Every artist needs to know the pros of organizations like ASCAP and BMI.
We have assembled a list that will expand your knowledge on the pros
for ASCAP Vs BMI Vs SESAC Vs Sound Exchange. Check it out here!
Performance Rights Organizations
PROs or Performance rights organizations, are groups that provide intermediary services between copyright
holders and public locations that use their works. This only includes
venues where music expresses the primary function of the venue. A good
example of this are dining shops or radio stations.
The exact amount of royalties is usually negotiated between copyright owners and the establishment. A big aspect of PROs to note is that they don’t benefit performing artists. If you’re a singer, you will not profit from joining a PRO; however, if you’re a songwriter, PROs are a great way to benefit from your work.
The exact amount of royalties is usually negotiated between copyright owners and the establishment. A big aspect of PROs to note is that they don’t benefit performing artists. If you’re a singer, you will not profit from joining a PRO; however, if you’re a songwriter, PROs are a great way to benefit from your work.
Traditional & Digital Royalties
The
organization you join will depend on how the music is publicly
expressed. If you want to gain royalties from streaming music on digital
radios such as Pandora or Sirius XM, consider the Sound Exchange. However, if you’re looking to gain royalties from public performances, consider the ASCAP, BMI and SESAC PROs.
Sound Exchange
As
previously stated, the Sound Exchange is an organization that collects
royalties for non-interactive music service providers. The exact rules
for the type of royalties they are limited to collecting from are stated
in the Digital Performance Right in Sound Recording Act as well as the
Digital Millennium Copyright Act. Fees are associated with a digital statutory license. Fees are typically paid to copyright owners in the following way:
Copyright Owners | Percentage Paid |
Record Label | 50% |
Featured Artist Non-featured artist 5% |
45% |
Total | 100% |
BMI, ASCAP & SESAC
These
performance rights organizations generally do the same thing. They
collect royalties for public performances of music that can be defined
by the U.S Copyright Act. Like the Sound Exchange, they are used to
protect the intellectual property of the songwriter and provide a way
for songwriters to make money off their work. These PROs collect
royalties from any venue that publicly performs music These include:
music played in restaurants, radio stations, live music venues, bars, parks, and anywhere the music is played in a public setting.
Most of the time, blanket licenses are given to these organizations to different pieces of music written by the songwriter. Because copyright owners are split between the three organizations, venue owners typically purchase blanket licenses from all three organizations. Membership fees depend on the organization you want to join. License fees paid are generally as follows:
Most of the time, blanket licenses are given to these organizations to different pieces of music written by the songwriter. Because copyright owners are split between the three organizations, venue owners typically purchase blanket licenses from all three organizations. Membership fees depend on the organization you want to join. License fees paid are generally as follows:
Copyright Owners | Percentage Paid |
Publishers | 50% |
Songwriters | 50% |
Total | 100% |
Criticisms
Although
PROs provide a great way for songwriters to make money, their ambition
to make money tends to go too far. Non-profits have been asked to pay
fees to use copyrighted music at their events, despite not making money
from its use.
The ASCAP once tried to sue the Girl Scouts of America because they sung campfire songs. In addition, the ASCAP and SESAC have been shamed for attempting to charging non-commercial radio stations run by education institutions (like colleges). Lastly, many PROs have been known to push the line of what counts as a public performance.
The ASCAP once tried to sue the Girl Scouts of America because they sung campfire songs. In addition, the ASCAP and SESAC have been shamed for attempting to charging non-commercial radio stations run by education institutions (like colleges). Lastly, many PROs have been known to push the line of what counts as a public performance.
No comments:
Post a Comment