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Musical Royalty Scales

The conversation about the Guns N Roses concert in Jakarta did not completely disappear when the staff of Superman Is Dead (SID), JRX, asked Via Vallen not to sing the song "Sunset in the Land of Anarchy".

"Ngefan, but never asked for permission to play the song SID And this song has a big message, Vallen understands what he's singing, it's not a matter of value, it's degrading the meaning of the song. song, "JRX said on Twitter. On Instagram, JRX's complaints were raised. The SID drummer said that if his party did not react, Via Vallen or another singer would again make a similar mistake: "get rich by using the work of others while killing the spirit of work."

A year earlier, Payung's singer Teduh Muhammad Istiqamah had also raised the issue of rendering or replaying songs.

Although Iss, the nickname of the singer, does not say that Hanin Dhiya ruined the spirit of the song "Akad", the conversation that then surfaced was the same: business, copyright rules and Royalties. The last question is inevitable given the popularity of the video version of Hanin Dhiya beyond the official clip of Payung Teduh on Youtube.

In the "Best Song of the Law Contract", Mr. Faisal Reza Irfan stated that the discussion on the culture of the cover of songs could not be separated from the copyright attached to each musician.

"Copyright Law No. 28 of 2014 (UUHC) places copyright as the exclusive right of the creator or owner of copyright to regulate the use of the results of the dissemination of certain ideas. The copyright is basically the right to copy a work that applies to various works of art or copyright, "he writes.

Where there are copyright rights, there are also moral and economic rights. Moral rights, governed by Article 5 (1) of the UUHC 2014, include the right to continue to mention or not the name of the creator on the copy in connection with the use of his creation to the public, using his pseudonym, to defend his rights. rights in case of distortion, deduction, modification and other things detrimental to the honor or reputation of the creator.

Whereas the economic rights, contained in article 9 of the UUHC, include the publication, the copy in all its forms, the adaptations, the arrangements, the transformations, the distributions and the diffusion of their creations.
In an easier-to-understand sentence, as conveyed by Irfan Aulia to Tirto, President of the Indonesian Forum for Music (WAMI), a concrete example of economic rights is that if music is used for other forms such as commercials or movies, songs users must pay to the copyright holder. While moral rights, the name of the creator of the song must be included.

In the field of economic rights, there are also rights of execution or "exclusive rights of diffusion, display, display, distribution of compositions or works of songs composed for a wide audience". According to Irfan, since the ratification of the UUHC, the campaign on the rights of representation has intensified.

Institute of Collective Management

Nuran Wibisono, the
The author of Nice Boy Do not Write Rock N explains, ideally, that the musicians who cover the work of other people pay royalties to the songwriter. However, with special remarks regarding its use - for example for non-commercial activities - the process is also generally free. With regard to the royalties on performance rights, songwriters will receive the fee through the Institute of Collective Management (LMK), which will be paid by the event organizers. UUHC defines the LMK as an institution in the form of a non-profit legal person authorized by the creator, the copyright owner and / or the owner of the related rights to manage their economic rights in the form of a collection and distribution of royalties.