Claims, Claims, And More Claims – Many Indie Rightsholders Are Filing Claims For The First Time For Section 115 NOIs Thanks To Royalty Claim
We launched Royalty Claim at 6am and dozens of rightholders signed up to search, find, and claim FOR FREE. We’ve already processed many claims within the first 5 hours of doors open.
Royalty Claim Is Here! And Rightsholders Are Claiming Away!
Royalty Claim launched this morning and within minutes our Slack channel to receive alerts of claims filed has been non-stop! Music creators and rightsholders are easily finding their entitles and filing claims. #UnlockMyRoyalties
If You’ve Never Received Mechanical Royalties From Google Play Music, This Might Be Why
Is Google Willfully Refusing To Use Its Own Assets To Identify Copyright Owners?
In recent weeks Google and YouTube has come under fire by high-profile music industry professionals in regards to Lyor Cohen’s statements on the royalties it pays to artists. This piece is NOT about that.
At Royalty Claim, we periodically randomly select and investigate records that our researchers and data scientists ingest. Random investigations — sometimes against pre-determined hypotheses and sometimes just to follow down the rabbit hole — has helped us uncover nuances in the music licensing ecosystem that manifest into trends that suggest major systemic issues.
Earlier this month we reported that Google has filed nearly 7 Million Section 115 NOIs on the US Copyright Office for musical works in which it claims to be unable to identify the copyright owner. Then, Lyor Cohen boasted about YouTube’s royalty payouts and its growing ability to match music to videos (Google it, it’s everywhere). And then we remembered that this is only possible due to YouTube Content ID, which is arguably the largest database of copyright information with music codes, audio samples, etc.
So, if the largest submitter of “copyright owner unknown” NOIs is also the owner of the largest private database of copyright owner information, it makes no sense that Google cannot seem to identify copyright owners to pay mechanical royalties for the use of the copyright owner’s songs on Google Play Music.
So, we investigated this.
Watch As Royalty Claim Uncovers Unclaimed Royalties & Music Licenses For Beyoncé, Carl Cox, Afrojack, and Ellie Goulding
Watch us uncover unclaimed royalties & licenses for Beyoncé, Carl Cox, Afrojack, Ellie Goulding, and more using Royalty Claim Platform v1.0 https://youtu.be/J7nIdFdwlzY
[VIDEO] Full Video Of Royalty Claim Pre-launch Webinar
If you missed the Royalty Claim Pre-launch Webinar, watch the full recording here.
Royalty Claim Announces Pre-launch Webinar For This Weekend
Just Announced: Royalty Claim Pre-launch Webinar
Get a sneak peak behind the curtain with Royalty Claim’s Founder & Chief Researcher, Dae Bogan.
Agenda:
- Overview of the Royalty Claim Initiative.
- An encore presentation of our presentation at the Music Industry Research Association Conference.
- Live demo of Royalty Claim Platform v1.0.
- Music industry Q&A.
The webinar will take place on Saturday, August 19th at 10am PDT
(Almost) Everything That You Want To Know About Royalty Claim’s Data
QUESTION: WHERE DOES ROYALTY CLAIM’S DATA COME FROM?
ANSWER: MANY PLACES.
Royalty Claim Initiative researchers and data scientists locate, retrieve, synthesize and ingest an array of published and unpublished data that reference statutory notifications of certain music licenses, unattributed royalties (so-called “Black Box” royalties) and settlements; and income participants (payees) in undistributed royalties that stem from collective bargaining agreements, international reciprocal agreements, statutory royalties, and more. We also analyze data related to music consumption (e.g. downloads, streams, sales), broadcasts, performances, and other types of data to identify trends from which we can interpret insights into the global music licensing ecosystem.
THE FOLLOWING IS JUST A SAMPLE OF THE TYPES OF ROYALTY FUNDS IN WHICH WE ARE INTERESTED:
Royalty Claim’s Full Presentation At The Music Industry Research Association Conference
Royalty Claim attended the Music Industry Research Association‘s first inaugural MIRA Conference at the UCLA Luskin Conference Center this week. Royalty Claim’s Founder and Chief Researcher, Dae Bogan, MIA, had the honor of presenting a preview of our in-progress The State of Unclaimed Royalties and Music Licenses in the United States report before an audience of economists, sociologists, and researchers from universities and institutions from around the world, as well as music industry executives representing firms such as Nielsen, Pandora, Universal Music Group, and Warner Music Entertainment.
For the first time, updated statistics regarding the filing of “address unknown” Section 115 NOIs on the US Copyright Office during the first half of 2017 was revealed. Insights included an overview of the organizations that have utilized the procedure, including Amazon, Google, Spotify, iHeart Communications, and Microsoft. However, those large music users were expected. Interesting inclusions to the list were The Recording Academy and the Christian music service, TheOverflow and interesting omissions from the list are platforms that boast millions of tracks — Apple and Tidal — but may not be reaching every independent rightsowner that may have compositions available on those platforms.
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The presentation also discussed the nature and causes of so-called “Black Box royalties”. A black box is an escrow fund in which music royalties are held due to an organization’s inability to attribute the royalties earned to the appropriate payee. Examples were given, including unattributed advances from DSPs to music companies, the US’s limitations on sound recording rights, and other issues.
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The presentation concluded with a video demo of the Royalty Claim Platform, which received positive reviews from conference attendees. The full presentation is here.
Eron Bucciarelli (Soundstr), Dae Bogan (TuneRegistry & Royalty Claim), Benji Rogers (DotblockchainMedia & Pledge Music), and Jason Trikakis (HelloSugoi) Submit ‘How Tech Can Save the Music Industry’ Panel for SXSW 2018 – How To Vote Details
I’m excited to join fellow music tech founders Eron Bucciarelli (Soundstr), Benji Rogers (DotblockchainMedia), and Jason Trikakis (HelloSugoi) for a panel submission to SXSW 2018. Please vote and share the submission for “How Tech Can Save the Music Industry” #MusicTransparency
How Tech Can Save the Music Industry
The music industry is in dire need of change not only to thrive, but survive. Streaming, pirating and the secondary ticket market have dealt serious blows to our industry’s major revenue streams, but technology can be our savior. Join experts from the royalty, rights, ticketing and metadata blockchain sectors to learn not only how tech can provide short-term solutions, but also build a more sustainable industry. Join us to learn how tech can save the music industry. #MusicTransparency
QUESTIONS
- What are the current and near-future major issues of the industry that could be disrupted by technology?
- What solutions can tech offer and how can they be practically applied to our everyday lives?
- What is the long-term impact of these tech solutions? What happens without these solutions based on the current landscape of our industry?
SPEAKERS
- Eron Bucciarelli, CEO, Soundstr
- Dae Bogan, CEO, TuneRegistry & Royalty Claim
- Benji Rogers, CEO, Plege Music & dotBlockchain
- Jason Trikakis, CEO, HelloSugoi
CLICK HERE TO VOTE
Royalty Claim Pre-launch Is Just 7 Days Away!
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