Thinking Of Joining AdRev

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    Thanks Music1234, I didn’t know it was an old thread.
    So, if I understand correctly:
    -AdRev fingerprints my track and owns 20% of YT advertising revenue in perpetuity
    -They manually verify every YT use is licensed (how do they do that?), No automatic takedowns.
    -No one else can lay claim to my track, forever. So this can not happen again

    YouTube Copyright Headache

    -In theory, no more false copyright infringement claims for people who bought my track from RF sites.
    -I know where all my tracks are on YT (similar to Tunesat for broadcast?)
    -And maybe I make a few dollars

    Are there many libraries who forbid it? If so, why? I have always said No to any form of YT monetization, so I really don’t remember who forbids it.
    Art, is it easy to add a “Forbids Composer AdRev Participation” block in the library information block?

    Assuming I have 100% control of a Non-Ex track, what is a worst case scenario reason for not joining AdRev?

    I am very intrigued by this. I have one track that should quickly show me how this works, but it is one of my top sellers. I don’t want to shoot myself in the foot either. 😉


    I got claims from AdRev when they first came out. This was on my own videos with my own music (really?). I also got a ton of emails soliciting me to use their service. It kinda felt like a shakedown. (Gangster voice) “Dat’s a nice little business youss got der. It’d be a shame if sumthin’ happened to it.” Kinda turned me off to their service.

    I challenged all the claims on YouTube & they just went away. However, I do know a director/producer who still complains about claims he gets from library music on his YouTube videos. He’s paid for the tracks. He doesn’t want any type of hassle. I know copyright claims are different from AdRev ads but I figure I have better things to do than dance around with AdRev.


    Out of the small pile of tracks I could give Adrev, just the three best performing trailer tracks really make me any significant money – actually more than the other 50 tracks I have with Adrev so far, combined.

    I’ve heard of big trailer music companies making mid five figures every month with companies like AdRev. I think the key is that tracks need to be popular, or if you’re lucky, used on a video that goes viral.

    It’s worth noting that one of the biggest RF libraries has been working with AdRev for over a year now.

    Art Munson

    Now we have this player on the field ole Digital.



    I have made some earnings so far, i estimate that at the current rate i will be making about 60 to 80 per month…

    Your experience is a good sign for monetizing music on YouTube. Are these (containing your music) getting thousands of views? If not, why do you think you’re getting these results without having thousands, hundreds of thousands, millions of views?



    Adrev said the pay is .30 cents per 1000 views and that does seem to match my data.


    thanks @Music1234

    based on 30 cents per thousand, it would take 200k views to reach @musicmatters’ estimate of and earning $60-$80 per month from 50 tracks.

    If a composer could potentially receive $60-$80 per 50 tracks signed with adrev (or similar) couldn’t this lead to at least a few hundred dollars per month? Others say it adds to just a few bucks – but could it be hundreds?

    what am I missing?


    The average youtube video gets fewer than 500 views.


    There’s no set rate – that $0.30 figure was probably just given out as an average. It depends on where the views are coming from i.e. what country and if they’re watching directly on YT or embedded on another site. Not to mention, if you have to share the revenue with other music on the same video.


    thank you @MichaelL and @Mark_Petrie

    with those kind of odds and contingencies for big (or decent) bucks, it seems more like playing the lottery!


    I do want to confirm that they were speaking about “averages” with that .30 cent per 1000 view estimate. “Average royalty per 1000 streams” Should be all we’re concerned with. Yes, pay does fluctuate based on variables.


    You will find lots of entries with many making just a few cents. But then a few will be a lot more, (a few dollars). It doesn’t all depend on the number of views. As music1234 said, there are other variables. I will find out what those are and get back to everybody on this thread. My estimate was based on current growth rate, six months to a year down the line, and with more tracks. I should have clarified that.

    Art Munson

    Hi Art; I’ve been receiving letters from YouTube and Ole stating that I have royalties awaiting me and should sign up for their collection system.
    Here is the letter form Ole:
    As you may be aware, Google has offered a global settlement for millions of dollars of unpaid YouTube mechanical royalties. These royalties are related to compositions which have not been matched by YouTube’s Content Management System and Content ID. The available settlement covers US royalties for mechanical rights accrued and payable to the rights holders between August 1, 2012 to December 31, 2015 and is accessible via ole’s opt in to the arrangement via the National Music Publishers Association (NMPA). Billboard also referred to this in a December 2016 news report (Click Here), which advertised the NMPA driven settlement.

    So I am wondering if I can sign up for this without affecting music that has been legally licensed.

    Art Munson

    I also receive letters from YouTube and have asked if music that is licensed will cause problems. Here is their response:

    This is an interesting problem, and likely does preclude you from joining this program. If your music has already been licensed for use on YouTube, it would definitely be inappropriate for you to claim that content and then monetize it yourself. One of our strictest rules for using the YouTube rights management and claiming system is that all content must be exclusively owned. If it’s not exclusive to one party, then it’s pretty much impossible for us to know if a video has been licensed or not.

    If none of the libraries you work with use YouTube Content ID, then there wouldn’t be any accrued backpay for you, because those libraries would not have claimed any user generated content.


    My average is $0.40 per 1,000 regular views so far. In the separated “YT Red” tab, it’s possible to get up to $0.01 for a single view.

    When I upload a video with my music in it to YT, it’s usually claimed instantly. So I doubt the by hand verification.

    I agree on that it’s a lottery, but I like getting the data about where my music was used, so I can build a reference list.

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