How are musicians and songwriters compensated when their music is played on the radio, sold on digital platforms, webcast or streamed on interactive services?
We know it’s difficult to keep things straight, especially when: (a) compositions and sound recordings are treated differently in the licensing process, even if the songwriter and performer are the same person; (b) there are usually multiple rightsholders; and (c) the processes by which music is licensed and the money flows back to creators varies by platform/service.
Over the past ten years, internet and digital radio has evolved into a robust and viable business.
Services like Pandora, Sirius XM, Clear Channel’s IHeartRadio and Slacker are leading the way in delivering radio-like services to millions of music fans every day, and paying millions of dollars in digital performance royalties to rightsholders, performers and songwriters. read more
We were reading Hypebot the other day and came across some encouraging info about SoudExchange — the nonprofit organiztion that collects and distributes royalties for digital public performances (think webcasts, Pandora, satellite radio). We love it when more artists get paid, so we were pretty psyched to read about the 17 percent increase in distributed royalties. read more
Recording artists and indie labels: there’s a movement afoot to change the way that you would receive your digital public performance royalties, and it’s not a good one, especially for recording artists.
Back in August, we blogged about the news that Sirius/XM was considering doing a direct licensing deal, expressing our serious displeasure with the move.
In recent days, the artist community — including AFTRA, AFM, The Recording Academy,A2IM and SoundExchange — has been broadcasting the message to their members about the negative consequences of direct licensing deals for digital performance royalties. We applaud our artist colleagues for urging their members signed to indie labels (or self-released artists) to not accept these direct licensing deals.
We here at FMC wanted to join in the chorus and explain to musicians and labels why the current statutory licensing structure is better for all stakeholders.
Since its birth in 2005, the nature of YouTube as a platform for (just) homegrown video has undergone some seismic shifts. The site is now home to more media than almost any online streaming platform. Cute kittens and The Beatles (OK, little kids singing The Beatles) are now only a single click away. read more
SoundExchange collects and distributes the digital public performance royalty, which means performers and labels get paid for digital plays of their music. In 1995, Congress passed Digital Performance Right in Sound Recordings Act, which granted a performance right for the digital transmission of sound recordings. Previously, US copyright law contained no provisions for performance right in sound recordings. SoundExchange is the designated non-profit organization that collects the license fees and distributes royalties to those whose recordings were played digitally. Payees include the performer, non-featured artists and the sound recording copyright owner (most often, a label). read more
House Committee on Small Business 2361 Rayburn House Office Building Washington, D.C. 20515
Dear Chairwoman Velázquez:
Future of Music Coalition respectfully submits this written testimony for consideration in advance of the committee’s June 28, 2007 hearing on “Assessing the Impact of the Copyright Royalty Board Decision to Increase Royalty Rates on Recording Artists and Webcasters”. read more
Future of Music Coalition fully supports the digital performance royalty but we reiterate the position that we’ve held since the first round of webcast rate-setting in 2002: we will not support "one size fits all" rates and processes that will not let small and noncommercial webcasters survive. read more
A Copyright Arbitration Royalty Panel is a group of three arbitrators from the private sector, appointed and administered by the US Copyright Office and the Library of Congress, which meet for limited times for the purpose of adjusting rates and distributing royalties. A CARP was established in 1993 to negotiate the terms of the webcasting royalty rates and reporting requirements. This fact sheet covered some of the core issues that were present in the proceedings in 2001-2002. read more