The first rule about copyright infringement on You Tube is that copyright infringement on You Tube is not like copyright infringement on other platforms. You Tube has it’s own application of copyright laws. We often get asked by production studios to write contracts for consultants, contractors, clients and so on. These consultants monetise digital channels on You Tube with original content that has been created by the studio for a TV series, or other media channel.
Its official! The major music labels have abandoned the traditional business model where the goal is to sell music. With the emergence of successful streaming services like Spotify, Google Play Music, Yala Music, Deezer, and probably twenty-plus others, it is impossible for a company to make money if it depends solely on consumers purchasing music. Not only are sales (both physical and digital downloads) down, but the revenue generated through streaming services is only a fraction of what sales use to generate back in the “good ole days”.
Music royalties and copyright are the music industry’s currency. Although the concept of copyright and music royalties might appear straightforward, in fact the development and adjustments of music copyright, and licensing systems has changed significantly over the years. And although much of the traditional legal framework is still in place the music industry has and is undergoing significant changes.
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Promoter contracts govern the relationship between the promoter and the booking agent, venue, contractor, venue, artist or other promoters. A promoter acts as intermediary between a booking agent, venue, contractor, and the artist/other promoters. By artists I mean performance artists including: singers, DJ’s, dancers, actors, models, poets, conductors, choreographers, magicians and broadcast journalists.
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To understand how it all works the following is a typical scenario for music publishing lawyers.
Meenie, Miney and Mo are songwriters professionally known as the Head-bangers (HB). Beakless Woodpecker UK Limited (BWL) is a music publisher based in Notting Hill Gate London W11. BWL wants HB to supply them exclusively with a number of previously unreleased songs.
In return for HB fulfilling their obligations under the publishing agreement, including assigning their rights in the songs to BWL, HB & BWL will earn the following royalties and fees.
The first thing to clarify is that there is a difference between the sound recording, which is the mastered track, and the musical composition. The mastered track incorporates the musical composition. However the properties that make up the finished mastered track are treated separately for copyright purposes i.e. the songwriter and the singer each have their own rights. The singer owns the copyright in the sound recording, and the songwriter owns the copyright in the musical composition. Some artists are the authors of both the musical composition and the sound recording, and so are entitled to the rights that are attached to both properties. Every time a mastered track is copied both rights holders are entitled to royalties. The licence for copying of the mastered sound recording is called a mechanical licence.
Sponsorship Agreements – basic guide to sponsorship agreements
Sponsorship is an associative marketing tool. It is defined by the International Chamber of Commerce as:
“Any commercial agreement by which a sponsor, for the mutual benefit of the sponsor and sponsored party, contractually provides financing or other support in order to establish an association between the sponsor’s image, brands or products and a sponsorship property in return for rights to promote this association and/or for the granting of certain agreed direct or indirect benefits.”
This report discusses the future of copyright recorded music law in relation to the recorded music industry. The way we access, produce, distribute, store and consume recorded music has changed dramatically with the introduction of the internet. This change has meant that the current copyright laws have to be brought in line with the consumer`s change in perception of choice and access to recorded music. Adapting copyright law to meet the perception of choice and access to recorded music is proving controversial.