IFPI and WIN announce cross-industry collaboration on recording industry data exchange service, supported by PPL
Recording industry to develop centralised gateway to supply recording data in support of timely, accurate and efficient payments of public performance and broadcast revenues to recording right holders by music licensing companies.
IFPI and WIN, working together on behalf of the global recording industry have today announced a cross-industry collaboration to create Repertoire Data Exchange (RDx), a centralised industry data exchange service. RDx will enable record companies and music licensing companies (MLCs), which collectively manage recording rights, to submit and access authoritative recording data via a single point.
Record companies have historically used a variety of data delivery processes to supply content to individual MLCs around the world, presenting challenges in the supply of recording data. RDx will offer recording right holders of all sizes, from all countries, a single registration point to supply their repertoire data in a standardised format (DDEX MLC) that can be quickly and easily accessed by all MLCs, leading to improvements in data quality.
This will help to improve the timeliness, accuracy and efficiency of MLCs’ revenue distributions to right holders worldwide.
Following a rigorous selection process, IFPI and WIN have selected PPL, the UK music industry’s collective management organisation, to deliver and operate RDx.
Frances Moore, chief executive of IFPI, said:
“Record companies continue to invest in and enhance the accuracy and management of music data in many different areas of the industry.
“RDx is a key example of an initiative that will benefit all parties involved. It will improve operational efficiencies and lower costs for right holders whilst allowing MLCs to retrieve authoritative repertoire data from a single point – enabling more accurate and timely distribution of revenues.
“We are very grateful to all our MLC and record company partners who are working closely with us on this project. We look forward to bringing on board more MLCs and right holders as we roll out the service.”
Charlie Phillips, Chief Operating Officer of WIN, said:
“Performance rights make up an increasingly important part of independent labels’ revenues. With music being globally accessible, our association members’ repertoire travels the globe and sees revenues generated internationally. Historically, supplying complex data into the international network of MLCs has not been straightforward for independent producers and right holders. The international independent sector has, through WIN, supported the development of RDx over several years since its inception. We are delighted that the industry has worked together to create a service for the benefit of all labels and producers. We look forward to working on a joint basis with IFPI as RDx gathers momentum.”
Peter Leathem, chief executive of PPL, added:
“In recent years, we at PPL have invested significantly in our technology and data capabilities; as such, our leading role in the development of RDx is complementary to our existing operations. We are well placed to support IFPI and WIN to address the challenges of big data, drawing on our in-house experience in using DDEX, our relationships with music licensing companies around the world, and our expertise gained from managing huge volumes of recording data every week. This is a significant step forward in global data management and we are proud to be powering such an innovative solution on behalf of IFPI and WIN.”
RDx is the result of a collaboration between a broad group of industry stakeholders led jointly by IFPI and WIN. The launch phase of RDx will receive technical support from a group of record companies (Beggars Group, PIAS, Sony Music Entertainment, Universal Music Group, Warner Music Group, and The state51 Music Group/CI) and MLCs (PPL, Re:Sound, SENA and Gramex Finland). The roll-out of RDx to all right holders and MLCs is expected to start in 2020.
Notes to editors:
IFPI is the organisation that promotes the interests of the international recording industry worldwide. Its membership comprises some 1,300 major and independent companies in almost 60 countries. It also has affiliated industry groups in 56 countries. IFPI’s mission is to promote the value of recorded music, campaign for the rights of record producers and expand the commercial uses of recorded music in all markets where its members operate.
Web: www.ifpi.org / Twitter: @IFPI_org
The Worldwide Independent Network exists to support the global community of independent music trade organisations. It was founded in 2006 in response to business, creative and market access issues faced by independents around the world. Its membership spans every continent, with trade associations in all the well-established music markets taking a particularly active role – including ABMI (Brazil), A2IM (USA), AIR (Australia), CIMA (Canada), IMCJ (Japan), IMICHILE (Chile), IMNZ (New Zealand), LIAK (South Korea) and IMPALA representing associations in Europe.
Web: www.winformusic.org / Twitter: @winformusic
Founded in 1934, PPL is the UK music industry’s collective management organisation (CMO) for over 100,000 performers and record companies. We license recorded music in the UK when it is played in public (shops, bars, nightclubs, offices etc.) or broadcast (BBC, commercial radio, commercial TV etc.) and ensure that revenue flows back to our members. These include both independent and major record companies, together with performers ranging from emerging grassroots artists through to established session musicians and influential festival headliners. We also collect performance rights internationally for the playing in public and broadcast of recorded music on TV, radio and some online streaming services, as well as for private copying. This is achieved through our network of 92 agreements with CMOs around the world. International revenues are an increasingly important revenue stream for performers and recording rightsholders. In 2018, we collected £246.8 million in total revenues while distributing money to 105,192 performers and recording rightsholders.
Web: www.ppluk.com / Twitter: @PPLUK
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