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Posted by Glen Sears | July 28, 2015 8:24 am | No Comments
Performing rights organizations, or PROs, are societies responsible for collecting income on behalf of songwriters and music publishers when a song is publicly broadcast. This includes live covers, radio plays, television plays, internet radio services like Pandora, streaming services like Spotify, restaurants or bars, nightclubs, and any other public performance. All these users pay the associated PRO a fee, which the PROs then pay to their registered songwriters.
For a comparison of performing rights organizations, click here.
Given the different processes in digital music, PROs have different distribution schedules. Many times payments will be remitted as much as two quarters following the performance. We’ve taken the liberty of combining all 3 U.S. PRO payment schedules here:
ASCAP, an organization owned and run by its members, is the leading U.S. Performing Rights Organization representing over 540,000 songwriters, composers and music publishers.
|2015 DATES||TYPE||PERFORMANCE PERIOD|
|April 6, 2015||Domestic Writers||July, August & September 2014 (3Q14)|
|May 11, 2015||International Distribution|
|June 19, 2015||Domestic Publishers||October, November & December 2014 (4Q14)|
|July 6, 2015||Domestic Writers||October, November & December 2014 (4Q14)|
|August 10, 2015||International Distribution|
|September 18, 2015||Domestic Publishers||January, February & March 2015 (1Q15)|
|October 5, 2015||Domestic Writers||January, February & March 2015 (1Q15)|
|November 9, 2015||International Distribution|
|December 18, 2015||Domestic Publishers||April, May & June 2015 (2Q15)|
BMI is the bridge between songwriters and the businesses and organizations that want to play their music publicly. As a global leader in music rights management, BMI serves as an advocate for the value of music, representing more than 8.5 million musical works created and owned by more than 650,000 songwriters, composers and music publishers.
|PERFORMANCES BETWEEN||ENTERED BY||PAYMENT|
|October 1, 2013 – March 31, 2014||June 30, 2014||September 2014|
|January 1, 2014 – June 30, 2014||September 30, 2014||January 2015|
|April 1, 2014 – September 30, 2014||December 21, 2014||March 2015|
|July 1, 2014 – December 31, 2014||March 31, 2015||June 2015|
|October 1, 2014 – March 31, 2015||June 30, 2015||September 2015|
SESAC currently licenses the public performances of more than 400,000 songs on behalf of its 30,000 affiliated songwriters, composers and music publishers.
Domestic Royalty Payments
|PERFORMANCES OCCURRING BETWEEN||ARE DISTRIBUTED ON OR AROUND|
|January 1 – March 31 (Qtr 1)||June 30|
|April 1- June 30 (Qtr 2)||September 30|
|July 1 – September 30 (Qtr 3)||December 31|
|October 1 – December 31 (Qtr 4)||March 31 (next year)|
Foreign Royalty Payments
|ROYALTIES RECEIVED FROM FOREIGN||ARE DISTRIBUTED ON OR AROUND|
|January 1 – March 31||September 30|
|April 1- June 30||December 31|
|July 1 – September 30||March 31 (next year)|
|October 1 – December 31||June 30 (next year)|
Monthly Radio Royalty Payments
Have more questions about managing your musical rights and payments? Email us here!
Posted by Glen Sears | July 27, 2015 9:22 am | No Comments
Story of the Week
Apple Music Faces Major PR Problems
Read More: http://for.tn/1MRW3UP, http://bit.ly/1MRWgaG
Last week Apple Music, previously thought to be cornering huge new portions of the market, was hit with a 1-2 punch of bad PR.
First, U.S. Senator Al Franken (D-Minn.) called for a federal investigation into Apple Music and the App Store’s pricing practices. Apple takes a 30 percent cut of all purchases within the App store. Developers are also not allowed to inform consumers within their App pages that the same service can be purchased on their website, cutting Apple out of the equation. Rules also prohibit apps from including a link to their websites and from mentioning other platforms like Google Play.
“I am concerned about certain business practices that have the potential to limit choices and raise prices for consumers.” – Sen. Al Franken
Second, Jim Dalrymple (former Macworld news editor and tentpole Apple supporter) very publicly dropped Apple Music after an iTunes library bug wiped out large parts of his music library. “At some point, enough is enough. That time has come for me—Apple Music is just too much of a hassle to be bothered with. Nobody I’ve spoken at Apple or outside the company has any idea how to fix it, so the chances of a positive outcome seem slim to none…Apple music is a nightmare, and I’m done with it.”
While Dalrymple later received support directly from Apple HQ and revived “99 percent of my music back,” the bad publicity was already at a fever pitch after being picked up by every tech and music blog imaginable. Not a great week to be Apple.
Other Important Headlines
Spotify Adds Discover Weekly Personalized Playlists – Spotify has launched Discover Weekly, a two-hour custom playlist of music recommendations, based on the user’s library and listening patterns. Read More
Beatport Will Bring Videos, Curated Playlists to Spotify – Despite being competitors, the deal opens up opportunities for highly-lucrative music video and live streaming partnerships. “We’re not just in the streaming or download business, but heavily focused on video.” Read More
Pandora Revenue Rises 30.5% on Higher Advertising Sales – Online music streaming company Pandora Media Inc raised its full year forecast and reported better-than-expected second quarter revenue as it signed up more subscribers and increased its advertising revenue. Read More
Billboard’s First-Ever Nashville Top 50 Power Players List Revealed – Like its other Top 50 lists, Billboard ranks the most highly-powered individuals in the $830 million genre for the first time. Read More
Amazon Now Selling Concert Tickets Without the Extra Charges – As part of its attempt to get into the ticketing business, Amazon is selling tickets to an upcoming festival sans the obnoxious service charge. Read More
SESAC Settles Anti-Trust Dispute With US Radio Industry – The smaller, commercially-owned performing rights organization has reached a settlement with the Radio Music Licensing Committee which includes agreeing to allow a third-party arbitration panel to settle future royalty disputes. Read More
Government Opens Consultation on Tougher Sentences for Online Copyright Infringement – The government announced this weekend that it is launching a consultation on plans to increase the potential jail terms for commercial-scale online copyright infringement to ten years from the current two, which would bring the penalties for commercial piracy operations based on the net in line with the penalties for pirating physical goods. Read More
Also last week, Grooveshark co-founder Josh Greenberg was found dead in his Florida home. He was 28 years old. There was no immediate sign of foul play, injury, drug use, or suicide. Our sympathies go out to his friends and family.
Posted by Glen Sears | July 20, 2015 11:11 am | No Comments
Story Of The Week
Berklee Rethink Music Releases Landmark Fair Music Report, Ignites Massive Debate
Read more: http://n.pr/1dYnZdF
Last week, Berklee College of Music’s Rethink Music project released a 28-page report on the state of transparency and fairness the digital music industry. The report, backed by industry titans like David Byrne and the Future of Music Coalition, suggests that 20-50% of music payments don’t make it to their rightful owners. The report also details the researchers’ recommendations for repairing the opaque and complex music industry payments ecosystem.
Typically artist payments aren’t a part of public consciousness. With the rise of digital streaming services, leaks of Spotify contracts, and Taylor Swift’s stand against Apple Music, the amount of money independent artists are paid (or not paid) has gained international attention. The question on everyone’s minds: where do the hundreds of millions of dollars in the music industry go?
The Fair Music Report attempts to answer this question, using a combination of industry insight and research. The report recommends a “Fair Music” seal for streaming services, a non-profit rights database, cryptocurrency payments, and education initiatives.
Other Important Headlines
The RIAA Responds To Fair Music Report, Says “This Is An Important Subject” – The RIAA goes on to assert that “some of the report’s findings are flawed,” before going on to point out that while major labels’ revenues have dwindled, the amount they pay artists rose 36 percent. Read More
Why The Music Industry Isn’t Transparent, and How To Fix It Right – “It’s simply too easy for big companies to sit on money because they can’t find out who to pay, or don’t care to know. It’s time to demand more accountability and transparency.” Read More
NPR Follows Amazon in Withdrawing From MIC Coalition – “When Amazon took the lead and left this anti-artist Coalition, after concluding the group was ‘consumed’ with lowering payments to musicians, musicFIRST called on NPR to leave as well.” Read More
Ticketmaster Competitor Ticketfly Closes $50M Series D Round – At its core, Ticketfly is pursuing a smarter, more flexible, more social ticketing platform that challenges Ticketmaster. It is now valued at $85 million. Read More
Blurred Lines Retrial Request Denied, Damages and Distribution Ban Cut – Gaye family attorney Richard Busch exclaimed “thrilled with the decision by the Court,” Thicke and Williams expected to appeal. Read More
Final Paid Edition of Music Magazine NME To Publish This Month – The music industry mainstay will be following the move with a brand new free magazine, launching in September. Read More
Marshall Cranks Out a Phone for Music Lovers – With a focus on music and shamelessly beautiful styling, the phone is equipped with stereo speakers, dual mics and headphone jacks, and hifi lossless audio card. Read More
Posted by Glen Sears | July 9, 2015 11:06 am | No Comments
After many long discussions from industry groups worldwide, in February the International Federation of the Phonographic Industry (IFPI) announced it would be adopting a global album release date. According to the IFPI, Friday (not Tuesday, as it is in the U.S.) is the day most global music fans want to receive their new music.
“Their love for new music doesn’t recognise national borders. They want music when it’s available on the internet — not when it’s ready to be released in their country. An aligned global release day puts an end to the frustration of not being able to access releases in their country when the music is available in another country.” – Frances Moore, IFPI
Well music fans, that day is tomorrow. On Friday July 10th 2015, major and major independent labels will begin to release new music on Fridays, instead of the traditional Tuesday. What does this mean for you?
Consumers: New releases will be available for download, purchase, and streaming on Fridays instead of Tuesdays.
Labels: Most digital music providers (MediaNet included) require a week lead time for releases. This means the ideal time to submit your new tracks and albums is the Friday prior to the release date.
Despite opposition from various independent labels on choosing Friday, support is generally high for a global release date. The IFPI has released a viewpoint article detailing the rationale behind the switch. We encourage all labels and consumers to read it.
Have more questions about what the switch means for your catalog? Email us here!
Posted by Glen Sears | 10:08 am | No Comments
- For every song in a digital music catalog, there is a huge rights and licensing stack that is far more complicated to fulfill.
- Without a digital music platform that understands these relationships, potential for lost and escrow revenue increases dramatically.
At MediaNet we regularly see and hear music services touting the sheer size of their music catalog. On one hand, it’s the easiest number for regular folks to get their head around. A service has “this” many songs, and more is better. But where music streaming starts getting interesting (and difficult) is in paying for each song to get played.
If you’re a music service, broadcaster, bar, venue, or other licensee of music, managing the process of calculating payments seems almost impossible. The large volume of digital usage, limited availability of ownership data, and the generally byzantine royalty structure all add up to one thing: lost payments.
Billions of dollars of digital payments are administered each year, $6.9 billion in 2014 according to the IFPI.
Rights holder losses are due frequently to old systems, unmatched pay, slow processing, poor ownership data, paper processing, and lack of open markets. We estimate these losses exceed hundreds of millions of dollars.
Content owners and legacy middle men (Labels, publishers, PROs, Societies) that license copyrights have a difficult time tracking, monitoring, and receiving payments from the 1,000’s of licensees in the U.S. and around the world. In addition, it can take up to 18 months for rights holders to get paid through these legacy systems.
These problems are a result of the transformation of music from a physical distribution and licensing framework to a digital distribution and licensing framework. Specifically there are two critically transformative changes: Volume, and License Laws and business models.
The volume of individual music transactions has increased massively. Not by factors of 5, 10 or even 100, but by an order of magnitude in the billions (yes, billions). Billions of lines of usage each month, compared to millions of sales of CDs each year.
License laws and business models are also very different in digital streaming and subscription models, requiring complex calculations and access to ownership data covering millions of content owners. The play of one song can require tracking and paying over 10 different entities, with royalty calculations of a single play monitored down to 6 decimal points (e.g. $.000003).
Incumbent services that have supported the music industry for almost 100 years, services that powered the entire royalty payments supply chain, simply were not designed to handle these volumes. They have managed to “get by” using older analog legacy systems (e.g. spreadsheets) and processes that are cumbersome and have numerous gaps in the workflows. These gaps cause loss of data resulting in loss of ability to properly account and completely pay all rights holders.
When licensing, delivering, reporting, and paying on a world-class digital music library, it is imperative that the foundation be built with these things in mind. Any service that isn’t aware of plays and licensing isn’t built for the future.
Many companies are spending their time trying to consolidate and simplify licensing. Some are tracking down any number of the 900,000 revenue streams worldwide.Others are working toward combining mechanical and performance license servicing.
This is all great news. I fully support anyone who is working to make digital music licensing simpler and more efficient. But the question still exists: who will handle the digital fulfillment supply chain? Can they also get rights holders paid?
The answer? Here at MediaNet we’ve built and host a database of rights holdersspecifically matched and linked to Sound Recordings. Every time a song is delivered, we know who needs to get paid and how. Without any need for third parties. No third parties means less translation, better accuracy, and payments accounted for.
This is the way all future digital music platforms need to be built. From the ground up to be ready for any changes in licensing or publishing. A platform custom built to ensure that no matter what the contract says, everyone is getting paid.
Posted by Glen Sears | July 6, 2015 9:34 am | No Comments
Story Of The Week
Facebook In Talks with Major Labels for Music Video Trial
Music videos are Facebook is looking to pull music video views away from YouTube as it pilots a new video platform. As Variety reported, the ad revenue split would mirror YouTube’s — 45 percent to Facebook, 55 percent to rights holders.
A source with knowledge of the talks told Billboard the social networking giant wants to conduct a test run through the end of this year, with selected music videos — chosen by the labels — being presented in the main news feed of users. Facebook is, of course, trying to siphon ad revenue away from Google by offering content creators its own native option.
Billions of videos are viewed online each day. Using social data gathered from its network, video-based ads on its site could prove more lucrative than YouTube ads. If so, it likely won’t take long before all the major and independent labels are on board.
Other Important Headlines
Apple Music Launches To Great Applause On Its First Day… The music streaming platform impresses with human-curated playlists, the Zane Lowe-headed Beats 1 radio station, and artist social connectivity. Read More
…And Then Is Quickly Judged Unimpressive By Many Pundits – Tech writers and industry alums generally point out Apple Music’s desire to be all things music as a flaw rather than a strength. “Subscription services have to make it braindead simple to discover new music and build or replicate a beloved collection.” Read More
UMG-backed Study Finds Recording Sales Would Be 17x Higher Without Piracy – Even with Apple Music’s launch and the success of music streaming overall, record company revenue is still a fraction of what it once was. The study found that a “Piracy D-Day” would lead to an explosive renewal of record sales if successful. Read More
U.S. Music Streaming Market Worth $2.7 Billion By 2019 – As physical and digital album and track sales are plummeting, the music streaming market is growing by leaps and bounds, reaching revenues of $799.0 million, equivalent to 73% of the market’s overall value. Read More
Prince Removes Music From Most On-Demand Streaming Services, Except TIDAL – Prince, an outspoken anti-streaming advocate, quietly removed his entire catalog from major streaming services, with one notable exception: TIDAL. It isn’t immediately clear why it (or Pandora) still carry his catalog. Read More
On Saturday June 27th, music lost one of its most provocative and pioneering bassists in Yes’ Chris Squire. He was a transformative player who redefined bass for a generation of players. He will be missed.
Posted by Frank Johnson | July 1, 2015 1:10 pm | No Comments
“Everyone involved in creating a piece of music should be able to rely on income from that music when it’s used.”
Such a simple concept has proven seemingly impossible to achieve. Artists, songwriters, and performers often don’t know when their music is used. The owners of sound recordings expend enormous resources taking legal action to prevent illegal use. Publishers use complex formulas to calculate payments, arriving at numbers that often don’t reflect the total use of each piece of content.
It shouldn’t be this difficult.
Scouring the ends of the Earth, hunting royalties in back corners of the Internet is an effective but temporary fix. 900,000 unclaimed royalty sources is a staggering number, and it’s growing. The back-end pipes of the music industry are broken. Wrapping them in plumber’s tape may slow the leak, but it fills no holes. Rights owners deserve a better solution.
Simply put, the only way to guarantee royalties are delivered to copyright holders is for every music service to sit atop a fully rights-managed content delivery platform.
Right now, when a song is purchased, downloaded, or streamed, that data is sent to a third party. That third party then attempts to connect the right people with the right payments. In many cases the payments and associated statements, each with millions of lines of information, are sent to another company to distribute to the artist and writers.
This is the simplest representation. Many services are much more complicated, adding in layer after layer of complexity. When this complexity yields breakage. someone always loses. In almost every case it is the artists, songwriters, and performers. Their actual take-home pay is truncated and fractured, and it isn’t because companies don’t want to pay them. They’re doing the best they can.
We aren’t here to debate record deals, songwriting splits, or speculate on how much artists should be making. Our experience in the music industry has shown us that contracts even as they exist are not reliably fulfilled. We firmly believe that until someone can say, “Your music was used in exactly this way, you are owed exactly this much,” the conversation can’t truly begin.
This is the world we envision at MediaNet. Every established and disruptive music service perched on a firm foundation, one that is intimately aware of how music is being used and who is supposed to be paid. It might seem like a pipe dream, but we’ve already built it here at MediaNet. It’s already working, and rights holders are being paid.
Using our 15 years of digital music delivery experience, we decided in 2012 that content needed to be tied to rights at every level. If not, it becomes a game of Bad Telephone, where each extra layer of digital music infrastructure adds loss and obscures data. Right now digital music delivery is a Rube Goldberg machine. We’re making it lean and mean, as simple as the Easy Button.
We’ve launched and support some of the world’s best-loved music apps, like Beats, Songza, and Turntable.fm. The data required to stream digital music at this level is enormous. 4.1 petabytes pass through our servers each month, 8x the volume of data stored in the US Library of Congress.
Taking in track catalogs, assigning deep metadata, resolving duplication, managing infrastructure, and delivering in 11 formats for dozens of B2B use cases across the globe is an enormous undertaking. Managing content, catalogs, and data at this scale isn’t possible for everyone, but we do it every day. Any music service can be integrated into our platform.
Rights-managed digital music delivery is something every artist, songwriter, performer, label, publisher, and rights holder deserves.
The dirty truth no one is telling is that there’s no single fix for digital music. No magic business model. A rights-managed music fulfillment platform won’t solve piracy, and it won’t ensure all rights holders are treated equitably. But we believe none of these greater challenges in music can be faced until a fundamental question is answered: Can you effectively monitor and run your entire digital music supply chain? That is one question we do have the answer to: “yes.” We’ve already built the platform for you. And it’s working.
Our vision of the future of music is simple. We envision a world where the panoply of music services can all confidently and transparently report and pay every rights holder for every single play. To that end, we’ve put our cards on the table and invested in that future. Our goal is to ensure that when a song is played, everyone gets paid.
Posted by Glen Sears | June 29, 2015 9:00 am | No Comments
Story Of The Week
Merlin, WIN, Beggars, IMPALA, and Other Indies Agree To Bring Over 20,000 Artists Into Revised Apple Music Ecosystem
The weeks leading up to tomorrow’s Apple Music launch have been nothing if not eventful. After announcing huge artists for the new Beats One radio station and securing Taylor Swift as a fan, Apple Music scored another coup last week. Huge indie labels and organizations are now flocking to the new streaming service, and bringing with them enormous libraries of music.
It wasn’t without an uphill battle. Organizations such as independent music licensor Merlin boycotted Apple Music after it became public that Apple wouldn’t pay royalties to songwriters during the service’s 90-day free trial. Despite the fact that this is fairly standard practice across the industry, many (including Swift, an independent artist herself) looked to Apple to set the tone for the future of streaming music, saying “I find it to be shocking, disappointing, and completely unlike this historically progressive and generous company.”
After Apple announced it would pay on its free trial of Apple Music, indie labels, publishers, and associations came around quickly. Beggars Group, one of indie music’s largest label groups, summed up the greater feelings toward Apple: “Over the last few days we have had increasingly fruitful discussions with Apple. We are now delighted to say that we are happy to endorse the deal with Apple Music as it now stands, and look forward to being a big part of a very exciting future.”
Other Important Headlines
TIDAL Parent Aspiro Removes CEO Andy Chen, Replaces Him With The CEO He Replaced – As the streaming company struggles to gain foothold, more shakeups on their Executive Team. Read More
Spotify Buys Beats’ Analytics Provider Seed Scientific – Spotify doubles down on data-driven recommendations and services, now boosted by the purchase of a data firm who previously served its primary competitor. Read More
American Idol Winners Sue Sony Music: “Your Equity Stake In Spotify Cheats Artists” – “…Together, and individually, Sony and the other major record labels therefore have significant power to exert control over Spotify in order to not only dictate how revenue will be paid, but wrongfully and in bad faith divert money from royalties that must be shared to other forms of revenue that they can keep for themselves.” Read More
SiriusXM Settles Lawsuit, Agrees To Pay $210 Million For Use Of Pre-1972 Recordings – They’ll also be able to play pre-1972 music through 2017. After that, they’ll have to come to new agreements. Read More
Linkin Park Looks For New Music Revenue, Ends Up At Harvard, Starts Venture Capital Firm – “To be clear, we are still in the music business, but creating and selling music now plays more of a supporting role in our overall business mix.” Read More
Courtney Love Attacked in Paris, Uber Driver Held Hostage by ‘Mob of Taxi Drivers’ – Love tweeted her experience during Paris’ protests-turned-violent against rideshare company Uber. Read More
Posted by Glen Sears | June 22, 2015 8:00 am | No Comments
Story Of The Week
Apple U-Turns, Decides To Pay Royalties On Free Trial After Taylor Swift Open Letter
Over the weekend, pop queen Taylor Swift took to Tumblr in an effort to shed light on Apple’s non-paying 3-month free trial. “I’m sure you are aware that Apple Music will be offering a free three month trial to anyone who signs up for the service. I’m not sure you know that Apple Music will not be paying writers, producers, or artists for those three months. I find it to be shocking, disappointing, and completely unlike this historically progressive and generous company.”
Apple was already under fire from major indie labels and the larger music/tech blogosphere over its royalty payment model. Apple claimed that, while it paid no royalties for its trial period (an industry standard), it paid higher percentages than other streaming services on the back end as compensation.
Ultimately, the combined threat of losing major indie label associations like the AAIM and Swift’s major publicity pull forced Apple to pivot. Taking to Twitter, Eddy Cue (Apple VP of Internet Software & Services) responded “#AppleMusic will pay artist for streaming, even during customer’s free trial period.”
We hear you @taylorswift13 and indie artists. Love, Apple
— Eddy Cue (@cue) June 22, 2015
Other Important Headlines
Blake Morgan Lobbies The NMPA & Congress To Pay Performers and Labels For Radio – Currently, only songwriters and music publishers receive payments in the U.S., while throughout the rest of the world artist and labels are paid by terrestrial radio. Read More
SoundCloud To Limit Tracks Streamed Via API to 15,000 Plays per Day – The move comes as Soundcloud continues to work toward controlling and monetizing its platform. Read More
EFF and Cloudflare Say Web Firms Shouldn’t Be the Major Labels’ Watchdogs – Web companies are pushing back at a recent federal court order that would force them to become copyrightenforcers for music labels when an infringing site’s owner can’t be found. Read More
Pandora Paid Pharrell Just $6300 For 105 Million “Happy” Plays – “We’re projecting over a billion dollars of revenue next year,” said Pandora founder Tim Westergren, “and we’re sharing that revenue very fairly with the artist community.” Read More
EDC Las Vegas Tops 130,000 Attendees Its First Night - One of the world’s largest EDM festivals just keeps growing, despite major desert heat and Vegas expense. Read More
Dance Music’s Tech Leaders Discuss Disruption at EDMbiz – “Isn’t modern innovation taking someone’s idea and making it better? You just can’t fight the Internet. At the end of the day, the internet’s going to beat you every time.” Read More
New Music Seminar attendees: Don’t forget that MediaNet’s own Frank Johnson will be speaking about digital music infrastructure in an NMS Intensive on Tuesday with music journalist Larry LeBlanc! More details here.
Posted by Glen Sears | June 19, 2015 12:39 pm | No Comments
New Music Seminar 2015 is fast approaching, and the lineup of speakers is full of heavy-hitters. For those who don’t know, NMS “is about belief in building the music business, belief in change, and belief in long-term success for artists and businesses alike. We provide a platform for discourse by the voices who disrupt the conventional, tackle key issues, and give a stage for emerging artists to shine. NMS is the place to network, engage, and discuss the future of music and business.”
On Tuesday, June 23rd MediaNet CEO Frank Johnson will take the hot seat in an NMS Intensive on digital music and streaming data architecture. The 15-minute question and answer session will be moderated by long-time music journalist and Celebrity Access writer Larry LeBlanc. The talk will focus on what it takes to be a competitor in the modern digital music arena, and what accurate reporting and fulfillment can do to ensure rights holders get paid every time the play button is pressed.
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Insights, News, Announcements, and Updates on MediaNet and the ever-changing world of music, technology, industry, and law.
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- When Will My Performing Rights Organization Pay Me?
- July 28, 2015
- Apple Music Takes Major PR Blows, Rivals Find Common Ground, & the Government Wades In (Soundcheck)
- July 27, 2015
- Soundcheck #008: Your 5-Minute Recap Of Last Week’s Most Important Music News
- July 20, 2015
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