FAQ´S

1. Editorial or recording label. You must specify the name of the Label of your record or album respectively for each album.

2. Own label. If your album is not linked to any record label, you can specify a custom label name or alias (such as your artist name) of your choice in this field. Make sure that the name provided is not misleading or deceptive, nor violate the laws of intellectual property.

3. Label’s Name Length. The name of a label should not be too large, otherwise, it may cause metadata conflict for some channels.

Please, be sure to accomplish all the following requirements in order to distribute your release correctly, thereby preventing additional updates and other arrangements that would imply additional costs to the distribution.

1. Artist name choice. Before distributing your album, make sure that no other artists is currently using the same artist or band name (similar or identical), since this can cause conflicts in the channels, and your albums may be combined under the catalog of the other artist with similar artist or band name, or vice-versa.

2. Primary artist assignation. The main artist of an album, must appear as the primary throughout the complete album.

3. Format. The spelling of the artist name, must be correct and consistent across the entire contents of that artist

4. Composer. Composers have to be indicated only at the track level, not at the release level – except if we talk about Singles with only one track.

Non classical music composers have to appear at both levels (track and release). If there are more than 4 composers appearing in all tracks we will have to use “Various Composers” instead to list them one by one.

At the album’s level you can use all roles as wanted, as long as all the involved ones (producers, performers, composers, etc.) appear in all tracks without exception.

5. Other information. The artist’s name must not include any additional information, such as his role, dates, instrument, former band, webpage, etc.

6. “Various Artists” use. If there are four or more primary artists on the album, the artist name to be mentioned at album’s level must be “Various Artists”. Do not include more than three primary artists at album level.

At the track level is preferable that do not appear too many primary artists names. It is important not to confuse the role with “performer”. For example, if it’s about a band, the band name must appear as primary artist and the members names as performers.

8. Incorrect Display of “Various Artists”. Variations or abbreviations of “Various Artists” (eg “V/A”, “VA”, “Various”, “Various Artist” or similar) should not be used as an artist name for the content in English. The translation of “Various Artists” are acceptable, but, only if they are compatible with the language of the content.

9. Compound Artist. Each artist field must only contain one artist name.
Two or more performers or groups in the same artist field is considered a compound artist, although artists who are generally listed together as a band are not considered compound artists and can or must be listed together.
If it is not the case, and there is more than one performing artist, each artist must be listed individually and assigned as Primary.

10. Generic Artists. Generic artists such as “Chorus”, “Orchestra”, and “Singer”, are not accepted in any genre. The artist names should be specific to a person, a group or band, a show or a production.

11. Original Artist Name in Artist Field. For karaoke, tribute, orgel, parody, cover albums, and ringtones, the name of the original artist must not be displayed in any artist field.

This is a service that allows a consumer to either stream, download or burn music for a set fee for a set period of time. Examples include, but are not limited to, Listen.com’s Rhapsody, eMusic and Napster.

Interactive streaming is when a digital file is transmitted electronically to a computer or other device at the specific request of the end user in order to allow the end user to listen to a recording or a playlist contemporaneously with the user’s request.

Interactive streams are sometimes referred to as on-demand streams.

A permanent download is an individual delivery of a sound recording by digital transmission resulting in a reproduction made by or for the recipient which may be retained and played by the recipient on a permanent basis.

Permanent Downloads sometimes referred to as full track downloads or untethered downloads.

Tehtehred downloads are sometimes called limited downloads. A tethered download is a digital file that is delivered electronically to a computer or other device to reside there on a limited basis.

There are two types of thethered downloads: time-limited download (for example, the song resides on the computer for 30 days) and use-limited download (for example, the song can be heard 12 times before it can no longer be played).

Encoding is the conversion of one format into another digital file format, often referred as ‘output format’. All the music you upload is being transcoded to FLAC files in the highest possible bitrate- without any wuality loss.

You do not ‘need’ to complete your Artist profile. An Incomplete profile will not prevent your Release to be delivered to the stores.

However, the more information we have, the better. The ‘Artists’ section allows you to add some information like artist’ bio, website, twitter channel, facebook page, myspace link…Etc.

You can also upload a picture with the following specifications:

• 3×2 aspect ratio
• Minimum size 1280 x 853 pixels, Maximum size: 2530 x 1706 pixels
• Format: jpg, tiff or png
• Max. 8Mb
• Not all stores will take this information into account, but some will.

Adding a biography especially can help you get more exposure on stores and provide additional interesting information for your fans!

Mastering is the process of preparing and transferring recorded audio material from a source containing the final mix to the master, the source from which all copies will be produced (via methods such as pressing, duplication or replication).

Digital masters have become usual although analog masters are still being used by the recording industry.

Mastering requires critical listening and expertise.

Results still depend upon the accuracy of speaker monitors.

Mastering engineers also usually need to apply corrective equalization and dynamic enhancement in order to optimise sound translation on all playback systems.

The more the better? Not always.

Just like in the physical world, there shouldn’t be more than one digital music distributor bringing the same Release to the same store. Otherwise, when the Release makes some sales, how would the retail store know which distributor to pay?

However we can not prevent you from doing anything you want with your music.

But it is in your interest to be made aware that if you sign two digital distribution deals with two companies that will both be sending the same Release to iTunes, Spotify, Amazon, etc – this can have some serious consequences since the retailer will remove the Releases completely until you decide which distributor has the exclusive right to be selling that Release through them…

With Ministry of Musics you can distribute Singles and Albums to the digital partners. Each partner has its own way of categorizing content. Symphonic cannot control how the partners group and format their content.

Singles
In Ministry of Musics platform a single is one (1) track.

In iTunes
-Your release will be classified as a single if:

• The release is one to three (1-3) tracks.
• The tracks are 30 minutes total and all individual tracks are less than 10 minutes.
• Releases that meet the requirements above will automatically have “- Single” inserted in the release title within the iTunes platform.

-As a default, tracks will be sold for $0.99 in iTunes (if they are less than 10 minutes).
-If a single track is 10 minutes or longer, iTunes will automatically sell the release at an album price.

In Spotify

-Your music will be classified under the single category if:

• The release is under 30 minutes.
• The release has five (5) or fewer tracks.

-Spotify will not change the title of your release.

Albums
In the Symphonic platform an album is a release with two (2) or more tracks.

In iTunes

• Any release with seven (7) or more tracks will be considered an album in iTunes. Also, any release that has one to six (1-6) tracks but is over 30 minutes will be considered an album in iTunes.
• There may be cases where you release an album through Symphonic and the release is labeled as a “Single” or “EP” in the iTunes platform.

EPs
Symphonic does not have a product that is EP specific, but some albums released through Symphonic will be classified as EPs in iTunes.

In iTunes
-In order for a release to be considered an EP, it must meet one of the following two requirements:

• The release has a total of one to three (1-3) tracks, one or more of the tracks is/are 10 minutes or longer and entire release is less than 30 minutes.
• The release has a total of four to six (4-6) tracks and the entire release is less than 30 minutes.

-If your release meets the above requirements and you do not have “- EP” in the title of your album, iTunes will automatically insert “- EP” in the title when delivering your album to the partner.

1. Special characters. The text of the description of an album or track, as their linked tags, and song lyrics, must not contain any special characters such as the following (or similar):

• (-), (_), (.) (*), (“), (•), (#), (@), (¢), ($), (%), (&), (=), o (º).

2. Links and emails. The description of the album or tracks, the lyrics, and album’s or track’s tags, should not contain any link to web pages, social media or similar networks references, or contain email addresses.

3. Text format. The description text of an album and its lyrics, must not have any formatting or special design. All text must be “plain text”. This applies also to the release titles.

4. Tags. All tags must be assigned individually, and must not contain spaces or dots, or any special character, such as the following (or similar):

• (-), (_), (.) (*), (“), (•), (#), (@), (¢), ($), (%), (&), (=), o (º).

Exceptionally, the following symbols will be allowed:

-(-) If it’s a part of a compounded name.
-(.) As long as its use is prioritized in initials and/or if not used at the beginning or at the end of a sentence.
-(“) when it serves to appoint any type of alias. It will only be valid if is used at the beginning or at the end of a word and/or alias.
-(#) When it does not allude to social networks and/or any social network promotion. Same if is equivalent to any musical expression – as a sharp.
-(=), (º), (+) y (%) When they are in a context related to numbers(figures) or mathematical formulas.
-(™), (©) o (®) With the existence of documents that demonstrate that there are entities legally registered. In this case is necessary to facilitate the correspondent documentation in advance, to our Support team.
– If the specific label has precedents on the channels and previously validated by them.
– If the linguistic rules of a certain language require it.

5. Alphabet. The use of characters that do not belong to the western alphabet is not allowed. Except in the following cases:

-If its use in the distribution is coherent with symbols and there aren’t any different alphabet mixes. Is important to avoid the symbols’ ornamental character. Preferably it has to have an explicit relation with the content.

-Symbols that could be explained in contextual key, such as mathematical formulas or other adjacent disciplines.

6. Language. At the album level, the language must be the same as the titles -both track and album level. If there are more languages, the main one has to be chosen.

At the track level the language assigned should be the one used in the song. If it’s instrumental or an invented language is used, then we will indicate it as “no linguistic content”.

If the language used doesn’t appear in our list, please assign the most similar one.

Language support varies from DSP to DSP. We currently support every language that itunes supports, and some more. Most DPSs only use language information for internal search engine settings, and do not specify other uses in their specs, so we do our best to manage language use.

1. Category prices. You must choose a price category from one of four price categories. This does not ensure an identical price in all channels, since the channels have the right to determine the final price of an product, depending on the territory and currency of a sale. The categories are indicative of the range of price you desire for each album individually.

The price categories (in the platform) are:

• Budget: equivalent to an economic or the most affordable price.
• Mid: equivalent to a standard or common prince in each channel.
• Full: equivalent to a higher or more expensive than the standard price.
• Premium: equivalent to the more expensive price.

2. Release dates. Depending on the date indicated in this section, the album will be published in the channels sooner or later. If the album is distributed previously to the release date, it will not be made public until the date indicated before the distribution. If the album is distributed after the release date, it will be directly published within the 2 to 10 work days, from its distribution.

3. License. You can choose between two main types of license, these are: Copyright or Creative Commons.
Copyright ensure a full protection of all intellectual rights for each rights’ owner or holder, while Creative Commons has several types of licenses for different types of interests. For more information, go to: http://creativecommons.org/).

For publication of an album, it’s required to indicate:

(C) The Copyright owner or holder, who is generally the author of the work.

(P) The sound recording owner or Publishing right’s holder, who is generally the producer or record label.

In the case of groups or bands where rights are shared, the group or band name can be indicated in both cases mentioned above.

4. Territories. If you do not have publishing rights for all territories, or it is not of your interest the publication in all territories, you may indicate the desired territories in the “License” section in the platform.

1. Versions. To indicate that a Version Track is different from the original, please use the corresponding field for this purpose. Version information will not be accepted as part of an album title. You should also use standard spelling, without abbreviations, and make a proper use of capitalization.

2. Name of the original artist on parody, version, karaoke, tribute and cover tracks or albums. For Parody, Karaoke, Tribute and Cover albums, the name of the original artist should not be displayed in any artist field on track level, nor at the album’s level. You must use clarifying language to ensure that consumers will not think those original artists are performing on your album or track.

• Karaoke exceptions: The karaoke track titles can refer to the original artist. Please, use sentences to clarify that these artist aren’t the performers. Use sentences as “Originally Performed by… (original artist name)”.

3. Name of the original artist in the track or album’s titles. The title of a track, as the title of a cover of tribute album, must not make any reference to the original artist. Do not use phrases such as: “Original Performed by”, “In the Style of”, “Tribute to”, “Cover of” or similar.

4. Information of karaoke version. The karaoke albums or tracks must be indicated on the corresponding field as “Instrumental” of “Karaoke” versions. The primary genre of this king of album or tracks must also be set as “Karaoke”.

5. Deceptive or misleading information. Tribute or cover albums must not be deceptive or misleading.
Do not use genres, popular song lyrics, or the original artist names as the album title, track title, or artist for karaoke. Content that is considered deceptive or misleading will not be accepted and distributed.

6. Sound-a-likes. Sound-a-likes (cover songs that sound like copies of the original) or unauthorized remixes with deceptive or misleading audio, will not be distributed.

7. Cover licenses. For a cover you will need to present an authorization signed by the original rights owner – who will allow you to use the work for commercial purposes.

• You can obtain a license through different online services, as for example www.easysonglicensing.com. You need the license only in case that the adapted songs belong to an Anglo-Saxon area. If the songs are from a latin area, South America and Occidental Europe – excluding Aglo-Saxon countries –  it is enough to mention at the track level the original composer and the publishing house (label and/or producer rights owner) assigning their correspondent roles. For versions from territories that we don’t comment here, please, contact our Support team.

• If the version modifies substantially the work, as a radical variation of the lyrics/musical content, you must present a more specific rights owner permission to distribute the content. The documentation reported has to be contrastable and true.

• Attention: Do not confuse the term “version” or “cover” with a “remix”. If you did a remix or if you are using any recording sample that belongs to another person, you will have to request the authorization from the original master owner.

8. Continuous mixes and DJ sets. Dj sets (with own or other’s artists tracks) and continuous mixes (that is, putting all the tracks of an album together in a single track creating a continuous mix) are not allowed by the channels.

From the moment a content is distributed by the user, the Quality Control (QC) will be carried out. If the content meets all the stipulated requirements,  then it will be approved, and then delivered to the corresponding channels.

When the delivery process is finished, the corresponding user will be notified (by email).

Once the content has been completely delivered to the channel(s), the timing for the publication will depend on each channel, which can take from 2 to 15 working days. For this reason, we recommend making the distribution as early as possible, at least 15 days before the release date, to ensure that the content is published on the desired date.

Please note that this period of 2 to 15 working days, is extended during festive and holiday periods, taking even more days for publication. Regarding this, when appropriate, we will notify you about the deadlines for the main channels.

Stores only accept good quality cover arts with the following requirements:

JPG or PNG file
Perfect square and at least 3000 x 3000 pixels
Best-quality RGB Color mode (including black and white images)
Resolution of at least 72 dpi (300 dpi is better)
Only include text with the artist name and release title or image only with no text

Do NOT include: extra text, email addresses or URLs, stickers, poor quality or cut-off artwork…etc.

Please remember you are responsible for the content you are uploading in the platform!

If your artwork does not adhere to these requirements, this may result in some or all stores rejecting your release.

Your audio files must meet the format specifications below to go live in the digital stores.

The audio files format required is:

WAV stereo 44.1 kHz (sample rate), 16 bit (bith depth), 1411 kbps (sample rate). We also accept 24 and 32 bit files.

Usually it is a matter of days for your music to go live in the stores after you complete the order and delivery process.

However some digital stores have their own internal procedures and may take longer to make you music available on their front-end retail services.

iTunes: Most releases take 24-72 hours to go live in iTunes
Spotify: 24-72 business hours
Amazon, Deezer: 3-7 business days
Google Play: about 2 weeks
 All other stores: take 1-3 weeks

Remember these are approximate timelines only, and we can not guarantee the exact time your music will go live in these stores as we have no control on the digital retail stores’ internal content management processes.

Yes. Our email notification process allows us to notify you as soon as your Release is delivered.

When creating a Release, you can choose between a large number of genres to assign it to.

Please see the list of possible values below:

Alternative
Alternative/Experimental
Alternative/Indie Pop
Alternative/Gothic
Alternative/Grunge
Alternative/Indie Rock
Alternative/Rock/Metal
Ambient/New Age
Ambient/New Age/Meditation
Audiobooks
Blues
Blues/Contemporary Blues
Blues/New Orleans Blues
Blues/Traditional Blues
Children’s Music
Children’s Music/Classic
Children’s Music/Holiday
Children’s Music/Stories
Classical
Classical/Antique
Classical/Baroque
Classical/Concert
Classical/Chamber
Classical/Modern Compositions
Classical/Opera
Classical/Orchestral
Classical/Piano
Classical/Romantic
Comedy
Country
Country/Bluegrass
Country/Contemporary
Country/Honky Tonk
Country/Nashville
Country/Pop
Country/Square Dance
Easy Listening
Easy Listening/Bar Jazz/Cocktail
Easy Listening/Bossa Nova
Easy Listening/Traditional
Electronic
Electronic/Breaks
Electronic/Broken beat
Electronic/Chill Out
Electronic/Dance
Electronic/Deep House
Electronic/DJ Tools/Sample Packs
Electronic/Downtempo – experimental
Electronic/Drum & Bass
Electronic/Dub/Reggae/Dancehall
Electronic/Dubstep/Grime
Electronic/Electro House
Electronic/Glitch Hop
Electronic/Hard Dance
Electronic/Hard Techno
Electronic/Hardcore
Electronic/Hardstyle
Electronic/House
Electronic/Jazz
Electronic/Indie Dance/Nu Disco
Electronic/Minimal
Electronic/Pop Trance
Electronic/Progressive House
Electronic/Psy-Trance
Electronic/Tech House
Electronic/Techno
Electronic/Trance
Electronic/Trip Hop
Experimental
Folk
Easy Listening/Lounge
Funk/R&B
Hip-Hop/Rap
Hip-Hop/Rap/Gangsta & Hardcore
Holiday/Christmas
Inspirational
Jazz
Jazz/Dixie/Rag Time
Jazz/Latin Jazz
Jazz/World
Jazz/Bebop
Jazz/Big Band
Jazz/Classic
Jazz/Contemporary
Jazz/Free Jazz
Jazz/Fusion
Jazz/Jazz Funk
Jazz/Nu Jazz/Acid Jazz
Jazz/Smooth Jazz
Jazz/Swing
Jazz/Traditional
Latin
Latin/Bossa Nova
Latin/Brasil/Tropical
Latin/Pop
Latin/Rock en Español
Latin/Salsa/Merengue
New Age
Pop
Pop/Contemporary/Adult

ISRC, the International Standard Recording Code, is the internationally recognized identification tool for sound and music video recordings.

A UPC (Universal Product Code) or EAN (International Article Number) is a unique code used to identify a Release.

No.

We offer UPC and ISRC codes FOR FREE to all our registered customers.

(Please note this is often a paying option with our competitors!)

In case you are a record label or you do own legitimately registered UPC and ISRC codes, you can of course use your own.

Just follow the instructions during the Release creation process.

When submitting a release with Ministry of Musics you may notice that some partners do not appear as options in the partner list you see when creating a release.

These are indirect partners of Ministry of Musics, the reason they do not appear is that we do not send directly to them. They get their content via other partners.

The partners that provide content to these indirect partners are called white label providers. A white label provider is a Digital Service Provider that handles multiple services under them. For example, 7Digital and Medianet are two White Label providers that power various streaming and download providers and thus, we list them on our system as the one delivery point.

The services that a white label provider differ from retail, streaming, to cable tv music. There are often many changes in this area and unfortunately, we cannot control what partners under a white label your material goes to or doesn’t go to.

We offer A-La-Carte distribution services! If you already have a distribution deal in place, no problem. Just let us know and we’ll fill in the gaps!

Sure, that’s fine!

If you want to sell your music on your site—CDs or downloads—we completely support those efforts.

Depending on the size of your archive and how much processing we need to take on, the time can range from one week to four weeks.

No. It is up to a retailer (e.g. iTunes) to approve and add a song on to its store. It’s impossible to guarantee placement. No reimbursement will be made if your release doesn’t show up in one or more stores.

In order to distribute your music online, we only need digital distribution rights. You hold all the other rights, such as copyrights, master rights, publishing rights, and so on.

Yes, you need to either own, control or administer the master sound recording rights in order to sign a distribution agreement with any distributor

iTunes Match allows users to store all their digital music in the cloud.

Users can then access their entire music library wherever they go; their music won’t be tethered to one device or computer.

iTunes will automatically determine which songs in their music collection are available in the iTunes Store; those tracks will be added to the iCloud for them to listen to on any device that supports iTunes.

Stores usually report an entire month’s sales to JTV Digital on a two-month delay.

For example, if a sale of your music occurred in February, you would receive the money and sales reports in April.
We post the sales reports to your account as soon as these are made available to us by the stores.

In case you did not have any sales activity for a particular month in any store, you will not receive a sales report for that month.

Yes. Generally, stores like iTunes, Amazon and others keep 30% of a sale. We get 70% of a sale (this is called the wholesale price) and share 90% of this amount to you.

Do the maths, it means you are receiving 63% of a sale, not bad, right?

For stores that offer full-track streaming, there is a proportionate share worked out differently for every store.

Therefore, monthly payouts for music streaming sales can vary each month (and are extremely challenging to calculate due to the complex rules applied by the stores!)

Remember JTV Digital only takes a 10% cut of your sales, which is close to nothing! 🙂

You can login at any time to the My Account section to withdraw your money.

You can withdraw your music using your PayPal account.

For other payments types please contact us!

You can see your sales at any time from the user interface.

To see your sales reports, go to Sales > Reports from your Dashboard.

To see the sales trends and real-time* analytics, go to the Sales > Analytics section of the interface.

*digital stores usually provide the royalty statements with (at least) one month delay after the effective sale date

We send statements and royalty payments out to you on a quarterly basis.

• No sign up fees and you earn 70% of all royalties
• Monetization of songs and profiles
• Whitelisting means no copyright issues preventing you from uploading

We can monetize your SoundCloud tracks & albums. In short, SoundCloud Monetization will give you more control over your music on the SoundCloud platform as well as allow us to collect on advertising revenue generated by your music on SoundCloud, on our Soundcloud Account.
By signing up to the service we will upload your music to our SoundCloud upload feed to ensure your music is protected so nobody else can upload unless they’re white-listed through Symphonic.
So, if you opt-in for this service, you must send us your soundcloud account to whitelist it.

If your question regarding YouTube reports are:

• In the platform there are 3 YouTube channels available in the analytics screen:
  YouTube, YouTube Content ID, YouTube Music, what does it mean?
• Apparently nothing was reported under YouTube Content ID or YouTube Music?

The answer is:

Actually, there are two reports. One consolidated for Youtube + Youtube Content ID
the other for YouTube Music Key.

Sending your release to YouTube Music will allow you to publish your music as an Art Track.

An Art Track is a song with an image generated automatically by YouTube. It is composed of the proper sound recording, the release cover and all the metadata you entered in the platform as an user, for example the Artist name or the Album title.

The Art Track is catalogued as an audio for YouTube, that’s why the audio is distributed through the platform.

The Still Image Videos will appear in YouTube Music app and Youtube Red, as well as in the channels/playlists that YouTube decide. They are created for their streaming service and their music products.

Also, these Art Tracks are included in YouTube Music app and YouTube Red subscription services. The two services are only active in United States for the moment. In the rest of countries the Art Tracks will be displayed with advertising until the service gets active in your country.

Please note that YouTube Audio Content ID does not accept and will not create claims for tracks that are shorter than 20 seconds, which is the minimum duration accepted by YouTube.
Therefore, tracks that are shorter than 20 seconds will not be processed on YouTube.

Audio: You can activate this service by choosing “Youtube Contect ID” as a channel during the distribution process of your music in your user account.

Video: We manage the YouTube video content via our partner with the channel. You can choose a different monetization option for each one of your channel’s videos: to activate ContentID or not, to monetize or not, to block or not, and even to track your videos.

Must take into account that, despite our efforts to optimizate and to help your music reach the maximum visibility and amount of people, the advertising value experiments constant changes throughout the year and so the income does. For example, in times like Christmas season with great peaks, when the advertising pricing increases, it is normal to get more advertising incomes, while during other times of the year the income tends to be more lineal.

Besides, we must take into account the limitations that YouTube has recently imposed when it comes to monetize some videos according to its explicit content or its scope. Those limitations are:

1. Monetization restrictions in explicit content that shows guns, drugs, strong language or abuse, etc. (which clearly affected to some specific urban music genres and its videos)

2. Since January, 2018, the minimum requirements to activate the monetization for a video are:

               – 10.000 plays on that video

               – 1000 subscribers on that video’s channel 

               – 4000 watch time hours on that video’s channel 

Note: Our tracking service for ContentID in YouTube it’s under the name of SonoSuite.

In today’s digital world, a growing number of authorized and unauthorized third party users make use of copyrighted material every day. These might include the usage of your audio and audiovisual masters for commercial and private applications (e.g. uploading audio and videos on social media sites for weddings, corporate events, commercials or slide shows) in which your masters might be used with or without proper authorization and licensing.

When Ministry of Musics identifies a match between your music recording and a video file on the Internet, we then monetize that UGC video using various advertisement techniques. We serve as an intermediary between artists and the people who might use an artist’s work for, say, a YouTube video. Every time a new video is uploaded, it’s automatically compared against YouTube’s Content Identification library for a match. We constantly monitor and update your musical works within YouTube’s ID library. If we find a match, we can take one of three actions: remove the content, leave it alone or monetize the video. Typically we choose to monetize the video because it generates incremental revenue that we collect on your behalf. It also expands your broadcast portfolio. In some instances, when the video is not suitable, we will issue a takedown.

YouTube Content ID can be only activated if you have the 100% exclusive rights.

This is very important since you active the Content ID in your music, YouTube creates a reference as an invisible fingerprint that will protect your content distributed and will detect all the third party content using your catalogue. So, it will help you to generate plays/downloads.

ContentID is a “piece” of intellectual property that has been created to protect your content in YouTube. Therefore, if you don’t have the exclusive rights to distribute and you active this option, it can generate YouTube property conflicts in the short or long term future and your channel can be punished.

All your official channel content will be claimed as well as the channel of all the fans that are using your audios (User Generated Content).