Content and rights

Everything below is the detail behind that sentence. It is worth ten minutes before the first package goes to air, because clearance is the part of this that a station cannot fix afterwards.

Which document wins. The licence is granted by the terms of service. This page explains it, sets out the rules around it and gives a rights holder a way in. The two are written to agree, and both read the plan facts out of the same place, so they should never say different things. If they ever do, the terms are the contract and the terms govern.

The music is rendered by an engine we run ourselves, on our own hardware. It synthesises audio from your caption and your lyric rather than assembling clips out of a catalogue of existing recordings, so there is no library track inside your file, no third-party master to licence, and nobody to pay for each use.

That is also why the price works the way it does. You are paying us for seconds of rendering, not for a licence to use somebody else’s recording, which is what a production music library sells.

We do not register anything the engine makes with a performing rights organisation and we collect no royalties on it. If you choose to register a work you built with it, that is your decision, and the paragraph on copyright below is the part you should read first.

Free is evaluation only. It is for finding out what the engine does with your call letters or your client’s brief. It is not for air, not for a client, and not for anything you are paid for. Upgrade before it runs, and the same audio is cleared: you do not have to render it again.

Be clear about what that restriction is. It is a term of the licence rather than something the software prevents, so the file will download and nothing will stop you putting it on a transmitter. Doing so is a breach of this licence and of the terms, which is the thing that matters when somebody later asks who cleared the music in a spot.

The right does not lapse when the subscription does. Audio rendered while you were on a plan that carries commercial use stays licensed to you afterwards, so a spot running for a client is not affected by a card expiring.

• We do not licence your renders to anyone else. What your workspace makes is served to your workspace. But nobody owns a genre: another customer asking for the same sort of country bed can get something that sounds similar, and we do not promise exclusivity in a style.
• Copyright in machine-generated audio is unsettled. In several countries, the United States included, material generated by a machine with no human authorship may not attract copyright at all. We grant you every right we hold and we cannot grant a right nobody holds, so we do not promise the output is registrable or that you could stop somebody else using something similar. For most imaging and most spec spots this changes nothing. If you need an exclusive, registrable composition, commission one.
• What you add is yours to clear. A voice read over the bed, an advertiser’s trademark, a needle drop mixed underneath: our licence covers what our engine rendered, and nothing else in the finished file.
• No generative system can promise it will never resemble something. We take a complaint seriously when it arrives, which is what the last two sections of this page are for.

The brief is where somebody else’s property enters the product. You are the one who has to be entitled to use it, and by putting it in you are telling us you are.

• An advertiser’s details. Their business name, their phone number, their offer and any claim about it. If the client has not approved the claim, do not have it sung.
• Lines that must be said word for word. Legal copy, a cleared comparison, a slogan. Those come from the client, and they stay the client’s responsibility and yours.
• Call letters, dial positions and positioning slogans. Your station’s identity is yours. Another station’s is not, and imaging built to sound like a competitor’s is a trademark problem before it is anything else.
• A reference track you upload. Upload something you are entitled to use. Do not upload a commercial recording so the engine can produce something that sounds like it.
• A named artist, group or real person. Do not ask for a track “in the voice of” somebody, and do not use their name as a style instruction. The acceptable use policy covers this in full.

A persona in this product is a saved style recipe: a set of style words, a description, and optionally one of your own tracks as a reference so a later render carries its character. It is not a cloned voice and it is not a likeness. The engine has no speaker model for singing, so there is nothing here that can imitate a particular person, and we do not call a persona a voice anywhere in the product for that reason.

What that means for you: a persona keeps a station sounding like itself across a quarter of imaging. What it does not mean: it will not reproduce your morning host, or anybody famous, and asking it to is against the acceptable use policy rather than a feature request.

A track, a persona or a playlist can be marked public. It is a switch you set and can unset, and while it is on you are permitting us to display and play that item inside Jingle Buddy to other people, and confirming you hold the rights to publish what is in it, including anything an advertiser or a station would rather was not on show. Turning it off withdraws that permission.

Nothing acts on it yet, and you should know that before you rely on it in either direction. No screen and no endpoint in the product shows one workspace’s public items to another, so switching it on does not put your jingle in front of anybody today, and switching it off is not what is keeping a client’s work private: that is the workspace itself, which is scoped on every query. If we build a listing for public items, this page and the terms will say so before it opens.

You do not need an account and you do not need a lawyer to reach us. Send your notice to support@workflowcorp.com, marked for the attention of the rights team. That is a shared mailbox rather than a rights alias of its own, and deliberately so: an address nobody watches is worse than a shared one somebody reads every day.

If you would rather write, our designated agent for copyright notices is a named role at our registered address rather than an individual, so that a notice does not go stale when somebody changes job: Copyright Agent, Workflow Corporation, 210 Emerson Pl, Suite 300, Davenport, IA 52801, USA. Email reaches us faster and is the route we would rather you used.

Include all of the following, or we may not be able to act on it:

• The work you say has been infringed, identified well enough that we can find it: a title, a release, a registration, a link.
• The track here that you are complaining about, identified precisely enough that we can act on it: the link you were sent, or the file and where you heard it.
• Your name, your postal address, your telephone number and your email address.
• A statement that you believe in good faith that the use is not authorised by the rights holder, its agent or the law.
• A statement that the information in the notice is accurate, and that you are the rights holder or are authorised to act for them. In the United States that statement is made under penalty of perjury.
• Your signature, physical or electronic.

What we do. We acknowledge the notice, review it, and where it is made out we disable the track and remove it from anywhere it was published. We tell the workspace what was disabled and why, and we pass on your notice so they can answer it. An account that attracts repeated, well-founded notices is closed.

What we cannot do. We cannot recall a file that has already been downloaded, delivered to a client or broadcast. Disabling a track here stops it being played and downloaded from here, and that is the limit of what we control.

Complaints that are not about copyright (a trademark, a personality right, an advertising claim, or a track using your station’s identity) go to the same address, support@workflowcorp.com, marked for the attention of the abuse team, and we handle them under the acceptable use policy.

Write to support@workflowcorp.com, marked for the attention of the rights team, and tell us which track it was, why you are entitled to it, your name, address and telephone number, and a statement that you consent to the jurisdiction of the courts where you live or where we are. We will pass it to the person who complained. If they do not take the matter further, we restore the track.

Notices in both directions are made under a statement of accuracy that carries a penalty for misuse. Please do not send one carelessly: a false takedown can cost somebody a client deadline.