Sound Recordings Clause Samples
The 'Sound Recordings' clause defines the rights and obligations related to audio recordings produced under an agreement. It typically specifies who owns the master recordings, how they may be used, and any restrictions on duplication or distribution. For example, it may state that the producer retains ownership of the recordings while granting the artist a license to use them for promotional purposes. This clause is essential for clarifying intellectual property rights and preventing disputes over the use and control of the recorded material.
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Sound Recordings. 1. Each Party shall provide to the producer of a sound recording the right to authorize or prohibit:
(a) the direct or indirect reproduction of the sound recording;
(b) the importation into the Party's territory of copies of the sound recording made without the producer's authorization;
(c) the first public distribution of the original and each copy of the sound recording by sale, rental or otherwise; and
(d) the commercial rental of the original or a copy of the sound recording, except where expressly otherwise provided in a contract between the producer of the sound recording and the authors of the works fixed therein. Each Party shall provide that putting the original or a copy of a sound recording on the market with the right holder's consent shall not exhaust the rental right.
2. Each Party shall provide a term of protection for sound recordings of at least 50 years from the end of the calendar year in which the fixation was made.
3. Each Party shall confine limitations or exceptions to the rights provided for in this Article to certain special cases that do not conflict with a normal exploitation of the sound recording and do not unreasonably prejudice the legitimate interests of the right holder.
Sound Recordings. You may include in any public performance only those sound recordings that you own or control (see Limitations following).
Sound Recordings. While reel-to-reel tapes are still a fundable preservation format, the media has become increasingly difficult to purchase. The Conservation/Preservation Program will fund the conversion of audio recordings to digital format. Only audio reformatting projects are fundable as digital conversion projects. Proposals to perform conversion to digital formats must follow the best practices that have been agreed on by many audio and preservation professionals. Projects proposed for funding must follow the “Grammy Foundation Basic Methodology for Preservation, Conversion and Archiving Recorded Media” available at the Grammy web site ▇▇▇▇▇://▇▇▇.▇▇▇▇▇▇.▇▇▇/grammy-foundation/grants. Applicants may also create use copies on either cassette tape or CD ROM. Applicants should state that they will continue to store the originals and describe the environment in which they will be stored. To ensure the long-term viability of the digital files a copy of all digital files reformatted through this program must be deposited with the New York State Education Department. Please see the Attachment for the “Deposit Agreement and Procedures”. Applicants should also make arrangements on their own for long term storage and maintenance of the files to ensure redundancy and usability over time. Eligible expenditures under this program will be: • The creation of the reformatted recordings • Basic metadata (preservation metadata as defined by PREMIS (▇▇▇.▇▇▇.▇▇▇/▇▇▇▇▇▇▇▇▇/▇▇▇▇▇▇/) for the digital files. Applicants should say how they will use the PREMIS schema. Expenditures that are not eligible for funding under this program include: • Reformatting equipment • Playback equipment • Metadata software • Storage and transmission hardware (e.g. hard drives for mass storage of audio files) • Appropriate descriptive metadata that conforms to an existing and appropriate metadata standard such as Dublin Core or PBCore. Applicants should describe their metadata approach and the extent to which they will use a particular metadata standard.
Sound Recordings. Revenue earned by Seller in connection with the exploitation of the Sound Recordings in the Portfolio will be paid at the Percentage Interest and for the applicable Revenue Sources (e.g., Streaming) as set forth in Schedule A. Sales shall be determined by reference to the royalty statements from the royalties credited to Seller by Distributor, Artist or other third party for the applicable calendar quarter or bi-yearly, which shall be conclusive and binding upon the Parties, absent manifest error.