Security clampdowns since 2001 have made traveling by air or across international borders with instruments much more difficult, complicated, and frustrating. The following are some guidelines and suggestions to get you and your instrument where you need to go. read more

Security clampdowns since 2001 have made it much more difficult, complicated and frustrating for artists or bands to perform in other countries. Here are some guidelines about work permits and the visa process to get you and your instrument where you need to go. read more

Terrestrial radio is currently undergoing a major transformation. Using a technology called In Band, On-Channel (or IBOC), thousands of broadcasters are transmitting analog signals simultaneously with higher quality digital signals on their existing spectrum. For broadcasters, the transition to HD radio could mean the development of new revenue streams, either through the creation of entire new stations on these side channels, or through the leasing of their digital spectrum for data services. For musicians and listeners, HD radio holds the promise of a wider choice of programming. But will it mean better radio? read more

Orphan works are copyrighted works whose owners are hard or impossible to identify or locate. Orphan works probably comprise the majority of the creative works of 20th century. They exist in a purgatory of sorts, not able to be used in new creative efforts or made available to the public due to uncertainty over the status of their ownership. read more

In the United States, royalties for public performances are paid to songwriters, composers and publishers. But what about the person who performs the song? When you hear John Coltrane’s recording of ‘My Favorite Things’ on the radio in the US, the estates of Richard Rodgers and Oscar Hammerstein — the composers of ‘My Favorite Things’ — are compensated through ASCAP. But the estate of John Coltrane receives nothing for this performance. However, if you hear the same performance on Sirius XM, or via a webcast, or on a cable music station — even on that terrestrial radio station’s webcast — both Rodgers and Hammerstein’s estates AND John Coltrane’s estate are compensated. Why the difference? US terrestrial broadcasters are exempt from paying a public performance right for sound recordings. read more

SoundExchange collects and distributes the digital public performance royalty, which means performers and labels get paid for digital plays of their music. In 1995, Congress passed Digital Performance Right in Sound Recordings Act, which granted a performance right for the digital transmission of sound recordings. Previously, US copyright law contained no provisions for performance right in sound recordings. SoundExchange is the designated non-profit organization that collects the license fees and distributes royalties to those whose recordings were played digitally. Payees include the performer, non-featured artists and the sound recording copyright owner (most often, a label). read more

In 2007, the Federal Communications Commission (FCC) gave away hundreds of full power non-commercial educational (NCE) licenses for any qualified nonprofits. The FCC announced that applications would be accepted for these valuable licenses by the FCC between October 12 and October 19, 2007. For ten years, no new licenses had been given out. If you had ever dreamed of starting your own radio station, this was likely to be your last chance before all remaining FM spectrum was given away. This fact sheet covers some of the basic questions that came up during the Full Power window process. read more

Net Neutrality is the principle that preserves an open Internet. At its root, net neutrality is about choice, freedom of expression and access to information.

Certain telecommunications companies would like to charge content providers higher fees for the faster loading of their sites, which could alter the way we access the web. The result would be an Internet where those companies that couldn’t afford to — or didn’t want to — pay this toll would be relegated the slow lane. Independent and developing musicians could lose an ever-important connection to their fans, while listeners might find their access to the web’s varied, exciting and legal musical offerings severely compromised. read more

The Federal Communications Commission, Congress and the courts routinely examine media ownership rules. These debates set policies that govern traditional media, while establishing a regulatory framework that will dictate the future of the telecommunications and media industries. This fact sheet covers some of the issues relevant in the 2007 proceedings. read more