Improved tracking – and therefore more accurate payments – is becoming a major issue with members of author’s rights societies worldwide. The US body Sesac is introducing tracking using Vericast, from BMAT, to more accurately track music usage for select publishers. BMAT uses real-time audio recognition to spot the tracks being used in advertising and radio, even recognising music under a voice-over or that has been put through effects. Traditionally, societies have had to rely on users declaring uses. But this is a cumbersome system to manage, the result being that most payments could best be described as “guesstimates”.

Systems such as BMAT, however, are expensive. This is probably why Sesac in its press release says “Thousands of audio files from select SESAC publisher affiliates will be monitored across top broadcast and cable outlets”. In other words, they are focussing on the top earners from the top publishers at major media outlets. So although this will improve accuracy, it will most likely only do so for higher earners. For more details, visit Sesac and BMAT.

The MOFFOM Music on Film/Film on Music Minifest & Market will take place in Berlin on the original dates of the now cancelled Popkomm international music market. This event includes both a market part aiming at film and music professionals as well as a small film festival part targeting the broader audience of film and music aficionados.

Throughout the day of September 17, three panels will offer insights on soundtrack marketing strategies and the creative collaboration between filmmakers and musicians, as speakers like Mikkel Maltha (Zentropa), Andro Steinborn (NEU Filmproduktion), Thomas Jamois (Naïve Label) or Hannes Stöhr (“Berlin Calling”) share their experiences. The panels are moderated by John Groves (Vice President, Federation of Film & Audiovisual Composers of Europe – FFACE). For details, visit Just Temptation.

To discuss the issues of film and music, Just Temptation is organising the Music on Film/Film on Music (MOFFOM) Minifest & Market on the original dates of the now cancelled Popkomm international music market in Berlin. This event will include both a market part open to film and music professionals as well as a mini festival part targeting the broader audience of film and music aficionados.
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EMI Publishing has announced that it’s not going to be making its catalogue available at the new audio streaming rates for websites, that were recently published by the UK collection society PRS for Music. PRS recently cut its minimum stream rates from 0.22p to 0.085p last month, in a move that was intended to ease relationships with digital sites and YouTube in particular.

“We are not currently satisfied that the new rates – in particular the minima – proposed by PRS for Music for streaming services are appropriate”, said EMI Music Publishing’s general counsel for Europe Antony Bebawi.

In practical terms, this means that the company will itself adminster streaming services. It is regrettable that EMI Publishing and PRS did not come to a joint decision about rates. But on the other hand, the fact that digital companies were created on unrealistic rates is not really a valid argument for demanding reductions.

According to a report in the Financial Times, the EU is moving closer to its goal of enabling a EU-wide music licensing system. Recent comments from France’s performing rights society Sacem, which represents some 128,000 composers, lyricists and publishers, indicate that it is willing to allow other national counterparts to license its catalogue. Sacem is one of the staunchest defenders of writers’ rights, and its acceptance of an EU-wide licence would be a major step in that direction.There are serious concerns that competition in licensing will further weaken the value of music by putting increased pressure on prices.

Read the full article in The Financial Times. For news about Sacem, visit their website (in French and English).

In a move that is of significance for online music, the British music rights body has significantly reduced the royalty rate to be paid for streaming music. Under the new pricing plan, digital music sites will have to pay 0.085p for each track streamed, down from the previous rate of 0.22p. PRS, which negotiates song and lyrics licence fees for the public performance of music, has agreements with radio stations, television broadcasters and online music channels in the UK. It said that the new plan would “enable the digital market to grow”. There is a feeling that the cut may entice YouTube and popular Internet radio service Pandora back to the UK market, as they had blocked large catalogues of music when PRS started re-negotiating.

Andrew Shaw, managing director of broadcast and online at PRS for Music, said: “The Copyright Tribunal established the principle of a per-stream minimum to protect creators; maintaining this principle will ensure that writers, composers and music publishers continue to be rewarded every time their music is enjoyed. As new entrants join the market and existing providers expand, music creators will reap the rewards by sharing in the success that their talent is generating. This is a good deal for music creators and for music lovers.”

YouTube, which is owned by Google, had said that PRS demanded a “prohibitive” increase in licensing fees that would mean it would lose significant amounts of money with every playback. This is perhaps something that should have been foreseen in the company’s business plan, rather than forcing writers to reduce their income.

The rates for streaming services come into effect on July 1 and will apply for 3 years.