Almost certainly the highest cost line item for U.S. music-based online radio services is the royalty that such services pay for rights to the sound recordings they play, with those rates set every five years in a tribunal conducted by… Continue Reading
Before this year, no music recording has ever resided in the public domain under U.S. federal copyright law. As of January 1 the situation has changed: Any recording made before 1923 is in the public domain now, and can be freely used. Not much practical application for podcasters, admittedly. But 400,000 records released to free use is a blockbuster milestone in music copyright, and a fascinating trove. Click through for collections that anyone can explore. Continue Reading
The U.S. recorded music industry is projected to exceed a 48-year revenue record set in 1999, according to RAIN’s examination of reports from the RIAA. The historical revenue high point was set in 1999 at $14.6-billion in recorded music revenue. Based on a persistent trend of H2 revenue exceeding H1 revenue, we project a new high water mark driven by streaming, the most lucrative channel for music labels. Click through for details and infographics. Continue Reading
In what could be a warning to all podcast networks, and a boost for audio transcription services, the National Association of the Deaf has sued SiriusXM for failing to provide transcripts of podcasts. The suit covers Stitcher and Pandora as well. This action harks back to a previous lawsuit against Netflix. Continue Reading
Copyright activists, comedians, and streaming services have roiled during the last week over new efforts to pay comedians for their ownership of written material in addition to royalties for recordings of comedy albums. Right administrator Spoken Giants is in the middle of it. Some comedy albums have been removed from some streaming services. Click to untangle the controversy. Continue Reading
Tim Dadson, who joined SoundExchange in 2012 as Assistant General Counsel, and was made Deputy General Counsel in 2017, has been promoted to General Counsel. He will report directly to President and CEO Michael Huppe. Continue Reading
U.S. government-regulated collection agency SoundExchange distributed $947-million in online performance royalties last year. The money went to labels and independent owners of recorded music in 2020. It’s a 4.3% lift from 2019 distributions. Continue Reading
In a continuing follow-up to Friday’s CRB (Copyright Royalty Board) ruling on non-interactive music streaming royalty rates (called Web V), we spoke to Jon Stephenson, CEO of Media Creek, the parent company of webcasting platform Live365. Good planning and a big platform are easing the transition into a new royalty-rate period. Continue Reading
As the CRB unleashes higher music licensing fees for webcasters, we ask two pioneering and enduring webcasters for their reactions. Rusty Hodge (SomaFM) and Bill Goldsmith (Radio Paradise) gave us insights and wishes for the industry. Should there be a zero-royalty zone? And how will YouTube play in this field? Continue Reading
Delayed five months by Covid, the U.S. Copyright Royalty Board (CRB) released its new government-regulated royalty rates for the use of recordings on non-interactive streaming. This every-five-year exercise is a crucial business factor for commercial and non-commercial companies which stream music to American audiences. The rate goes up, and minimum payments per channel double. Click for details. Continue Reading
Spotify CEO and Chairman Daniel Ek has received a letter from the Judiciary Committee of the U.S. Congress. The letter questions the working and purpose of Spotify’s relatively new “Discovery Mode,” a promotional tool offered to recording artists and record labels which influences which songs get onto listener playlists in exchange for lower royalty rates when those placements are streamed — a potential payola issue. Click for an explanation of Discovery Mode and the complete letter. Continue Reading
This vital guest column by David Oxenford summarizes the royalty rate arguments put before the U.S. Copyright Royalty Board (CRB) for a ruling expected by mid-June. In normal times that ruling would have been delivered before January 1, but this every-five-year cycle has been delayed by Covid. The outcome will chart the financial course for webcasters of all sizes in the 2021-2025 period.
Continue Reading