Little PRO question

Do you upload files with the metadata? And do you attach any text files with your PRO info like IPI etc? Have anyone received PRO royalties from music sold on audiojungle?

I’d like to know this as well. I haven’t registered as a publisher or have registered my tracks as a composer on my PRO (ASCAP) because I don’t know if its something I should be doing.

Is it possible to get royalties through a track purchased exclusively on Audiojungle? I thought it is just an up front licensing fee. If a network plays your track shouldn’t you get royalties? Does anyone have any clarity on this issue?

For most PROs you don’t upload actual music files, but merely register titles and other info. I guess the details of info you have to provide may vary depending on your PRO and their respective process.

Definitely something you should be doing.

Yes. PROs have nothing to do with your AudioJungle exclusivity status. Envato has been allowing PRO registered music for a couple of years.

If your track is registered with a PRO and was properly declared with a cue sheet, or other claiming mechanisms depending on your PRO’s process, then yess indded you should collect royalties.

I’ve read accounts of authors earning quite a lot, and many others nothing. It greatly depends on your placement and whether the track was properly declared by the end user.

The great @RedOctopus wrote a guide about PROs, you guys should check it out, maybe it’ll answer some of the questions you have:


I’m getting royalties only for the tracks registered with the publishers. Non-exes have never earned a dime for me, despite selling a lot of licences since 2009.

Event though you should upload your music files to Soundmouse which is automatically connected with few big PROs.

1 Like

Thanks PurpleFog! SteelSound wrote me and told me in detail that I need to register as a publisher and register each of my songs in my publisher account. For everyone who needs to know, registering the tracks in your ASCAP publisher account will also register them in your composers account.

1 Like

Same here. Seems that PROs won’t claim your placements if you have no publisher associated with your tracks. Altough you can upload them and declare yourself as a publisher claiming 100% writers and 100% publishers share, BMI for example does this. I get emails on a regular basis from so called publishers who offer me to take the publishers role so the royalties can get payed out. Personally I don’t trust them. If a publisher isn’t associated and I can claim 200%, then I should get payed 200%. I would really like to know why PROs do this.

1 Like

Mykeross, since you are a BMI writer/ member display your composer publisher info like this:

composer: MykeRoss (BMI) CAE/IPI #: 821549050

Publisher: MykeRoss (BMI) CAE/IPI #: 821549050

Do NOT ever leave Publisher blank on audio jungle. No one should ever assume that clients will be able to “figure things out”. You all better show every piece of information to perfection and not make any spelling errors with your name, the name of the PRO, nor an error with the the ipi #.


No, but probably I should.

Yes, I did, though the vast majority was from Poland (I am registered in Polish PRO as a writer) and from broadcasts which I found by myself and chased them.


@SteelSound David, please explain why exactly authors have to register their tracks both as a writer and publisher? As far as I know, registering tracks as a writer is more than enough. In such scenario 100% writer’s and 100% publisher’s share goes to writer, even if publisher field in a cue sheet is empty. Right? I bet you have good reason to do so, so please explain us why do you recommend registering both. The only reason I can imagine is that buyer may possibly write “AudioJungle” in the publisher field by mistake.

Are you 100% sure? Register and let us know :slight_smile:

By the way. @Sky-Productions While I was searching for my royalties, I have found your royalties by chance :slight_smile: So this might be helpful for you, it looks like there is some cash waiting for you, though I have no idea how much, it’s not a commercial so it can be relatively small number. BUT it looks like creators of these shows used AJ trailer music regularly so making a research in ZAIKS can possibly connect more royalties with you. I’m sending you PM.

I found in similar shows roylaties of @MartijndeBont and @AudioPizza, you can pm me.


because there are ALWAYS two parties to be paid on every registered title that gets broadcast:

  1. The composer
  2. The publisher

You want to be paid as both, obviously. Even if Mykeross doe snot have an official BMI publishing company set up, I would still present the information as shown above just to be 100% safe.

Are you 100% sure?

I am 100% sure. I register titles almost every day of my life at ASCAP, BMI, and SESAC. I can not speak to any other PRO’s but these 3. However it is a fact that for every title documented on a cue sheet, anywhere in the world, there must be a writer of the cue, and a publisher of the cue…both get paid equal amounts of performance royalties.


In my PRO they were pretty sure that only writer info is enough to receive both - writer’s and publishare’s share. But you’re the one with bigger practical experience, so probably it’s safer to do as you say. Thanks!

1 Like

Thank you very much @RedOctopus and @SteelSound Everything is becoming clearer.

So we all need to register with our countries PRO as a composer AND a publisher. After that register all our tracks with said PRO. I just finished mine at ASCAP @SteelSound kindly mentioned if you have any of your tracks on itunes/spotify to register the ISRC code that distrokid/CDbaby gave you when you are registering your tracks with your PRO.
With regards to unclaimed money. Do we need to write all the PRO’s around the world individually and ask if they have collected any funds on our behalf? @MartijndeBont @AudioPizza @pinkzebra @soundroll @TimMcMorris I’m hash-tagging a few authors because I think we should all know this in case I’m not the only one.

No, you can register anywhere you want, not only in your country :slight_smile: The best are ASCAP and BMI.

BTW have you read this? The AJ Community Guide #2 - Performing Rights Organisation Royalties (PRO)

1 Like

It is my understanding that ASCAP has an agreement with other PROs so that if another PRO collects money on your behalf they alert ASCAP so that the revenue will eventually make it to you. I believe most PROs work this way.

Smart move registering your music with ASCAP.


Jeff make sure you show your publishing company’s IPI # for every track on audio jungle. All PRO’s have reciprocal agreements where they all send each other the royalties due to members of other PRO’s.

On November 12, 2019 ASCAP will distribute all foreign royalties they collected on our behalf from (NON USA PRO’s) around the world. They do that 4 times a year.

ASCAP, BMI , and SESAC send money to all PRO’s around the world when they collect on behalf of writers and publishers who are members of PRS, SACEM, BUMA STERMA, APRA, GEMA, etc…

In a nutshell, all PRO’s around the world collect on behalf of all of us, but if you do not join one and register your titles, you will never collect.

1 Like