Mission statement

Our mission is to develop an open dialogue with performing and neighbouring rights organisations (also known as CMOs – Collective Management Organisations) globally to understand their current policies and advocate for effective technology solutions to identify the music in the mix at events and online for the purpose of royalty accuracy for creators and rightsholders. We identify best practice globally for CMOs to aspire to in terms of setlist reporting, licensing and royalty distribution policies for DJ events and pursue affiliate membership discussions with Progressive CMOs who meet specific criteria around their policies to support electronic music.

Transparency and Trust
Building confidence in royalty collection requires clear communication with stakeholders. Advocating for the global deployment of Music Recognition Technology (MRT) and improved setlist collection ensures creators and rights-holders receive the royalties they deserve while fostering accountability and trust across the ecosystem.

Collaboration and Standardization
Fostering dialogue between artists, publishers, distributors, and CMOs promotes alignment with standards like DDEX and the use of technologies like MRT. Establishing best practices for setlist reporting, licensing, and royalty distribution ensures fair compensation across the ecosystem.

Innovation and Adaptation
Advocating for scalable solutions, including DMC and AI-driven technologies, that prioritize transparency in metadata management, royalty tracking, and rights attribution. These innovations address inefficiencies, tackle the challenges of unidentified royalties, and ensure fair compensation for creators while aligning with industry standards.

Inclusivity, Engagement, and Education
Providing education on rights management and licensing through workshops, panels, and webinars fosters trust and participation. Engaging with stakeholders promotes global best practices, ensuring all voices are heard and supported.

Resources

The Get Played Get Paid initiative: is the result of the pillars above, which has a simple objective – when electronic music is played in clubs or at festivals by DJs or streamed online the people who make the music and own the rights should get paid the royalties due.

Clubs, festivals and digital service providers all over the world pay music rights licence fees to Collective Management Organisations (CMOs) for the music played at events or streamed online, but attaining accurate DJ setlist information about what is being played has, historically, proved a challenge for these organisations.

Learn more about this initiative:

Get Played, Get Paid – Berlin Dance Music Event – Youtube

Richie Hawtin speaks to the importance of Get Played, Get Paid – Youtube

Music Recognition Services (MRT): Livestreaming services should research, trial and then deploy the most effective and efficient MRT service(s) for the purpose of identifying the music played and creation of reporting to enable accurate revenue payments to licensors. A starting list of MRT & Licensing services are Audible Magic, BMAT, DJ Monitor, Gracenote, Pex, Seeqnc, Soundaware, Soundmouse, YACAST, Vollou, Streamify, and KUVO.

Artists, Managers, Labels, Publishers and Distributors should seek to ensure their recordings and associated metadata are delivered to the music recognition tech services so they are identified when livestreamed (or played in clubs / festivals / radio / TV).  For further reading on the importance of Music Recognition Services (MRT), see: 

Music Recognition Technology – The Hidden Superpower Behind The World’s Leading Music Companies – Article

Music Creators: If you create original music, perform on, produce or remix a recording; to earn any royalties from your music being livestreamed or used in any other scenario, you will need to become a member of the relevant performing right, mechanical right and neighbouring right collection entities (as appropriate), and ensure your musical works / tracks are registered with them.

You should research which of these organisation types you need to join depending on your role (music composer, recording artist, remixer, producer, etc.) and the territory in which you / your music is most active.   

Some helpful resources for researching this are:

CLIP | Creators Learn Intellectual Property – Education for Creators
AFEM Industry Insider Podcast Episode 2 – ‘Livestreaming’. – Podcast
List of copyright collection societies – Database
Reed Smith’s guide to live streaming | Perspectives | Reed Smith LLP – Guide

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