- This topic has 18 replies, 6 voices, and was last updated 1 month, 1 week ago by LESLIE G HURDLE SR.
- June 27, 2018 at 4:55 am #30346
A friend of mine in the UK brought this up in an email the other day and is looking into it. Apparently as composers and artists it’s possible that we are missing out on another revenue stream. There are agencies, not PROs, that collect these royalties minus a commission.
Has anybody out there had personal experience of this?
I’m interested to find out more.
best to all
BobGJune 27, 2018 at 7:29 am #30350June 28, 2018 at 4:27 am #30364
Cheers Art I’m checking them out.
BobGJune 30, 2018 at 1:24 pm #30379Abby NorthGuest
The neighboring rights (public performance royalty in the sound recording) society in the United States is Sound Exchange, but the US concept of neighboring rights is different from that of most of the world. Those 75-some countries that signed the Rome Convention have reciprocity with one another when a sound recording is performed. Different territories have different distributions for the sound recording vs. performer.
Sound Exchange was created by statute. It administers the master performance royalties from satellite radio, webcasters and some other entities. 50% is allotted to the sound recording owner, 45% to the featured artist and 5% to the non-featured artist (paid by SAG AFTRA and AFM).
A record label may not recoup advances from the performer share.
Ex-US, Germany now gives reciprocity to the US for some performances (radio, tv, etc), and fortunately, a few other territories are moving in that direction.
The AFM SAG-AFTRA Intellectual Property Fund pays Symphonic, A/V and SR royalties to non-featured musicians.
PPL is the UK neighboring rights society, and I highly recommend you consider affiliating there in addition to at Sound ExchangeJune 30, 2018 at 1:37 pm #30380Art MunsonKeymaster
Thanks Abby North, I always learn so much from you!June 30, 2018 at 3:28 pm #30382Abby NorthGuest
My pleasure, Art!
I realized I may not have been entirely clear about the fact that the United States is NOT part of the Rome Convention, which is why we do not have reciprocity with many territories.
If a sound recording by a United States citizen is recorded outside of the US, most societies will pay performance royalties for that recording. Also, if a US recording features non-US citizens, those performers will likely receive performance royalties for the sound recording.
Also, by this: “Different territories have different distributions for the sound recording vs. performer.” I meant that different neighboring societies have different splits for the SR owner, the featured performer and the non-featured performers.
AbbyJune 30, 2018 at 6:00 pm #30383
Thanks Abby, I’m checking with sound exchange. Do I need to inform BMI. Or is this completely separate from PROs. Cheers. BobGJuly 1, 2018 at 9:13 am #30385ENW1Guest
I’ve been increasing my efforts to “Chase the Pennies”. I’m developing an appreciation for Abby’s field of work. Rights Management is a complex issue. My to do list includes…
2. Harry Fox
3. Music Report
4. PPL UK
5. Sound Exchange
6. Common Works Registration (CWR)
7. Updating Library of Congress Registrations.
There also seems to be a division between the US/Europe & Asia. I’ve not yet figured that out.
My head hurts. 🙂July 1, 2018 at 12:33 pm #30386KubedParticipant
Very informative stuff,thanks Abby.Taking a look at PPL right now.August 18, 2018 at 12:08 pm #30700soundroadParticipant
I started to register a PPL account, but I don’t know how this can affect my agreements with libraries.
“To join as a recording rightsholder member, you must give PPL the exclusive UK public performance and broadcasting rights in your recordings, so that PPL can license those uses of your recordings on your behalf.”