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People often ask us whether we do the same thing as Trqk, Digimarc or Audiverify. Mostly we do not — these tools answer genuinely different questions, and for some rightsholders the honest answer is that one of them fits better than we do. This page lays out what each actually does, using their own public statements, so you can decide for yourself.
Based on publicly available information from each provider, reviewed on 2 September 2026. Products change; if you spot something out of date, tell us and we will correct it. We have no commercial relationship with any of the companies named here, and all trademarks belong to their respective owners.
Trqk tells you which broadcast detections are missing from your royalty statements. Digimarc puts an identifier inside your audio before you release it. Audiverify certifies that a file you upload existed on a given date. RoyaltyScanner searches public platforms for uses of your music and turns each confirmed finding into a signed, independently verifiable dossier. Detection and proof in one chain is the part that is ours.
Royalty gap analysis. Trqk compares your royalty statements against airplay detections (powered by BMAT) to show which detected performances do not appear on your statements, so you can chase them.
Strongest at: Broadcast. According to Trqk, TrqkIQ monitors performances on 200 TV and radio stations in the U.S. If your income comes from sync placements, production libraries or airplay, this is squarely aimed at you.
What it is not built for: Trqk states it does not collect royalties from PROs — it identifies gaps so you can pursue them. Its monitoring is broadcast-oriented rather than focused on user-generated uploads on social platforms.
Choose it when: Choose Trqk when your music runs on US television and radio and you want to know whether your statements match what was actually detected.
Audio watermarking. An inaudible watermark is embedded into the audio file itself; Digimarc states it remains detectable in clips as short as one second and survives compression, remixing and voiceovers.
Strongest at: Durability and scale. Because the identifier travels inside the audio rather than in the metadata, it survives processing that strips or breaks conventional metadata. It is built for broadcasters, streaming platforms and rights management organisations.
What it is not built for: A watermark has to be embedded before distribution. It therefore does not help with a catalogue that is already released without one — which for most independent artists is their entire back catalogue.
Choose it when: Choose Digimarc when you control distribution at scale and can embed identifiers into everything you release going forward.
Timestamped documentation. You upload a file and receive a certificate containing a SHA-256 fingerprint and an RFC 3161 timestamp, with a public link anyone can verify. It also supports declaring AI involvement and uploading stems, DAW projects and session files as authorship evidence.
Strongest at: Proof of existence at the moment of creation, and the cleanest workflow we have seen for documenting how a track came about — including AI transparency. Credit-based pricing with no expiry.
What it is not built for: Their own site states it does not scan YouTube, TikTok or other platforms for unauthorised use, and that it does not register copyright, clear rights or verify ownership. It documents what you give it; it does not go looking.
Choose it when: Choose Audiverify when your main need is a dated, verifiable record that a specific file existed and that you made it — for example before pitching, before a collaboration, or to have a certificate ready in case a dispute ever arises.
Publishing administration. Monetunes (a service of DAWN2DARK LTD, London) acts as the exclusive administrator of your publishing rights and reconciles across 200+ collection societies to recover unmatched "black box" royalties. Commission-based, no subscription or upfront fee.
Strongest at: Reach into money that has already been collected. Black-box royalties sit inside PRO and CMO systems, and recovering them requires publisher-level registrations across societies — which is exactly what an administrator provides. If unmatched publishing income is your main leak, this model addresses it directly.
What it is not built for: It is an exclusive rights deal, not a tool. Per their own user agreement, you appoint Monetunes as the exclusive administrator of the registered works, may not offer those works to any other party during the term without written consent, and YouTube claiming/monetisation of videos containing your works is on by default unless you opt out. It administers and collects on your behalf; it does not hand you independent, verifiable evidence you control yourself.
Choose it when: Choose Monetunes when you want publishing administration taken off your hands entirely and are comfortable granting exclusive administration rights for the duration of the agreement.
Detection plus evidence. We search public platforms — YouTube, TikTok, Instagram, Facebook, SoundCloud — for uses of your recordings, including re-uploads, remixes and sped-up or slowed edits. Every confirmed finding becomes a dossier signed with Ed25519, hashed with SHA-256 over a canonical record and timestamped through an independent RFC 3161 authority, verifiable by anyone at royaltyscanner.com/verify.
Strongest at: the chain from “I suspect something” to “here is a document my publisher can act on”. We require at least two independent sources per finding and a human review before anything is confirmed, so a dossier is not the output of an automated guess.
What it is not built for: we do not monitor television or radio, we do not embed watermarks, and we do not file claims or represent rightsholders. We also never state that a use is unlawful — a finding is a signal, and only the rightsholder can establish whether something was licensed.
Choose it when: your music is already released, you suspect it is being used on social and video platforms, and you need documentation solid enough to hand to a collecting society, publisher, label or lawyer.
They answer different questions. Monetunes is a publishing administrator: under its user agreement you grant it exclusive administration of your registered works, it registers them across collection societies, collects on your behalf — including unmatched black-box royalties already sitting at PROs — and takes a commission. RoyaltyScanner is deliberately not an administrator: you keep every right, we detect where your music is used on public platforms and hand you signed, independently verifiable evidence, and you submit the claim yourself through your own PRO or distributor. One takes publishing out of your hands under an exclusive agreement; the other keeps you in control and equips you.
Both produce cryptographically verifiable, timestamped records — the underlying approach (SHA-256 hash plus an RFC 3161 timestamp with public verification) is comparable. The difference is what the record is about. Audiverify documents files you upload yourself, which proves a file existed on a date and that you created it. RoyaltyScanner searches public platforms for uses of your music and produces a signed dossier for each confirmed finding. In short: Audiverify certifies what you already have; RoyaltyScanner documents what it finds.
Trqk works on the money trail: it compares your royalty statements with airplay detections across US television and radio to reveal gaps. RoyaltyScanner works on the usage trail: it looks for uploads, remixes and edits of your recordings on user-generated platforms such as YouTube, TikTok, Instagram, Facebook and SoundCloud, and documents each confirmed finding as evidence. Different platforms, different question, and for many rightsholders they are complementary rather than alternatives.
They solve different halves of the problem. Watermarking is preventive: it puts an identifier inside the audio before you release it, so future use can be recognised. It cannot help with recordings already released without a watermark. RoyaltyScanner is retrospective: it works on music that is already out there, including a back catalogue released years ago. If you control distribution at scale, watermarking going forward plus detection on what already exists is a reasonable combination.
No. There is currently no industry standard prescribing what evidence of unauthorised music use must look like, which is why different providers have arrived at different formats. RoyaltyScanner follows established open standards where they exist — SHA-256 hashing, Ed25519 signatures and RFC 3161 trusted timestamping — so that a third party can verify a dossier without needing our cooperation or our software.
We do not file claims and we do not represent rightsholders: you claim through your own collecting society, publisher or distributor. We do not promise amounts. We do not state that a use is unlawful — a finding is a signal, and only the rightsholder can establish whether a use was licensed. And we cannot tell you whether your music was used to train an AI model; nobody can establish that from the outside.
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