RECORD COMPANY NEIGHBOURING RIGHTS
For Record Labels & Other Recording Copyright Holders
These are the rights which recording companies, artists themselves or other persons may hold to the copyright in sound and music video recordings. In most jurisdictions, to varying extents, when a recording is reproduced for and broadcast on TV and radio, performed publicly, used in various non-interactive online media and even when blank medias and consumer replication & playback equipment is manufactured and sold, licenses are required and royalties payable to copyright holders. The licensing of these rights and distribution of revenues is managed by collective rights management organisations (”collection societies”) which increasingly now customarily license additional non-traditional ‘neighbouring rights’ such as interactive online and other new media rights.
Often an untapped revenue stream by many rights holders, our collections infrastructure, experience and extensive collection society policy and procedure knowledge enable us to deliver extremely comprehensive royalty recoveries and maximised distributions, both retrospectively and into the future.
We are specialists in the management of these rights and have been so long before the relatively recent awareness in the industry. Offering a level of administration that simply cannot be accomplished via reciprocal society distribution networks, we regularly uncover incomes and prevent revenues from being lost, that others overlook.
WHY WORK WITH US?
DIRECT AFFILIATIONS
Direct affiliations with societies in most major and many minor territories…Read More
COMPREHENSIVE ADMINISTRATION
FAST & DETAILED ACCOUNTING
Fast accounting with the most detailed royalty statements in the music publishing industry…Read More
FLEXIBLE & COMPETETIVE DEAL TERMS
Flexible, favourable and competetive contract terms…Read More
DIRECT AFFILIATIONS
COLLECTIVE RIGHTS ORGANISATIONS
COVERING
TERRITORIES WORLDWIDE
AND GROWING
Global Reach, Local Expertise
We are members of, register repertoire with, make claims to and receive distributions directly from the national or regional rights organisations covering most major and many minor territories. Where not, we work through the best sub-licensee/agent and reciprocal collection networks.
UNITED KINGDOM
PPL
VPL
IRELAND
PPI
CANADA
CONNECT MUSIC LICENSING
FRANCE
SCPP
GERMANY
GVL
POLAND
ZPAV
BELGIUM
SIMIM
IMAGIA
LATVIA
LAIPA
ITALY
SCF
FINLAND
GRAMEX FI
NORWAY
GRAMO
SPAIN
AGEDI
SWEDEN
IFPI SE
BULGARIA
PROHPON
HUNGARY
ZAPRAF
SERBIA
IPF
UKRAINE
UMA
CZECH REPUBLIC
INTERGRAM
AUSTRIA
AUSTRIA
UNITED STATES
SOUNDEXCHANGE
AARC
BRAZIL
ABRAMUS
RUSSIAN FEDERATION
BROMA 16
ARMENIA
BROMA 16
AZERBAIJAN
BROMA 16
BELARUS
BROMA 16
GEORGIA
BROMA 16
KAZAKHSTAN
BROMA 16
MOLDOVA
BROMA 16
TURKMENISTAN
BROMA 16
TAJIKISTAN
BROMA 16
UZBEKISTAN
BROMA 16
AUSTRALIA
PPCA
NETHERLANDS
SENA
DENMARK
GRAMEX DK
Just Registering Repertoire Isn't Enough. The Devil Is In The Detail
We process unidentified recordings, music reporting and label names 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 or identify itself.
UNIDENTIFIED CLAIMS
Fuzzy Matching
Unlike most record company neighbouring rights administrators, 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 computer matching systems in order to identify music usage and other data.
In order to pay the correct interested parties, rights organisations must regularly match enormous music reporting datasets to vast 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 incorrectly matching and paying the wrong persons. Therefore, high matching score thresholds are usually applied by these organisations.
The quality of music usage reporting is often very poor. Lower matching scores will be produced when such bad quality data is compared to authoritative registered metadata, 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.
In comparison to the collection societies, we have a much smaller repertoire dataset which, combined with diligent human resources and more advanced algorithms, allow us to apply lower matching scores and successfully identify data that the rights organisations will not.
REGISTERED
Main Artist Ft. Featured Artist – New Song
ONLY 55% MATCHING SCORE
- 55%
REPORTED
Main Artist – New Song Ft. Featured Artist (Remix)
THEIR MINIMUM REQUIRED MATCHING SCORE
OUR MINIMUM REQUIRED MATCHING SCORE
NO ROYALTY PAYMENT
ROYALTY PAYMENT
REGISTRATION AND DISTRIBUTION AUDITING
Recording Registration Checks
Collection society database designs, structures and business rules differ greatly. Some may make payable registrations unique by artist and title, some by often by very poorly managed International Standard Recording Codes (“ISRC”). Often duplicate registrations of the same tracks can exist paying different copyright owners! We operate completely bespoke processes with many rights organisations to ensure to the full technological and economic extent possible all related data is identified.
Utilise Third Party Broadcast Data
We even match third party broadcast data obtained directly from broadcasters or third parties in order to identify usage that has not been reported to rights organisations, or that has potentially not been successfully matched where a rights organisation will not provide its own unmatched usage data.
TIME SENSITIVE CLAIMS
Limitations Periods
Recording rights organisations, where relevant, don’t hold unclaimed royalties forever. Limitations periods vary hugely from one territory to another, most commonly 1-3 years. In some cases, rights organisations legally cannot license the use of repertoire to which they have not been specifically granted rights by copyright owners, 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.
Exceptionally Detailed Statements
We generate royalty statements containing all source, licensee, territory, income type hierarchy and usage detail available.
Online Portal
Online client portal providing access to accounting data and more – launching 2018.