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

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

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 & many minor territories. Where not, we work through the best sub-licensee/agent and reciprocal collection networks.

UNITED KINGDOM

PPL

PPL

VPL

 

IRELAND

PPI

PPI

CANADA

CONNECT MUSIC LICENSING

CONNECT ML

FRANCE

SCPP

scpp

GERMANY

GVL

GVL

POLAND

ZPAV

ZPAV

BELGIUM

SIMIM

SIMIM

IMAGIA

LATVIA

LAIPA

LAIPA

ITALY

SCF

SCF

FINLAND

GRAMEX FI

 

NORWAY

GRAMO

GRAMO

SPAIN

AGEDI

AGEDI

SWEDEN

IFPI SE

IFPISE

BULGARIA

PROHPON

 

HUNGARY

ZAPRAF

ZAPRAF

SERBIA

IPF

 

UKRAINE

UMA

UMA

CZECH REPUBLIC

INTERGRAM

INTERGRAM

AUSTRIA

AUSTRIA

LSG

UNITED STATES

SOUNDEXCHANGE

SX

AARC

AARC

BRAZIL

ABRAMUS

ABRAMUS

RUSSIAN FEDERATION

BROMA 16

B16

 

 

ARMENIA

BROMA 16

B16

 

 

AZERBAIJAN

BROMA 16

B16

 

 

BELARUS

BROMA 16

B16

 

 

GEORGIA

BROMA 16

B16

 

 

KAZAKHSTAN

BROMA 16

B16

 

 

MOLDOVA

BROMA 16

B16

 

 

TURKMENISTAN

BROMA 16

B16

 

 

TAJIKISTAN

BROMA 16

B16

 

 

UZBEKISTAN

BROMA 16

B16

 

 

AUSTRALIA

PPCA

PPCA

NETHERLANDS

SENA

SENA

DENMARK

GRAMEX DK

GRAMEXDK

UNIDENTIFIED CLAIMS

 

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.

 

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

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.

b

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

s

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.

Full Service Accounting For Original Publishers

We are able to render full writer and publishers net royalty statements for 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.

High At Source Royalty Rate Deals

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