Reading the books.
What each picture’s music has earned, what the schedule says is owed on it, and what nobody can attribute.
Who the catalogue owes, what the schedule says each is entitled to, and what the books have actually done about it.
The whole register since release, not FY 2026-27 to date alone. A song released in 2024 goes on earning, and what it has earned altogether is the figure a label negotiates on.
6499 statement lines over nine statement periods, read from the royalty statements — the register Sixteen Frames Music’s statements are loaded into, not Tally Prime. The recordings, the shares and the advances are registers of the same kind. What the books carry against them is read from Tally Prime and is the one place the two meet.
The advance register and the split schedule hold no period of their own. They are read as they stand on the day the screen is read, 12 Oct 2026; the statements carry the period each covers, and the month in the bar moves the strip and the period the checks are read over.
The royalty statements, the recordings, the shares and the advances of Sixteen Frames Music, read from the registers; the monthly summary and the two royalty accounts from Tally Prime. Every figure on this screen opens its own workings: a picture’s receipts to its songs, a song’s to the statement lines that reported it.
13 reads were made for this screen and every one answered.
A restatement supersedes the line it replaces, which stops counting and appears nowhere else on this screen. A line another line replaces is taken out of every figure here, and the ones taken out are listed rather than quietly dropped.
A statement line that fails to match an identifier goes to a holding pool rather than to the nearest plausible recording, because allocating on a guess is how one artist is paid another’s royalties.
Three registers have to be read together and no two of them agree — the split schedule says what each payee has earned, the ledger says what the label has charged and against which song it cannot say, and the advance register says what was paid ahead. The screen sets them side by side and states where they disagree rather than reconciling them, because reconciling two figures that disagree produces a third that is wrong.
The catalogue table is the chooser: a picture’s name opens it in the receipts panel, by ?picture= in the address, and the total row — the whole catalogue — is the default, which is the address with nothing on it. The whole catalogue is drawn here.
The two screens this replaces are addresses still: ?view=royalties lands on the splits owed, ?view=income on the receipts. No statement line has been restated by a later one, so every figure here counts each reported period exactly once.
FY 2026-27 to date against Apr 2025 to Aug 2025, Sixteen Frames Music, in its own currency. Read from the monthly summary, which is the same source as the statements. Twelve months to Aug 2026 beneath each figure.
Sixteen Frames Music posts revenue quarterly and costs every month, so eight months in twelve carry a loss and no revenue at all. A tile whose figure the month does not hold states the last month that did and says which — the figure stays one month of the summary opening its own workings, which a trailing quarter added up here would not be. The statement register and the books run on two clocks. A statement covers a quarter and names the quarter it covers; the books recognise that quarter’s royalty in a month of their own. Nothing on this screen moves a figure from one clock to the other: the strip is the books’ month and the panels beneath it are the register’s periods.
The advance register and the split schedule hold no period of their own. They are read as they stand on the day the screen is read, 12 Oct 2026; the statements carry the period each covers, and the month in the bar moves the strip and the period the checks are read over.
The monthly summary of Sixteen Frames Music, FY 2026-27 to date, read from Tally Prime. The same figures as the statements.
Five figures, in the order an accountant reads them: revenue, expenses, gross profit, EBITDA and profit before tax. The strip is the company’s month, as the statements state it, and nothing on the screen restates a figure the strip states.
The statement register, the split schedule and the advance register are kept beside the accounting rather than in it. Nothing in the strip is read from any of them: the strip is the monthly summary, and the registers are what the panels beneath it draw.
Against the month before — the last month each figure was posted in — rather than the same month a year earlier, which is the movement on the tile.
No figure here has a month before it to move against.
Ranked adverse first, then watch, then the tests that came back clean; within a class by the finding’s figure as a share of the company’s revenue for the period, largest first. A balance sheet that does not tie, or a company no rate is held for, outranks any share.
One company, so every row is a statement Sixteen Frames Music’s register holds, a share recorded against its recordings, or an advance it has paid. Within a class the rows rank by the finding’s figure as a share of what the catalogue has been reported to earn.
The period checks read the quarter to 31 Aug 2026, to date rather than the month: Sixteen Frames Music posts revenue quarterly, so eight months in twelve are a loss by construction and a month-level test would fire on all of them.
The advance register and the split schedule hold no period of their own. They are read as they stand on the day the screen is read, 12 Oct 2026; the statements carry the period each covers, and the month in the bar moves the strip and the period the checks are read over.
Tested for the quarter to 31 Aug 2026, to date: every statement line, for one that could not be matched to a recording; each copyright the schedule records a share on, for one that has never reported; every advance against the split schedule, for a payee the schedule does not hold and for a recoupment against a copyright that has never reported; every source against the latest statement period any of them has reported for; and the royalty the books have charged, for a journal carrying the party it is owed to. Adverse, then watch, then clear; within a class by the finding’s figure as a share of what Sixteen Frames Music’s catalogue has been reported to earn.
Six rows at most, in two columns, adverse first: what needs acting on before what needs watching, and a clear row only where a test ran and found nothing. The rest is under Data quality at the foot of the screen, so the face never grows past what a reader can act on in a glance.
Statement receipts unmatched · Sixteen Frames Music · 6.2% of what Sixteen Frames Music’s catalogue has been reported to earn. 68,83,834 arrived against an identifier the catalogue does not recognise, over 36 lines and 3 reasons. It is held rather than allocated: allocating on a guess is how one artist is paid another’s royalties.
Composition copyright has never reported · Sixteen Frames Music · 25 per cent recorded against 120 recordings, on a copyright that has reported nothing. The schedule records Composer and Lyricist against 120 recordings on the composition copyright, and not one statement has ever been loaded on that side. Two copyrights are collected through two chains with different delays; this one has collected nothing anybody can see.
Advance recouped against nothing earned · Sixteen Frames Music · 0.93% of what Sixteen Frames Music’s catalogue has been reported to earn. Composer — B and 1 other are recouped against a copyright on which nothing has ever been reported. Recoupment comes out of what a payee earns, so 10,30,000 came from somewhere the register does not name.
Advance names no payee held · Sixteen Frames Music · 0.18% of what Sixteen Frames Music’s catalogue has been reported to earn. Lead vocalist — B, Lead vocalist — A name payees the split schedule does not hold, so nothing about their recoupment can be tested. The schedule records a role against every recording and the register records a person, and the two do not meet.
| Picture | Songs | ReportedINR lakh | Royalty, scheduleINR lakh | Label shareINR lakh | Master costINR lakh | Recovered% |
|---|---|---|---|---|---|---|
| a | b | a−b | c | (a−b)÷c | ||
| Thirike | 26 | |||||
| Mazhavillu | 21 | |||||
| Ottakkaran | 20 | |||||
| Kadalkarayil | 19 | |||||
| Pathiravu | 18 | |||||
| Neelakkurinji | 16 | |||||
| The catalogue · chosen | 120 |
Every song the label holds, under the picture it was written for. What each earned, and what the recorded shares say is due on it.
Grouped by the picture each recording came out of, which the recording itself records; the pictures belong to the label’s sister company and are read across to it. A flat list of a hundred and twenty titles is a list nobody reads and, worse, one that answers no question a reader has — what a label asks is which picture’s music earns, and a song is one line of that answer.
6 pictures named, covering 120 songs.
The whole register since release, not FY 2026-27 to date alone. A song released in 2024 goes on earning, and what it has earned altogether is the figure a label negotiates on.
Every song in the catalogue reported something over this range.
The royalty statements of Sixteen Frames Music. The register the statements are loaded into. The master cost is the ledger’s, from the catalogue asset.
The reader’s first question is which picture’s music earns, and this is where they choose: a name is an address link, the chosen row says so, and the receipts panel draws that picture. The total row is the whole catalogue and is the default.
The statement register and the books run on two clocks. A statement covers a quarter and names the quarter it covers; the books recognise that quarter’s royalty in a month of their own. Nothing on this screen moves a figure from one clock to the other: the strip is the books’ month and the panels beneath it are the register’s periods.
Thirike: 26 songs, 241 reported, 181 due per the schedule, 60 to the label.
Mazhavillu: 21 songs, 194 reported, 145 due per the schedule, 48 to the label.
Ottakkaran: 20 songs, 189 reported, 142 due per the schedule, 47 to the label.
Kadalkarayil: 19 songs, 177 reported, 132 due per the schedule, 44 to the label.
Pathiravu: 18 songs, 164 reported, 123 due per the schedule, 41 to the label.
Neelakkurinji: 16 songs, 140 reported, 105 due per the schedule, 35 to the label.
Master cost is read from the ledger, on account 1520, from the debits that name a recording — 120 of 120 masters carry one, in 1 journal dated 28 Apr 2024, the day these books open, rather than in an invoice against each recording. What a master shows is this application’s share of what a package of soundtracks was bought for, apportioned across the masters of each picture — an apportionment, not a measurement, so two songs of one picture carry the same cost whatever either took to make. It is what they cost and not what they are now carried at: the 6,49,46,336 of amortisation written off against them names no song and is not netted off here, because a cost that falls every month is a carrying value and would be answering a different question under this heading. Recovered is the label’s share since release over that cost, so a hundred per cent is the point at which a master has paid for itself. On these books that apportionment was made on what each master has earned: all 120 of them cost 56.13% of their own reported gross, to six decimal places. So Recovered is the same figure on every row by construction — the label's share over a fixed multiple of the gross it came from — and it says nothing about any one picture. Nothing on this screen reads a title, a reading or a finding from it while that holds, and the note on the face goes when the proportion does.
Reported is what the sources said they owed. Not one of them withheld tax at their end, so what was received is the same figure and is not set out in a column of its own.
Unit counts are not shown; they are not reported in a form that adds. Every source here reports exactly 0.007143 INR per unit, to six decimal places, so a count is what was reported at a fixed scale rather than anything that was counted — the column beside this one, in another unit. It returns when the sources report a mix that varies.
What each source reported for the catalogue, by the statement period it reported for, since release. 10 sources over nine statement periods, labelled directly.
The statement register and the books run on two clocks. A statement covers a quarter and names the quarter it covers; the books recognise that quarter’s royalty in a month of their own. Nothing on this screen moves a figure from one clock to the other: the strip is the books’ month and the panels beneath it are the register’s periods.
The royalty statements of Sixteen Frames Music. What each source reported, by the statement period it reported for.
Drawn from the register rather than from the ledger, which is the opposite of the panel at the foot of this screen. What a source reported and which period it reported for are facts only the register holds: the books record neither the copyright nor the period a statement covers, and a chart of the ledger by month would be a chart of when the money was recognised rather than of what was earned.
A restatement appears here as the line that stands rather than as a second line.
Aug 2024: 124 across 10 sources.
Nov 2024: 124 across 10 sources.
Feb 2025: 117 across 10 sources.
May 2025: 123 across 10 sources.
Aug 2025: 118 across 10 sources.
Nov 2025: 125 across 10 sources.
Feb 2026: 126 across 10 sources.
May 2026: 117 across 10 sources.
Aug 2026: 131 across 10 sources.
The two copyrights are never added together here. Each is shown as the sources reported it, less the tax they withheld. They are different assets with different owners, collected through different chains with different delays, and the register is the only record that says which copyright a receipt belongs to.
Recording: Label 5,000%, Lead vocalist 1,000%, Distributor 600%, Featured vocalist 500%, Producer and mix 400% — 7,500% across 120 recordings; 11,04,56,319 reported over 6463 lines.
Composition: Composer 1,800%, Lyricist 700% — 2,500% across 120 recordings. No statement has been loaded for this copyright. The register holds nothing on the composition side, so there is nothing here to report — not nil, and not nought.
The royalty statements of Sixteen Frames Music. The only record that says which copyright a receipt belongs to.
Recording and composition are two copyrights collected through two chains with different delays, kept apart in the schema and on screen. No row here is added to another: they are different assets with different owners.
A copyright can hold a share against every recording the label owns and have collected nothing at all, and neither register says so on its own. Composition does: the schedule records Composer and Lyricist against 120 recordings, and not one statement has ever been loaded on that side.
Recording · Label 50% on 120 recordings · 552 per the schedule.
Recording · Lead vocalist 10% on 120 recordings · 110 per the schedule.
Recording · Distributor 6% on 120 recordings · 66 per the schedule.
Recording · Featured vocalist 5% on 120 recordings · 55 per the schedule.
Recording · Producer and mix 4% on 120 recordings · 44 per the schedule.
Composition · Composer 18% on 120 recordings · nothing reported on this copyright.
Composition · Lyricist 7% on 120 recordings · nothing reported on this copyright.
Money that arrived against an identifier the catalogue does not recognise. It is held here rather than allocated.
36 lines across three reasons, 5.9% of everything received. This is a finding, not a rounding difference.
The royalty statements of Sixteen Frames Music. The reason on each line is the statement loader’s own; this application does not write it.
A statement line that fails to match an identifier goes to a holding pool rather than to the nearest plausible recording, because allocating on a guess is how one artist is paid another’s royalties.
Money that arrived against an identifier nobody recognises is held rather than allocated. Every line it adds opens its own workings.
Identifier not found in the catalogue — 18 lines, 34,66,089. The line carries an identifier the catalogue does not hold. Either the recording was never registered here, or the money belongs to somebody else. Register the recording if it is ours, and tell the source it is not if it is not, so the money can go back.
Title matched, identifier differs — 9 lines, 17,33,440. The title matches a recording in the catalogue but the identifier on the line does not. One of the two registrations is wrong. Confirm which identifier the recording was released under, correct the register, and run the match again.
No recording identifier on the statement line — 9 lines, 16,84,305. The statement loader recorded this reason and this application does not read it. Whoever loads the statements can say what it means; until then the money stays in the pool rather than being allocated on a guess.
The recorded shares, applied to what each copyright has been reported to earn. This is what the schedule says, not what the books carry.
7 payees across two copyrights; the total covers recording alone, because composition has reported nothing to take a share of.
Six hundred rows over a hundred and twenty recordings, and the same payees on every one of them: read per recording that is a table nobody finishes, read per payee it is the question a label asks — who is owed, and how much.
The royalty splits of Sixteen Frames Music. Every share recorded against a recording the label holds, with the provenance the register gives it.
A share is a percentage of a copyright, so it resolves against what that copyright has been reported to earn and against nothing else. Where the copyright has reported nothing there is no entitlement to state, and the row says so rather than resolving to nought.
This is what the schedule says, not what the books carry. What the books have charged is the panel at the foot of the screen, and the two do not agree.
Label, recording · 50% on 120 recordings · 552 per the schedule · documented.
Lead vocalist, recording · 10% on 120 recordings · 110 per the schedule · documented.
Distributor, recording · 6% on 120 recordings · 66 per the schedule · documented.
Featured vocalist, recording · 5% on 120 recordings · 55 per the schedule · documented.
Producer and mix, recording · 4% on 120 recordings · 44 per the schedule · documented.
Composer, composition · 18% on 120 recordings · nothing reported on this copyright · documented.
Lyricist, composition · 7% on 120 recordings · nothing reported on this copyright · documented.
An advance is recouped out of what a payee earns, so the register and the schedule should move together.
4 advances: 27 advanced, 13 recouped, 15 outstanding.
The advance register names a person and the split schedule names a role: the register holds Composer — A, the schedule holds a share for Composer against every recording. Where a name in the register begins with exactly one role the schedule holds, the two are tied on that role — and the tie settles which copyright the advance is recouped out of, and nothing else. It never yields what one person earned: a role’s share is every holder of that role added, and dividing it by the people the register happens to name would invent a number. The tie is this application’s derivation, not a fact either register records.
The artist advances of Sixteen Frames Music. The register of what was paid ahead. No ledger account moves for one, so none of this is on the balance sheet.
The register says what was paid ahead and what has been worked off; the schedule says what has been earned. Where the two disagree the disagreement is a finding rather than something to net away.
2 of the 4 advances name a payee the split schedule does not hold, so nothing about their recoupment can be tested. The old screen matched on the name, skipped what it could not find, and then reported that the register and the schedule agree — over advances it had not examined.
Composer — A: 14,00,000 advanced INR, 4,20,000 recouped, 9,80,000 outstanding. The register shows an advance recouped against the composition copyright, on which nothing has ever been reported. Recoupment comes out of what a payee earns, and this copyright has earned nothing anybody has collected — so the recoupment came from somewhere the register does not name. The schedule holds no payee called Composer — A; the copyright is the one its role, Composer, is recorded on.
Composer — B: 9,00,000 advanced INR, 6,10,000 recouped, 2,90,000 outstanding. The register shows an advance recouped against the composition copyright, on which nothing has ever been reported. Recoupment comes out of what a payee earns, and this copyright has earned nothing anybody has collected — so the recoupment came from somewhere the register does not name. The schedule holds no payee called Composer — B; the copyright is the one its role, Composer, is recorded on.
Lead vocalist — B: 1,80,000 advanced INR, 42,000 recouped, 1,38,000 outstanding. The schedule holds no payee called Lead vocalist — B. It records a share for Lead vocalist against every recording — a role rather than a person — so what this payee has earned is not determinable, and no recoupment against it can be tested. The role settles which copyright the advance is recouped out of and nothing else.
Lead vocalist — A: 2,60,000 advanced INR, 1,98,000 recouped, 62,000 outstanding. The schedule holds no payee called Lead vocalist — A. It records a share for Lead vocalist against every recording — a role rather than a person — so what this payee has earned is not determinable, and no recoupment against it can be tested. The role settles which copyright the advance is recouped out of and nothing else.
10 sources against 9 statement periods: 90 of the 90 cells hold a statement.
No source has skipped a period inside its own run: every source that had started reporting has reported every period since.
Every source has reported through Aug 2026, the latest period any of them has reported for.
A statement that never came is a cell with nothing in it. Before a source’s first statement it was not reporting, which is not a gap; the gaps counted are the ones inside each source’s own run.
The royalty statements of Sixteen Frames Music. One cell a source and a statement period.
A statement that never came is not a nought and cannot be found by adding: it is a cell with nothing in it, and the only way to see one is to draw every source against every period the register holds and look at the holes.
The day a statement arrived is not held, so what is measured is the period each source has reported through. The obvious measure — days between the month earned and the day the statement arrived — is not available: the register carries the period covered and no date of receipt, and a lag inferred from the posting date of a payment measures the bank, not the reporting chain.
Spotify has reported through Jun 2026, 104 days ago, over 9 lines.
JioSaavn has reported through Jun 2026, 104 days ago, over 9 lines.
YouTube Content ID has reported through Jun 2026, 104 days ago, over 9 lines.
Instagram and Facebook has reported through Jun 2026, 104 days ago, over 9 lines.
YouTube Content ID on the recording has reported through Aug 2026, 42 days ago, over 663 lines.
Collecting societies on the recording has reported through Aug 2026, 42 days ago, over 652 lines.
Apple Music on the recording has reported through Aug 2026, 42 days ago, over 659 lines.
YouTube Art Track on the recording has reported through Aug 2026, 42 days ago, over 646 lines.
Spotify on the recording has reported through Aug 2026, 42 days ago, over 650 lines.
Sync and brand on the recording has reported through Aug 2026, 42 days ago, over 622 lines.
Wynk and Gaana on the recording has reported through Aug 2026, 42 days ago, over 631 lines.
JioSaavn on the recording has reported through Aug 2026, 42 days ago, over 665 lines.
Instagram and Facebook on the recording has reported through Aug 2026, 42 days ago, over 628 lines.
Caller tune on the recording has reported through Aug 2026, 42 days ago, over 647 lines.
The royalty charged in the books and the royalty the recorded shares call for are two different figures, and nothing reconciles them.
The books have charged 485 to Aug 2026; the recorded shares call for 828 on what has been reported, a difference of (344).
Every rupee of royalty the books have charged is still sitting in the payable. No payment has ever left it.
The books say who is owed — every one of the 58 royalty journals names the party it is owed to — and cannot say against what: not one of them carries a recording or a narration, so nothing in the ledger says which song a charge belongs to or which month's earnings it was raised on.
The ledger of Sixteen Frames Music, read from Tally Prime. The charge account is 5400 and the payable is 2160. Both are pinned to a code rather than found by name: a word test can match the revenue account or the payable as easily as the charge, and a screen that silently read the wrong one would state a difference nobody could reproduce.
What makes a line royalty income is the account it is posted to and not a recording it happens to name — the masters were costed against recordings too, and a figure drawn on the tag rather than the account counts the day the books opened as a month of trading. So this panel reads the ledger by account, and it is the only panel here that does.
The two figures are not reconciled here and the difference is not adjusted for: the charge carries no recording and no narration, so nothing in the books says how much of it belongs to any month’s earnings. Stating the gap is not the same as adjusting for it.
Added, never looked up. The month-end snapshot has drifted from the ledger by a whole month of recurring journals on every company in the group, so this adds the opening balance and the movements — the definition the snapshot was a cache of, and the only version of the figure that can show its own workings.
The payable stands at 633 to Aug 2026.
The schedule’s total covers recording and not composition, which has reported nothing.
What the catalogue is worth, which is a different question from what it earned. The two valuations differ, and the difference between them is the negotiating range. This is not an appraisal: an appraisal asks whether to commit money to a project and is judged against a hurdle the company set, and this asks what an asset already owned would fetch.
Both are shown because neither is the answer: a discounted cash flow values what the catalogue will go on earning, a market multiple values what a buyer would pay, and presenting one alone hides the negotiation.
The net publisher share is 84 INR lakh a year, taken to decay 5.5% a year over 20 years and discounted at 14.0%: 398. At 11.5 times that same share, 966.
It stayed when the appraisal module was taken out, because it was never part of it. Filing it under that module’s heading was the mistake, and a removal that went by heading would have taken the label’s own figure out with the module.
The catalogue valuation of Sixteen Frames Music, as at 2026-08-31. The discounting is done in the database and never in the browser: two implementations of one calculation disagree, and the board paper quotes the wrong one.
Net publisher share is trailing twelve months after distribution fees and artist royalties. Decay of 5.5 per cent a year is the observed decline across the catalogue. Market multiple is indicative of regional transactions and is an assumption. ASSUMED, AND IT PREDATES THE CURRENT LEDGER: the share was struck against the seven company books and has not been reconciled to the royalty statements now posted.
Both figures are assumptions and both carry the dagger. A discounted cash flow depends on the discount rate and on the earnings holding up; a market multiple depends on what comparable catalogues have recently changed hands for, and no such transaction is recorded here. Neither is a measurement, and neither is marked as one.
The valuation predates the ledger now posted: the net publisher share it rests on was struck against the earlier books and has not been reconciled to the royalty statements this screen reads. So it is not a restatement of what the catalogue earned this year, and nothing on this screen nets the two together.
The gap is stated and not resolved. A screen that split the difference would be inventing a third valuation nobody struck.
Valued at 2026-08-31, in INR. Discounted cash flow 398; at the market multiple 966; the range between them 568 lakh.
The register holds one valuation of this catalogue. A second at another date would be a second row here, not a restatement of this one.
Every figure here opens its own workings, and the range opens to the two valuations it is the difference of.
3 action · 1 watch · 1 clear.
One company, so every row is a statement Sixteen Frames Music’s register holds, a share recorded against its recordings, or an advance it has paid. Within a class the rows rank by the finding’s figure as a share of what the catalogue has been reported to earn.
The period checks read the quarter to 31 Aug 2026, to date rather than the month: Sixteen Frames Music posts revenue quarterly, so eight months in twelve are a loss by construction and a month-level test would fire on all of them.
The advance register and the split schedule hold no period of their own. They are read as they stand on the day the screen is read, 12 Oct 2026; the statements carry the period each covers, and the month in the bar moves the strip and the period the checks are read over.
Read from Tally Prime. 13 reads were made for this screen and 13 answered. Every figure on this screen opens its own workings, down to the vouchers behind it.
Tested for the quarter to 31 Aug 2026, to date: every statement line, for one that could not be matched to a recording; each copyright the schedule records a share on, for one that has never reported; every advance against the split schedule, for a payee the schedule does not hold and for a recoupment against a copyright that has never reported; every source against the latest statement period any of them has reported for; and the royalty the books have charged, for a journal carrying the party it is owed to. Adverse, then watch, then clear; within a class by the finding’s figure as a share of what Sixteen Frames Music’s catalogue has been reported to earn.
Statement receipts unmatched · Sixteen Frames Music · 6.2% of what Sixteen Frames Music’s catalogue has been reported to earn. 68,83,834 arrived against an identifier the catalogue does not recognise, over 36 lines and 3 reasons. It is held rather than allocated: allocating on a guess is how one artist is paid another’s royalties.
Composition copyright has never reported · Sixteen Frames Music · 25 per cent recorded against 120 recordings, on a copyright that has reported nothing. The schedule records Composer and Lyricist against 120 recordings on the composition copyright, and not one statement has ever been loaded on that side. Two copyrights are collected through two chains with different delays; this one has collected nothing anybody can see.
Advance recouped against nothing earned · Sixteen Frames Music · 0.93% of what Sixteen Frames Music’s catalogue has been reported to earn. Composer — B and 1 other are recouped against a copyright on which nothing has ever been reported. Recoupment comes out of what a payee earns, so 10,30,000 came from somewhere the register does not name.
Advance names no payee held · Sixteen Frames Music · 0.18% of what Sixteen Frames Music’s catalogue has been reported to earn. Lead vocalist — B, Lead vocalist — A name payees the split schedule does not hold, so nothing about their recoupment can be tested. The schedule records a role against every recording and the register records a person, and the two do not meet.