“In the post-COVID world, the issue of copyright buyouts matters more to creators than ever before. Artists, composers and authors have to be aware of their rights, understand their options and make informed choices on the way they are paid. Their future livelihoods depend on it”

For someone who creates for a living, there is nothing more sacred than the right to earn royalties for their work. Yet this right is under threat, affecting creators around the world. We must stand together and improve awareness of creators’ rights on this critical issue. The protection of one’s legacy is very important. Created; protected; and retained.

The next generation of composers will face a bleak future if they no longer own their rights and their works generate no income for them

The issue is becoming much more apparent in the streaming world. Video streaming platforms are using their powerful leverage in the entertainment industry to try to change the way they work with those who create music for their channels and programmes.

ROYALTIES VS BUYOUTS

When you write a composition, whether for television, film, video games or digital services, there are so many opportunities to make money beyond the original composing or package fee. The most well-established, and arguably the most important, are royalties.

Royalty payments are generated over many decades, wherever and whenever your music is used. This includes airings on broadcast, cable, subscription video on demand platforms, video games, traditional and satellite radio plays, and streaming service performances.

You can also receive royalties from consumer products. These might be interactive toys, greeting cards, holograms, theatre shows, soundtrack album sales, advertising commercials and even online musical instrument lessons.

Today, the right of creators to earn royalties is getting challenged more and more. They are being replaced by a new form of payment, called “copyright buyouts”.

Copyright buyouts are often imposed on creators by broadcasters, videogame producers, TV operators and digital platforms, who give them a one-time fee instead of a regular earnings stream.

Sometimes creators are happy with buyouts and the lump sum fee. But for others, the right to a royalty income linked to the success of the programme is fundamental.

The issue is becoming much more apparent in the streaming world. Video streaming platforms are using their powerful leverage in the entertainment industry to try to change the way they work with those who create music for their channels and programmes.

The most common form of use during COVID is online use (On-line, Internet). Online gives the author a wide right to sound and distribute the work in different countries. The problem is becoming more apparent in the streaming world. Video streaming platforms (Spotify, Amazon,iTunes) use their powerful influence in the entertainment industry to try to change the way they work with those who create music for their channels and programs.

 In this case, the possibility of receiving individual royalties becomes more difficult. In such cases, collective management organizations come to the rescue. These organizations are created mainly by the authors in cases when the author can not provide his own remuneration.

 Armauthor is the  organization in Armenia that manages copyright and related rights on a collective basis.