I recently had the opportunity to review and comment on two
producer contracts. One was a full length document from a mid-level Nashville
producer, while the other was a shorter deal-memo on behalf of a Grammy Award
winner. In both instances the producer demanded
a share of the revenue stream generated by SoundExchange; and for both artists,
my first task was to explain what SoundExchange actually does.
Most of us are familiar with the basic Performing Rights Organizations
(PROs), BMI, ASCAP and SESAC. SoundExchange is yet another PRO, but unlike
BMI/ASCAP/SESAC which pay the owner of the composition, SoundExchange is linked
to the sound recording. In more technical terms, it collects for the digital
public performance of sound recordings, as provided for by the Digital
Performance Right in Sound Recording Act of 1995 and the Digital Millennium
Copyright Act of 1998.
Therefore, SoundExchange’s licensing collection, and member
distribution, is limited not only to the sound recording, but to the digital broadcast use of that
sound recording, distinct from typical terrestrial radio. Examples include fees
paid to play sound recordings over XM-Sirius satellite radio, internet radio
like Pandora, and internet streaming sites such as Spotify. The digital
statutory license fees are paid out by SoundExchange to the copyright
owner/record label (50%), the featured artist (45%) and non-featured session
players (5%).
The co-existence of BMI/ASCAP/SESAC and SoundExchange can be
confusing. It’s important to remember that terrestrial radio stations pay fees
to the owner of the composition copyright, but not for use of the sound
recording. Digital streamers and broadcasters, however, pay for both use of the
composition (BMI/ASCAP/SESAC) and the sound recording (SoundExchange). An artist
may share in more than one of these revenue streams depending on the specifics
of his/her business arrangements. Imagine an artist-owned record label that
owns the sound recording (SoundExchange 50%), a song written by the artist
(BMI/ASCAP/SESAC), and performed by the artist him or herself (SoundExchange
45%).
Concerning producer/artist contracts, it’s not uncommon for
the producer to seek a flat fee, paid in
scheduled installments; a royalty on units sold; and a percentage of the
artist’s SoundExchange Featured Artist income. A typical agreement might have
the artist execute and deliver to SoundExchange a letter of direction, allowing
the producer to receive his/her cut directly.
Above all, it’s necessary that a sound recording owner is
properly registered with SoundExchange, and that a schedule is submitted
itemizing the applicable masters. Businesses should be able to complete this
task themselves, or they may elect to delegate the process to legal counsel.
Naturally, this article is intended as general information, only, and not
specific legal advice. If you have questions, please feel free to contact me at (419) 243-6148 or lmeyer@mpdwlaw.com. Of course, more information is available at www.soundexchange.com.