Neighboring Rights Royalties

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  • #30701 Reply
    Art Munson
    Keymaster

    Any thoughts?

    Probably best to contact an attorney. It’s complicated stuff. Did you watch our video?

    #30702 Reply
    soundroad
    Participant

    Hi Art, thanks for your entry!
    You’re right, it’s complicated stuff…
    I just got the answer from PPL: “PPL do not license library music so in any case this would not affect your agreements you have in place in relation to music libraries.”
    Then I don’t understand why I must give the exclusive rights to them?
    Hmm… seems to be tricky.

    #30767 Reply
    Abby North
    Guest

    This is all extremely complicated, but here’s my two cents: PPL doesn’t license library music, but it’s not always clear what is and what is not library music. If a work has been in a library but it has also been commercially released, there may in fact be a neighboring right.

    #32321 Reply
    Les Hurdle
    Guest

    Folks,
    Library Music/Production Music does indeed carry the same Neighbouring Right as commercial music. So far PPL have refused to acknowledge this.

    Yes the PPL exclusive license prevents you from collecting for PM … it is a dumb deal, but then we are dealing with suits !

    You can join eg; NRG but they will want ALL of your catalog on an exclusive bases plus 15%
    please a 500 Euro buffer before they will pay you.

    NONE of this is complicated you need to get off your duff and fight for what is yours

    Les

    #32324 Reply
    MichaelL
    Participant

    NONE of this is complicated you need to get off your duff and fight for what is yours

    Actually, it is complicated and broad statements can open a can of worms. For example, the Untied States does not officially recognize neighboring rights. The closest thing here is what Sound Exchange collects for featured performers and producers within the narrow scope of non-interactive digital performances on DSPs.This does not include typical uses of production music within productions.

    #32455 Reply
    Les Hurdle
    Guest

    Disagree……… It is not complicated at all. One must learn one’s business. EG SX do pay not only for FA’s but also for NFA’s……… but who among you agreed the FA’s should be paid 95% !!
    Agreed, the US is a mess, but then so is Europe etc.
    Production music is paid for in the EU…….. where does the money go?

    Les

    #32836 Reply
    LESLIE G HURDLE SR
    Guest

    The closest thing here is what Sound Exchange collects for featured performers and producers within the narrow scope of non-interactive digital performances on DSPs.

    Non featured performers are paid by SX but only 5% of the gross [to be distributed].
    Musicians are only paid 2.5% while g/b singers are paid 2.5% not quite ‘equal’ !

    L

    #32837 Reply
    MichaelL
    Participant

    Non featured performers are paid by SX but only 5% of the gross [to be distributed].
    Musicians are only paid 2.5% while g/b singers are paid 2.5% not quite ‘equal’ !

    Who qualifies for neighboring rights may vary from country to country. There was a decision a few years back, I think in the Netherlands, in which the court distinguished between the musicians and producers whose contributions to a recording were sufficient to claim NR royalties. Producers, for example, had to have economic skin in the game, not only creative input.

    Moreover, with SoundExchange the performer and producer royalties are a percentage of the recording owners royalties, not in addition to. The owner of the master recording had to assign that percentage to the performers and producers. This may be different under the MMA, but it’s not something that I’ve had reason to research for anyone.

    #34636 Reply
    LESLIE G HURDLE SR
    Guest

    Folks.
    Unlike most CMO’s in the EU, PPL in the UK does not recognize ‘Library’ music.
    It is a huge bone of contention.
    Your performers share is held by MCPS who forward due performer income to the owners !!

    Les

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