CISAC, the organisation that brings together all the song right collecting societies around the world, has published its annual Global Collections Report, bringing together all sorts of data and figures for 2015. Together, monies collected by all those collecting societies topped €7.5 billion last year, up 8.5% year-on-year.
CISAC also counts amongst its membership some collecting societies that represent other groups of creators from the audio-visual and visual art communities, meaning that the total figure recorded in the report is €8.6 billion.
Source: Song right societies collected €7.5 billion last year, says CISAC report | Complete Music Update
The part of the U.S. Copyright Act that exempts some small restaurants and bars from paying public performance fees to collecting societies could be costing rightsholders more than $150 million a year, according to a study by the consultancy PMP Conseil.
The study was presented today (Nov. 8) by Keith Donald, chairman of the Irish Collecting Society IMRO, at a meeting of the International Council of Creators of Music. The research was funded by GESAC, the organization of European composers groups, in an effort to push the U.S. to change its copyright laws.
Source: U.S. Copyright Act’s Public Performance Exception Costs Composers More Than $150 Million | Billboard
As the fight for control of Russia’s collecting industry continues, the economic development ministry, the main advocate of state control over the sector, has revealed specifics of its proposals.
The agency sent to first deputy prime minister Igor Shuvalov, who is overseeing the reform of the country’s royalty collection system, two possible scenarios for government control of the sector, the business daily Vedomosti has reported.
Source: Russian Government Provides Details of Collection Society Overhaul | Billboard
The DOJ’s recent ruling does away with partial licensing in favor of 100% licensing, meaning any author of a song can issue a license for the entire song. The PROs say the new system will “cause chaos” in the publishing world and lead to a precipitous drop in income for songwriters and composers.
Wrong. Here’s some real talk — 100% licensing will infuse some badly needed price competition in the music publishing world and make the PROs more responsive to the hundreds of thousands of restaurants, venues and club that pay a collective $15 billion a year for licensing.
Source: Should We Believe All The Negative Hype Surrounding New DOJ Rules on PROs? – hypebot
US-based collection society SESAC has launched a new online song linking tool which it says will accelerate revenue and expedite clearances for publishers and distributors. The tool allows publishers to link their compositions to recordings, and integrates with the combined database of SESAC Performing Rights, Rumblefish and The Harry Fox Agency (HFA).
“Our investments in technology and database management allow our team to offer better service and enhanced revenue opportunities for songwriters and their business partners,” said John Josephson, Chairman and CEO of SESAC Holdings, Inc.
Source: SESAC launches ‘linking’ tool to speed up revenue for publishers – Music Business Worldwide
Certainly, music being played at arenas – particularly pre-recorded music – could easily be measured, rather than still being modeled. For example, a Shazam-like listening device could be deployed to capture which songs are being played in real time.
In this manner, artists would know precisely when and in what context their music is being used. This would not only allow for artists to have better information, but for venues too to be able to have a better sense of the precise cost related to their music use.
Source: From Modeling To Measuring: A Blockchain Solution For Music At Political Events – Forbes
Ashcroft was keen to talk up the significance of PRS for Music’s investments in back-end technology, from its core systems in the UK to its European joint venture with German and Swedish peers GEMA and STIM. PRS says the number of music ‘uses’ it processed rose from 975bn in 2014 to over 2tn (trillion) in 2015 – a reflection of the deluge of streaming data.
“These are highly-specialised systems. No other business has to store copyright data on the scale that we do, and then the matching of sound recordings reported to us by the DSPs with the songwriters that wrote them,” said Ashcroft.
Source: PRS for Music chief talks financials, blockchain and YouTube