The four points on which SGA lends its full support to the PROs are: (1) the need to shift performance royalty rate-setting from rate court judges to private arbitrators; (2) the imperative for recognition of an evidentiary presumption that direct, arms-length licenses (the terms of which are fully disclosed) voluntarily negotiated by copyright holders who have withdrawn rights from a PRO provide the best evidence of reasonable market rates; (3) the related Congressional adoption of the “willing-buyer/willing seller” standard in rate setting for musical compositions, and; (4) the extension to PROs of the ability to license bundled rights beyond the singular right of public performance to new media services.
Comments closedCategory: collective management
Through the principle of contractual freedom it will be possible to continue limiting the exploitation of the rights affected by the principle of country of origin laid down in this Regulation, especially as far as certain technical means of transmission or certain language versions are concerned, provided that any such limitations of the exploitation of those rights are in compliance with Union law.
Comments closedThe network of reciprocal representation agreements developed by CISAC and signed by its members ensures that author’s rights are protected and administered around the world and that each CMO is in a position to offer licensing solutions that cover broad repertoire. This system also ensures that royalties flow to authors wherever they are in the world.
Comments closedPublic comment by National Music Publishers Association on collective rights management rules review
NMPA believes the consent decrees have become a significant impediment to a well-functioning market for licencing the performances of musical works, resulting in inefficient licencing and failing to provide fair market-based compensation for songwriters and music publishers.
Comments closedCollective licensing is only viable where fair value is given for value received. olé believes that the Consent Decrees have become serious impediments to the attainment of fair compensation for music creators, particularly in relation to new media services. While new technologies have transformed the way people listen to music, the Consent Decrees have kept the collective licensing of musical works firmly rooted in the economics of another time.
Comments closedThis appeal concerns a dispute between the United States and Broadcast Music about the meaning of a longstanding antitrust consent decree governing BMI’s aggregation and collective licensing of the right of public performance of copyrighted musical works.
Comments closedIn Russia it was established institute of ombudsman presenting and protecting interests of Russian business. For certain industry of business there is special representative of ombudsman, who summarizes all complaints stated by business and puts them on paper. Each year ombudsman makes report to Russian president and proposes the ways to resolve problems outlined in book of complaints.
Comments closed
The ancillary online services covered by this Regulation are those services offered by broadcasting organisations which have a clear and subordinate relationship to the broadcast. They include services giving access to television and radio programmes in a linear manner simultaneously to the broadcast and services giving access, within a defined time period after the broadcast, to television and radio programmes which have been previously broadcast by the broadcasting organisation (so-called catch-up services).
Comments closed
The Consent Decrees of ASCAP and BMI were originally devised to prevent either of the PROs from exercising too much market power over music users and raising prices beyond a level which they might achieve in an open market. For nearly 60 years they achieved this purpose, providing users with an efficient way to license a vast repertory, music creators and their publishers with an efficient system for the collection and distribution of license fees, and consumers with access to the repertoire of protected works.
Comments closed