+44(0)2033 842 315 info@defensivemusic.co.uk

MUSIC PUBLISHING RIGHTS

For Composers, Songwriters & Publishers

These are the rights, which composer/songwriters and music publishers hold to the copyright in musical works. A “musical work” being the composition encompassing the melody, chord structure and lyrics etc. within any piece of recorded music.

Whether this musical work is broadcast on a TV or radio station, publicly performed, set to film or picture, reproduced on a physical product or made available to consumers electronically via the internet and a multitude of other forms, these uses must be licensed in return for license fees and royalties payable therefor. In nearly all developed territories, most music publishing rights are managed by and royalties distributed via collective rights management organisations (”collection societies”) on behalf of their writer and/or publisher members.

We have built up considerable expertise and direct collections infrastructure far surpassing those of large organisations, but with considerably lower overheads. Our advanced workflows and attention enables us to recover royalties others often would not, to drastically improve the effective registration and licensing of rights, which in turn increase royalties distributed and to substantially reduce the time it takes for incomes to be paid.

Most music publishers will simply register works with collection societies and hope for the best. Some will be wholly unaware of or unwilling to deal with the nuances of society distribution policy that will or already have led to lost income and carry out the work to secure the distribution of retrospective incomes that often will not be paid automatically. We repeatedly go out of our way to ensure to the full extent possible that all royalty distributions due are made.

DIRECT AFFILIATIONS

COLLECTIVE RIGHTS ORGANISATIONS

COVERING

TERRITORIES WORLDWIDE

AND GROWING

Global Reach, Local Expertise

We are experienced members of, register works with, make claims to and receive distributions directly from the national or regional rights organisations covering most major & many minor territories. any of these are poorly managed, antiquated organisations with flawed legacy IT systems and wildly different convoluted business and distributions rules. We know how each works. Where we are not directly affiliated, we work with the best sub-publishers and reciprocal networks.

GERMANY

GEMA

GEMA

ALBANIA

GEMA

GEMA

ALBANIA

GEMA

GEMA

BOSNIA AND HERZEGOVINA

GEMA

GEMA

BULGARIA

GEMA

GEMA

CROATIA

GEMA

GEMA

MACEDONIA

GEMA

GEMA

ROMANIA

GEMA

GEMA

SERBIA

GEMA

GEMA

SLOVENIA

GEMA

GEMA

ISRAEL

ACUM

ACUM

AUSTRIA

AKM

AKM

AUME

 

UNITED STATES

ASCAP

ASCAP

BMI

BMI

SESAC

SESAC

HFA

HFA

MUSIC REPORTS

MUSREP

 

NETHERLANDS

BUMA/STEMRA

BUMA-STEMRA

CANADA

SOCAN

SOCAN

CMRRA

CMRRA

IRELAND

IRELAND

IMRO

UNITED KINGDOM

PRS

PRS

MCPS

MCPS

NORWAY

STIM

STIM

NCB

NCB

SWEDEN

STIM

STIM

NCB

NCB

DENMARK

STIM

STIM

NCB

NCB

FINLAND

STIM

STIM

NCB

NCB

ICELAND

STIM

STIM

NCB

NCB

LITHUANIA

STIM

STIM

NCB

NCB

ESTONIA

STIM

STIM

NCB

NCB

LATVIA

STIM

STIM

NCB

NCB

CZECH REPUBLIC

OSA

OSA

SLOVAKIA

OSA

OSA

HUNGARY

OSA

OSA

BELGIUM

SABAM

SABAM

 

FRANCE

SACEM

SACEM

 

BENIN

SACEM

SACEM

 

CENTRAL AFRICAN REPUBLIC

SACEM

SACEM

 

CONGO

SACEM

SACEM

 

CAMEROON

SACEM

SACEM

 

LEBANON

SACEM

SACEM

 

LUXEMBOURG

SACEM

SACEM

 

MONACO

SACEM

SACEM

 

MADAGASCAR

SACEM

SACEM

 

MALI

SACEM

SACEM

 

NEW CALEDONIA

SACEM

SACEM

 

NIGER

SACEM

SACEM

 

FRENCH POLYNESIA

SACEM

SACEM

 

SENEGAL

SACEM

SACEM

 

TOGO

SACEM

SACEM

 

MOROCCO

SACEM

SACEM

 

SPAIN

SGAE

SGAE

 

SWITZERLAND

SUISA

SUISA

POLAND

ZAIKS

ZAIKS

JAPAN

FUJIPACIFIC MUSIC

FP

RUSSIAN FEDERATION

BROMA 16

B16

ARMENIA

BROMA 16

B16

AZERBAIJAN

BROMA 16

B16

BELARUS

KAZAKHSTAN

KYRGYZSTAN

MOLDOVA

TAJIKISTAN

TURKMENISTAN

UKRAINE

UZBEKISTAN

GEORGIA

MEXICO

SACM

SACM

BRAZIL

ABRAMUS

ABRAMUS

PORTUGAL

SPA

 

BANGLADESH

 

MCPS

MCPS

GUYANA

 

MCPS

MCPS

MAURITIUS

 

MCPS

MCPS

PAKISTAN

 

MCPS

MCPS

SIERRA LEONE

 

MCPS

MCPS

SRI LANKA

 

MCPS

MCPS

TONGA

 

MCPS

MCPS

PRS & MCPS

PRS

PRS

MCPS

MCPS

BAHAMAS

PRS

PRS

MCPS

MCPS

FRANCE

SACEM

SACEM

 

BELIZE

PRS

PRS

MCPS

MCPS

CYPRUS

PRS

PRS

MCPS

MCPS

GHANA

PRS

PRS

MCPS

MCPS

KENYA

PRS

PRS

MCPS

MCPS

MALAWI

PRS

PRS

MCPS

MCPS

MALTA

PRS

PRS

MCPS

MCPS

NIGERIA

PRS

PRS

MCPS

MCPS

SEYCHELLES

PRS

PRS

MCPS

MCPS

TANZANIA

PRS

PRS

MCPS

MCPS

UGANDA

PRS

PRS

MCPS

MCPS

ZAMBIA

PRS

PRS

MCPS

MCPS

ZIMBABWE

PRS

PRS

MCPS

MCPS

DOMINICA

SGAE

SGAE

 

DOMINICA

SGAE

SGAE

 

DOMINICAN REPUBLIC

SGAE

SGAE

 

GRENADA

SGAE

SGAE

 

HAITI

SGAE

SGAE

 

JAMAICA

SGAE

SGAE

 

SAINT KITTS AND NEVIS

SGAE

SGAE

 

SAINT LUCIA

SGAE

SGAE

 

SAINT VINCENT AND THE GRENADINES

SGAE

SGAE

 

TRINIDAD AND TOBAGO

SGAE

SGAE

 

COSTA RICA

SGAE

SGAE

 

EL SALVADOR

SGAE

SGAE

 

GUATEMALA

SGAE

SGAE

 

HONDURAS

SGAE

SGAE

 

NICARAGUA

SGAE

SGAE

 

PANAMA

SGAE

SGAE

 

SPAIN

SGAE

SGAE

 

ARGENTINA

SGAE

SGAE

 

BOLIVIA

SGAE

SGAE

 

CHILE

SGAE

SGAE

 

COLOMBIA

SGAE

SGAE

 

ECUADOR

SGAE

SGAE

 

PARAGUAY

SGAE

SGAE

 

PERU

SGAE

SGAE

 

SURINAME

SGAE

SGAE

 

URUGUAY

SGAE

SGAE

 

VENEZUELA

SGAE

SGAE

 

HONG KONG

Fujipacific Music (S.E. Asia)

FPSE

 

SINGAPORE

Fujipacific Music (S.E. Asia)

FPSE

 

MALAYSIA

Fujipacific Music (S.E. Asia)

FPSE

 

TAIWAN, PROVINCE OF CHINA

Fujipacific Music (S.E. Asia)

FPSE

 

CHINA

Fujipacific Music (S.E. Asia)

FPSE

 

PHILIPPINES

Fujipacific Music (S.E. Asia)

FPSE

 

KOREA

Fujipacific Music (S.E. Asia)

FPSE

 

THAILAND

Fujipacific Music (S.E. Asia)

FPSE

 

INDONESIA

Fujipacific Music (S.E. Asia)

FPSE

 

VIET NAM

Fujipacific Music (S.E. Asia)

FPSE

 

BRUNEI DARUSSALAM

Fujipacific Music (S.E. Asia)

FPSE

 

CAMBODIA

Fujipacific Music (S.E. Asia)

FPSE

 

LAO PEOPLE'S DEMOCRATIC REPUBLIC

Fujipacific Music (S.E. Asia)

FPSE

 

INDIA

Fujipacific Music (S.E. Asia)

FPSE

 

MULTI-TERRITORY ONLINE RIGHTS LICENSING

Multi-Territory Online Usage For Anglo-American Repertoire Administered Through One Single Point

Anglo-American repertoire (IE: shares of works not written by a continental European rights organisation member) Online Rights licensing and distribution carried out through a single point multi-territory licensing hub – the Independent Music Publishers’ Electronic Licensing (‘IMPEL’) initiative, a small collective of music publishers at the forefront of digital music rights granting rights to digital service providers operating in multiple territories on a pan-European and even further basis.

The one-stop shop hubs model brings substantial improvements to the flawed local society licensing and distribution regime with greatly improved transparency, accuracy of music usage matching, licensing and subsequently maximised and faster royalty distributions.

AND MANY MORE..

UNIDENTIFIED CLAIMS & MORE

Just Registering Works Isn't Enough. The Devil Is In The Detail

We process unidentified works, music reporting, A/V productions and interested parties data in order to identify usage and copyrights and claim for royalties that would never otherwise be paid, because a collection society is often unable to match, identify or obtain related data itself.

 

FUZZY MATCHING

t

UNIDENTIFIED MUSIC USAGE AND COPYRIGHT DATA IDENTIFICATION

Unlike most publishers, we go as far as undertaking some of the roles of a collection society itself, by processing its own music usage and copyright data, where such data is made available to us. We compare millions of lines of such data to our copyright databases using sophisticated matching technologies in order to identify unmatched music usage and other data.

In order to pay the correct interested parties, rights organisations must regularly match vast music reporting data to absolutely enormous repertoire datasets. To accurately match with confidence, the reported data cannot be allowed to differ greatly from the registered data on file, otherwise the society is at risk of paying the wrong persons. Therefore, high matching score thresholds must applied.

 

 

The quality of music usage reporting is often very poor, as the title of a piece music can be reported in various ways or incorrectly. Lower matching scores will be produced when such poor quality data is compared to registered data, and therefore high matching score thresholds mean that legitimate low score matches are being ignored.

In order to identify and successfully match poor quality data, matching score thresholds must be lowered. This will however inherently produce many potentially incorrect matches which need to be reviewed by a human, in order to avoid ‘false positive’ matches that would result in royalties being paid incorrectly.

Unlike the collection societies, we have a much smaller repertoire dataset which, combined with very accurate matching systems and diligent human resources, allow us to apply much lower matching scores and successfully identify data that the rights organisation have and will not.

k

REGISTERED

Main Artist Ft. Featured Artist – New Song
ONLY 55% MATCHING SCORE
  • 55%
c

REPORTED

Main Artist – New Song Ft. Featured Artist (Remix)

THEIR MINIMUM REQUIRED MATCHING SCORE

OUR MINIMUM REQUIRED MATCHING SCORE

NO ROYALTY PAYMENT

Z

ROYALTY PAYMENT

CUE SHEET MANAGEMENT

t

Missing Cue Sheets

We match lists of audio-visual productions that rights organisation do not hold cue sheet data for, and submit cue sheet data.
w

A/V Production Title Translations

The translation of foreign audio-visual productions into local languages can be a problem. We have access to rights organisation tools such as CIS-net AV Index to aid in the linking of translated titles to original titles.
z

PUBLIC PERFORMANCE CLAIMS

Notify & Claim Live Performances

Live performance incomes are a vital revenue stream. Where writers are performing their own works at concert and other venues, we ingest performance and venue data and submit live performance claims to performing rights organisation for major and even small events in most territories including, unlike most publishers, the USA.

Scan Third Party Live Performance Data

We even ingest third party live performance information, such as a major DJ’s etc, match tracklist data and submit claims to performing rights organisations appropriately.

TIME SENSITIVE CLAIMS

s

Limitations Periods

Music publishing rights organisations don’t hold unclaimed royalties forever. Limitations periods vary hugely from one territory to another, often just 3 years. In some cases, rights organisations legally cannot license the use of repertoire to which they have not been specifically granted rights by copyright holders, and administration must be put in place very quickly to secure income from their licensing operations.

Prioritised Claims

We know where to look to recover historic incomes and when to act fast to prevent revenues from being lost.

FAST & DETAILED ACCOUNTING

Quarterly Accounting

We render statements of royalties received and due on a quarterly basis, 60 days from the end of each calendar quarter.

Full Service Accounting For Original Publishers

We are able to render full writer net royalty statements on behalf of original publishers we administer.

Exceptionally Detailed Statements

We generate royalty statements containing all source, licensee, territory, income type hierarchy and usage detail available.

Online Portal

Online royalty statement analytics portal – Launching 2017.
i

COMPETETIVE CONTRACTUAL TERMS

j

Flexible Agreements

Short term, favorable agreements on a territory by territory basis.

Non-Exclusive Synchronization Rights

Allowing clients to persue their own direct synchronization licensing opportunities.

High At Source Royalty Rate Deals

Highly favorable royalty rates calculated on an at source basis with no hidden deductions.