Should "Elite Authors" be reveiwing track submissions?

I’ve been an AJ author since late 2017 and I’ve noticed that the tracks approved for sale in my portfolio are all reviewed by “Elite Authors”. Isn’t that a conflict of interest? We are basically allowing our competitors to decide whether a track is approved or rejected. Does anyone else see the irony in this process?

There are only few Elite Authors who are reviewers and I’m not sure if they are very active authors.

I’ve been here for few years and I think it’s only theoretically a conflict of interest. Reviewing is kind of corporate process, I suppose they have guys above themselves who monitor their work. They can’t reject someone, because he’s track is better than theirs. How do you think it would look like? They would reject all good tracks and accept only the worst? :slight_smile:

I never had a rejection of a good sounding commercial track.


Definitely not. There are Senior Reviewers which verify actions of other reviewers, furthermore, that’s why things can be “Held for Review”.

Reviewers are always unbiased, highly professional individuals that have very, very, very strict guidelines they must follow, this being said, they don’t play around! :slight_smile:


Lets hope that there are guidelines in place to prevent any shadiness. Most libraries I’ve encountered usually have a music curator or music director that oversees the review process. It’s a bit unusual I must admit but hopefully their are safeguards in place as you mentioned.

The reveiwers regardless of author level uphold the integrity of submissions. Approval and submissions are based on the quality of item and whether or not the item suits a commercial market - that’s all folks. No hidden agenda.


Hi @GregBMusic !
Not so long ago I found a very interesting topic. I advise you to read this too. :wink:

Although perhaps this does not entirely apply to your question, but only indirectly.

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Of course we can ever know with 100% certainty whether a reviewer is completely objective or what their motivations are, but look at it this way:
Bad tracks cluttering up Audiojungle help no one. They do damage to the reputation and integrity of the market as a whole. (And there are far too many of them as is.)
Good, even great tracks, on the other hand, improve the public’s overall perception of Audiojungle, which in turn help the reviewers as well.
Successful producers know that there is no such thing as direct competition in the music business, except perhaps at the very highest levels of the industry, which obviously doesn’t include Audiojungle.

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