Yeah, I guess it’s a normal delay and the payment will be processed tomorrow or early next week. If it doesn’t, support normally replies really fast. Good luck and hope u solve it soon!
I didn’t. Goddamn thieves!
It’s strange, but the income in Identifyy is already 20 times higher than the income in Audiojungle. I don’t even know whether to be happy or sarcastic.
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And one $29 item, bought only 2 times on Audiojungle, consistently brings in over $2000 quarterly on Identifyy… (Stay close to the people who want sunshine) 
I have 6 paws, 1457 tracks, 9 years and somehow not Featured Authors. Someone out there with minimal sales, minimal tracks, 3-4 years on audiojdangle, with sales of under $1000… But I’m not there. Weird, huh?
Identify’s income comes from their license, but also from
BMI of course!
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Resentment? Yes, probably. But there is so much injustice in this world. The sad thing is that a track created in 15 minutes brings in the main profit. Other tracks that were really expensive to work on bring in much less money. And yes, the most important thing is that I have never dropped to $5 for sale. It’s just humiliating. I think that ANY track costs at least $19. If it is accepted by the previewer and put up for sale. It is humiliating to put $5 for your work! But that’s my opinion…
Listen to the authors! You were making much more money with a flat fee of $19 per track. Crisis? Yes, of course, but I assure you - for serious clients (whom you lost), it didn’t matter - $19 or $40 per track. Now everything is turning into a garbage dump - serious people won’t grab tracks from Elements. You are killing yourself.I am a multi-instrumentalist and always in demand for live work. Earning $3-4 thousand for a jazz musician is normal. But think about the musicians for whom this is the main market.
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That resonates with me. I have had similar experiences where a track made in super little time ended up on TV somewhere bringing in great money. Other tracks where I spent so much effort on are in a corner dying somewhere hehe.
The strangest thing is that when I see that a track gets “lucky” I try to emulate it in a new track but it never works.
The mystery of music I guess…
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Yeah, it’s almost totally random… You cannot know for sure what will be successful, too many variables.
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Hi everyone, I wasn’t sure if anyone has dealt with this before so I thought I would ask here.
I have a game developer contact me interested in using some of my music for their video game specifically for boss battles and so they were wondering if I could make reworked and extended versions of 2 of my tracks from my AJ portfolio to be used for the game.
I registered these tracks with Idenitfyy which should be generally fine but I considered the potential of people with youtube channels making streams/videos of the game in the future. I’m guessing that would risk youtube players getting there video’s claimed?
Does anyone have any experience with explaining something like this to Haawk Identifyy and requesting having 2 tracks taken off with them? Or maybe I could re-work the track in a different key that could potentially avoid it being picked up by the Content ID system?
I would rework the tracks thats the easiest.
Once I did something similar. A client liked a track that was already exclusive for something else so I made a new track for them that was similar. And of course they paid a buy out price for the track.
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In your case I don’t know, but I had a track that was used on radio and TV. I was surprised that it had a different name. At the same time, my authorship was preserved (they indicated my name correctly). Thanks to BMI, Identifyy or Envato I don’t know. But the fact remains - my track with different names but under my name.
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This is not your responsibility as the music author. You can of course work out a deal where you allow for third-parties to use your music in their streams/videos, but that should come at a price.
Licensing your music to a game developer should not mean a free pass for their customers, unless the developer pays for it as a courtesy to their customers. It is not the author’s responsibility to pay by offering those free licenses, in order to cater to the game developer’s customers.
Those gamers/streamers are content creators (our customer base). They are either making money and should be able to afford a license, or they are not making money and thus should not mind the copyright claim.
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Thanks PurpleFog, I think I’m understanding this a bit better now.
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@PurpleFog is right, it is not your responsibilty - if a developer or content creator wants to use your music then it should be licensed or comissioned appropriately. Make sure that you register your music with Content ID and / or a PRO so you can be renumerated for it’s use but make sure you make it known as you don’t want any nasty surprises for your customer at a later date.
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Thanks for the info. I’m guessing what most established game studio (like a AAA game studio) do is commission the composers in a way so that the music doesn’t get registered with Content ID?
I’m just trying to understand the business practice that is common in the industry in regards to these things. Most youtubers streaming games don’t get there videos claimed by the music in the game unless it has a song by some kind of popular artist in it. Like for example the game Hi FI Rush has a setting that is “streamer” mode where they use non-copywritten music (which is how the majority of games work I believe) so people are free to upload playthroughs of the game without getting claimed.
If I was going to make custom music for a game and the dev wanted to make it so it was streamer friendly, what kind of contract would have to be made and how would I be able to protect my music at the same time?
I’d be interested to know that as well. I had assumed the established studio would buy the rights and the author simply would not register their commissioned work. But since unregistered music is so easy to usurp, I’m thinking they must protect the music in some way. Do they register the music in their name and then clear all claims for videos from their gamers?
With the tools available to us, it has to be one or the other. You either register and claim or you don’t register and don’t claim.
As for the contract, it could either be a license that specifically allows for sub-licensing (so, not through Envato obviously). Or they could ask you to buy-out (to varying degrees) your rights.
But again, this is not your issue. Let the game devs come up with a solution to their problem. Let them convince you to give up on ContentID for these tracks.
Hopefully an author who has experience with working with game studios could chime in.
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Well, this is off topic, but I’m also interested in knowing other authors opinions and how they managed this situation.
I write custom music for a game studio quite frequently and I always sign a NDA and a copyright assignment agreement, with a clause (excuse my english if it’s not the exact term) that allows me to distribute and monetize that music through platforms like Bandcamp, Spotify and create and register an OST album and distribute (via RouteNote, Distrokid, etc.) if I want.
Of course, I’m not allowed to register it through CID, but as @PurpleFog says, these days unregistred music is pretty easy to usurp. Honestly, I don’t know how that is managed or if there’s a standard. Actually I once asked and they just told me “we never had that issue” though their games are streamed all over the place.
It would be great to hear from other colleagues who do this kind of works as well.
Cheers!
(That was obviously a non-chatgpt’ed comment. Hahaha! 
)
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Thanks Wormwood, seeing as you have some experience, in your opinion what would be the best course of action in my situation? They really like 2 of my AJ tracks and want me to loop/extent/make suitable for boss battles. These tracks are all ready registered with Haawk so would they need to purchase the license for use through Envato? I’ll just make sure to explain that to them.
If I was to compose new custom music I guess I should let them provide me with a copywrite assignment agreement? Unless they don’t care if the music gets CID then I guess I could should create the music and register it with Haawk myself?
Is it normal that IDENTIFYY’S february statement is not out yet? 
January came out april 1
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This keeps coming back but they always say they have until the payment date of the current Q to publish reports which is July 30. Anything earlier is a plus.
I think it will come out in the coming weeks
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Hi,
@PurpleFog Did you receive your payment?