Parties and scope
This agreement is between Void Music Group SASU, 25 rue de Ponthieu, 75008 Paris, France, operating the Run music distribution service (“Run”, “we”, “us”), and the account holder who accepts it (“you”). You accept it in the workspace, and the version and moment of your acceptance are recorded against your account.
It covers the distribution of your releases. Using Run at all is covered by our Terms of Service, which you accept the same way, and how we handle personal data by our Privacy Policy, which is published rather than accepted. Where this agreement and the Terms of Service overlap, they say the same thing on purpose; if they ever read differently on a distribution question, this agreement governs.
Two policies form part of it. Our Acceptable Use Policy sets out what may be distributed through Run, and our Anti-Fraud Policy sets out what counts as fraud and what we do about it. Breaching either breaches this agreement.
You are the account holder, and the account stays yours to answer for. If your plan lets you invite other people into your workspace, what they do there is treated as done by you: the releases they submit, the metadata, credits and splits they enter, and the confirmations they make are yours under this agreement, and the promises below are yours to keep for them. Inviting someone does not make them a party to this agreement and does not divide the responsibility for it.
The rights you grant
You grant us a non-exclusive, worldwide, royalty-free licence, for as long as a release is distributed through Run, to:
- reproduce, encode, transcode, host and store your recordings, artwork and metadata as needed to prepare and deliver them;
- deliver them to the stores and services you select, directly or through our distribution partner, and to authorise those stores to make them available to the public under their own terms;
- use your artist name, release title and cover art to identify the release inside Run, in the delivery and reporting we send you, and in the store listings themselves;
- collect and report the earnings your releases generate through those stores, and pay you your share of them.
Non-exclusive means exactly that: you are free to distribute the same music elsewhere at the same time, and nothing here stops you signing with anyone. What we take of what a release earns is set out in fees, revenue share and reporting, and it reaches recording royalties only: we take no share of your publishing, your live income, your merchandise or your sync income, and we do not act as your publisher, your label or your agent.
Who else the licence reaches
We do not deliver to every store ourselves. Run works through one distribution partner: it takes the release we prepare, passes it to the stores you selected, and reports delivery and earnings back to us. The licence you grant above extends to that partner and to those stores, for the same purpose and no wider. They need it to host, encode, display, sell and report on your release, and they can rely on it directly.
You still deal with us. Changes, questions and removals for a release delivered through Run go through us rather than to a store, and we are the single point of contact for everything we distribute for you. If we ever change distribution partner, this agreement and the licence carry over unchanged, and the practical effect on your releases is ours to manage and to explain to you.
What stays yours
You keep ownership of your master recordings, your compositions and your artwork. This agreement transfers nothing. The rights lines shown on store pages credit you, including when your release ships under Run’s own label name.
Keep your own copies of your masters and artwork. Run’s storage is a working area for distribution, not an archive or a backup service.
What you promise us
For every release you submit, you confirm that:
- you own or control every recording, composition, sample, performance, artwork and name in it, and you have the authority to grant the licence above;
- covers carry the applicable mechanical and publisher clearance, remixes carry written authorisation for both master and composition, samples and interpolations are cleared, and public-domain claims can be proven for the territories concerned;
- any use of a real person’s voice, name or likeness has their explicit written consent;
- the credits, contributor roles and publishing splits you enter are accurate, and you have the right to give us your collaborators’ details;
- the release infringes nobody’s rights and breaks no law where it is distributed.
We may ask for the corresponding document in the release flow and hold a release until it arrives. Run does not clear rights for you and does not provide legal advice. Karaoke versions, soundalikes and impersonations are not accepted.
AI disclosure
AI-assisted and fully AI-generated music is welcome. In exchange you disclose it accurately: for every release you declare how much AI is in the artwork, in the recording and in the composition, and at least one credited contributor has to be a human. We pass those declarations to the stores, which apply their own AI policies to them.
Keeping your disclosures accurate is part of this agreement. Under- or mis-disclosure is a breach and can lead to rejection or takedown. Voice clones, soundalikes, deepfake vocals and the voice or likeness of an identifiable artist without explicit written consent and a signed agreement are not accepted, disclosed or not. Changing a disclosure after distribution triggers a fresh review upstream and can affect availability while it runs.
Metadata, credits and corrections
You enter the metadata and you are responsible for it: titles and version tags, artist and credit lines, contributor roles, writers and publishing splits, language, genre, the explicit flag, the release date and the rights lines. We check what can be checked against store requirements and hold a release until a problem is fixed, but we do not verify that a credit, a split or an explicit flag is true. We take what you enter at face value. Where you leave a rights line blank, we fill it from the release year and your main artist names.
Get it right before you submit, because it gets harder afterwards. Once a release has been delivered, some changes need a fresh review upstream before they take effect and can affect availability while it runs. Others cannot be undone in practice: a barcode, and an ISRC once stores have reported against it, identify the release and the recording for good. Correcting one of those means taking the release down and delivering a new one, which stores treat as a new release.
Tell us anyway if something in a delivered release is wrong. We will do what can be done, and say plainly when something cannot be changed.
Personal data and the people in your credits
For the personal data in your own account, your email address, your profile, your billing state and what you do in the workspace, we are the data controller. What we collect, why, how long we keep it and the rights you have over it are set out in our Privacy Policy.
Credits are personal data about other people. Every writer, contributor, featured artist and split holder you enter is a real person whose name, role and share you are handing to us. You confirm you are allowed to hand it over, and it is your job to tell them that Run holds it to prepare, deliver and report on the release, and to point them at our Privacy Policy. Ask them before you enter them, not after.
Those people can come to us directly to see what we hold about them, to have it corrected, or to object to it, and we answer them ourselves rather than sending them back to you. If answering means changing a credit or a split on one of your releases, we tell you.
We are not your data processor for any of this, and this agreement is not a data processing agreement. We decide how that data has to be handled to deliver to stores and to meet our own legal obligations, which makes us a controller in our own right. If you use Run as a label or a company and your own compliance work needs written terms, write to privacy@run.audio and we will sort it out with you.
Delivery and stores
You choose the stores. All of them are on by default and you can switch any off before you submit; Content ID services stay opt-in and require you to confirm you own the recording outright. We deliver on the release date you set.
Stores decide independently whether and when to publish, how to display a release and whether to keep it available. A release date is the date we deliver, not a promise of when a store goes live, and delivery depends on the stores and on our distribution partner. You can watch the state of each store from your dashboard.
Review and rejection
Every release is checked before it ships: metadata and files against store requirements, and audio against a fingerprint database to detect unauthorised use and impersonation. Anything flagged is looked at by a person.
We can reject a release, or ask for changes, where it breaches this agreement, breaches store policy, or where the rights position is not clear. You get the reasons, and you can fix the release and resubmit it.
Fees, revenue share and reporting
Two things are payable to us, and only two: your subscription, at the price shown for your plan when you subscribe, and our share of the recording royalties we collect for you, at the percentage shown for that same plan. Both are on the pricing section and in your workspace when you subscribe, and those are the ones that apply to you. Nothing else is charged for distribution: no fee for a release, no fee for a store, and no charge for delivering a release, redelivering it or taking it down. Subscription billing, renewal and cancellation are covered by the Terms of Service.
Our share is a percentage of the recording royalties your releases earn through the stores, as those stores and our distribution partner report them to us. We take that percentage of the figure reported and the rest is yours. What distribution costs us, including what our distribution partner charges, comes out of our side of it and is not deducted from yours as well. The percentage depends on the plan you are on and is not the same on the free plan as on a paid one, which is why it is published next to each plan rather than restated here.
Our share reaches the recording royalties of the releases we distribute for you, and nothing else: not your publishing income, not your live income, not your merchandise, not your sync income, and nothing a recording earns anywhere we did not deliver it.
The rate that applies to a reporting period is the one in force for your account when the earnings for that period were reported to us, and we record it against that period. So a change of plan applies to what is reported from then on: periods already reported keep the rate recorded for them and are not recalculated, whichever way the change goes. If we change the rates themselves, the Terms of Service say what notice you get and when the change takes effect.
Run reports your earnings in the workspace, broken down by release and reporting period, as the platforms report them to us, showing what was reported, our share of it and yours, and you can export them. Figures depend on data from stores and from our distribution partner: they can be restated when a platform corrects a period, and they are estimates until that period is settled upstream. Earnings connected to artificial streaming may be withheld, reversed or charged back when a platform or our distribution partner rejects or claws them back, as set out in our Anti-Fraud Policy.
Your share is paid out to you, and how and when that happens is set out in getting paid.
Getting paid
We pay you your share of what your releases earn. The payments are made through Talentir, the payout company we work with, based in Zurich, Switzerland.
Setting up. When your first payout is ready, we give Talentir the email address on your account and the details of the payout, and you receive an invitation at that address to set up your payout account with them. There you confirm who you are, which the law requires of a company that sends money, choose how and in which currency you want to be paid, and accept Talentir’s own terms, which govern the payout itself. You set this up once, and later payouts go to the method you chose. Your bank or wallet details, your identity documents and your tax details go to Talentir and never reach us.
When. Stores report and pay what a month earned after that month has closed, and the money then reaches us through our distribution partner. That delay is the standard cycle across the stores and is not ours to shorten, so your first payout usually arrives around three to four months after your first release goes live. After that we pay you every month, as the platforms report your earnings: each payout carries your share of the earnings reported and paid to us since the one before. These are the usual timings rather than dates we promise, because a store that reports or pays late delays what depends on it, and its earnings then follow with the next payout after they reach us.
What it costs you. Nothing, on our side: we charge no fee for paying you, and we take nothing from your share beyond what this agreement sets out. Whether a particular payout method or currency carries a charge of its own is for Talentir’s terms to say.
Tax. What you earn is your income, and declaring it and paying any tax due on it where you live is your responsibility. Talentir may ask for your tax details before it pays you. Where the law requires tax to be withheld from a payment, it is withheld, and you are told.
Corrections. If a platform corrects a period after it has been paid out, the difference is settled on your next payouts: added when the correction is in your favour, and deducted when it is not. The same applies to earnings withheld, reversed or charged back under our Anti-Fraud Policy. If a payout cannot be made through Talentir, for example because your identity could not be confirmed, what we owe you stays owed, and we work out with you how to pay it.
Fraud, suspension and earnings at risk
Our Anti-Fraud Policy sets out what counts as fraud on Run, how we look for it, and how you appeal a decision. What it means for this agreement is short.
We can hold a release before delivery, refuse to redeliver it, take a live release down, suspend your account or close it, where we find bought streams or stream farming, impersonation or a hijacked store profile, rights or clearance fraud, or metadata built to game store discovery. We tell you what happened and why, unless the law prevents us, and you can put your side of it to us.
Earnings attributed to artificial streaming can be withheld, reversed or charged back to your account, together with any fee a platform or our distribution partner levies for it. That applies whether those earnings have already been reclaimed upstream or we are still working out what happened, and your reporting is corrected to match. A payout that includes them can be held while we find out, and an amount already paid out for them is deducted from what we pay you next. Buying streams is the fastest way to lose an account here.
Takedown and removal
You can request a takedown of your own catalogue at any time from the workspace, and we pass it to every store the release reached. Stores remove it on their own schedule once the request arrives, so removal is not instant and is not something we control.
We can take a release down, or refuse to redeliver it, where it breaches this agreement or store policy, where a credible rights or impersonation complaint is made, or where we are required to by law. We tell you what happened and why unless the law prevents us.
Term and termination
This agreement starts when you accept it and runs until you or we end it. You can end it by closing your account. Ending it does not by itself remove releases already delivered: request a takedown for that.
We can end it if you breach it, if your account is used for fraud or impersonation, or if we stop offering the service, in which case we give you reasonable notice so you can move your catalogue. Clauses that are meant to outlive it (your warranties, indemnity, the handling of earnings already reported, including paying out what we owe you for them, and record-keeping we are legally required to do) survive.
When it ends we stop delivering for you, and closing your account ends your access to the workspace with it. What was already reported stays reported: earnings recorded for periods before the end keep the fees and the revenue share recorded for them, as set out in fees, revenue share and reporting, they can still be restated afterwards when a platform corrects a period, and we keep the records we are required to keep. Export what you want to keep before you close the account.
Closing your account
You can delete your account from your settings. Download your data first if you want a copy, because once the erasure runs we cannot restore it: your profile, your artists, your drafts, the audio and artwork you uploaded and your notifications are gone.
Deleting the account does not by itself remove releases from stores. A takedown does. If you have releases live in stores when you ask, we ask you to acknowledge that explicitly, and we request a takedown for them as part of the deletion. Stores then remove them on their own schedule, as they do for any takedown.
The deletion is scheduled fourteen days ahead, and you can cancel it from your settings during those fourteen days. That window is there for the click you did not mean, or did not freely make. After it closes, the erasure runs.
Earnings reach us months after the plays, so some of what your releases earned may still be on its way when you delete your account, and the erasure removes the email address a payout is sent to. If you expect more earnings to come, write to us at support@run.audio before you delete the account, and we agree with you how what is still owed will be paid.
A few records survive it, because we have to keep them: our billing and accounting records, which French commercial law makes us keep for ten years, our audit log, and the record that a version of this agreement was accepted, which is the proof the agreement existed at all. The audit log and the acceptance record are anonymised, so what is left is that something happened and which version it was for, not who you are. Accounting records are different: an invoice has to keep the details the law says an invoice carries. Our Privacy Policy sets out what is kept and for how long.
Liability and indemnity
We deliver your music with reasonable care, but we do not guarantee acceptance by any store, any level of streams or earnings, or uninterrupted availability. Stores, our distribution partner and the infrastructure we depend on are outside our control.
To the extent the law allows, we are not liable for lost profits, lost revenue, lost opportunity or indirect loss, and our total liability for all claims arising in any twelve month period is limited to what you paid us for the service in that period, or one hundred euros if you are on the free plan. Nothing here excludes liability that cannot be excluded by law, or the statutory rights you have as a consumer.
If a claim is made against us because something you submitted was not yours, was not cleared, or was mis-disclosed, you agree to cover the resulting loss to the extent the law allows.
Versions and re-acceptance
You accept two documents in the workspace: this agreement, and our Terms of Service. Each acceptance is recorded against your account with the version you accepted and the moment you accepted it. The version in force is shown at the top of this page, and the versions your account has accepted are shown in your settings.
When we make a material change we publish the new version here, ask you to accept it in the workspace, and tell you by email. Your catalogue keeps being distributed while you decide: nothing is taken down, delivery continues and reporting continues. The one thing that waits is a new release, which cannot be submitted until the versions in force have been accepted.
Corrections that do not change the meaning, a typo, a broken link, a sentence made clearer, are made in place and ask nothing of you. If you would rather not accept a new version, you can stop submitting, cancel your subscription and request a takedown of your catalogue.
Notices and how we contact you
We contact you by email at the address on your account, and in the workspace: review outcomes, delivery and takedown confirmations, billing, payouts, and new versions of this agreement. The invitation to set up your payout account goes to that address too. A notice we send to that address counts as given, so keep it current and make sure our mail reaches you. If your address stops working we may not be able to reach you, and that on its own is not a reason a notice was not given.
Write to us at legal@run.audio, or by post at the registered office below, in English or in French. For anything urgent, email is the fast route: post is read, but not quickly.
All of this works electronically. Accepting this agreement, accepting a new version, giving notice and ending it are done by email or in the workspace, and neither of us needs paper or a handwritten signature for any of it. What our systems recorded, the version you accepted and the moment you accepted it, is how we both prove what was agreed.
The small print
The clauses every agreement needs, in plain words:
- Handing it on. You cannot transfer this agreement to someone else without asking us first. We can transfer it to a company that takes over the Run service, in a sale or a reorganisation, and if we do it carries over unchanged and we tell you. Selling your catalogue is a different matter: tell us, because whoever holds the rights has to be the person who accepted this.
- Things outside our control. Neither of us is in breach for a delay caused by something genuinely beyond our control: an outage at a store, at our distribution partner, at our payout provider or at the infrastructure we run on, a network failure, industrial action, war, a natural disaster, or a change in the law. It does not excuse a delay we could have avoided, and it does not excuse paying for a subscription you have kept.
- If a clause fails. If part of this agreement turns out to be invalid or unenforceable, the rest stays in force, and the part that failed is read as closely as possible to what it was meant to do.
- Letting something go once. If we do not enforce something straight away, or at all, that is not us giving it up. We can still enforce it later.
- What the agreement is. This document, the Terms of Service, the policies they name and the plan you subscribed to are the whole of what we agreed about distributing your music, and they replace anything discussed before you accepted them. None of that takes away rights the law gives you.
- Language. This agreement is written in English, and the English text is the one that governs. A translation, if we give you one, is there to help you read it: where the two differ, the English text applies.
Governing law
This agreement is governed by French law. If you use Run as a business, the courts of Paris, France have exclusive jurisdiction. If you use Run as a consumer, you keep the protection of the mandatory rules of the country where you live and can bring proceedings before the courts competent there.
Come to us first at legal@run.audio. Most disputes about a release are a misunderstanding about a store, a document or a date, and they are settled faster by writing to us than by anything else.
Contact
Void Music Group SASU, 25 rue de Ponthieu, 75008 Paris, France
legal@run.audio