Understanding Neighbouring Rights: Recent Episodes
IAFAR Ltd
Special guest Mark Isherwood, Secretariat at the Digital Data Exchange (DDEX). Helping standardise data around the world.Mark was the non-voting Chair of the Global Repertoire Database Working Group from 2010 and was involved in the early industry discussions on the creation and development of DDEX. He has led the secretariat since DDEX’s incorporation in 2006.
Gig promoters Emi, Lily and Chris from Brighton ask about their responsibilities when putting on gigs.
Artist Questions from the most knowledgable artist yet, Pip Rainbird from Everyday Saints! @everydaysaintss
Top NR Tips plus 31 January is the deadline for the 2023 PPL registrations. Do yours today!
Lee Morrison founder of RightsHUB explains how they provide the tools to register, manage, and maintain your music rights data. Their bespoke wholly owned technology, has been developed to meet the needs of music rights holders including record labels and artist managers. RightsHUB helps you apply best practices to managing everything that's needed in today's modern music business.rightshub.net
The American Music Fairness Act narrowly defeated legislatively. Reciprocity for the US still hangs in the balance because they are not going to recognise neighbouring rights in broadcast just yet.
Special guest Eve Horne talks about her mission to educate musicians about neighbouring rights and other revenue streams, empowering them to create and earn as a sustainable career. Thank you Eve - P.E.A.K Music UK FounderWWW.PEAKMUSIC.UK WWW.WEARETHEUNHEARD.COM
Learn when the next PPL deadline is (10/04/2023) and how to claim as a performer once you or the label have registered the recording and release.
Get your UK registrations done by Jan 31st for income from the previous year. Different in other territories so have a listen!
Top tips! Finalise registrations by 31 Jan for PPL, register directly with SoundExchange if you have US plays on Sirius and Pandora, update your IDs and tax forms.
Chris Youmans asks the questions all artists want to know re Neighbouring Rights for performers.
Pandora direct licenses and the artist's share when the label sidesteps SoundExchange. More questions than answers.
Metadata Criteria - what do specific CMO's require to ensure your metadata is valid for your recording registrations.
Legislation has been proposed in the US - the American Music Fairness Act - that would require the payment of NR on broadcast and terrestrial recorded performances. The IAFAR team discuss the details.
A refresher course on how and when to register recordings by, and what info and forms you'll need,
NFT Roundtable Update Stacey Haber reports back on the LA Roundtable discussion concerning the precedent agreements and royalty matrix for clearing music to use in NFTs and metaverses. http://web3musicrights.com
Spanish Point Technologies is an innovative software company working with Microsoft technologies to provide business systems which remove complexity, increase productivity and connect users to critical business information. Spanish Point provide a matching service to locate royalty income.
Understand the importance of claiming as a Studio producer - the forms required for claiming with Sound Exchange and PPL
Listen in to understand how to resolve your repertoire conflicts and the evidence required.
Understanding music rights in Web3 are moving along swiftly thanks to the Web3 Music Rights Group, an international group of music professionals. The stakeholders have been identified and a matrix constructed to determine who needs which rights and what piece of the pie each rights owner gets in the proper licensing of music in different NFT and metaverse usages. The documents needed have also been drafted and will be distributed for round table comments this summer.
SENA, the CMO in the Netherlands, now requires evidence for every track being newly registered. A brief discussion about what that means for you.
What do to if you are the original rightsholder and the licensee doesn't register the recordings, or if you are the licensee but the original rightsholder hasn't registered the recordings.
Great questions from Nick Jackman of NFT minter and sales platform Serenade. https://serenade.co
A breakdown of all the music rights that need to be licensed when minting NFTs and using music in a metaverse.
Find out more about the first ever Neighbouring Rights Conference. When, Where, what's on and how to attend. We look forward to seeing you there.
Guide to locating unclaimed royalty income with AFM / SAG-AFTRA - find out if your name is on the unclaimed list.
Sound on - Sound Advice if distributing through Independent Distribution Services for Sound Exchange and PPL
Music Cue Sheets are the reports prepared by film, TV, advert, games producers/music supervisors to let rights holders know how and when their music was synced. Creating a standard template that includes ISRCs and performers names will benefit both industries and allow everyone to be paid the earnings they are due.
It's a 'FANTASTIC DAY' when Nick & Sarah Heyward delve into registering their own repertoire as Rights Holders and claiming as performers. Living in the US they understand which societies to focus their claims on.
IAFAR Board Member Lee-Ann Wielonda, Neighbouring Rights Manager at CCS Rights Management, leads the team through the differences in public performance royalties between the masters and the publishing.
A great catchup with Lionel Lodge, CEO of SyncLodge (https://synclodge.com), the most powerful B2B ecosystem for music supervisors, visual production companies and copyright holders/administrators to conclude all the sync licensing tasks needed to professionally license music. IAFAR question Lionel about the integration of ISRCs, cue sheets and NR.
A reminder of the importance of collecting your Neighbouring Rights Royalty Income. What this income is and how to claim it, along with top tips from our reps.
Our guest this week is Guitarist Duncan Howlett who chats to us about audio visual registrations,, production music and Neighbouring Rights revenue income.
Special guest, Rasha Shaheen, Principal of WaterBear, The College Of Music explains why it's so important to include Neighbouring Rights for both Bachelors and Masters students. Whether you are studying as a music creator or a music business exec, you need to understand all of the rights and revenue streams and this includes neighbouring rights. https://waterbear.org.uk
Special Guest Niclas Molindar takes us through the importance of metadata and the five key indicators in music for registration and collection of royalties. Niclas is a world renowned songwriter/producer, Chairman of Music Rights Awareness and the Session Data App (formerly Audly) which he co-created with Max Martin and Björn Ulvaeus. They have also co-founded WIPO for Creators with the aim of bringing music data education to all creators globally. https://musicrightsawareness.org https://www.session.id
Don't miss out on your royalties for 2021. Register with your CMO before the deadline and be counted (or accounted to)! Joining Andrew Ullah, Tania Oliveira, Gina and Deacon this week is Naomi Asher, Vice President of Neighbouring Rights at Sony Music Publishing and President of IAFAR Ltd.
Registering End Dates of a license rights period correctly is crucial to avoiding disputes and withheld income.
Our guest today is Tim Hinkley, musician, producer, session player with over one hundred platinum, gold and silver disc awards.
His credits include: George Harrison, Pete Townsend, The Rolling Stones, The Who Van Morrison, Eric Clapton, Alvin Lee, Steve Marriott, Humble Pie, Waylon Jennings, Tom Waits, Tim Buckley, Bad Company, Whitesnake, Gene Pitney, Womack & Womack, Thin Lizzy, Terrence Trent D’Arby, Robert Palmer, Lulu, Joan Armatrading, Dr Feelgood, Esther Phillips, Al Stewart, Kiki Dee, Esther Phillips, The Funk Brothers, Steve Cropper, Eric Burdon, Mick Taylor, Bruce Chanel, Chris Farlowe, Duffy Power, Graham Bond, Adam Faith, Vinegar Joe, Elkie Brooks, Dan Penn, The Memphis Horns, Alexis Korner, Gerry Marsden, Johnny Hallyday.
Naomi Pohl, Deputy General Secretary of the Musicians' Union chats with Stacey Haber about the new bill proposed by Kevin Brennan MP to #FixStreaming and ensure that performers are paid NR on streaming, and other industry fixes. The Bill has its second reading in Parliament on Friday, 4 December 2021. Have listen and find out what the Bill says and why it's extremely important. #BrokenRecord #IvorsAcademy #IAFAR
Amy Jackson talks us through her deep dive into neighbouring rights for her late husband, legendary artist Wayne Jackson, and other legacy artists who had never been paid for their public performances. Wayne was a soul and R&B musician, playing trumpet in the Mar-Keys, the house band at Stax Records and founder of The Memphis Horns, the greatest soul horn section ever. Amy continues to work tirelessly for NR for all artists.
IAFAR's special guest & board member Chris Sheehan chats with us about his work with Karousel Music and Help Musicians https://www.helpmusicians.org.uk/about-us
No matter how long ago you recorded your music or played on a recording, you can still claim now for every title you've ever made an audible contribution on. You may not get paid from the date of release, but you will get paid going forward if you can claim the recording with a CMO.
Reasons why it's so important to keep your IDs up to date, signed and with your current address. A little bit of admin to earn potentially a lot of money.
Tania, Gina, Andrew and Stacey field great questions from legendary artist, producer, writer Errol Henry. https://www.discogs.com/artist/157575-Errol-Henry
IAFAR's special guest is Chinedu Chukwuji of Purple Blue Entertainment Solutions Ltd. in Nigeria. Mr Chukwuji significantly altered NR in Nigeria by leading the set up of the Nigerian CMO and now repping musicians and rightsholders in the collection of their NR.
How do you ensure that you're getting paid when your recording has the same title as 700 other tracks out there? Tania Oliveira, Andrew Ullah and Stacey Haber talk you through metadata, ISRCs and CMOs. visit www.iafar.co.uk for definitions of all the pneumonics and jargon. Here's one tip, put anti names in the title!
A deeper dive into the neighbouring rights earned by performers and rightsholders for music used film and television.
Learn when to give a worldwide mandate to your home country's CMO and when to register directly with a CMO in another country. It's all down to where you have the most listeners and the particular rules/laws of those countries.
Andrew Ullah, Tania Oliveira and Stacey Haber explain how to get paid for featured artist credit and dig for any spelling differences that might impact collections. Titles, credits, typos and registrations all have an affect on your neighbouring rights royalties.
Andrew Mitchley, MD and Co-Founder of Gresham Rights Management (PTY) Ltd and COO/Head of A&R at The David Gresham Record Company joins IAFAR's Andrew Ullah, Gina Deacon, Tania Oliveira, Naomi Asher and Stacey Haber to discuss the NR landscape in South Africa.
What you need to know if you own your recordings and want to collect your neighboring rights. (i.e.: You MUST register the recordings to be paid as a performer everywhere in the world excluding the USA.) Also tips on choosing a distributor so you don't lose your rights or income. Have a listen and join us at www.iafar.co.uk
Learn what black box means for neighbouring rights royalties for performers and recording owners. And learn about the dates and deadlines for registrations and payouts.
Discover the fastest growing neighbouring rights region with very special guest Samantha Schilling Robinson, VP, Neighboring Rights, Songtradr.
Andrew Ullah and Tania Oliveira discuss what usages don't pay neighbouring rights...yet! See acast.com/privacy for privacy and opt-out information.
Shari Hoffman, CEO and CO-Founder of Transparence Entertainment Group takes us through the bones of the American Fairness Act which proposes to legislate neighbouring rights for AM/FM radio and broadcast in the US. She explains why the US is the only country not paying on terrestrial and why that's not really inequitable (spoiler alert - the US pays out more in NR than most other countries combined). #getyourrelatedrights #IAFAR See acast.com/privacy for privacy and opt-out information.
Dan B. Patrick asks about recording parts of his tracks in the US and others in the UK; who gets paid for what from where, does he need to register the radio version and the digital version and the album version, how do I get the different ISRC numbers, do I have to register the videos at VPL too, what about compilations and as rightsholder do I need to list the other performers? See acast.com/privacy for privacy and opt-out information.
Many countries around the world have blanket licenses for sync whereby the broadcaster can use any song/recording in the PRO/CMO catalogue for a predetermined fee without artist approval. It's both great and a shock to the system when you hear your song on TV. Find out how it works.
Find out the evidence you need to claim your neighbouring rights. Learn how to secure your recording credits before you even go into the studio. Negotiate to have your credits in the metadata of the recording. Get the royalties you've earned even if you're paid a flat fee buy out or a signed a work for hire agreement.
Heather Small, the voice of M People, asks us questions that perplex most artists. Tania Oliviera of Transparence Entertainment Group and Naomi Asher of Sony Music Publishing join Stacey Haber for this fab episode. For example, they explain that Contracted Featured Performer doesn't have the same meaning at PPL, SoundExchange, GVL, etc as it does at Spotify. If you signed a record deal with the label, you are the Featured Performer for neighbouring rights purposes, whereas if you are a featured performer at Spotify, you aren't always a Featured Performer at PPL et al. Become a member of IAFAR and ask us about your specific rights and royalties. https://www.iafar.co.uk/membership-join/
Find out how to claim your neighbouring rights if your performance on an older track is sampled onto a new track. Speaking today are IAFAR Board members Naomi Asher, Gina Deacon, Tania Oliviera, Andrew Ullah and Stacey Haber. Shout out to WhoSampled.com and @djhabibeats for your extensive knowledge of who's sampling whom.
The IPD is the go to database of information that all CMOs around the world consult to see if there's a conflict. Tania Oliviera is our expert on this and she gives spot on guidance to check for conflicts and sort out any stoppage of your royalties. @IAFAR
The Fund collects neighbouring rights for non-featured performers and audio visual performances (session player, background vocalists and others) in the USA. Learn the ins, outs, and idiosyncrasies with special guests Shari Hoffman and Dennis Dreith from Transparence Entertianment Group. https://www.teg-intl.com Become a member of IAFAR at www.iafar.co.uk and maximise your NR income.
One of the most confusing areas in neighbouring rights. The difference between production music and music for sync; ways to ensure you get neighbouring rights for music used in film, TV, etc. The history of the competing and confusing rules between the societies.
The legend that is Jocelyn Brown asks questions about the neighbouring rights revenue stream former as a recording artist. PPL vs BMI, registering herself vs using an NR rep, the difference in dollars and cents between the public performance royalty for the master vs the composition.
Taking it back to basics by having artists ask questions that we may gloss over. Anything from acronyms to the different types of copyright. This week's guest is Rival Shadows.
The 13th episode. Of course it's tax talk. Don't give away 30% of your income to the tax authority because your'e afraid of filling out a form. Have a listen and learn what to do.
The documents and info you need to join most CMO's (neighbouring rights societies) as a performer and as a right holder (label or self-releasing artist).
Rome Convention - What is it and how where you record and your citizenship can affect your eligibility for income.