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collec%ve	  licensing	  An	  “independent”	  European	             perspec%ve	                      Mars	  Mertens	  /	  O...
The	  death	  of	  the	  collec%ve?	  •  Does	  this	  mean	  back	  to	  the	  individual?	      –  Collec%ve	  >	  right...
Con%nent	  vs	  Anglo-­‐America	  •  Anglo	  American	  Publisher	  controls	  Mechanical	     Right	  •  Online	  use	  i...
Popularity	  Anglo-­‐American	  repertoire	  •  Important	  market	  share	  Anglo	  American	     repertoire	  in	  con%n...
Local	  representa%on	  •  Anglo	  American	  publishers	  very	  o^en	  deal	  	     with	  local	  sub-­‐publishers.	  H...
Complex	  Copyright-­‐	  Mechanical	  •  Mechanical	  copyright	  (Interac%ve-­‐Non	     interac%ve)	  	  •  Anglo	  Ameri...
Complex	  Copyright-­‐	  Performing	  •  Communica%on	  to	  the	  public:	  Performing	     copyright	  (Interac%ve-­‐Non...
New	  Digital	  Music	  Services	  •  Pan	  European	  licensing	  impossible	  for	  start	     ups.	  	  •  Roll	  Out	 ...
Tariff	  •  The	  tariff	  for	  Pan-­‐	  European	  licensing:	      –  No	  fixed/set	  price	  per	  usage	  across	  Euro...
BUILDING	  A	  	  NEW	  STRUCTURE	  	            DDEX	  -­‐	  GRD	  -­‐	  IMR	  -­‐	  DCE	  •  Digital	  CrossBorder	  lic...
New	  Structures	  •  A	  solu%on	  to	  the	  problem?	  •  Systems	  are	  s%ll	  under	  control	  of	  the	  “old”	   ...
Closing	  Remarks	  •  The	  collec%ve	  is	  s%ll	  important	  •  New	  regula%ons	  from	  EC	  needed,	  not	  only	  ...
Thank	  you	  for	  your	  ahen%on	      Connect	  and	  Share:	           Mars	  Mertens	     @MarsM	  /	  mars@OurMusic....
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Collective licensing event music4.5 20110622

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Transcript of "Collective licensing event music4.5 20110622"

  1. 1. collec%ve  licensing  An  “independent”  European   perspec%ve   Mars  Mertens  /  OurMusic.Biz  
  2. 2. The  death  of  the  collec%ve?  •  Does  this  mean  back  to  the  individual?   –  Collec%ve  >  rights  managers>individual  •  Level  playing  field  for  various  rights  owners   –  High  profile  composers,  new  composers  •  Collec%ve  is  Collec%ng?  •  Different  role  between  Author’s  society  and   the  collec%ng  body.  •  Issues  of  exclusive  deals  and  monopolies  
  3. 3. Con%nent  vs  Anglo-­‐America  •  Anglo  American  Publisher  controls  Mechanical   Right  •  Online  use  is  combina%on  between   mechanical  rights  and  communica%on  to  the   public  (Performing  Right).    •  E.g.:  Download    75%  mechanical/25%  performing  •  E.g.:  Stream      25%  mechanical/75%  performing    
  4. 4. Popularity  Anglo-­‐American  repertoire  •  Important  market  share  Anglo  American   repertoire  in  con%nental  countries    •  Local  ar%sts  co-­‐write  repertoire  with  Anglo-­‐ American  authors,  joint  copyright.  Mul%ple   Publishers.  •  Not  only  Hit  Repertoire/  Cultural  diversity  one   of  the  founding  principles  of  European  Union.      
  5. 5. Local  representa%on  •  Anglo  American  publishers  very  o^en  deal     with  local  sub-­‐publishers.  How  does  this   impact  the  changes  in  direct  Cross-­‐Border   licensing?  •  The  author’s  share  looses  value  in  the  juggling   system  of  the  reciprocal  agreements  between   socie%es.  
  6. 6. Complex  Copyright-­‐  Mechanical  •  Mechanical  copyright  (Interac%ve-­‐Non   interac%ve)    •  Anglo  American  publishers  withdraw  rights    •  Mechanical  copyright  European  socie%es   –  Reciprocal  Representa%on  agreements  for  E.E.A.?   CISAC  CASE  was  about  Performing  Rights!  (2008)    •  Mechanical  copyright  Non-­‐  European  socie%es   –  Exis%ng  agreements  not  on  EEA  basis  but  by   country.    
  7. 7. Complex  Copyright-­‐  Performing  •  Communica%on  to  the  public:  Performing   copyright  (Interac%ve-­‐Non  interac%ve)    •  US  performing  Rights  Org:  ASCAP,  BMI,  SESAC    •  Performing  copyright  European  socie%es   –  All  Reciprocal  Representa%on  agreements  for   E.E.A.  renewed  a^er  CISAC  CASE?  (July  2008)    •  Mechanical  copyright  Non-­‐European  socie%es   –  Exis%ng  agreements  not  on  EEA  basis  but  by   country.    
  8. 8. New  Digital  Music  Services  •  Pan  European  licensing  impossible  for  start   ups.    •  Roll  Out  Country  by  Country.    •  Complexity:   –  what  to  pay   –  to  whom   –  for  which  repertoire?  
  9. 9. Tariff  •  The  tariff  for  Pan-­‐  European  licensing:   –  No  fixed/set  price  per  usage  across  Europe   –  O^en  set  by  Tariff  Country  of  Des%na%on   –  Split  between  Mechanical/Performing  income   might  differ  in  various  countries.  •  No  harmonisa%on  of  defini%ons/clauses  in   contracts.  Eg  status  Temporary  Download?  •  The  Tariff  should  be  balanced  between  author   and  user  to  make  innova%on  possible.  
  10. 10. BUILDING  A    NEW  STRUCTURE     DDEX  -­‐  GRD  -­‐  IMR  -­‐  DCE  •  Digital  CrossBorder  licensing  asks  for  new   standards  and  databases  •  DDEX:  standards  metadata/  repor%ng  •  Global  Repertoire  DataBase:  musicworks  •  Interna%onal  Music  Registry:WIPO  ini%a%ve  •  UK:  Digital  Copyright  Exchange?    
  11. 11. New  Structures  •  A  solu%on  to  the  problem?  •  Systems  are  s%ll  under  control  of  the  “old”   players.  •  Open  Data?  Including  Non  Society  works  •  Important  to  have  an  efficient  transparent   system  with  direct  distribu%on  to   rightsholders    
  12. 12. Closing  Remarks  •  The  collec%ve  is  s%ll  important  •  New  regula%ons  from  EC  needed,  not  only   recommenda%ons  •  “One  Stop  Shop”  solu%ons  will  benefit  the   European  market    
  13. 13. Thank  you  for  your  ahen%on   Connect  and  Share:   Mars  Mertens   @MarsM  /  mars@OurMusic.Biz    
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