ElevenLabs has released Music v2.5, claiming thicker melodies, instruments closer to live sound, and deeper arrangement layers, aimed at commercial use. This model becomes the default option for ElevenMusic and is also available on ElevenCreative and API, while the old version v2 remains.

The company conducted 47,885 blind tests using the same prompts, with v2.5 being selected most of the time, particularly in genres with vocals and acoustic styles, including rhythm and blues, soul, hip-hop, rock, metal, orchestral, and film scoring. The workflow still supports segmented composition, audio reference, and local redrawing. Reference audio must pass copyright screening, affecting only style, arrangement, tempo, and emotion, without copying the original song. Finished products referencing other artists' songs are prohibited from download.

All generated works in ElevenMusic belong to the user. The free tier allows five lossless downloads per day, with commercial use requiring attribution to ElevenMusic; the professional tier allows 400 lossless downloads per month. The authorization at creation follows the work, and downgrading or canceling the subscription does not retroactively change old songs; if terms change in the future, only new works will be affected. Training data is sourced from authorized collaborations with Merlin, Kobalt, etc., with self-service packages covering advertising, podcasts, social media, and general commercial use, while film, broadcasting, and large studio games require corporate agreements. The company has also turned its voice library revenue-sharing model into a music marketplace, claiming to have paid over $11 million to voice creators.

Buyers are creators, advertisers, and intermediaries in gaming who want to avoid synchronization copyright negotiations; sellers are ElevenLabs and its licensed music library. The driving force is model iteration and the terms of "free but must be attributed for commercial use." Funding comes from subscriptions and API usage, with benefits for producers who can directly download and deploy; traditional material libraries that charge synchronization fees per track and cover versions blocked by reference audio rules are under pressure.

Source: Public Information