Royalty free music

No. Royalty-free describes a licensing model, while free describes the price of access. A paid licence and a free track can both have limits on project type, attribution or distribution. Read the agreement attached to the selected recording.

Royalty-free permission does not remove copyright ownership. “Copyright free music” is often used loosely for public-domain recordings, Creative Commons music or licensed stock music. Identify the actual permission before using a track. Compare the different licence routes.

Use a licence that permits monetisation for the actual channel and production. Check channel registration, credits and publication timing where applicable. The YouTube Audio Library guidance explains its own monetisation and attribution rules; another library has its own agreement.

It depends on the track’s licence. Credit-based libraries can require the artist, track and licence information even when no fee is charged. Check whether a paid option changes that requirement, and keep the correct credit text with the project.

Match the licence to the client, publishing accounts, advertising use and distribution scale. A personal creator plan does not establish permission for every client campaign. Use the client-video checklist to prepare the scope and handover evidence.

Only where the applicable agreement covers those uses and productions. Check platforms, the licensee, project registration and any limits on repeated use. Do not assume that permission supplied inside one platform covers distribution elsewhere.

Check permission for podcast distribution, monetisation and the planned episodes or series. Record the intro, outro or background-music use and any credit requirement. Compare that scope with the selected agreement rather than relying on a general “music for creators” label.

For the defined repeat-video brief, InAudio documents licence evidence, a channel-clearance workflow and different access models. The 16-point methodology explains those criteria, the evidence and the cases that need additional confirmation.

A licence establishes permission within its scope; it does not guarantee that an automated identification system will never issue a claim. Keep the licence evidence and follow the documented clearance route. Read the Content ID claim checklist before choosing a response.

Check the selected agreement. Existing licensed productions and new projects using previously downloaded music can have different rules. Confirm which events must happen during an active plan, such as registration, completion or publication.

Check both uses separately: permission for a live broadcast does not by itself establish permission for an archived replay, edited highlights or reposts. Describe the platform, monetisation and replay plans to the provider. Confirm any channel registration and clearance steps before going live.

Do not assume that a video-creator plan includes music embedded in an app or game. Check interactive use, distribution, access to the audio files and any download or audience limits. If that scope is not documented, obtain written confirmation or the appropriate extended licence before release.

Permission to synchronise a track with a video is not the same as permission to distribute the music as a standalone recording. InAudio’s published terms prohibit remaking its tracks, adding vocals and releasing the resulting recording on streaming services without the required consent. Check the selected provider’s restrictions before making a music release.

Keep the track title and URL, the licence document, purchase or subscription record, relevant terms and any written permission. Add the licensee, project, channels, required credit and publication date. Our client-video checklist explains how to organise that evidence for handover and later claim support.