Tag Archive | harry fox agency

So You Received A Notice From Music Reports Or Harry Fox Agency?

Earlier this week a number of artist managers in a Facebook group posted photos of letters that their clients received from Music Reports Inc. on behalf of Amazon. They asked what the notices meant and if they were legit.

I am sharing my post, which was shared to a number of other music industry groups:

In the last couple of days, several of you have posted about receiving a notice from Music Reports Inc. and questioned whether or not you should act on the letter.

Let me clarify what you’re receiving, why you’re receiving them, and what you should do about it.

The short answer: Unless your client is signed to a major music publisher or major indie (e.g. Kobalt) OPT IN TO ALL DIRECT LICENSES!

Who is sending these notices?

Music licensing clearing houses such as Music Reports Inc. and the Harry Fox Agency (via it’s service Rumblefish) are hired by digital music services (including the big ones like Amazon, Apple, and Spotify; as well as hundreds of small startups like what musically was but is now TikTok) to help the digital service to secure proper licenses (compulsory or direct) to use music in their service, to calculate royalties, and to make payments and remit statements to the proper copyright owners.

What are you receiving?

What you are receiving are opportunities to opt-in to a predetermined (generally nonnegotiable) direct license, alongside every other non-major / non-major-indie publisher in the world, to license your copyrights to a digital platform within the United States (sometimes the deal is worldwide, which can be problematic, but I don’t want complicate this post). There are also Section 115 NOIs, which goes out for every track released on a DSP for the US mechanical license for the underlying composition (this process is being disrupted by the Mechanical License Collective beginning Jan 1, 2021).

Why are you receiving the notice?

You’re receiving the notice because the agent has your information as the copyright owner (or authorized agent of the copyright owner) for copyrights (generally compositions) that have been matched to sound recordings that the digital service either already has or has access to. THIS IS A GOOD THING. This means that the digital service, via their agent’s (MRI, HFA, etc) database of song ownership information, knows who to pay once the copyright begins to earn royalties (or in the case of a one-time payment, they know who to pay from the pro rata advance pool). The flip side is if they do not have your ownership info, the copyright would not be properly licensed and the creators would not be paid — the royalties earned against their copyright would go into the so-called “black box” or the content will be blocked from the service altogether (e.g. notice that your music isn’t on or monetized on Facebook, Instagram, and Oculus?). Also, if the agent does not have your info for certain uses covered by Section 115 of the US Copyright Act, the notice is currently being remitted to the US Copyright Office.

How do you respond?

Review the license and decide if you want to opt-in or not. For most copyright owners, opting in is really your only shot at being licensed by the service. Up-and-coming artists are not going to be able to do a separate direct license with the service as the service has zero incentive to administer a separate agreement with you. They will do a deal with the major publishers and major-indie publishers and a unicorn artist here or there.

How to make sure that your contact information is readily available to these agents to ensure that they can contact you with licensing opportunities and have your payee info for royalties?

You can hire a pub admin (they’ll earn a 15% to 25% commission on all royalties collected) or you can do it yourself and keep 100% of your royalties in North America via TuneRegistry. See this article as an example of DIY.

How To Get A Facebook, Instagram and Oculus Direct License For DIY Musicians & Indie Publishers

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Facebook has been undoubtedly one of the music industry’s biggest missed opportunity for monetization in recent years. With billions of users consuming millions of hours of video on Facebook and Instagram, which embodies sound recordings and compositions, the thought of Facebook rolling out monetization to independent songwriters and publishers makes us giddy!

Well, we are happy to report that that day has finally arrived! Read the story.

[Podcast] Copyright Clearance Center Adds Recording Of “View From The Top: The Future Of Machine-To-Machine Rights Management” Panel Discussion From RightsTech Summit 2017 To Its Beyond The Book Podcast

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“View From The Top: The Future Of Machine-To-Machine Rights Management” panel at RightsTech Summit in New York

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Left to Right: Dae Bogan (CEO, TuneRegistry), Benji Rogers (CEO, dotBlockchain Music), Michael S. Simon (President of Rumblefish & CEO of Harry Fox Agency), Michael Shanley (Vice President of IT Business Development, Music Reports)

Machine-to-machine communication is the ideal scenario if we want to enable on a global scale, with as little friction as possible and at a reasonable cost, the licensing of works and the payment of royalties to rightsholders.  That at least is the stated premise for a recent discussion at the annual RightsTech Summit conference.

But how far have we come?  How close are we to achieving a digitized business environment for rights and royalties that is as fully realized as we see today in media distribution and consumption? Until code entirely does away with contracts will human beings will continue to add a value that no machine ever can?

“I think all of this starts with a human being. No matter what technology we apply to these systems, if a person doesn’t know how to interact or create the data that they need to disseminate, it’s just not going to get there,” said Michael Shanley of Music Reports. Technology evolves all the time, and I think we’re getting to great places in technology.  But education and information is, I think, paramount.”

Panelists for the session moderated by CCC’s Chris Kenneally included Dae Bogan co-founder & CEO of TuneRegistry, a music and rights metadata management platform; Benji Rogers, a British-born, New York-based entrepreneur, who co-founded the Dot Blockchain Music Project, an attempt to create a de-centralized global registry of music rights using blockchain technology; Michael S. Simon, President of Rumblefish, a world leader in music micro-licensing and YouTube monetization and also CEO of the Harry Fox Agency LLC, the nation’s leading provider of rights management, licensing and royalty services for the music industry; and Michael Shanley, Vice President of IT Business Development at Music Reports, developers of proprietary databases and software applications that facilitate music rights administration.

Listen here.

podcast

Dae Bogan To Speak At Copyright & Technology Conference – January 17 – New York, NY

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Conference Program

January 17, 2018

Fordham University School of Law, Lincoln Center Campus, New York, NY

Copyright and Technology NYC 2018 is the ninth annual one-day conference that focuses on the dramatic and fast-moving influences that technology has on copyright in the digital age. We are the unique forum where technologists, attorneys, media industry people, and public policy decision makers get together in the same room for intelligent dialog over current hot topics related to copyright and technology.

Copyright and Technology NYC 2018 will offer New York State CLE credit for afternoon panels.

1:15 – 2:15 pm

Match Game: The Problem of Matching Music Recordings to Compositions

The dramatic growth of streaming has exposed an Achilles’ Heel in the music industry: matching sound recordings to their underlying musical compositions.  Music services face challenges in determining which songwriters and music publishers they should pay royalties for the tracks they stream for their users. Accurate linking of sound recordings to compositions has proven problematic: it has led to controversies and lawsuits as well as opportunities for technological solutions. We’ll discover the state of the art in technology as well as industry-level attempts to solve this growing problem.

  • Moderator: Paul Jessop, Founder, County Analytics
  • Michael Simon, President, Rumblefish and CEO, Harry Fox Agency
  • John Mancini, Partner, Mayer Brown
  • Dae Bogan, Co-founder & CEO, TuneRegistry and Founder & Chief Researcher, Royalty Claim

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https://copyrightandtechconf.com/

Royalty Claim Pre-launch Is Just 7 Days Away!

Unclaimed Royalties Database

The Royalty Claim researchers and data scientists (aka “nerds”) are racing against the clock to finalize the processing of several million remaining records of unclaimed royalties and music licenses so that you and thousands of music creators and rights-holders like you can search and find potential entitlements.

Plainly, we’re trying to get you paid!

With an estimated over $2.5bn in unclaimed royalties sitting on the YUGE greater music industry table, there is no better time to shine a light on the inefficient royalty payment ecosystem than now. Royalty Claim’s Unclaimed Royalties database currently has tens of thousands of payees (individuals and entities) to which royalties are due (from Pandora, SiruisXM, Music Choice, iHeartRadio, and over 2,000 other webcasters, digital radio platforms, and foreign companies). If you’ve ever had music on digital (Internet, satellite, cable, retail music transmission), you may have royalties waiting for you.

We are happy to announce that, with the assistance of our cousin company TuneRegistry,  rights administrators such as Harry Fox Agency(represents Spotify, Apple, Napster f/k/a Rhapsody, The Orchard and 7Digital), Music Reports Inc. (represents Amazon, Microsoft and iHeart Media), and Loudr (represents CD Baby and Distrokid) have come on-board to cooperate with our Section 115 NOI claiming process and help match over 40 million outstanding NOIs with copyright owners. (In simple terms, when a copyright owner finds a Notice of Intention in Royalty Claim and completes the claim process, they may unlock back royalties owed to the copyright owner by digital music services and open the flow of future royalties.)

SO, WHAT’S NEXT?

Royalty Claim will pre-launch on August 10th. This is for anyone who pre-registered at www.royaltyclaim.com/comingsoon.

Those who’ve pre-registered will be able to secure a Life-time Standard Subscription to Royalty Claim for only $150 (in comparison, a monthly Standard subscription is $15 per month or $180 per year). You will receive an email the morning of August 10th with instructions on how to obtain this limited offer.

Royalty Claim’s official launch will be on September 1st. At that point, anyone can join for FREE or choose any of the premium plans on http://www.royaltyclaim.com.

Please spread the world. Our official hashtag is #UnlockMyRoyalties

Tweet and Post: So excited for the launch of @RoyaltyClaim and access to over 40 MILLION records of unclaimed music royalties & licenses. #UnlockMyRoyalties

 

Learn More

 

Upcoming Event in Los Angeles

Royalty Claim’s Founder & Chief Researcher, Dae Bogan, will be presenting our The State of Unclaimed Royalties & Music Licenses report on Friday, August 11th at the Music Industry Research Association’s MIRA Conference at the University of California, Los Angeles. Details at www.themira.org

 

Infograph: Understanding U.S. Music Royalties

The Music Business Association (Music Biz) published an infographic, “Music Royalties USA Quick Start Guide,” which gives songwriters and performing musicians a simple way to understand the complex framework they must navigate to receive proper payment for their work.

Click to enlarge and download.

Click to enlarge and download.

The document illustrates how royalties are handled for songwriters, publishers, and performers in various media, such as Physical Products and Download Sales, Radio & TV, Satellite & Cable Radio, Non-Interactive Streaming Radio, On-Demand Streaming Music Services, and Synchronization – Movies, TV, Games, Etc. The infographic also explains some of the more misunderstood jargon related to royalties and tells songwriters, publishers, and performers exactly which entities they need to register with.
“Because the rules governing music royalties are so complex and differ so greatly from one medium to another, many artists are leaving a significant amount of money on the table without even knowing it,” said Bill Wilson, Vice President of Digital Strategy and Business Development at Music Biz. “This infographic arms songwriters, publishers, and performers with the knowledge they need to ensure they get everything they are owed, allowing them to get back to what they do best: making music. We’d also like to thank our Affiliate Partners ASCAP, BMI, The Harry Fox Agency (HFA), The Recording Academy, SESAC, and SoundExchange, who all helped review the infographic to ensure it fully captured the process.”

The “Music Royalties USA Quick Start Guide” is the latest in a series of informational infographics that affirm Music Biz’s commitment to the artist community by providing vital information needed to understand how the music industry works and tips to get the most out of the services available to them. Previous entries include the “Global Music Licensing Quick Start Guide,” “SEO for Music Websites,” the “Artist Website Toolkit,” and more.

The infographic is available for free and can be viewed as a JPG or PDF.

Source: http://musicbiz.org/press-releases/music-biz-decodes-u-s-music-royalties-new-infographic/

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