What is P.R.O affilation???

I’ve seen this Important Topic From Here about P.R.O

  1. My Question is What is P.R.O??
  2. If I don’t have any P.R.O any problem for my account???


A P.R.O. is an organization that collects performance royalties on your behalf (for example, if your music is played on TV).

Up until now, music uploaded on AJ couldn’t be registered with a PRO. This is going to change on October 4th. After that day, you will be able to register your music and collect royalties when broadcasted.

This not an obligation. If you do not wish or can’t join a PRO, there will be no problem for your account. However, you need to state whether your music is PRO registered or not, on the setting page of your Audiojungle account. If you do not select any options on that page, your account will be disabled.

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Thanks @PurpleFogSound :slight_smile:

  1. If you don’t belong to a P.R.O., or don’t even know what a P.R.O. is, simply choose “No P.R.O. Affiliation” in your author setting and save your changes. It’s as simple as that!
  2. There should be no problems with your account as long as you have filled out the author setting one way or the other.
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The letters stand for “performing rights organization” and there is either one or more in most countries that cover professional composers who are interested in collecting all the money to which they are entitled. It is a very important and sometimes complicated element in a composer’s music career, one which is well worth learning about in order to avoid being taken advantage of by certain businesses. It’s not mandatory to join a PRO, but you really should educate yourself on the subject if this isn’t just a hobby to make a few dollars here and there.

Collecting this money might be very important because depending on how your music is used, you could make MUCH MORE money from one good placement over time through performance royalties than you can make from numerous AJ licenses… or it could just be a few extra pennies above the licensing fee split. In general, if your music gets used in a broadcast, played live in a venue, or used in a number of other ways that generate performance royalties, you will get paid by the PRO to which you belong for every performance of your music under every qualifying license. For example, if your song gets used on TV, you could get a royalty for every time it’s played for as long as the TV program is on the air. Depending on the time of day, type of network, and several other variables, this could end up being a lot of money over time, all accumulated from a single license purchased here. So you get your share of the broadcast license, but then you keep getting paid over and over again through the PRO until the song stops being used. That could be years later and your song could be licensed many times with the same situation happening concurrently from every license.

But it’s important to think beyond just getting license splits from micro-stocks and royalty free libraries. Your music could also be placed outside of AJ if you aren’t exclusive and approach a publisher, music supervisor for a TV series or network, etc. and they facilitate placement on your behalf. You can also sell tracks to libraries and do works for hire where your get a sizable amount of money upfront, then collect performance royalties as the songwriter from any broadcast use. That can be better than licensing splits if the library targets the broadcast market and not corporate video or some other non-performance royalty generating use.

I have songs making royalties from placements made years ago because the TV programs playing them went into syndication and are played in multiple countries as re-runs, even after they no longer play on TV in my country (the US). I placed several songs with a music supervisor for a network 11 years ago and they are still making performance royalty money and have done so every quarter since 2005. I’ve also done works for hire and sold existing tracks to libraries that resulted in the same scenario. I don’t get licensing splits, but instead, I get regular quarterly checks for thousands of dollars. The songs are also being licensed in the royalty free music market now that they’re old and part of my “back catalog”. Some of those licenses have been in the broadcast market and those licenses have generated performance royalties as well. This may not be the average situation for every composer, but it is an example of what is possible with performance royalties. This is how you maximize your earnings while being able to have time to focus on making quality music without becoming a machine that manufactures drones for volume licensing where you get a percentage of a tiny licensing fee and call it a day.


Thanks for the help :slight_smile:

Thanks @OvationMusic for the Help :slight_smile: