{"id":3362,"date":"2015-05-12T00:00:00","date_gmt":"2015-05-11T22:00:00","guid":{"rendered":"http:\/\/srdevsite.soundreef.com\/understanding-the-opt-out\/"},"modified":"2021-05-07T12:49:16","modified_gmt":"2021-05-07T10:49:16","slug":"understanding-the-opt-out","status":"publish","type":"post","link":"https:\/\/www.soundreef.com\/en\/blog\/understanding-the-opt-out\/","title":{"rendered":"Understanding the Opt Out"},"content":{"rendered":"

Following the European Union’s CISAC decision in 2008\u00a0composers, songwriters, publishers, performers and record labels\u00a0have the right to opt out of a category of use with their national collecting societies – therefore granting the possibility for artists to choose with which collecting society they\u2019d like to register certain categories of rights. Thankfully, Caroline Astaes conducted research on each European collecting society to determine which collecting societies have already implemented a standard procedure for the opt out and what it may be. Caroline was generous enough to talk about her findings and explain the process in greater depth!<\/p>\n

1.\u00a0 <\/b>What is an \u201cOpt Out\u201d and how does it affect musicians who want to register with Soundreef?<\/u><\/b><\/p>\n

In Europe, when you join a collecting society you usually sign an exclusive deal for all the songs you write regardless of the fact you actually register them with the
\ncollecting society or not. This means you can only register with one collecting society at a time- on a territorial basis and you can\u2019t register a few songs with one and few with another. So, if I live in France and I decide register with SACEM I can\u2019t register other songs with PRS or GEMA as I have given the exclusive right to collect royalties to SACEM for any song I write as an author.<\/p>\n

However in 2008 and again in 2014 with the Directive 2014\/26\/EU, the European Union confirmed\u00a0that European right holders (that is, publishers and writers) have the right to split their music rights across different collecting societies and territories.<\/span><\/p>\n

This means that European artists can limit their agreement with a national collecting society so that someone else can manage a certain type of right for them (for example, licensing your music to be used as background music for stores or live events) within a certain territory (for example, Europe).<\/p>\n

This procedure is known as an opt out and it means that composers, songwriters, publishers, performers and record labels, when registering with a collecting society have the right to withdraw categories of rights<\/b> from management.<\/b><\/p>\n

By choosing to opt out of certain categories of rights or territories a Danish musician for instance, is able to register with Soundreef, PRS and BUMA STEMRA\u00a0 if he wishes to do so to make the most of his royalties<\/p>\n

2.\u00a0 <\/b>How can users be registered with both their national collecting society and Soundreef?<\/u><\/b><\/p>\n

It depends. It can be different from one collecting society to the other. Best is to send them an email asking what the exact procedure is. Otherwise it will be
\nmentioned in the terms and conditions of the contract.<\/p>\n

 <\/p>\n

3.\u00a0 <\/b>Do all collecting societies allow members to opt out?<\/u><\/b><\/p>\n

We have received confirmation that the following collecting societies have a procedure to do so in place: \u00a0AEPI (Greece), AKKA\/LAA (Latvia), BUMA STEMRA (The Netherlands), GEMA (Germany), MUSICAUTOR (Bulgaria),\u00a0 PRS (United Kingdom), SACEM (France), SIAE (Italy), SUISA (Switzerland), SPA (Portugal), TEOSTO (Finland), TONO (Norway) and ZAIKS (Poland).<\/p>\n

4.\u00a0 <\/b>If a collecting society does not allow the a member to opt out, can musicians terminate their membership with the collecting society
\nand is this a good option for musicians who want to be registered with
\nSoundreef?<\/b><\/p>\n

Yes, a musician can terminate its membership with another collecting society if he wishes to join Soundreef although at the moment Soundreef only deals with
\nroyalties for music used as background by businesses and for live events in Italy.<\/p>\n

I think musicians should weigh the pro and con\u2019s and try and see how they earn their royalties. Is it from live performance, online streaming, background
\nmusic? Is their music listened to abroad? In which country exactly?<\/p>\n

What is needed is transparency to make informed choices.<\/p>\n

5.\u00a0 <\/b>Were there any particular findings or overall observations
\nthat stuck out to you during your research?<\/b><\/p>\n

Most collecting societies were willing to cooperate. Some people I dealt with were very nice. I have no doubt that artists can go and ask questions regarding the opt out procedure.<\/p>\n

Thanks so much Caroline!\u00a0<\/b><\/p>\n

The following collecting societies HAVE<\/b> a procedure in place which allows members to opt out for certain rights or territories. However, each collecting society has its own procedure so make sure you check the sources to figure out each society\u2019s specific process!<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
AEPI
\n(Greece)<\/td>\n		Membership Agreement<\/td>\n<\/tr>\n
AKKA\/LAA
\n(Latvia)<\/td>\n		Author\u2019s Contract<\/td>\n<\/tr>\n
BUMA
\nSTEMA (Netherlands)<\/td>\n		Membership Agreement<\/a><\/td>\n<\/tr>\n
GEMA
\n(Germany)<\/td>\n		GEMA Deed of Assignment<\/a><\/td>\n<\/tr>\n
MUSICAUTOR
\n(Bulgaria)<\/td>\n		Article 3 of Contract for Transfer of Rights of Authors<\/td>\n<\/tr>\n
PRS
\n(United Kingdom)<\/td>\n		Article 7 of the Membership Agreement<\/a><\/td>\n<\/tr>\n
SACEM
\n(France)<\/td>\n		Article 34-1 of the Membership Agreement<\/a><\/td>\n<\/tr>\n
SABAM (Belgium)<\/td>\nArticle 11 of Statute<\/a><\/td>\n<\/tr>\n
SIAE
\n(ITALY)<\/td>\n		Limitazione di Mandato<\/a><\/td>\n<\/tr>\n
SUISA
\n(Switzerland)<\/td>\n		Article 3 of General Terms and Conditions For Rights
\nAdministration\u00a0<\/a><\/td>\n<\/tr>\n
SPA
\n(Portugal)<\/td>\n		Specify on Membership Application<\/a><\/td>\n<\/tr>\n
TEOSTO
\n(Finland)<\/td>\n		Article 3 of the Membership
\nAgreement<\/a><\/td>\n<\/tr>\n
TONO
\n(Norway)<\/td>\n		Apply through Membership Application<\/a><\/td>\n<\/tr>\n
ZAIKS
\n(Poland)<\/td>\n		Membership Agreement<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

The following collecting societies DO NOT<\/b> have a procedure in place yet that allows members to opt out. We have provided each collecting society\u2019s email and suggest that you email your collecting society to enquire when it will be available.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
EAU
\n(Estonia)<\/td>\n		eau@eau.org<\/a><\/td>\n<\/tr>\n
GRAMO
\n(Norway)<\/td>\n		medlem@gramo.no<\/a><\/td>\n<\/tr>\n
HDS
\n(Croatia)<\/td>\n		info@hds.hr<\/a><\/td>\n<\/tr>\n
IMAIE
\n(Italy)<\/td>\n		commissari@imaie.it<\/a><\/td>\n<\/tr>\n
IMRO
\n(Ireland)<\/td>\n		membership@imro.ie<\/a><\/td>\n<\/tr>\n
LATGA-A
\n(Lithuania)<\/td>\n		latga@latga.lt<\/a><\/td>\n<\/tr>\n
LUXORR
\n(Luxemburg)<\/td>\n		info@luxorr.lu<\/a><\/td>\n<\/tr>\n
OSA
\n(Czech Republic)<\/td>\n		eva.bolechova@osa.cz<\/a><\/td>\n<\/tr>\n
PPL
\n(United Kingdom)<\/td>\n		memberservices@ppluk.com<\/a><\/td>\n<\/tr>\n
SCF
\n(Italy)<\/td>\n		info@scfitalia.it<\/a><\/td>\n<\/tr>\n
SGAE
\n(Spain)<\/td>\n		sociosmadrid@sgae.es <\/a><\/td>\n<\/tr>\n
SOZA
\n(Slovakia)<\/td>\n		pravne@soza.sk<\/a><\/td>\n<\/tr>\n
STIM
\n(Sweden)<\/td>\n		member@stim.se<\/a><\/td>\n<\/tr>\n
SWISS
\nPERFORM (Switzerland)<\/td>\n		info@swissperform.ch<\/a><\/td>\n<\/tr>\n
UCMR-ADA
\n(Romania)<\/td>\n		ada@ucmr-ada.ro<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

For the full details read the\u00a0research report<\/a>\u00a0and if you are looking for\u00a0a complete list of European collecting societies look\u00a0<\/span>no further.\u00a0<\/a>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Following the European Union’s CISAC decision in 2008\u00a0composers, songwriters, publishers, performers and record labels\u00a0have the right to opt out of a category of use with their national collecting societies – therefore granting the possibility for artists to choose with which collecting society they\u2019d like to register certain categories of rights. Thankfully, Caroline Astaes conducted research<\/p>\n","protected":false},"author":5,"featured_media":9053,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[162],"tags":[],"yoast_head":"\nUnderstanding the Opt Out - Soundreef<\/title>\n<meta name=\"robots\" content=\"noindex, follow\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Understanding the Opt Out - Soundreef\" \/>\n<meta property=\"og:description\" content=\"Following the European Union’s CISAC decision in 2008\u00a0composers, songwriters, publishers, performers and record labels\u00a0have the right to opt out of a category of use with their national collecting societies – therefore granting the possibility for artists to choose with which collecting society they\u2019d like to register certain categories of rights. 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