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Category: Copyright

Public comment by National Cable & Telecommunications Association on review of collective rights management rules

From the perspective of providers of audio-visual television programming, the Consent Decrees continue to serve very important purposes, acting as safeguards to constrain ASCAP’s and BMI’s substantial market leverage, while providing a framework that facilitates licenses for program providers and fair compensation for music creators.

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Music Community’s joint supplemental comments on implementation of safe harbour provisions in USA

Many service providers readily claim in their comments that the DMCA safe harbors, as interpreted by the courts and certain advocates, give service providers blanket immunity from damages liability for copyright infringement as long as they respond to takedown notices and terminate users they deem to be repeat infringers.

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“Elimination” in/or (chose yourself) collective rights management in Russia?

CEO of Russian union of right holders, collecting private copying levy under state accreditation, and VOIS, collective management organisation collecting royalties under state accreditation for all worldwide repertoire, explained the main tendencies in Russian collective rights management and his vision of perspectives.

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Bicycle music company’s public comment on collective rights management rules review

Under the consent decrees, for an end-user to obtain a blanket license it need only write a letter to ASCAP or BMI asking to do so. While the ensuing blanket license process is a highly efficient means of clearing music rights for use in the media, rates are sometimes disputed in the rate court where prior licenses are cited to help the rate court determine a reasonable fee for the music user.

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Russian right holders don’t receive financial guarantees for digital rights in Russia unlike musical majors

Or in other words – why such major companies like Universal, Warner etc. receive much more money for their copyright in content exploited in Russian social networks and they receive money in advance, but Russian music publishers and record labels receive much lesser, in best case, if nothing at all?

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