In contrast, in the United States, SoundExchange, ASCAP, IMC (Broadcast Music, Inc.) and SESAC (Society of European Stage Authors – Composers) are the four main performance rights organizations (PROs), although there are smaller companies. The fee paid to the composer and publisher is determined by the type of assessment used by the PRO to measure the use of music, as there are no external measures such as mechanical royalties or the reporting system used in the United Kingdom. Basically, a PRO summarizes the royalties that accrue to all composer-composers “who are its members,” and each composer and publisher receives royalties based on the estimated frequency of musical performance, after deducting the costs (which are numerous). PROs are controlled agencies. They pay their respective shares “directly” to the songwriter and the publishing house. (If a portion of the publisher`s share is retained by the songwriter, the publisher pays that part of the publisher`s share to the songwriter).) When a company (recording label) records the composed music, z.B. on a CD master, it obtains a distinctly distinct copyright on the sound recording, with all the exclusives that go to such copyright. The main obligation of the phonogram to the songwriter and his publisher is to pay the contractual royalties for the licence received. Royalty payments are calculated based on the types of royalty agreements between two parties – they can be calculated on the basis of gross revenue, net income, unit prices, minimum sale or fixed amount. In principle, part of the net turnover is made available to the owner for the exploitation of the intellectual property of the licensee. If you are considering a fixed amount of the licence, the licensee and the licensee agree to pay a percentage of profits between the duration of the contract.

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