MikeSea saidYes, this is a fraud prevention measure, not a bug.
My question is: Is this because my new account is brand new and I have to wait 24 hours or is it indeed not possible to purchase the FILM license? I’ve tried to buy a standard license and it works, I got redirected to PayPal. I just get the error with the 2 hi tier licenses.
Ummm, so when you drive a bunch of new customers to your site that need to purchase a track for their time-sensitive project, you prevent them from purchasing higher tier licenses because of ‘fraud prevention’?
Not sure I understand that. Maybe the reason for less sales reversals (and less sales) is because less people can buy now? Also, why would fraud prevention only kick in for higher tier licenses considering fraudulent purchases can also happen with lower tier licenses?
You don’t need to worry about the other libraries – the only thing that appears on a user’s YouTube account is: ‘Third Party Match detected. Name of track – Authour. Administered by AdRev’.
When people submit their license details, I believe they need to prove their name is on the license, show the transaction ID etc. as in their license to prove that the dispute is genuine. Like I said, I’ve had very few issues and if I need to go in and whitelist a channel or clear a single claim, it’s been quick and easy.
Just to say, I’ve had a customer contact me saying they cannot buy my item. This has happened a number of times now over the course of a couple of weeks according to a bunch of authours. A seven day wait for a potential customer to get a response from support basically means no sale.
Can someone from staff weigh in and let us know what the best way to deal with this (pretty major) issue is please? Like I said, contacting support isn’t an option if we want the sale, many clients need the file quickly for their projects.
Just say that you have the rights to use the track!” What then? What we need is integration with Envato, so that only valid purchase code can clear claims. Otherwise, Adrev will become pretty useless. Which is a shame, because I truly think that this tool is a real game changer, and the best way for us author to regain control over the illegal use of our work.
As far as I understand the process, you have to show the license certificate. If someone is so bold as to show a false certificate, then they are an uber-pirate and possibly out to steal the world.
I agree that an integrated system would be ideal – something like Ticksy has for their Theme Forest support system would be ideal, but that would require some negotiation between Envato and AdRev. I’m pretty sure that would be far down their list of priorities at this point and remember it also wouldn’t work for non-exclusives…
It has been worth nothing to me so far. I signed up 3-4 months ago and uploaded about 80% of my portfolio and continued uploading any new tracks. So far I’ve not been notified about one single usage of my music so it’s been a waste of my time.
It took me about 3-4 months before I got any results in for my tracks, but I’ve got plenty now. Have you asked AdRev about that?
Well, everyone’s experience is different. Like many other composers that use AdRev, I have had very few issues with it. When a claim needs to be resolved, it’s been a 2 minute fix to sort and the fact so many big companies like Universal use it to protect their artists’ work suggests to me it’s not going away any time soon.
I prefer to help my customers understand copyright issues better while keeping an eye on those that abuse it (and there are many, believe me). At the moment, this is one of the only ways we can keep track of where our music is being used for free (and only on YouTube remember).
Don’t you think it’s a little ironic that we all complain about how much we’re taken advantage of, that people are stealing our music left right and centre etc., yet when a technology that allows us a bit of control over that appears, we’re all up in arms about the inconvenience of it all?
Anyone who is buying music for their business will understand why a vendor is protecting their product as they would do the same, particularly if their sales had dropped significantly due to piracy. Stop thinking emotionally about the business side of selling, save it for when you create the music, that’s where it has most value.
Second best month for sales so far and best ever month in earnings.
27 sales including 1 broadcast & film license, 2 broadcast (1 million) sales and a pack sale.Great month!
Oh to be a Gae47 for just a month, ‘tis but a dream. Good going, three high tier licenses in the space of 23 days is impressive!
G’day I experience a different “problem” with sales. No matter how much promotion i do, no matter how much i upload – my sales come every month to a stop as soon as a certain amount has been reached. Be it in the mid of the month or towards the end. All runs smooth until this numbers are on my stats …. coincidence ? illuminati ?
Snap – absolutely the same for me, although I’m starting to experience some serious ups and downs in sales these days i.e. one month 53 sales, another month 14. Overall, however, it amounts to the same as I generally earn the same on average year on year out, totally irrespective of my marketing efforts.
Does make you wonder doesn’t it?
Lots of general soundtracks that would fit a scene, but definitely not a trailer. Lots of very busy compositions that just stand in the way of anything I can imagine visually. So utility will definitely be a major factor when I’ll cast my vote…. just have 350 more tracks to listen through
Definitely agree with this. Utility is by far the most important factor for a track in a stock site in my opinion. However, as we’re composers, I suspect a lot of people will vote based on compositional ‘complexity’ rather than how easily this will fit into a production. Often the simpler tracks are the better ones in practice I’ve found.