Sound Exchange Agreement

Under the direction of a board of directors made up of artists, artists` representatives and copyright holders, SoundExchange is also in favour of music licensing reform. [3] By 2018, it had paid more than $5 billion to host artists and rights holders. [4] [5] SoundExchange is a non-profit organization for the management of collective rights, which has been encircling by the U.S. Congress with the collection and distribution of digital performance fees for sound recordings. For lay people, SoundExchange collects revenue for sound recording performers, not songwriters. Performers include musicians (singers, guitarists, drummers, keyboards, drummers, etc.) and the producer. SoundExchange is intended to manage legal licenses for sound recording rights, primarily through the collection and distribution of royalties for sound recording services under the jurisdiction of federal law. SoundExchange performs the following functions with respect to legal licensing: Public radio stations and other organizations that currently broadcast sound recordings can continue and are encouraged to continue this important expression of our public service mission. Stations can offer one or more streams, a decision defined by the station to meet the needs of its community and the public. I registered on the CPB website and accepted the agreement. And now? A: Any public radio station that broadcasts its live broadcasts, HD channels or webcasting lateral channels in real time must report the music it broadcasts on webcasts or streams, as well as the number of people who have listened to each song (Music ATH). Any public radio station wishing to use the agreement negotiated by the CPB must meet the usage report requirements. You may not publish an extended program or make a prior announcement of the titles of certain sound recordings or the names of artists presented, unless you are able to use stage names for illustration purposes or say that a particular artist will be presented until you specify the upcoming period.

The agreement also requires all covered companies to implement a comprehensive reporting system, which will be subject to further review. SoundExchange recognized these differences between commercial and non-commercial enterprises and entered into an agreement that allows public radio webcasters to continue to fulfill their public service and utility missions. This coverage is part of an agreement reached earlier this year between CPB and SoundExhange, which until 2010 sets out the conditions and reports on internet performance royalties for artists and copyright holders by non-commercial public broadcasters and since then extended until 2015. It comprises approximately 450 public radio broadcasters, including CPB-assisted stations, NPR member stations, members of the National Federation of Community Broadcasters, American Public Media (APM), Public Radio (PRX) and International Public Radio (PRI). A: This agreement only applies to the streaming of sound recordings. Downloads of individual songs, archives or podcasts containing copyrighted sound recordings are not covered by this agreement. So I`m working on a “cooperation agreement” with a producer friend who is not part of a label. I asked why a platform like SoundExchange was not in the cooperation agreement it had sent me, and he said it was separate from a typical cooperation agreement? Is that normal? And is it normal for a producer to ask for 30% of “all copyrights” in addition to a high rate to record and produce a song? One last point on media coverage… During the negotiations, we learned that nearly half of the labels whose sound recordings appear in the webcasts of our systems are not members of SoundExchange. Without coverage of the entire system, we cannot be sure that these independent musicians and labels will receive the compensation to which they are entitled.

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