Always appreciate the great audio community helping each other out.
2 Likes
I appreciate that, thanks.
1 Like
I would look into PROs that use ICE (PRS, GEMA, Stim, maybe a couple more).
They are good at collecting modern royalties from TikTok, YouTube etc.
For example, if you have big Content ID earnings, you can expect even more YouTube money from your PRO for the same videos (and likely other videos with released claims - at least that seems to be the case for me).
I have good Content ID earnings, but 2024-2025 I have received even more YouTube money from my PRO. I donât know all the details, but I think they have started collecting more aggressively.
4 Likes
I agree with you, PRS collects streaming revenue from YouTube et al.
3 Likes
For real?
I am with Ascap and I have collected a hard zero for anything related to Youtube!
Glad you are with the right people, mate!
3 Likes
PRS are paying from August this year monthly revenue from streaming (multi-territory) including YouTube, Spotify and TikTok. Last month March was a trial and it was a good payout from these streams. Someone has included one of my tracks on a Spotify playlist which has collected about 10K sterling so far so I am happy!
3 Likes
This is huge, mate!
Switching to PRS is not an easy task for me, though⌠But who knows, I might get into it sooner than later!
1 Like
Yes, indeed.
Sad to hear!
In 2023, I started receiving the new PRO royalties from TikTok (PER VIEW!), thanks to ICE.
That is nothing like the âper videoâ cents you get from your distributor. Since I had something of a minor hit on TikTok, the payouts were very big.
Artists/composers who say you canât get any money from TikTok are simply with the wrong PRO, or their labels are pocketing the money due to some hidden clause in their contract.
Unfortunately, as we are all starting to learn here, not all PROs are equal. I now realize that being with the âwrongâ PRO vs. the ârightâ PRO for your music usage can be a life changing difference.
I got big TikTok payments up until around mid-2024, when they were mostly all caught up with the retroactive payments.
My latest TikTok payment was nothing to sneeze at (around $2,000), but very far down from the peak.
Luckily, my YouTube PRO payments went up instead. A lot.
Beginning in August of 2024, my YouTube PRO royalties skyrocketed.
However, my Content ID income has roughly been the same.
The PROs must have made a deal with Google to pay PRO royalties in a different way. Iâm not complaining about it. 
I donât know for sure yet, but Iâm starting to suspect that the PROs can pay out royalties for YouTube videos even if the claims have been released. That, or the PRO rates are much, much higher than the Content ID rates for the same views. I think this is less likely.
Itâs also possible that weâre getting a lot of retroactive royalties now (like with TikTok), and that earnings will drop by 80-90% in a while⌠
Just my TikTok and YouTube PRO payments alone make AudioJungle (and P5 etc.) income seem pretty insignificant (even compared to the good years). However, the licensing activity from these sites are part of what made the PRO payments possible in the first place.
I understand.
However, itâs not impossible that ASCAP will implement these royalties in the future. You should try to ask them about this.
I know one thing - I have not received any money from TikTok or YouTube from the US. Itâs all from Europe mostly (UK, Germany, France, Italy and Spain in the top), and smaller amounts from the rest of the non-American world.
1 Like
I am truly happy for you, mate! Any bonus income is always welcome, especially these daysâŚ
Could you just clarify for me one thing: Letâs say I am iwth Identifyy for Content ID, what are the other rights that a PRO should collect as extra, and do you know if Ascap is supposed to collect anything for us authors from Youtube, beside what Identifyy is covered?
In my statement, it says âPerforming Rightsâ and âMechanical Rightsâ.
This is not directly related to Content ID or Identifyy. Theoretically, you should get those royalties even if your music wasnât registered with Content ID. It would be a bit harder for them to find the videos, however. They would have to go by name/title or you manually submitting videos.
My PRO told me the video has to be monetized, but it doesnât seem like a claim needs to be active.
To be honest, I donât know all the details. I have talked to my PRO many times about this, and they couldnât answer these questions either. Itâs still a little bit of a mystery.
Regarding ASCAP specifically, that depends on what type of deal they have made with Google. As for the mechanical rights, I guess not since they donât collect those at all. You would have to use something else for those if you use an American PRO.
I donât know if they have such a deal, but in an ideal world, YES, they SHOULD collect those extra royalties for you. They might put more energy toward TV, radio, or other sources, however.
You really would have to talk to them directly. I would be very interested to hear what they have to say if you can get any answers.
And, like I wrote before, I havenât gotten YouTube PRO/TikTok PRO royalties from US views either. Only from non-American countries.
I donât know why.
1 Like
Thanks once again, my brother!
Will keep you posted.
Yep, thatâs the problem. @ChoclateFix ASCAP does not collect mechanicals. My ASCAP collects some of the youtube royalties, however your mechanical royalties are stuck all around the world. You should check Songtrust and expect relatively (surprising?) high first payments.
2 Likes
Hereâs what Songtrust told me last year, when I inquired about possible conflicts between them and Identifyy:
"If your tracks are already in Content ID with Songtrust, then you will not be able to use Identifyy.
If we were to put your tracks into Identifyy and you are already using Content ID on YouTube, this would create ownership conflicts and create issues when it comes to getting you paid."
But I donât know if they would take on the task of collecting only the mechanical rights for meâŚ
I am almost sure they will.
And this answer is very unclear. I think they misunderstood your question. If you are already with Identifyy, I suppose they will not upload your tracks there again
1 Like
I will hit them up again with a specific quiestion, brother! Thank you for being a great audio comrade
Ah, and they will not only collect mechanicals, I guess. They will take 20% of everything they collect (performance and mechanicals and internet).
1 Like
Really solid list, RedOctopusâtotally agree with a lot of your points, especially the volume issue on Elements previews. Thatâs such a basic yet important fix that could immediately improve perception of quality. Also love the idea of bringing back that artist-focused vibe from the early AudioJungle days. A little more visibility and storytelling around creators could go a long way
Thanks for your patienceâitâs taken some time to get a reply together as there are many different teams and people working on different topics youâve raised
Content ID: We fully realize that the current experience around managing Content ID claims can be confusing or even annoying for both customers and authors. The good news is that we have some updates coming soon around tooling and integrations that will help address some of these issues. So please stay tuned!
Volume levels: We recently implemented a volume increase for Elements tracks to help improve consistency, but there are also some initiatives around improving our audio player overall. But another volume bump is not off the table in the meantime.
Authentic music, albums, artistic titles: Weâre continuing to champion authentic music as customer demand grows, and weâll continue to explore genres and styles of audio that fill current trends.
Along those lines weâre often making improvements to our vector search so that customers can find the right music quickly and more niche items can be discovered if thatâs what the customers are looking for. Weâll also continue to let authors know which genres or styles are in demand so they can create accordingly.
As for things like artistic titles, albums, and album artâthese are on the radar. But right now, getting search to work as effectively as possible is our top priority, so the right content can shine (or are being highlighted).
Other: Areas like broadcast licensing - outside enterprise customers, PRO data on download, and highlighting the artists behind the items have all been talked about but thereâs not much beyond that we can share at the moment.
We really appreciate the feedback and all the effort that goes into helping us create a better product. This really shows the power of an active community and we love to hear how we can continue to make the Elements experience better for both authors and customers. Keep the feedback coming and stay tuned for those upcoming announcements and improvements!
2 Likes
@KingDog thanks! I am glad that my voice has been heard. I said it already a few times but let me tell it once again: it is great that after all these years of stagnation music department is improving.
And one more thing I simply need to emphasize:
Not enough, not enough! Our tracks cannot be so quite by default, it is a quality suicide
Best,
Chris
1 Like
Totally agreeâgreat suggestions! The low preview volume really hurts the user experience, and broadcast usage should be open to all. Adding composer info, artist stories, curated playlists, and focusing on authentic, creative tracks would be a big win for everyone. Hope Envato takes this seriously! 
