Sound Exchange Agreement

Gepostet von am Okt 8, 2021 in Allgemein | Keine Kommentare

These restrictions are all included in the statute adopted by Congress, which allows, in certain circumstances, a license to broadcast sound recordings. Q: The term „webcasting“ is often used. Is streaming the only form of web distribution of phonograms covered by the agreement? What about downloads or on-demand offers? A: The CPB agreement covers a historical period for which broadcasters must produce all the reports they can during this period. Many channels don`t store streaming protocols that go back that far, but NPR/DS was asked to aggregate all historical streaming data for the historical period and deliver it to Sound Exchange. In other words, if a station has historical data and it is already available in an electronic format acceptable to SoundExchange (meaning that neither transmitters nor NPR/DS need to process it on a large scale), NPR/DS collects it and transmits it to SoundExchange. These agreements are also great for foreign PROs. For example, the Dutch do not have an online broadcasting right, but they do have a performance right and they were six years behind the money collected for American artists that they could not distribute. ASCAP and BMI did not have a world in their database because they were only dealing with songwriters. Now SoundExchange can help find a home for the money.

Now the differences — this deal is based on payment for consumption. While a one-time payment covers the entire system for the duration of the agreement, the payment was calculated based on the interception of web feeds for the system. The growth in audience for public radio web feeds leads to an increase in royalties. The agreement contains annual estimates of growth, both in the target groups and in the number of companies covered. This is important to us for two reasons: First, we can use audience growth as a metric to determine the value of our service. Second, paying more, if more people use our music webstreams, means that more musicians will participate in our success. The license is also subject to the same restrictions for the number of selections from the same sound recording that can be broadcast over a period of three (3) hours and the number of selections by the same artist or from a set or compilation of recordings to be played over a period of three hours (the Sound Recording Complement Performance, which you can download here). For a single sound recording, it is not possible to play more than three (3) selections over a three-hour period and only two can be played one after the other.

No more than four (4) selections of the same artist may be played for three (3) hours (and no more than three (3) in a row. For a quantity or compilation of phonorizations, it is not possible to play more than four (4) selections over any period of three (3) hours and no more than three (3) in a row. In addition, SX still requires semi-annual surveys of all channels that broadcast to determine the amount of music played. To do this, NPR/DS must request the corresponding log files from your station twice a year. For now, your issuer must register with the CPB, accept the terms of the SX agreement, and register with NPR/DS. SoundExchange is a non-profit organization that grants music services that wish to participate in the public performance of sound recordings by digital transmission, which introduce royalties and distribute royalties to those whose recordings have been listed – the performer and the holder of the sound recording copyright (SRCO) . . .