Re:Sound is the non-profit performance rights organization in Canada that collects and administers Neighbouring Rights royalties on behalf of recording artists, including featured artists and session musicians and record labels in Canada.Re:Sound was founded in 1997 and in French is referred to as Ré:Sonne.
Canada is a country in the northern part of North America. Its ten provinces and three territories extend from the Atlantic to the Pacific and northward into the Arctic Ocean, covering 9.98 million square kilometres, making it the world's second-largest country by total area. Its southern border with the United States, stretching some 8,891 kilometres (5,525 mi), is the world's longest bi-national land border. Canada's capital is Ottawa, and its three largest metropolitan areas are Toronto, Montreal, and Vancouver.
In copyright law, related rights are the rights of a creative work not connected with the work's actual author. It is used in opposition to the term "authors' rights". Neighbouring rights is a more literal translation of the original French droits voisins. Both authors' rights and related rights are copyrights in the sense of English or U.S. law.
Re:Sound licenses recorded music to businesses across many industries, including radio stations, satellite radio, digital music services, nightclubs, bars, restaurants, retail establishments and others. The royalties that are collected from licence fees are distributed to the recording artists and record labels that create the music that is used by these businesses.
Following Canada's Copyright Act, Re:Sound files tariffs before the Copyright Board of Canada on behalf or recording artists and record labels, contacts and grants licences to all Canadian commercial radio broadcasters, businesses using recorded music and background music suppliers. Re:Sound also works with similar organisations around the world to collect royalties for Canadian music creators when their intellectual property is used in other jurisdictions.
Once a tariff is certified by the Copyright Board and the tariff rates and regulations have been established by the Board. Re:Sound can begin to make contact with businesses across Canada to notify them of their possible obligations under a new tariff.
Re:Sound licences are "blanket" licences, which mean that businesses can use as much music as they wish. This eliminates the need for a business to clear large numbers of recordings with individual rights holders.
Re:Sound currently licenses businesses under tariffs for Commercial Radio, CBC Radio, Pay Audio, Background Music (restaurants, bars, retail establishments, etc.), Satellite Radio, Live Events (conference centres, hotels, karaoke bars, etc.), Dance (nightclubs, adult entertainment establishments, etc.), Fitness Activities (gyms, fitness clubs, classes, etc.)
Re:Sound keeps track of millions of pieces of data from Canadian commercial radio stations, satellite radio, pay audio, CBC and others. After processing and summarizing, the data is used in the distribution of royalties to the artists. Royalties collected are distributed equally between artists and record companies less only actual costs (under 15%).
Re:Sound has 3 performer and 2 maker member organizations:
Broadcast Music, Inc. (BMI) is one of four United States performing rights organizations, along with the ASCAP, SESAC, Pro Music Rights, and Global Music Rights. It collects license fees on behalf of songwriters, composers, and music publishers and distributes them as royalties to those members whose works have been performed. In FY 2018, BMI collected $1.199 billion in licensing fees and distributed $1.12 billion in royalties. BMI's repertoire includes over 900,000 songwriters and 14 million compositions.
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".
Copyrights can either be licensed or assigned by the owner of the copyright. A copyright collective is a body created by copyright law or private agreement which licenses copyrighted works on behalf of the authors and engages in collective rights management. Copyright societies track all the events and venues where copyrighted works are used and ensure that the copyright holders listed with the society are remunerated for such usage. The copyright society publishes its own tariff scheme on its websites and collects a nominal administrative fee on every transaction.
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.
PRS for Music Limited is the UK's leading collection society, bringing together 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 140,000 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 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.
Music Canada is a Toronto-based, non-profit trade organization that was founded 9 April 1963 to represent the interests of companies that record, manufacture, produce, promote and distribute music in Canada. It also offers benefits to some of Canada's leading independent record labels and distributors.
The copyright law of Canada governs the legally enforceable rights to creative and artistic works under the laws of Canada. Canada passed its first colonial copyright statute in 1832 but was subject to imperial copyright law established by Britain until 1921. Current copyright law was established by the Copyright Act of Canada which was first passed in 1921 and substantially amended in 1988, 1997, and 2012. All powers to legislate copyright law are in the jurisdiction of the Parliament of Canada by virtue of section 91(23) of the Constitution Act, 1867.
The Audio Home Recording Act of 1992 (AHRA) amended the United States copyright law by adding Chapter 10, "Digital Audio Recording Devices and Media". The act enabled the release of recordable digital formats such as Sony and Philips' Digital Audio Tape without fear of contributory infringement lawsuits.
A compulsory license provides that the owner of a patent or copyright licenses the use of their rights against payment either set by law or determined through some form of adjudication or arbitration. In essence, under a compulsory license, an individual or company seeking to use another's intellectual property can do so without seeking the rights holder's consent, and pays the rights holder a set fee for the license. This is an exception to the general rule under intellectual property laws that the intellectual property owner enjoys exclusive rights that it may license – or decline to license – to others.
APRA AMCOS consists of Australasian Performing Right Association (APRA) and Australasian Mechanical Copyright Owners Society (AMCOS), both not-for-profit copyright collectives which jointly represent over 47,000 composers, lyricists and music publishers in Australia and New Zealand. The two organisations work together to license public performances and administer communication rights on behalf of their members, who are creators of musical works, aiming to ensure fair payments to members and to defend their rights under the Australian Copyright Act (1968).
The Copyright Board of Canada is an economic regulatory body empowered to establish, either mandatorily or at the request of an interested party, the royalties to be paid for the use of copyrighted works, when the administration of such copyright is entrusted to a collective-administration society. The Board also has the right to supervise agreements between users and licensing bodies and issues licences when the copyright owner cannot be located.
PPL UK, Phonographic Performance Limited, is a UK-based music licensing company and performance rights organisation founded by Decca and EMI in 1934. As of 2019 PPL collected royalties for over 100,000 performers and recording rightsholders.
SoundExchange is a non-profit collective rights management organization. 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 Canadian Musical Reproduction Rights Agency Ltd. (CMRRA) is a music licensing agency based in Toronto, Ontario, Canada. Founded in 1975, CMRRA is a music licensing collective representing music rightsholders who range in size from large multinational music publishers to individual songwriters. On their behalf, CMRRA issues licences to individuals or organizations for the reproduction of songs on various media.
An Internet radio license is a specific type of broadcast license that allows the licensee to operate an Internet radio station. The licensing authority and number of licenses required varies from country to country, with some countries requiring multiple to cover various areas of a station's operation, and other countries not having stringent licensing procedures in place. Licensing costs also vary, based on the number of listeners that a station has, as well as other factors such as the number of songs played, the number of broadcast hours, and whether tracks are dubbed to a digital playout system.
Music Reports serves individuals and organizations seeking expertise and solutions in 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.
Collective rights management is the licensing of copyright and related rights by organisations acting on behalf of rights owners. Collective management organisations, such as collecting societies, typically represent groups of copyright and related rights owners, such as authors, composers, publishers, writers, photographers, musicians and performers. At the least, copyright owners authorize collective rights management organizations to monitor the use of their works, negotiate licenses with prospective users, collect remuneration for use of copyrighted works, ensuring a fair distribution of such remuneration amongst copyright owners. Governmental Supervision varies across jurisdictions, from being limited to antitrust regulation in the United States to sectoral regulators in jurisdictions like the EU, India.
Collection administration of copyrights describes the use in Canadian law of collective societies to manage licenses for copyrighted material belonging to more than one copyright owner. These collective societies are responsible for granting permission to use the works they manage and setting out what conditions users of their works must follow. Examples of collective societies in Canada include: Christian Video Licensing International and the Canadian Broadcasters Rights Agency