit, open to the industry.
Coverage, identity, and trends across all of recorded music.