In the music industry’s hunt for royalties, no digital nook or cranny is too small to scour for income — even for the biggest hits.

The songwriting royalties of one song that reached No. 1 around the world two years ago totaled $4.76 million, most of which came from the usual places: iTunes, Spotify and radio stations.

Yet among the 900,000 sources of income counted by Kobalt, one of the song’s publishers — which provided a detailed accounting summary but declined to identify the track, to protect the privacy of its client’s financial information — there are plenty of obscure outlets like Swedebeat, a provider of fitness media programs. Its 2,400 streams of the track in Norway resulted in payments to Kobalt of just $8.

In the sprawling world of online music, every dollar from every place like Swedebeat counts.

“These days it’s essential to collect every income stream one can,” said Mark Beaven, the manager of Dr. Luke, a Kobalt client who writes hits for stars like Katy Perry, Miley Cyrus and Kesha.