Clear new legislation highlights how much music and technology need each other.

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On April 10, 2018, the U.S. house of representatives held a new comprehensive bill on music.
Last year, from spring to summer, two organizations – Nashville songwriter international association (NSAI) and the national music publishers association (NMPA) – to the copyright licensing committee put forward the company, Apple, Google, Amazon and Pandora not when people spread their work enough to pay the songwriter, this is NMPA chief David Israel compared to the process of “war”. The music and the recording of the songs legally separated by “machine” license plate cover, there are about 100 years of history, the term originally refers to the clock in copy songs, piano players will use it to keep sarsaparilla joint fluctuations, but now just means any copy works, including listening to the streaming media service.
In the United States, music licensing the huge knot is special spaghetti, like the manipulator, the manipulator is science and technology with the existing music industry tug of war between the front and center, because people first started to thumb up and down in the Internet radio.
But now, after a year, a songwriter and streaming media platform was sitting in the same side of the table, claim to support a new legislation that will update music how to treat a few Byzantine legal areas – is one of the most important songwriter way to pay a new era in the field of streaming media.
On Tuesday, the outgoing house judiciary committee chairman, Bob Goodlatte (r-va.) And Jerry Nadler (D – NY), bipartisan panel on Tuesday proposed and passed by the house judiciary committee unanimously “music comprehensive law” is the first important work for about 20 years, the lawmaking of music have gone through the prayer. Its core is the recognition of the almost indivisible relationship between the music industry and the streaming companies.
“The federal and state courts have had mixed results in a variety of ways, due to the lack of laws and loopholes,” the house said in a statement. “This puts the rights of music creators at risk and creates uncertainty for digital streaming services.”
As NPR has previously reported, the bill will create a public portfolio database of works that they have, who they are and who will manage them. It will be through the establishment of a new ngo called authorized collective music to complete, but the rumor was eventually named SongExchange, also in SoundExchange sister) to run the database, made up of a representative of the main board publishing company and songwriter. The agreement between technology and the music industry is that technology companies will agree to urgently needed statutory changes (discussed below) and to pay for the creation and management of new databases; In exchange, the companies will receive a blanket licence to prevent them from being sued for billions of dollars in lawsuits, first of all to ensure the rights of these works.
[disclosure: NPR’s public policy office – completely separate from the editorial department – has been actively lobbying for this legislation.]
Richard burgess, chief executive of the American independent music association (A2IM), said the multi-billion-dollar lawsuit was ultimately ineffective and represented the independent record label. This particular effort is impressive because everyone is prepared to compromise and give up minor differences in order to realize that everyone has a bigger victory. ”
“This is a question that congress has asked us,” wrote Daryl Friedman, an industry and government relations officer at the recording academy, which is the parent organization of the Grammy awards, which is responsible for Hill’s music publicity. “In the past few years launched a number of different music bills, for different creators classification, they hope that we can together and reach a consensus, presents the key problems of the whole music industry may lag behind.”
Music blanket bill besides using has introduced modern music (and name), most of the also includes three other legislation: the distribution of the music producer (AMP), compensating for traditional artists, services, and the important contribution to the society (or CLASSICS, this is the abbreviation of lawmakers could reach) and Songwriter Equity behavior. This is a quick review of the objectives of these bills:
AMP: provides statutory framework for distribution of royalties to producers and engineers.
CLASSICS: overcome a loophole that allows digital broadcasters such as Sirius XM not to pay for songs recorded before 1972.
Song author equity law: allows a copyright royalty committee judge to consider market conditions when setting rates (so-called “willing buyers, voluntary sellers”). In addition, the court proceedings of ASCAP and BMI will introduce the “wheel” mechanism to prevent them from debating their case in front of the same judge.
The essence of the CLASSICS and Equity act is the technology industry’s franchise, which has not been passed, because they eventually lead to higher licensing costs. But for these companies, the bigger victory is the lack of roadblocks ahead of the growing popularity of streaming media (the model is not yet profitable).
“Our industry has two consecutive double-digit growth years, and we expect this growth to continue,” burgess said.
“We are not going to get this, but because both sides are willing to negotiate,” said DiMA’s harrison, whose organization represents the interests of companies that have nothing to do with songwriters. -his clients want to pay less, and songwriters want to do more. “I think this is the success of streaming, everyone realized that this is the way people going to music consumption, if we have a system is broken, it will cut investment, and will delay the consumers, this means that at the end of the day, everyone will be reduced. ”
“It is impossible for either party to surpass the other in the legislative process,” said David Israelite, President and chief executive of NMPA. “I use that information to the other side, the look, if we can reach an agreement, we can through some things, if not, we both can dig each other and against each other.”
“Not everyone is 100% in love with every rule,” says A2IM’s burgess. “There must be something people are worried about.”
Some of these concerns including issued a “black box”, this means that if the company or any other streaming media company couldn’t find a song it should pay for the author, they invest the money in three years “interest-bearing account”. The black boxes will then be distributed to publishers based on their market share, raising the possibility that large companies will fund those with the lowest visibility. Another is the music delegation of representatives of the collective board of directors – 10 of whom will be representatives of the publishing company, and four will be songwriters.
Since the beginning of the new century, technology companies and the music industry have been in an unbalanced dance. Because the music industry in the late 90 s has been in the unstable state, control the way people listen to music (as usual), a new generation arrived and its control into pieces, just like a Daisy in an alarm clock pit. The music industry has responded to this digital generation with its due response, and has tried to listen intently to the people of all countries during this time, as their incomes have been hit. Company’s current billionaire co-founder and chief executive Daniel Ek even had to steal Their music and present it to them, to prove to them that his small startups can work in Sweden.
Now that it has popularized the business model, it has overcome doubts, scandals and lawsuits, and the rest is just figuring out the future. And, for now at least, they have to do it together.

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