In collective management societies have a place of lost objects. They say the black box. An account that receives all the money that has not been distributed. The money that nobody claims ... and that all artists dream that they assign to them.
The collective management societies are in principle administrators. Its main function is to collect and pay the holders of content that others exploit. The societies of authors administer repertoire on behalf of the authors and charge for them. Each country has its own collective management societies.
- Here is a list of Spanish collective management societies -
In music in particular, they charge for each time a composition is played on television, radio, concerts or public places.
They always represent a repertoire. If the repertoire is represented by the collective management society in Colombia -Ej. Sayco- they charge users of that content-stations, digital platforms, bars, concert entrepreneurs-every time they use music in their territory.
Yes there are royalties for composers in the digital age
What if the repertoire that sounds in Colombia is represented by another collective management society different from Sayco (for example, the Society of Authors and Composers of Mexico - SACM)? Sayco charges for that use and then (by an agreement between them and the SACM) they transfer the collection to them.
That in big brushstrokes, rough and accelerated.
But let's talk about what they charge for the repertoire that is not represented by nobody.
Continue reading "The black box or why do you need a collective management society"
Every year there is at least one big case of plagiarism that everyone talks about. This time it arrived fast. Radiohead sued Lana del Rey, arguing that the song "Get Free" (2017) by this artist replicates the iconic "Creep" (1992).
Radiohead sued * Lana del Rey for her song "Get Free" (2017) alleging that plagiarized the melody of "Creep" (1992).
(* Lana del Rey says they sued her, Warner / Chapell released a statement denying this, they can compare the two songs here)
Continue reading "Plagiarism: Thom Yorke has gastritis and Lana del Rey reasons"
Composers can receive royalties for the digital use of their songs ... and it's no longer a science fiction thing.
A few weeks ago we were giving a workshop on royalties in music inCreative Space Locus in the company of Association of the GEA music industry.At some point I said that I "paid to see" if the collective management societies in Colombia knew something about digital royalties.
And so. I went to ask them. They answered ... and they do know.
The subject is complicated but it can be digested like this:
- Every time someone creates a song they become its author and the owner of certain exclusive rights.
- These rights may have economic content (property rights);
- Each time the song is copied, publicly reproduced (among other things) the author / owner receives a remuneration.
- It does not receive the compensation directly. The normal thing is that a collective management society charges for him / her and then pays him / her.
So far the story is normal.
Continue reading "Yes there are royalties for composers in the digital age"
Synchronization as a concept is fundamental for any audiovisual piece when it comes to music.
Synchronization is the act of adding music to a piece of content. Generally audiovisual content, but recently the growth of the video game industry has made this segment equally important. That's why we can not talk about movies or TV alone. The placement of a song in Fifa can make the difference of doing a world tour or not ... ask ChocQuibTown (Fifa '11).
The rules are simple:
Continue reading "A matter of synchrony"
If something more tangled the YouTubers is the treatment of the audiovisual work. The audiovisual work as conceived in the norms is a work that necessarily is carried out by several people.
All these rules, in their beginning were covering the space of which an audiovisual, cinematographic work was a cumbersome work to do.
Orson Welles I would agree.
In the definitions it includes that it is also created to be able to project it; in our case, in YouTube, the platform that means (streaming on-demand).
So far, all normal.
Continue reading "From Orson Welles to Yuya"