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Message: [QUOTE="Bombastus, post: 91278, member: 2178"] ElevenLabs’ current music terms reserve film, television, radio, and qualifying multi-platform game use for its full Enterprise Music plan. The similarly named Enterprise Music Lite tier keeps the same four media exclusions applied to paid self-serve plans. That single word, Lite, can decide whether a finished cue is actually deliverable. A paid subscription can grant broad commercial permission without granting every media right. The distinction becomes critical when [B][URL='https://goldmidi.com/community/threads/why-eleven-music-can-promise-clear-commercial-use.76575/']Eleven Music’s channel-specific usage rights[/URL][/B] apply to work moving from a web release into broadcast or screen distribution. Paid self-serve plans can cover online and offline commercial uses outside the four reserved categories, subject to the service-specific terms. A monetized YouTube video and a television program are not interchangeable because the destination still controls the clearance. [HEADING=2]Enterprise Music Lite keeps the same media exclusions[/HEADING] Enterprise Music Lite removes employee-count eligibility limits and can offer custom generation, download allowances, API access, high-quality files, and commercial streaming. It still excludes film, television, radio, and Studio Games. Only full Enterprise Music grants all online and offline commercial media rights under the current plan table. An order form labeled Enterprise Music Lite may support serious production volume while failing a broadcaster’s clearance request. [B]Full broadcast and screen rights[/B] depend on the full tier or written terms that expressly grant them. ElevenLabs places the model-specific terms above the Music Terms and underlying agreement when provisions conflict, with the commercial-rights table incorporated into those terms. Broad product copy cannot safely replace the exact plan name and usage language in a signed order. Radio deserves separate attention because many summaries shorten the carveout to film and television. The table names radio independently, while commercial music streaming appears as a different permission. Releasing a track through a streaming service therefore does not establish the right to place it in a radio broadcast. Advertising format matters as much as audience size. A paid social campaign can fall within ordinary commercial use, while the same edit delivered for television enters an expressly reserved category. Production scopes often expand after approval. A cue cleared for a branded web video may later appear in television, film, or radio, putting the new version outside the original plan rights. [HEADING=2]Game rights turn on monetization and multiple platforms[/HEADING] ElevenLabs defines a Studio Game through two conditions, neither involving budget, team size, publisher prestige, or the AAA label. The game must be commercialized through a sale, advertising, or another monetization method. It must also be available for download or use through more than one platform. Common shorthand about “large studio games” is unreliable because a small paid title released on PC and console can meet the written definition. A costlier monetized title confined to one platform may not, although other restrictions can still apply. Platform counting remains awkward because the terms do not say whether separate PC storefronts count as separate platforms. They also do not define whether cloud delivery is a platform alongside PC, console, and mobile. A developer planning Steam first and consoles later should obtain a written classification before locking the soundtrack. The release roadmap can change the rights analysis after production begins. A game launching on one platform may later add a console port, mobile version, advertising model, or another form of monetization. Those decisions can create the two conditions that move it into the Studio Game category. [HEADING=2]Upgrades can change rights attached to existing output[/HEADING] The current terms contain a useful upgrade provision that many summaries omit. When you move to a higher-priced Music plan, every output in your account at that moment becomes subject to the upgraded plan. A finished cue may therefore gain the broader media scope without being regenerated. The account-specific wording expressly covers output present at upgrade but does not say what happens to a cue deleted beforehand. Keeping the project output available until the plan change is documented avoids relying on an unstated assumption. The upgrade changes only the ElevenLabs plan treatment and does not clear outside samples, commissioned performances, client material, trademarks, or other third-party rights. Those remain separate clearance work. Keep the generation date, account tier, invoice, output identifier, and signed order form with the production files. The agreement should name the applicable Music plan and intended media because “commercial use included” is too vague for final delivery. A client or distributor needs the actual scope, not a billing label. The current model-specific document was last updated on May 26, 2026. It applies to Music v1 and v2, including related subversions unless ElevenLabs designates a separate version. Changing the model does not widen film, television, radio, or game rights because the plan language still controls the permitted use. [/QUOTE]

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