Copyright Royalty Board

Last updated

The Copyright Royalty Board (CRB) is a U.S. system of three copyright royalty judges who determine rates and terms for copyright statutory licenses and make determinations on distribution of statutory license royalties collected by the U.S. Copyright Office of the Library of Congress. The board, made up of three permanent copyright royalty judges, was created under the Copyright Royalty and Distribution Reform Act of 2004, which became effective on May 31, 2005, when the Copyright Arbitration Royalty Panel system was phased out. These administrative judges are appointed by the Librarian of Congress.

Contents

May 2007 webcasting royalty increase

On May 1, 2007, after 48 days of oral testimony (and 13,288 pages of written testimony), the Copyright Royalty Board set new rates for webcasting for the 2006–2010 License Period. [1] The rates are higher than the then-existing royalties paid for non-interactive webcasting. One component of rate increase was to remove the cap on the per-station/channel minimum fee of USD $500, which used to be $2,500. [2]

The law requires rates to be based on the price that would be set by a marketplace of willing sellers and willing buyers. Much of the discussion focused on the definition of "willing seller". The Board decided that an individual record company was the basic unit of a "willing seller".

An issue that smaller webcasters raised was the desire to be assured that their fees would not exceed their revenue. The Board rejected this reasoning in their final decision because the ability of smaller stations to generate revenue from their operations has little or no bearing on the market value of the rights held by the copyright holders.

A coalition of webcasters that included National Public Radio (NPR) joined together to request a rehearing on the increase in rates. On April 16, 2007, the CRB rejected the appeal on the grounds that no new evidence was introduced. [3] [4]

License fee rates

Commercial webcasters, per play, per listener rate [5]

Year20062007200820092010
Rate (dollars)0.00080.00110.00140.00180.0019

There is a minimum annual fee of $500 per channel or station, payable in advance, against the above per-play fees.

For example, under the 2007 rate, 100 unique listeners of a transmission of a sound recording will cost the transmitter eleven cents. The same 100 listeners previously cost a service a little over seven-and-a-half cents from 1998 through 2005. If a service plays an average of 15 songs an hour, and a listener listens for 9.1 hours a week (the average amount according to recent Bridge reports), the listener would cost the service $0.66 a month.

Noncommercial webcasters [6]

Annual fee $500 per channel or station, up to a total of 159,140 aggregate tuning hours (ATH) per month. After this, the per-play rate for commercial webcasters applies. etc.

See also

Related Research Articles

A private copying levy is a government-mandated scheme in which a special tax or levy is charged on purchases of recordable media. Such taxes are in place in various countries and the income is typically allocated to the developers of "content".

A performance rights organisation (PRO), also known as a performing rights society, provides intermediary functions, particularly collection of royalties, between copyright holders and parties who wish to use copyrighted works publicly in locations such as shopping and dining venues. Legal consumer purchase of works, such as buying CDs from a music store, confer private performance rights. PROs usually only collect royalties when use of a work is incidental to an organisation's purpose. Royalties for works essential to an organisation's purpose, such as theaters and radio, are usually negotiated directly with the rights holder. The interest of the organisations varies: many have the sole focus of musical works, while others may also encompass works and authors for audiovisual, drama, literature, or the visual arts.

<span class="mw-page-title-main">PRS for Music</span> British music rights society

PRS for Music Limited is a British music copyright collective, made up of two collection societies: the Mechanical-Copyright Protection Society (MCPS) and the Performing Right Society (PRS). It undertakes collective rights management for musical works on behalf of its 160,000 members. PRS for Music was formed in 1997 following the MCPS-PRS Alliance. In 2009, PRS and MCPS-PRS Alliance realigned their brands and became PRS for Music.

A royalty payment is a payment made by one party to another that owns a particular asset, for the right to ongoing use of that asset. Royalties are typically agreed upon as a percentage of gross or net revenues derived from the use of an asset or a fixed price per unit sold of an item of such, but there are also other modes and metrics of compensation. A royalty interest is the right to collect a stream of future royalty payments.

<i>SCO Group, Inc. v. Novell, Inc.</i>

SCO v. Novell was a United States lawsuit in which the software company The SCO Group (SCO), claimed ownership of the source code for the Unix operating system. SCO sought to have the court declare that SCO owned the rights to the Unix code, including the copyrights, and that Novell had committed slander of title by asserting a rival claim to ownership of the Unix copyrights. Separately, SCO was attempting to collect license fees from Linux end-users for Unix code through their SCOsource division, and Novell's rival ownership claim was a direct challenge to this initiative. Novell had been increasing their investments in and support of Linux at this time, and was opposed to SCO's attempts to collect license fees from Novell's potential customers.

Radio Paradise is a non-commercial listener-supported Internet radio station that helped to redefine the radio station for the internet era. It is known for high quality audio streams and curated playlists. The station is based in the United States but has a significant international audience, with many of the songs and station greetings on its "world" stream in multiple languages. The station is known familiarly as "RP".

LIVE365 is an Internet radio network which enables users to create their own online radio stations and listen to thousands of human curated stations. Online radio stations on the Live365 network were created and managed by music and talk enthusiasts, including both hobbyists and professional broadcasters. Live365 also has many well established AM and FM stations that use Live365 broadcasting platform to simulcast their terrestrial radio streams. The Live365 network also features radio stations from artists such as Johnny Cash, David Byrne, Pat Metheny, Jethro Tull, and Frank Zappa. Live365 was created in 1999, and remains one of the longest running internet radio websites for listeners and broadcasters.

Music licensing is the licensed use of copyrighted music. Music licensing is intended to ensure that the owners of copyrights on musical works are compensated for certain uses of their work. A purchaser has limited rights to use the work without a separate agreement.

Pandora is a subscription-based music streaming service owned by Sirius XM Holdings based in Oakland, California, United States. The service carries a focus on recommendations based on the "Music Genome Project" — a means of classifying individual songs by musical traits. The service originally launched in the consumer market as an internet radio service, which would generate personalized channels based on these traits and songs liked by the user; this service is available in an advertising-supported tier, and a subscription-based version. In 2017, the service launched Pandora Premium, an on-demand version of the service more in line with contemporary competitors.

The Copyright Arbitration Royalty Panel (CARP) system was a part of the United States Congress involved in making decisions regarding copyright royalties.

SoundExchange is an American non-profit collective rights management organization founded in 2003. It is the sole organization designated by the U.S. Congress to collect and distribute digital performance royalties for sound recordings. It pays featured and non-featured artists and master rights owners for the non-interactive use of sound recordings under the statutory licenses set forth in 17 U.S.C. § 112 and 17 U.S.C. § 114.

The Internet Radio Equality Act (IREA), originally introduced as H.R. 2060, is proposed legislation by Rep Jay Inslee (D) WA to nullify the May 1, 2007, determination of the Copyright Royalty Board (CRB) modifying the current webcast radio royalties and fees retroactively to January 1, 2006. The previous system charged radio stations a per performance rate of $0.000768, and it was that same rate from 1998-2005. The new system, effective May 1, 2007, increased that per-performance rate to the following levels: 2006=$0.0008, 2007=$0.0011, 2008=$0.0014, 2009=$0.0018, and 2010=$0.0019. This bill was introduced on April 26, 2007 by Rep. Jay Inslee (D-WA) and Rep. Donald Manzullo (R-IL) and has been cosponsored by over 100 members of the Congress. It was introduced in the Senate as S. 1353 on May 10 by Ron Wyden (D-OR) and Sam Brownback (R-KS). The bill's proponents claim that "the majority of webcasters will go bankrupt and silent" when the Copyright Royalty Board's decision takes effect unless the bill passes.

<span class="mw-page-title-main">Internet radio</span> Digital audio service transmitted via the Internet

Online radio is a digital audio service transmitted via the Internet. Broadcasting on the Internet is usually referred to as webcasting since it is not transmitted broadly through wireless means. It can either be used as a stand-alone device running through the Internet, or as a software running through a single computer.

SomaFM is an independent Internet-only streaming multi-channel radio station, supported entirely with donations from listeners. SomaFM originally started broadcasting out of founder Rusty Hodge's basement garage in the Bernal Heights neighborhood of San Francisco, as a micropower radio station broadcast at the Burning Man festival in 1999. The response to the project was sufficiently positive that Rusty Hodge launched it as a full-time internet radio station in February 2000.

<span class="mw-page-title-main">DI.FM</span>

DI.FM is an Internet radio broadcaster consisting of over 90 channels dedicated to electronic music, such as house, trance, techno, drum and bass, and dubstep. DI.FM broadcasts handpicked selections consisting of classic, new and up-and-coming hits, as well as weekly and monthly mixed shows from professional DJs. It was founded in December 1999 as a hobby project by Ari Shohat in his Binghamton University dorm room and was one of the first Internet radio stations. It has often been listed as one of the top internet radio stations.

RadioIO is a New York–based internet radio and streaming media service owned by RadioIO, Inc. (RAIO) started in 1998. It was the first Internet radio company to be publicly traded.

<span class="mw-page-title-main">Music Reports</span>

Music Reports provides music rights licensing, administration, royalty accounting, and software development and hosting. Music Reports operates the largest registry of worldwide music rights and related business information.

<span class="mw-page-title-main">Digital Performance Right in Sound Recordings Act</span>

The Digital Performance Right in Sound Recordings Act of 1995 (DPRA) is a United States Copyright law that grants owners of a copyright in sound recordings an exclusive right “to perform the copyrighted work publicly by means of a digital audio transmission.” The DPRA was enacted in response to the absence of a performance right for sound recordings in the Copyright Act of 1976 and a fear that digital technology would stand in for sales of physical records. The performance right for sound recordings under the DPRA is limited to transmissions over a digital transmission, so it is not as expansive as the performance right for other types of copyrighted works. The Digital Millennium Copyright Act (DMCA), enacted in 1998, modified the DPRA.

<i>Arista Records, LLC v. Launch Media, Inc</i> American legal case

Arista Records, LLC v. LAUNCH Media, Inc., 578 F.3d 148, is a legal case brought by Arista Records, LLC, Bad Boy Records, BMG Music, and Zomba Recording LLC alleging that the webcasting service provided by LAUNCH Media, Inc. ("Launch") willfully infringed BMG's sound recording copyrights. The lawsuit concerns the scope of the statutory term "interactive service" codified in 17 U.S.C. § 114, as amended by the Digital Millennium Copyright Act of 1998 ("DMCA"). If the webcasting service is an interactive service, Launch would be required to pay individual licensing fees to BMG's sound recording copyright holders; otherwise, Launch only need to pay "a statutory licensing fee set by the Copyright Royalty Board."

<i>United States v. ASCAP</i> American legal case

United States v. American Society of Composers, Authors and Publishers (ASCAP) et al., No. 09-0539, 2010 WL 3749292, was a United States Court of Appeals case involving copyright liability for third-party vendors that provide online music download services. In particular, the Second Circuit ruled that music downloads do not constitute public performances, upholding the district court's decision and consequently preventing ASCAP from claiming higher royalty fees from Yahoo! and RealNetworks for downloaded music. However, the Second Circuit disagreed with the district court's method of fee assessment and remanded the case for further proceedings. ASCAP appealed the decision and requested a writ of certiorari for judicial review in the Supreme Court.

References

  1. "Mar 6, 2007 web increases" (PDF).
  2. Jacqui Cheng (2007-03-20). "NPR fights back, seeks rehearing on Internet radio royalty increases" . Retrieved 2007-04-17.
  3. Eric Bangeman (2007-04-16). "Internet radio dealt severe blow as Copyright Board rejects appeal" . Retrieved 2007-04-17.
  4. Mark Hefflinger (2007-04-16). "Copyright Judges Reject Webcaster Appeals on New Royalty Rates". Archived from the original on 2007-09-27. Retrieved 2007-04-19.
  5. "Mar 6, 2007 commercial rates on page 47" (PDF).
  6. "Mar 6, 2007 non-commercial rates on page 61 and 62" (PDF).