“Each artist will get to know what is the use of music you created, played or attended as a performer, which can be very important for the management of his career to know who spends more, and passing less, in the public space, “said in a statement sent to Lusa Peter Wallenstein, president of GDA.
” at the same time, [each artist] is replaced by an objective indicator for the amounts that, in due course, will receive the public use of these songs, “adds
Portugal is the first country with a target system for each artist.” even if [an artist] has only participated in a single song, will have access’ online ‘the number of times that this song went to radio and television stations monitored, which are the main, almost in real time. the’ delay ‘can reach an hour maximum on, “he said to the cooperative source Lusa.
currently “artists only had access to these numbers through third parties – agents and what publishers told them – which is not quite the same, there can always be a filter,” said Lusa Louis Sampaio, director of GDA.
“the GDA has engaged with its technological partner, BMAT, to create a tool that allows artists to easily get an idea of the use that is being given to his work and how it can come into effect, “he said, in turn, Wallenstein, which highlighted the global pioneer of this project.
from the day 01 October, World Music day, the GDA through your web portal will provide its members direct access to the record of the use of their songs on the radio and television
“There are two major concerns in this paper that the GDA is developing:. the first, it is to establish a transparent process that all concerned can verify; and the second is to make easily verifiable artists how these same processes determine how the money will be distributed among them, “Wallenstein said.
According to a source of GDA, have joined this five project TV channels and 17 radio stations in national or regional expansion.
Peter Wallenstein stresses that experienced a “time that settled the feeling of gratuitousness access to cultural goods, devaluing the artwork” and, accordingly, this partnership with BMAT, aims to adapt the software in Vericast the intended use.
the collection of music rights in Portugal will have “transparency” and “guide the artists in a ‘show case’ world” said the official, who said that after the release in Lisbon in October, it will start its disclosure in international markets.
Luís Sampaio, in turn, stressed Lusa that “access of each artist the use of his work, and value potential to such use is, demonstrates the importance that the GDA gives transparency rules applied by European authorities “.
” it is a pity that the main users of music made in Portugal – the media groups – which are required by law to provide the repertoire of listings used, duration of use, and audiences and ‘share’ that each had, make it a dead letter ” stressed Luís Sampaio.
the GDA, the entity in Portugal manages the intellectual property rights of musicians, actors and dancers, has about 5,000 co-workers, according to union figures, which are “artists who are part , buy five cooperative bonds – for 25 euros -. “and give the authority a universal mandate to charge their rights throughout the world,” he told Lusa source of the cooperative
the GDA includes 1,300 administered, who are artists who do not buy titles, without the right to vote or be elected to their bodies, but “give the GDA a limited mandate to collect its rights in a given part of the world, only in Portugal, for example” .
the heirs of artists can qualify to receive the respective rights and may also subscribe to the GDA, explained this responsibility.
the GDA still makes charges rights for more 600 thousand artists congeners companies from other countries, especially Europeans, on a reciprocal basis, said the cooperative source Lusa.
Àlex Loscos, executive director of BMAT, in a statement sent to Lusa, highlights the fact that GDA be “truly pioneering” and go “be a world leader in the direct availability of this feature to the artistic community in the world of music rights management companies.”
According to a source of GDA in both the United States and in Europe and elsewhere, artists “have only delayed information on the ‘performance’ of their music in the public space through the publishers, agents or associations representing them.”
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