Musik, licenser och podcastsändningar

Postat: 2005-05-24 kl. 15.36

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Collegiate Broadcasters utreder om upphovsrättsreglerna runt podcasting:

Copyright law protects musical and spoken compositions, or "works"; the performance of a work preserved in a sound recording; and the sound recording itself. Podcasting implicates these in three ways: the performance of a work; the playing of a sound recording of a performance; and the reproduction of a sound recording by incorporating it into a podcast. The law is well-settled only as to the first of these.

1. Musical works. Performance rights organizations (ASCAP, BMI and SESAC) handle copyright licenses for the performance of musical works, including their performance in a podcast. Separate licenses are necessary from each performance rights organization because each company represents different publishers of composers' musical works.
2. Sound recordings. Copyright licenses for the playing (or "performance") of sound recordings historically have been handled directly with the owners of the works, usually record companies. (Over-the-air broadcasters are not required to obtain copyright licenses for playing sound recordings. They must, however, hold licenses for playing the underlying musical works.) Under amendments to the Copyright Act in 1995 and 1999, a statutory license scheme was enacted for the digital transmission of musical works and sound recordings. However, the statutory licenses reflect the technology of the times. The 1995 legislation covered downloadable music files, such as the commercial sale from a web site of an MP3 file. The 1999 act reached webcasting and streaming, both noninteractive activities that involve the transmission of a sound recording, but not the distribution of a reproduction of it.
3. Reproduction. By contrast to webcasting, a podcast may include a reproduction of a sound recording. Podcasting is an interactive activity. It results in the transmission of a sound recording which is fixed and is accessible on demand by the user. The reproduction requires clearances or licenses - for the sound recording, and for the musical work. Although the performance rights societies offer licenses to cover the musical works in a podcast, no uniform or industry-wide licensing scheme has developed yet to cover the sound recording.

Collegiate Broadcasters, Inc. Podcasting Music - The legal implications (2005-03-08)

Andra artiklar i ämnet:

ASCAP updated its Internet licensing to reference podcasts — oh, excuse me, pod-casts — last week. The move may have been intended to answer some questions as to the legality of using music in podcasts, but, as with the webcasting era, it left a lot of people scratching their heads. Is this all we need, just a $288 license to this agency, to be covered through 2005?

Well, there’s some bad news. The truth is that, no, that’s not everything. In fact, the landscape for music licensing is even more confusing than most people would imagine, and it at times consists of entities who may not even want to sell you a license. Here, I try to break them down.

bestkungfu Podcasting, music and the law (2005-02-15)

ASCAP Asst. Vice President for New Media & Technology Matt DeFillipis tells CDM: "Podcasting was not a deliberate inclusion in ASCAP's current license agreements. Rather, it is simply one of the many ways music -- and ASCAP's members' music in particular -- may be transmitted to the public, which the US Copyright Law defines as a public performance for which authorization is required from copyright owners or their licensing organization."

create digital music ASCAP's Podcast Fees Nominal; Legal Licensing Still Complex (2005-03-08)

Podcastsändning i ämnet:

How to Podcast RIAA Music Under License

My thoughts on the subject above in the form of a podcast.

Lextext How to Podcast RIAA Music Under License (2005-01-04)

Rättigheter i USA

Det finns olika rättigheter som berör podcasting.

Framföranderätt

Framförande kan i det här fallet betyda livespelad, uppspelad från skiva och så vidare.

Reproduktionsrätt

Rätt att tillåta mekaniska rättigheter.

Mekanisk rätt

Rätten att göra kopior av musik någon annan håller rättigheterna till och släppa den.

Synkroniseringsrätt

Rätten att tonsätta bilder och annat material, synkroniserat med materialet.

Licensgivare i USA

Tonsättare

1. BMI: BMI and Podcasting
2. ASCAP: Internet Licence Agreements
3. SESAC: Internet Licensing

Skivbolag

1. SoundExchange: Licensing 101
2. HFA: Licensing through HFA

Licensgivare i Sverige

1. STIM: Kompositörer, arrangörer och textförfattare
2. SAMI: Artister och musiker
3. IFPI: Skivbolag

STIM:s tariffer

Maximalt antal samtidiga lyssnare*	Musikmängd < 2000 tim/år	Musikmängd 2001 - 6000 tim/år	Musikmängd > 6000 tim/år
< 500	500 kr/mån	750 kr/mån	1 000 kr/mån
501 - 1 000	750 kr/mån	1 250 kr/mån	1 750 kr/mån
1 001 - 3 000	1 000 kr/mån	1 750 kr/mån	2 500 kr/mån
> 3 000	Avtalas särskilt	Avtalas särskilt	Avtalas särskilt

STIM Internetradiotariff (2004-09-29)

Musikmängd	Antal samtidigt möjliga lyssnare
Kr per månad
	0 - 500	501 - 1 000	1 001 - 3 000	> 3 000
0 - 20 min	200	220	240	Avt. särsk.
21 - 60 min	500	550	600
1 - 2h	750	825	900
2 - 6h	1 000	1 100	1 200
6 - 12h	1 500	1 650	1 800
12 - 25h	2 000	2 200	2 400
25 - 50h	2 500	2 750	3 000
50 - 75h	3 000	3 300	3 600
75 - 100h	3 500	3 850	4 200
100 - 200h	4 000	4 400	4 800
> - 200h	Avtalas särskilt

STIM Streaming on Demand (STROD) 1 - Minimitariff 2004 (2005-01-04)