Why some authors do not register their tracks in PROs?

I am curious why so many AJ authors still do not register their tracks in PRO. It is known that registering do not decrease amount of sales. Even more - in my opinion clients with big budgets, who are buying big licenses for the serious broadcast use, prefer registered composers with IPI number.

So why some authors don’t want this extra cash from PRO?

In EU (and in many other countries?) every broadcasted material has to be submitted to PRO organisation with properly filled composer name. If not, they may have problems. It’s obligatory, so they have to pay you money… even if you’re not registered to PRO. If it’s broadcasted abroad - “foreign” PRO will contact with “your” PRO and they will transfer money. If they know only your AJ nick instead of PRO IPI number - they will fill in the cue only your nick, so it’s harder to locate your royalties…

Of course it’s hard to predict how many of them are filling those cues properly and how accurate are foreign PROs in collecting and transferring royalties.

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I guess some people maybe don’t know about it, how to register etc… Maybe some authors think it will make the customers look for non pro music. Just guessing…

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Sometimes it is not so easy to register in pro… I want to register in B.m.i. but for Russian in is a pretty difficult task.

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In Spain every year some managers, executive, directors, etc… go to jail. Every year a scandal.
So it is very difficult to trust in a company like that…

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I don’t trust pro in my country either… They are doing a scam on a big level.

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In my opinion is mostly because like @RainyAudio said some people do not know about it and the pros and cons are not clear enough.

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Don’t you have PRO organisation in Russia? I’m just curious. And why it’s difficult for Russians to register in BMI or in other PRO?

You can trust or not, but there are money waiting for you. Even if that system doesn’t work perfectly. Is there any other way of collecting that money? I guess no. Of course it should be more effective.

I said I don’t trust pro in my country and I am not a part of them… But I have registered my tracks with BMI pro recently.

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In EU (and in many other countries?) every broadcasted material has to be submitted to PRO organisation with properly filled composer name. If not, they may have problems. It’s obligatory, so they have to pay you money… even if you’re not registered to PRO. If it’s broadcasted abroad - “foreign” PRO will contact with “your” PRO and they will transfer money. If they know only your AJ nick instead of PRO IPI number - they will fill in the cue only your nick, so it’s harder to locate your royalties…

Of course it’s hard to predict how many of them are filling those cues properly and how accurate are foreign PROs in collecting and transferring royalties.

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Today got my contract from BMI! Good times ahead :slight_smile:

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@RedOctopus could you give us an insight of your experience regarding the income from PROs?
Comparing with AJ revenue what percentage are you experiencing from PROs.

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I have no idea how this Pro stuff works… just so you know, from a ‘guy on the street’.

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I’m from Greece and 4 months ago the Greek PRO Company (AEPI) went to court for stealing money from composers and we all expect to be punished with years in jail!
I registered with BMI. It was not that easy! It took me 2 months to get all the papers they asked, but now I’m done!
Now, I’m waiting for a broadcast license sale…Ha Ha!!!

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Was searching about this a lot but still don’t get what it should give to me…((
I want to protect my music, but AdRev is closed for newbies already and P.R.O. is still a mystery…

If you just a “guy on the street” you probably even don’t need a broadcast license :wink:

Am i right that buyer who purchased a track under Standard Music License will never have to deal with any P.R.O. stuff?

I got some friends in troubles because some copyrights infrigments and they didnt even know they had those copyrights, almost some of them go to jail…

So why i don´t trust in my country company¿?, it´s complicated when you can go to jail for nothing…
English is not my native language, i hope you can understand what im tryin to tell.

Totally agree @Manriquedelara … me lo has quitado de la boca … it’s a shame here!
Anyway, right now it’s possible to be part of BMI being from other countries… :)-…
But the truth is I’m happy being free… :stuck_out_tongue: maybe in a near future I’ll do some changes. … Meanwhile, let’s to celebrate successes with some beers! :beer::beer::beer::beer::beer::crazy_face:

I can’t really get the point of it. AJ is the stock of royalty free music. What royalties you are talking about, guys? :face_with_monocle:

It seems that many Authors here on AJ don’t know what PRO or even AdRev is. To be honest, I’ve heard many credible composers say that they would want to stay away from Audiojungle at all costs. Now things have changed: Broadcast Licenses, Author Driven Pricing, PRO and AdRev implementation, but there’s still one problem left and that is Audiojungle’s reputation as beeing a source for cheap music, made by people who don’t care to sell themselves too cheap. That’s why most customers go for the standard license, no matter where it gets used. Audiojungle has a lot of potential, but as long as Envato and many authors here treat digital goods like they did, it will never earn credibility.

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