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“It would be nice if this crisis would lead to some sort of a raised awareness”

During the corona crisis, SUISA’s “Music for Tomorrow” project provides a platform for some members to report on their creative activities and the challenges they are facing during this period. This time, Zurich musician and songwriter Anna Känzig tells how it feels when one concert cancellation after the other flutters into her house and why she hasn’t lost her courage despite of that. For “Music for Tomorrow”, she exclusively performed her song “House of Cards”, which nicely describes the current circumstances.  Text by Nina Müller; video by Anna Känzig, edited by Nina Müller

Anna Känzig (35) was already very musical at a young age. She learned to play the guitar at the age of five. Later, the bass and the piano followed, and her school education also took place in the musical field. At the Zurich University of the Arts (ZHdK) she completed her Bachelor’s degree in the jazz department and since 2009, Känzig has been an integral part of the Swiss music scene. With her clear voice, the Zurich native has already thrilled audiences at the Montreux Jazz Festival, Gurten Festival, Energy Air and the finals of the Elite Model Look 2016.

She has been under contract with Sony Music Switzerland since 2014 and has already produced three albums, the first one still on the Nation Music label. She produced the album “Sound and Fury”, which also features on “House of Cards”, together with music producer Georg Schlunegger from Hitmill, and Lars Norgren, who also works with Swedish pop musician Tove Lo, mixed the album.

In 2016, her song “Lion’s Heart” was the anthem of the fundraising campaign “Every Rappen Counts”. Anna Känzig is the first woman to contribute the official song for the fundraising campaign by the SRF and the Swiss Solidarity organisation “Glückskette”.

“House of Cards”

For “Music for Tomorrow”, Anna Känzig performed and recorded the song “House of Cards”. On the play, she says: “The song actually describes the current situation very well. It is about the fact that situations can change from one day to the next and despite meticulous planning everything can suddenly be different. The song was written a few years ago and has been a fixed part of my live programme ever since.

Anna Känzig, what does your working day as a composer/lyricist look like during the corona pandemic?
I try to use the resulting compulsory break as creatively as possible. At the beginning of the corona crisis, I found this extremely difficult, as the whole situation paralysed me. Every day new concert cancellations fluttered in, and the planned single release suddenly didn’t seem to make much sense anymore. At some point I was able to free myself from this lethargy and found my creative flow again. I dug out a lot of song ideas that had been lying fallow until then and barricaded myself in my band room with them. Meanwhile many new songs have been written, at best material for a new album!

What does this crisis mean for you personally?
Due to the crisis I suddenly had to deal with myself and my work much more intensively again. The collective foreclosure triggered a creative impulse in me. Since no more live concerts were allowed to be played, personal contact with the audience broke off abruptly. Many concerts have been moved to the internet, which I personally didn’t really like. I understand that alternative forms have to be found, but especially with streaming concerts an essential part of cultural enjoyment is lost for me. In the meantime, smaller concerts are allowed again, and I notice more than ever that this exchange of energy between musicians and audience is simply irreplaceable.

How can the audience support you at the moment?
In quite a classic way: Buying albums and songs always helps. Of course, this does not always have to happen via the large platforms. It helps us most when the music is bought directly from us, via our webshop, or upon personal request. Streaming is also possible, but here the revenues per stream are very low. Social media certainly also play a role in supporting the artist. A Like is not a payment, but the attention and sharing of contributions in social media helps us to expand our reach and, at best, to gain new fans.

Would it help if people on Spotify and Co. streamed your music more often?
Streaming helps to a small extent, sure. But it would be much better if people would consume the music on platforms where they can buy the individual tracks. It would be nice if this crisis would raise awareness and people would be more willing to pay for the consumption of culture again.

In your opinion, what positive things could the current situation bring about?
I hope that the lack of cultural experiences and adventures triggered by the corona crisis will create a new hunger for live encounters among people and that something like a concert visit will be much more appreciated again.

What do you want to give your fans to take away from this interview?
I am looking forward to welcoming my fans at a live concert again soon!

www.annakaenzig.com

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
Related articles
Information on live streams for SUISA membersInformation on live streams for SUISA members The corona measures led to a loss of performance and earning opportunities for music creators and to a painful loss of live music for music consumers. Live streaming therefore enjoys great popularity, especially in these times, and takes on a pertinent role in the cultural industry. Read more
Kety Fusco: “This situation will put everyone – musicians, technicians, insiders – to the test”“This situation will put everyone – musicians, technicians, insiders – to the test” With the “Music for tomorrow” project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. The prelude is made by the Ticino composer and harpist Kety Fusco. In a written interview she talks about her everyday life in lockdown and why not that much has actually changed for her. Read more
Why SUISA members should also consider joining SWISSPERFORMWhy SUISA members should also consider joining SWISSPERFORM Composers and lyricists who are SUISA members and are also active as artists and/or producers and whose performances are broadcast by Swiss or foreign radio and TV channels are entitled to receive a remuneration from SWISSPERFORM. For all those authors-composers-artists/producers, a membership with SWISSPERFORM is thus a necessary addition to their SUISA affiliation in order to safeguard their rights and the full remuneration they are entitled to. Read more
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  1. Guten Tag Nina,
    danke für deinen Beitrag! Ein sehr wichtiges Thema was du da ansprichst. Es war und ist auch immer noch für uns alle eine schwere und ungewohnte Zeit.

    Liebe Grüße
    Christoph

Leave a Reply

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Your email address will not be published.

During the corona crisis, SUISA’s “Music for Tomorrow” project provides a platform for some members to report on their creative activities and the challenges they are facing during this period. This time, Zurich musician and songwriter Anna Känzig tells how it feels when one concert cancellation after the other flutters into her house and why she hasn’t lost her courage despite of that. For “Music for Tomorrow”, she exclusively performed her song “House of Cards”, which nicely describes the current circumstances.  Text by Nina Müller; video by Anna Känzig, edited by Nina Müller

Anna Känzig (35) was already very musical at a young age. She learned to play the guitar at the age of five. Later, the bass and the piano followed, and her school education also took place in the musical field. At the...read more

“The crisis feels a little like being in a rehab clinic to me”

During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been singing, dancing and performing all my life. The stages have simply become a bit bigger over time,” she says in a written interview. “What was once my bed has mutated into a Gampel Open Air stage.” Her musical career began with her first solo appearance with guitar at a children’s hit parade at the age of 11. At the age of 14 she founded the girl power trio Labyrinthzero, with which she released her first EP with her own compositions and played over 150 concerts at home and abroad.

Found a musical home

Decisive for her musical career was the encounter with Jonas Ruppen, who plays keyboard in her band and creates the videos: “He showed me the world of Radiohead, James Blake, etc. – and suddenly I had found my musical home!” The two have been playing music together for ten years now and work together on the overall concept of “Tanya Barany” – Tanya as songwriter and Jonas as video producer.

She began her musical education in 2014 by studying music at the Zurich University of the Arts, where she says that she was able to benefit from great teachers. “At the same time, I learned how to use the recording program LogicX, which took my songwriting in a completely different direction – my ‘Dark Pop’ saw the light of day!”

The debut album “Lights Disappear”

In 2019, Tanya Barany’s debut album “Lights Disappear” was released. Several performances on stages at home and abroad followed, e.g. Gampel Open Air, Zermatt Unplugged, Swiss Live Talents or at the Blue Balls Festival.

Besides her project Tanya Barany, she is a full-time studio singer and musician, songwriter, lyricist and vocal coach.

“Cotton Clouds”

For “Music for Tomorrow” Tanya Barany performed and recorded the song “Cotton Clouds”. She says the following about the work: “‘Cotton Clouds’ describes the feeling of immersion in water where suddenly everything around becomes silent; where suddenly another world appears. One the one hand, the water walls are depressing (almost oppressive), on the other hand they remind us of the security of an embrace. ‘Cotton Clouds’ is my unreleased hidden track. Like my songs on the album ‘Lights Disappear’, ‘Cotton Clouds’ grew out of the dark corner of my heart, but the track didn’t find a place on the album. I had composed ‘Cotton Clouds’ on the piano at that time; I prefer to play the piano alone for myself, without anyone listening to me. I chose ‘Cotton Clouds’ for ‘Music for Tomorrow’, because I want to invite the audience into my little lounge and take you on a little personal journey … :-)”

Tanya Barany, what does your working day as a composer/lyricist look like during the corona pandemic?
Tanya Barany: At the moment, I have more time to convert my song ideas into finished songs. Therefore, I try to generate as much output as possible – not only for me as Tanya Barany, but also as a ghostwriter for other artists. My partner, David Friedli – also a musician and composer – and I often write together. We move in all possible style directions – from folk to rock to pop to electro pop to soul etc. – it’s really fun!

What does this crisis mean for you personally?
The crisis feels a little like being in a rehab clinic to me. I don’t really want to be there – I miss performing live, cultural life and even planning ahead – who would have thought – and I can’t wait for normality to return.
On the other hand, this crisis also brings something valuable with it: Time! The world just seems to revolve a bit more slowly. Suddenly I am allowed to concentrate on things that are not necessarily on my having to do list but on the nice to do list – that feels incredibly good! This time has made “Reboot” possible, now I feel much more energetic and creative than before the crisis.

How can the audience support you at the moment?
My audience can best support me by telling all my friends and relatives about my music and telling them to buy the “Lights Disappear” CD! 🙂 Dark songs help through dark times … 🙂

Would it help if people on Spotify and Co. streamed your music more often?
When selecting live acts, the organisers look at the number of “listeners” on Spotify, YouTube etc. Therefore, it is surely an advantage if my music is streamed regularly on these platforms. It is also nice to see that my songs are even heard on the other side of the world! But to support me as an artist directly, I am always very grateful for purchased music on iTunes etc. or directly at concerts.

What do you think the current situation could bring with it?
I very much hope that people’s awareness will be sharpened somewhat – on all levels! A little more care, appreciation, solidarity, reflection – that would do us all good!

What do you want to give your fans to take away from this interview?
Dear fans, although it seems to be quieter around Tanya Barany at the moment, I’m working diligently in the background on a new concept, so that it will be even more cracking afterwards – so enjoy the calm before the storm! 🙂 I am already looking forward to presenting you new songs! Thanks for your support so far! Take care <3

www.tanyabarany.ch

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
Related articles
Information on live streams for SUISA membersInformation on live streams for SUISA members The corona measures led to a loss of performance and earning opportunities for music creators and to a painful loss of live music for music consumers. Live streaming therefore enjoys great popularity, especially in these times, and takes on a pertinent role in the cultural industry. Read more
Kety Fusco: “This situation will put everyone – musicians, technicians, insiders – to the test”“This situation will put everyone – musicians, technicians, insiders – to the test” With the “Music for tomorrow” project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. The prelude is made by the Ticino composer and harpist Kety Fusco. In a written interview she talks about her everyday life in lockdown and why not that much has actually changed for her. Read more
Why SUISA members should also consider joining SWISSPERFORMWhy SUISA members should also consider joining SWISSPERFORM Composers and lyricists who are SUISA members and are also active as artists and/or producers and whose performances are broadcast by Swiss or foreign radio and TV channels are entitled to receive a remuneration from SWISSPERFORM. For all those authors-composers-artists/producers, a membership with SWISSPERFORM is thus a necessary addition to their SUISA affiliation in order to safeguard their rights and the full remuneration they are entitled to. Read more
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During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been...read more

“This crisis is indicative of a sick society”

Today, in the context of our “Music for Tomorrow” project, we are introducing Swiss jazz and improvisation musician Cyril Bondi, and his piece “We Need to Change”. In a written interview, Cyril tells us why he believes that politics and not the virus are responsible for the current crisis. Text by Nina Müller; video by Cyril Bondi, edited by Nina Müller

Cyril Bondi, age 40, describes himself as an experimentalist who loves working with others. Jazz and free jazz are the preferred domains of the Geneva-born musician. He describes improvisation as the backbone to his music. “Improvisation has allowed me to play in different contexts and to feel as much at ease in a jazz trio (Plaistow) as in experimental/traditional music (La Tène), in a pop/rock duo (cyril Cyril), or working collaboratively on a multitude of projects with “d’incise””, he tells SUISA in a written interview. Cyril’s music regularly oversteps the musical boundaries that society has erected over the years. “I have always tried to develop new things, new concepts, to play my instrument differently, to deconstruct it, reinvent it, seek new sounds, new textures”, Cyril says, explaining his musical evolution.

Bondi composed the piece “We Need to Change” exclusively for “Music for Tomorrow”. Before the lockdown, he was occupied with writing several pieces for his next solo album. He had to interrupt his projects because of the coronavirus. When he received the invitation to “Music for Tomorrow”, he realised how much he was aching for a change. Working on the piece was an intense experience. “Intense because I saw it as an opportunity to express a feeling related to what we are experiencing, this curious blend between the clear evidence of a collapsing society and the denial thereof”, Bondi explains. ”I feel this tension deeply and the creative space I plunged myself into enabled me to express it my way”. Moreover, because he normally works with a band or an orchestra, it was unusual for him to work alone.

Cyril Bondi, what are your workdays like during the corona pandemic?
Cyril Bondi: My workdays are generally organised around my family. I have three children at home, so I constantly have to look after them, help them with their homework and keep them occupied. If I want to get some work done, I have to get up early or devote the evening to work on my various projects. There’s no denying it, the pandemic has hit cultural circles with full force, and musicians even more so, underscoring the precariousness in which they have been living for years. I therefore spend much of my time handling concert cancellations and re-schedulings and checking the different aids and grants available. I am also a member of the FGMC, the Geneva federation of creation music, which brings together professional musicians of all genres, from hip hop to contemporary music, and which is trying to put forward common claims for an industry devastated by the pandemic. As a result, I don’t have much time left for my artistic work; at a certain point, I needed to get back to composing; I plunged into new pieces without knowing who I was writing for or why, apart from the need to delve back into creation. I’m also trying to get ahead with recording the Cyril Cyril (pop/rock) album and my own solo album (experimental).

What does this crisis mean for you personally?
This crisis is indicative of a sick society. We are in this situation not because of a spreading virus but because of the political choices our societies have made. Public services and hospitals are being dismantled, forests destroyed, we are exploiting, plundering, and consuming. Personally, I try to read, keep informed, have discussions with others, listen to music. These dark times make me realise just how much we need culture, the arts, and artists to inspire us, to make us dream, help us escape and make us think. We have never needed them as much as we do now.

How can the public help you at the present time?
People must be aware of the state of emergency impacting the cultural industry and stop thinking that they are contributing any aid whatsoever from behind their computers or smartphones. They must buy records, support the live artists they like, listen to the musicians living around them, and above all support the concert halls, theatres, and festivals as soon as they are allowed to re-open; because my greatest fear is yet to come. People are afraid to meet each other, touch each other, hug each other, kiss each other, dance with each other… how can we be expected to share a true moment of music?

Would it be helpful if people streamed more music from Spotify and Co.?
I think anybody would say the same: companies like Spotify, Youtube, and Facebook are looking to make as much money as possible by exploiting other people’s resources. I am one of those other people. They will never give me a penny of what you consume.

What positive effects might the current situation have in your opinion?
My hopes lie in the collective experience we are living through. Are we intelligent enough to realise that a world with fewer airplanes and cars, with more nature, a less hectic rhythm, more time spent with the family, and greater solidarity is a world where hope can be born again? This capitalist society is leading us to our downfall – we must take the opportunity to invent, create, and conceive a new world. This may be naive, but I believe that everyone today can understand this message.

Do you have a message for your fans?
Listen, sing, dance, and go out!

www.cyrilbondi.net

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
Related articles
Nik Bärtsch: “In this, we are all really challenged as a community”“In this, we are all really challenged as a community” With the “Music for tomorrowˮ project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. This week we present the Swiss pianist, composer and music producer Nik Bärtsch and his piece “Modul 5ˮ. In the interview, Nik talks about his everyday life in lockdown with his family and what he has in common with an Australian emergency doctor. Read more
Penny-pinching in digital music distributionPenny-pinching in digital music distribution Business in the online sector has been subject to constant change – not only for copyright societies. In the second part of the interview, SUISA CEO Andreas Wegelin reports on the status quo and provides an outlook on the scenarios that are being discussed. Read more
“Répondez-Moi”: Third Swiss ESC song from the SUISA Songwriting Camp“Répondez-Moi”: Third Swiss ESC song from the SUISA Songwriting Camp With “Répondez-Moi”, Switzerland is sending a French-language entry to the Eurovision Song Contest for the first time since 2010. The song was written by Gjon Muharremaj (Gjon’s Tears) and SUISA members Alizé Oswald and Xavier Michel of the Duo Aliose together with Belgian producer Jeroen Swinnen at the SUISA Songwriting Camp. Read more
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Today, in the context of our “Music for Tomorrow” project, we are introducing Swiss jazz and improvisation musician Cyril Bondi, and his piece “We Need to Change”. In a written interview, Cyril tells us why he believes that politics and not the virus are responsible for the current crisis. Text by Nina Müller; video by Cyril Bondi, edited by Nina Müller

Cyril Bondi, age 40, describes himself as an experimentalist who loves working with others. Jazz and free jazz are the preferred domains of the Geneva-born musician. He describes improvisation as the backbone to his music. “Improvisation has allowed me to play in different contexts and to feel as much at ease in a jazz trio (Plaistow) as in experimental/traditional music (La Tène), in a pop/rock duo (cyril Cyril), or working collaboratively...read more

“In this, we are all really challenged as a community”

With the “Music for tomorrowˮ project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. This week we present the Swiss pianist, composer and music producer Nik Bärtsch and his piece “Modul 5ˮ. In the interview, Nik talks about his everyday life in lockdown with his family and what he has in common with an Australian emergency doctor. Text by Nina Müller; video by Nik Bärtsch, complemented by Nina Müller

Nik Bärtsch (48) is a successful jazz pianist who lives with his family in Zurich. In addition to music, Zurich-born Bärtsch also studied philosophy, linguistics and musicology. It is therefore not surprising that music has a deeper meaning for him. On his website, he describes his music as follows: “A piece can be entered like a room, inhabited. Through obsessive turning moments, overlays of different meters and micro interplay, the music moves on and changes its states. Attention is drawn to the minimal variations and phrasing. The band thus becomes an integral organism – like an animal, a biotope, an urban space. Youʼre supposed to think with your ears and hands.ˮ

He lives this philosophy with his band Ronin and has already toured in Europe, Asia and the USA. With his formations Nik Bärtschʼs Ronin and Nik Bärtschʼs Mobile as well as solo, the musician has released more than thirteen sound recordings, which are performed at weekly performances as part of his concert series at the Zurich Club Exil. Since 2006, he has his own label “Ronin Rhythm Recordsˮ.

For “Music for Tomorrowˮ Nik Bärtsch performed the piece “Modul 5ˮ. He says with regards to the piece: “The piece consists of a small complex pattern in 6/4, which spreads over the whole piano in the course of the piece. I came across this pattern quite early in my musical development and it has accompanied me constantly over the years. Thus the piece, which was composed at an early age, experiences a constant evolution, as I do myself. We work together so to speak, so that our relationship becomes ever simpler, more direct and yet deeper and more mysterious – just as my wife and I shape our lives together.”

Nik, how does your working day as a composer look like during the corona pandemic?
Nik Bärtsch: I am a completely independent composer, pianist, bandleader, producer and publisher. So, at the moment, the only difference compared to the time before the virus is that I travel much less. All international concerts, productions and workshops have obviously been cancelled. I now have the same daily routine that I have at home between trips: I compose, practice, rehearse, organise and communicate alternately. In addition, I share family life with our children together with my wife, who is also very active in her job.
As usual, it requires a lot of love for life, discipline, structure, but also creativity and the desire for surprises.
Since we want to organise and maintain all this at a high level, it was not a big change for us. Our children are often at home and not in after-school care or anywhere else. We all do martial arts and therefore we also have the possibility to train together on the meadow in front of the house.
Our Monday concert series at the EXIL Club will continue for the time being as pure streaming (www.yourstage.live). So Monday remains the ritualized local concert day and the community and the different teams stay in constant contact.

What does this crisis mean for you personally?
Like all severe crises, it shows me exactly where I stand as an artist and human being and once again unconditionally demands my creativity, integrity and resilience.
But as a freelance musician this is often the normal state of affairs anyway. But the big question is: How do groups, ensembles, bands and concert venues survive the current change in the medium term? In this we are all really challenged as a community. The questions that do arise are actually rather useful: What does music mean to me as a professional? What does it mean to all of us? How do we pay for music and the services behind it? How do we sensibly link the value-appraisal chain with the value-creation chain?

How can the audience support you at the moment?
By rewarding my performance and ours: So by watching our paid streams and by consuming and distributing our music on all other media as well. And by learning exactly how music production and presentation works: How many people and their achievements are behind it, when a wonderful song helps me through the day.

Would it help if people on Spotify and Co. streamed more of your music?
The number of streams must be very high for this kind of payment to work. It still helps, though. Everything is connected and the more independent artists are heard and shared, the better. The local, authentic and special art and initiative ultimately feeds the global commercial development. We have noticed this everywhere on our tours around the world.

What do you think the current situation could bring with it?
I always try to deduce the positive in every situation and learn something. The current situation is once again fundamentally testing our prosperity, our security and thus our working methods. This is valuable. Only when we realise how vital music, its inspiring environment and its wonderful possibilities are, can we appreciate the professional handling of it. SUISA and, for example, the Association of Swiss Musicians communicate this very well. Every musician should do this just as passionately and professionally.

What do you want to give your fans to take away from this interview?
Be honest in your approach to music: Nobody simply takes home a loaf of bread at the bakery without paying.
So enjoy the music with the awareness that people have worked on it with love and unconditional devotion.
I recently received an email from an emergency doctor in Australia. He thanked me for the music. He tackles every challenge of the last few years – the floods, the bush fire and now the virus – by listening to one of my tracks in the morning and drinking a coffee with it. Then he would know why he was doing all this and would also be able to bear death, pain and danger. The music gives him strength to rescue, save and help people. I understood then that it is better to focus unconditionally on the music than to help out a little everywhere. In this case, the chain of inspiration works with precision: We both concentrate on the essentials. His integrity, talent and professionalism help me and vice versa. So we both help others again. Societal appreciation and value creation can only work together.

www.nikbaertsch.com

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
Related articles
Kety Fusco: “This situation will put everyone – musicians, technicians, insiders – to the test”“This situation will put everyone – musicians, technicians, insiders – to the test” With the “Music for tomorrow” project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. The prelude is made by the Ticino composer and harpist Kety Fusco. In a written interview she talks about her everyday life in lockdown and why not that much has actually changed for her. Read more
Bertrand Denzler: Sound space surveyor and ambient sound explorerSound space surveyor and ambient sound explorer Saxophonist Bertrand Denzler is always working on new opportunities to express himself in the delicate balance that lies between improvisation and composition. The 55-year-old musician from Geneva, who is now resident in Paris, now intends to extend the frontiers of his artistic dialogue with others even further using “roaming residencies”. FONDATION SUISA is supporting this project financially with Get Going! funding. Read more
Penny-pinching in digital music distributionPenny-pinching in digital music distribution Business in the online sector has been subject to constant change – not only for copyright societies. In the second part of the interview, SUISA CEO Andreas Wegelin reports on the status quo and provides an outlook on the scenarios that are being discussed. Read more
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All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

With the “Music for tomorrowˮ project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. This week we present the Swiss pianist, composer and music producer Nik Bärtsch and his piece “Modul 5ˮ. In the interview, Nik talks about his everyday life in lockdown with his family and what he has in common with an Australian emergency doctor. Text by Nina Müller; video by Nik Bärtsch, complemented by Nina Müller

Nik Bärtsch (48) is a successful jazz pianist who lives with his family in Zurich. In addition to music, Zurich-born Bärtsch also studied philosophy, linguistics and musicology. It is therefore not surprising that music has a deeper meaning for him....read more

“This situation will put everyone – musicians, technicians, insiders – to the test”

With the “Music for tomorrow” project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. The prelude is made by the Ticino composer and harpist Kety Fusco. In a written interview she talks about her everyday life in lockdown and why not that much has actually changed for her. Text by Nina Müller; video by Kety Fusco, edited by Nina Müller

Kety Fusco (27) plays electric harp and composes her own songs. She began playing the harp as early as at the age of six. But the classical harp became too boring for her at some point and so she discovered the electronic harp for herself. Kety Fusco is also part of the collective “Peter Kernel and their wicked orchestra” by the duo Barbara Lehnhoff (Camilla Sparksss) and Aris Bassetti, who are also members of SUISA. In 2018, Kety Fusco was allowed to perform in the presence of Federal Councillor Alain Berset at the Locarno Film Festival. On 8 May their debut album “Dazed” will be released on the Sugar Music label. Kety Fusco is based in Arbedo (TI) and has been a member of SUISA since 2018.

For the project “Music for tomorrow”, Kety Fusco performed the previously unreleased song “Saceba”. She says this about the song: “ʻSacebaʼ was born in a former cement factory at the bottom of Switzerland’s southernmost valley. I was in this place, enchanting and sombre at the same time, to breathe life into a dance and music performance.

On the first day already, when I entered the main building, I gradually became aware that a treasure of sound was hidden there. The next day I went back with various objects (stones, tools, instruments) and my recording equipment to record the entire Saceba (that was the name of the factory) from the first floor to the top floor: the rubbing of the concrete and the sound of the big echoes of this wonderful industrial archaeology.

Once home, I downloaded all the sounds to my computer and built the piece by mentally retracing my steps and imagining a story that took place within the walls of the factory. Then I added real music with my harp and considered it the soundtrack I would have liked to hear when I first entered the Saceba: the soundtrack of the cement factory.”

Kety Fusco, how does your working day as a composer/lyricist look like during the corona pandemic?
Kety Fusco: I play classical harp for four hours every day, working two hours on the technique of the instrument and the other two hours playing pieces I want to record. I play for about two more hours or so with my electric harp and prepare my new live set.

What does this crisis mean for you personally?
I never keep up with the world because everything happens too fast for me. When I am not on tour, I like to stay at home, take a lot of time to play, study and devote myself to my harps. My debut album “Dazed” will be released on 8 May on Sugar Music and I’m working on my new live set. I am very inspired when nothing happens around me and I live everything in my head. The virus has not changed the way I do things – it has improved the way I am. When I walk around in the street and don’t hear the noise of the cars, I feel good. Knowing that nobody is outside my home and living the daily life but experiencing a “daily surprise” inspires me to imagine stories in my head. I think that everyone will forget what we’ve been through. It must have been like a bad dream for some and a difficult memory for others.

How can the audience support you at the moment?
I would really like the audience to hear my debut album and thus contribute to the streaming music market on which part of my income depends.

Would it help if people on Spotify and Co. streamed more of your music?
Yes, absolutely. With the crisis, streams fell by 33%, and the entire music industry was hit hard.

What do you think the current situation could bring with it?
In my opinion there is nothing positive for musicians, even if I think about creativity: For me, it doesn’t necessarily come when I quit, like Covid-19 … in fact, I usually feel more creative when I don’t have time for it. This situation will put everyone – musicians, technicians, insiders – to the test. The music market has never been fully understood, and I think there are very few people who understand what it means to have lost a whole year’s worth of concerts.

What do you want to give your fans to take away from this interview?
I want all my fans to know that I want to hug them all.

www.ketyfusco.com

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
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«La SUISA a Lugano – un punto di riferimento per la scena musicale nella Svizzera italiana»“SUISA’s office in Lugano is a reference point for the music scene in the Italian-speaking part of Switzerland” SUISA has offices in Zurich, Lausanne and Lugano and is thus represented in three language regions of Switzerland. In Lugano, four members of staff look after the Italian-speaking members and customers in Ticino. The new manager of the regional office in Ticino, Stefano Keller, has been in office for 100 days now. In this interview, he elaborates on topics such as why the Lugano office requires allrounders, how SUISA contributes to the promotion of creative performances in Ticino and which goals he has as a manager of the Ticino office. Read more
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With the “Music for tomorrow” project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. The prelude is made by the Ticino composer and harpist Kety Fusco. In a written interview she talks about her everyday life in lockdown and why not that much has actually changed for her. Text by Nina Müller; video by Kety Fusco, edited by Nina Müller

Kety Fusco (27) plays electric harp and composes her own songs. She began playing the harp as early as at the age of six. But the classical harp became too boring for her at some point and so she discovered the electronic harp for herself. Kety Fusco is...read more

Collective management is a service for music creators and music users alike

Whether it’s background music in businesses or the new blanket license deal covering videos with music on the internet for small businesses: In both cases, a lot of music by a lot of rightsholders (composers, lyricists, music publishers) is used by a large number of companies. SUISA acts as a point of contact for these companies as well as for the beneficiaries, simplifying the authorisation for the use of works and processing the due copyright royalties. By Irène Philipp Ziebold, COO

Collective management is a service for music creators and music users alike

With offers such as the newly introduced annual flat rate for online use of music in web videos, SUISA is simplifying how copyright royalties are processed, for customers and beneficiaries alike. (Photo: one photo / Shutterstock.com)

Up to now, you had to obtain a licence from SUISA for the copyright in accordance with Tariff VN for every single video with music on the internet. With this, the copyright was settled, and additional action was also required with regard to neighbouring rights (related rights). The whole licensing process was therefore complex and sometimes difficult to understand.

Joint licence for copyright and neighbouring rights

Together with Audion GmbH, SUISA has now developed a simpler, attractive licensing model for small enterprises of up to 49 staff and up to CHF 9m turnover. Against payment of an annual fee of CHF 344.00 (excl. VAT), small enterprises and individuals can put videos with music onto their own website as well as publish them on their own social media channels. Thanks to the collaboration between SUISA and Audion GmbH, the annual blanket fee is covering the acquisition of both copyright and neighbouring rights.

Not included in the package are advertising videos, pure music videos, videos with a production budget of more than CHF 15,000 and videos with a total playing time of more than 10 minutes. In addition, synchronisation rights must continue to be obtained directly from the publishers or the authors.

Audion GmbH – a rights agency

Audion GmbH is an independent rights agency founded in 2015 by IFPI Switzerland (the industry umbrella association of music labels in Switzerland), which brokers licenses for marginal uses of music recordings between users and music labels.

It is characteristic of Audion’s field of activity that it restricts itself selectively to niches where smaller and non-commercial users in particular face the administrative challenge of obtaining the necessary licences from a large number of music labels. Audion thus meets a user requirement and offers the choice of acquiring the necessary rights either directly from the rightsholders or as a rights bundle from Audion.

The landscape of music labels has changed dramatically with the development of digital distribution and marketing opportunities. Booking agencies, for example, are increasingly taking over label functions. It is therefore partly unclear where the rights need to be obtained from. Audion can help here by acquiring the rights for the user from the various labels.

Joint collection: Background music and videos on websites

As of 1 January 2019, SUISA will once again be responsible for all customers for the Common Tariff 3a (CT 3a, background music). Prior to this, Billag AG had been issuing the invoice. These customers are companies that play background music on their premises, broadcast TV programmes, use music on hold and/or publish videos with music on their websites. Customers can therefore be the same when it comes to using the music in background entertainment and in videos on websites. In both cases, a lot of music by a lot of rightsholders music publishers is used by a large customer group.

This inevitably leads to the requirement that we simplify the licensing of both uses and, in particular, to offer them together. For this purpose, the existing web portal for CT 3a licences is to be adapted in such a way that customers can register both uses at the same time and thus easily license their respective uses.

Outlook: Large enterprises

The newly introduced annual flat rate for the online use of music in web videos applies to small businesses. An offer for large companies – i.e. companies that employ more than 49 people or generate more than CHF 9m in annual sales – is currently being prepared with the aim of offering these companies a simple and adequate solution. As soon as all necessary measures and decisions have been taken on this issue, we will inform you.

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  1. Liebe Frau Ziebold

    Ich bin einerseits Mitglied der SUISA und froh, dass diese meine Interessen als Urheber wahrnimmt. Andrerseits bin ich auch eine 1-Mann-Firma, allein in einem Büro. Alles, was ich über GT 3a lese, erscheint mir plausibel, trifft aber auf mein Unternehmen nicht zu. Ich hasse Hintergrundmusik, weil sie mich beim Arbeiten stört, und selbst wenn ich ein Radio während der Arbeit laufen liesse, wäre ich der einzige, der es hört. Von einer gewerblichen Nutzung, die ja wenigsten ein Ohrenpaar eines Mitarbeiters oder eines Kunden voraussetzt, bin ich also weit entfernt. Ich verfüge auch nicht über ein Geschäftsauto, das – wie ich mir von einer SUISA Mitarbeiterin habe sagen lassen – auch als Büroraum zählen würde. Sie meinte dann auch, dass ich wohl nicht zahlungspflichtig sei.

    Der zuständige Sachbearbeiter sieht das aber ganz anders und meint, ich müsse einfach zahlen. Er glaubt nicht, dass er das näher begründen müsste und weigert sich auch, mir die rechtlichen Grundlagen zuzustellen. Er bezeichnet aber die GT 3a-FAQs auf Ihrer Website als nicht verbindlich, die meiner Meinung nach deutlich machen, dass ich nicht unter die GT 3a Zahlungspflicht falle. Also, wenn ich einem Kunden eine Rechnung schicke, muss ich das immer begründen können. Ich habe nun eine Betreibungsandrohung ihres Inkasso-Büros im Haus, nachdem eine Rechnung und 1 Mahnung nicht beantwortet wurden, die gar nie bei mir eigetroffen sind. Aber das ist eine andere Geschichte.

    Meine Frage an Sie lautet nun: Hat ihr Mitarbeiter recht? Muss einfach jede Firma GT3a zahlen? Wenn ja, warum gibt man sich dann so Mühe mit der Spezifizierung der Fälle, wenn es gar keine Ausnahmen gibt? Gibt es für diese Null-Ausnahme-Regelung eine rechtliche Grundlage, die Sie mir anstelle Ihres Mitarbeiters zustellen können? Sind Ihre Mitarbeitenden angehalten, nach dem Versand 1 Rechnung und 1 (nicht eingeschriebenen) Mahnung Ihr Inkasso-Büro in Gang zu setzen mit entsprechenden Mehrgebühren? Warum erhalten nicht einfach alle Firmen eine Rechnung?

    Ihre Meinung dazu interessiert mich sehr.

    Mit freundlichen Grüssen

    M. Gabriel

    • Manu Leuenberger says:

      Lieber Herr Gabriel
      Wir danken Ihnen für Ihre konstruktive Rückmeldung. Ihr Anliegen ist uns wichtig und wir werden die spezifische Sachlage hinsichtlich Ihrer 1-Mann-Firma und der erfolgten Kommunikation inklusive der vorhandenen Informationen dazu intern betrachten. Gerne setzen wir uns mit Ihnen in Kürze noch persönlich in Verbindung, um weitere konkrete Falldetails von Ihnen zu erfahren und mit Ihnen zu besprechen.
      Bis dahin wünschen wir Ihnen alles Gute.
      Freundliche Grüsse, Manu Leuenberger / SUISA Kommunikation

Leave a Reply

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Whether it’s background music in businesses or the new blanket license deal covering videos with music on the internet for small businesses: In both cases, a lot of music by a lot of rightsholders (composers, lyricists, music publishers) is used by a large number of companies. SUISA acts as a point of contact for these companies as well as for the beneficiaries, simplifying the authorisation for the use of works and processing the due copyright royalties. By Irène Philipp Ziebold, COO

Collective management is a service for music creators and music users alike

With offers such as the newly introduced annual flat rate for online use of music in web videos, SUISA is simplifying how copyright royalties are processed, for customers and beneficiaries alike. (Photo: one photo / Shutterstock.com)

Up to now, you had to obtain a licence from SUISA for the copyright in accordance...read more

Videos with music on the internet: New offer for small enterprises

Until now, enterprises and individuals had to license each video with music on their websites and social media channels individually at SUISA. From November 2019 onwards, SUISA and its partner Audion GmbH offer an annual lump sum for online usage of music in web videos to small enterprises. Text by Hansruedi Brütsch

Videos with music on the internet: New offer for small enterprises

With the new SUISA offer, small enterprises no longer have to license each video individually but benefit from an annual blanket fee. (Photo: Rawpixel.com/Shutterstock)

More and more companies use videos on their websites or social media channels in order to convey information in a simpler and more entertaining way, and to create a modern appearance. Whenever music is used in those videos, enterprises as well as individuals require a licence for copyright, i.e. for the composition and the lyrics as well as a licence for neighbouring rights i.e. the rights of the performers, producers of sound recordings and music labels. You can usually acquire the licence for the copyright from SUISA against payment of a fee, and the licence for the neighbouring rights from the producer of the sound recording, resp. the label. That way, authors, publishers, artists, producers etc. receive a payment for the use of their works and performances; the paid remuneration will be distributed to them after deduction of a commission of about 15%.

New: a joint licence for copyright and neighbouring rights

Up to now, users had to acquire such a licence for each individual video on the basis of Tariff VN. Together with Audion GmbH, SUISA has now developed a simpler, attractive licensing model for small enterprises of up to 49 staff and up to CHF 9m turnover. Against payment of an annual fee of CHF 344.00 (excl. VAT), small enterprises and individuals can put videos with music onto their own website as well as publish them on their own social media profiles. Thanks to the collaboration between SUISA and Audion GmbH, the annual blanket fee is covering the acquisition of both copyright and neighbouring rights.

The licence is valid for one year from the point in time when the invoice is issued. Small enterprises and individuals can thus upload an unlimited number of videos with music without having to notify us about each of them individually. A licence requirement is that the customer’s offer is directed mainly to interested parties in Switzerland and Liechtenstein.

Exceptions and other rights

The following usages are exempt from this blanket fee:

  • Advertising videos (commercial videos)
  • Music videos
  • Videos with a production budget of more than CHF 15,000
  • Videos with a total play time of more than 10 min.

Further information can be accessed on the SUISA website.

It is important that this licence only covers the reproduction rights and the making available online. In order to use music protected by copyright, resp. music from a sound recording for a video, you need an additional authorisation for the so-called synchronisation. The right to sync music with the film, i.e. to connect the two, is usually managed by the publisher of the work and is not granted by SUISA within the scope of this offer. The synchronisation rights for the desired works must be requested from the respective music publisher.

This is what you need to consider when selecting music

As far as synchronisation rights are concerned, you need to consider the following: If a company wishes to use a hit by Lo & Leduc, Züri West or by international stars such as Ed Sheeran or Taylor Swift as background for their video, the sync rights can cost some hundred, even up to several tens of thousands of Swiss Francs. Before producing the video, you should therefore determine the costs for the synchronisation rights with the respective publisher in any case. A simple and cost-effective alternative is to use so-called mood music. This is music from catalogues offered by various publishers specifically for the musical setting of films and/or sound and audiovisual recordings. The advantage of mood music is that a film producer resp. user can get the authorisation for the use of this music directly from SUISA. Click here for further details and a list of providers of mood music.

When you create a video with music, the moral rights also have to be taken into consideration: It is, for example, not permitted to use a musical work for a political video without having acquired the authorisation from the publisher or the authors. You will also need the permission by the publisher/author if you arrange a musical work in a video (“arrangement authorisation”).

You can also read up more on the SUISA website regarding this topic.

Especially when it comes to well-known resp. successful musical works on social media, additional demands made directly by rightholders cannot be excluded (or, in some cases, the blocking of the video).

There is more info on the new blanket fee by SUISA and Audion GmbH on our website at www.suisa.ch/344 as well as Licensing terms and conditions for the use of music in videos on company websites and company-owned social media profiles.

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All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

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Until now, enterprises and individuals had to license each video with music on their websites and social media channels individually at SUISA. From November 2019 onwards, SUISA and its partner Audion GmbH offer an annual lump sum for online usage of music in web videos to small enterprises. Text by Hansruedi Brütsch

Videos with music on the internet: New offer for small enterprises

With the new SUISA offer, small enterprises no longer have to license each video individually but benefit from an annual blanket fee. (Photo: Rawpixel.com/Shutterstock)

More and more companies use videos on their websites or social media channels in order to convey information in a simpler and more entertaining way, and to create a modern appearance. Whenever music is used in those videos, enterprises as well as individuals require a licence for copyright, i.e. for the composition and the lyrics as well...read more

Changes to the distribution of collections for internet use

New distribution keys will be used for the distribution of collections for internet use (audio and video on demand offers). For downloads, a new key of 25% for performing rights and 75% for reproduction rights shall be applied. For streaming, the split shall consist of 75% performing rights and 25% reproduction rights. Text by Irène Philipp Ziebold

Changes to the distribution of collections for internet use

SUISA changes its distribution keys for the income from streaming and downloads. (Photo: Rawpixel / Shutterstock.com)

For years, the distribution split between authors and publishers in terms of the allocation of the collections from performing and broadcasting rights on the one hand, and reproduction rights on the other hand has been agreed separately. SUISA has accordingly provided for different distribution keys in its distribution rules for the two rights categories.

For online uses, there is no separate distribution key which could be directly agreed on by the contracting parties. As a consequence, the collections from online uses are on the one hand distributed in analogy with the performing rights distribution key and on the other hand in accordance with the reproduction rights distribution key (cf. item 2.1.2 of the distribution rules).

Up to now, SUISA has been distributing 100% of collections from streaming in accordance with the distribution key for performing rights and 100% of collections for downloads in accordance with the distribution key for reproduction rights. This meant, however, that SUISA held a special position internationally and, at the same time, this practice no longer met the latest developments in the online sector.

New distribution keys for downloads and streaming

Apart from taking a look at the usual rules applicable abroad, technical procedures were also evaluated with a view to the analysis that led to the determination of the new distribution ratios of the distribution keys for download and streaming. Technically speaking, the making available of a work is based on the creation of a copy of the work on the server of the provider, the transmission of the copy to the consumer as well as the performance resp. potential storage on the terminal device of the consumer.

During discussions among the various committees (Distribution and Works Committee andBoard) with respect to the proposed changes, various views regarding the performing and reproduction rights shares existed with respect to the weighting of the distribution keys.

In particular the question arose how the aspect of transitoriness resp. repeated playback of a work should be considered for streaming, and which percentage should reflect this for the weighting of the performing share.

In the end, the following split was agreed:

  • Download: 25% of collections shall be allocated to the performing rights distribution key and 75% to the reproduction rights distribution key.
  • Streams: 75% of collections shall be allocated to the performing rights distribution key and 25% to the reproduction rights distribution key.

Distribution of the collections from video on demand (VOD)

At the same time, the provisions regarding the distribution of collections from video on demand were adjusted. The respective revenues shall now be distributed in analogy to download and streaming “per file” (per work). Prior to that, the revenues from video on demand had been supplemented to the remuneration for broadcasts of pay TV. The change now also permits in this sector that collections are distributed in a more exact and pinpointed manner.

For further information see the distribution rules of SUISA.

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All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

New distribution keys will be used for the distribution of collections for internet use (audio and video on demand offers). For downloads, a new key of 25% for performing rights and 75% for reproduction rights shall be applied. For streaming, the split shall consist of 75% performing rights and 25% reproduction rights. Text by Irène Philipp Ziebold

Changes to the distribution of collections for internet use

SUISA changes its distribution keys for the income from streaming and downloads. (Photo: Rawpixel / Shutterstock.com)

For years, the distribution split between authors and publishers in terms of the allocation of the collections from performing and broadcasting rights on the one hand, and reproduction rights on the other hand has been agreed separately. SUISA has accordingly provided for different distribution keys in its distribution rules for the two rights categories.

For online uses, there is no separate...read more

First distribution of collections arising from the Youtube agreement

With its online settlementof June 2015, SUISA distributes collections based on the Youtube agreement for the first time. Income from 5 quarters is included in the payout. The total distributed amount is roughly CHF 300,000. The aim is not just to pay out for titles with advertising turnover but for all used and identifiable works, depending on the click rate. Text by Andreas Wegelin, CEO

First distribution of collections arising from the Youtube agreement

According to the reports on music use by Youtube, music from SUISA members is mainly played in the following countries outside Switzerland: Germany, France, Poland, Italy and Great Britain. (Photo: Manu Leuenberger)

The agreement between SUISA and Youtube has now been running in its second year. The agreement covers direct licensing for exploitations in 43 countries. It does, of course, cover the usages in Switzerland. For the repertoire of SUISA members, the usage from 42 additional countries is being licensed. The territory covered by the agreement includes, apart from the whole of Europe, also countries in Asia and Africa.

With its online distribution of June 2015, SUISA distributes collections based on the Youtube agreement for the first time. These licence fees and usage reports have been submitted since the beginning of the agreement from autumn 2013 to the end of 2014. From the respective 5 quarters, a total amount of about CHF 300,000 is available for distribution.

Elaborate development of the reporting system

Videos with musical contents as well as films created by users themselves with music in the background (“user generated content”) are accessible via the Youtube platform. The elaboration of a suitable reporting system with the new contractual partner turned out to be complex. The basic principle of the reporting process applied at Youtube is explained in the SUISAblog article “Why SUISA members do not have to submit registrations, if their works are on Youtube”.

The main challenge for the processing of the usage reports submitted by Youtube is not just the enormous data volume but also the data quality – especially that of the “user generated content”. Videos by private users hardly contain information on the used (music) material. This segment, which Youtube calls “non music”, could not be identified due to a lack of exact data. As a consequence, no money will be allocated to these segments.

Things are different, however, for the so-called “music” segments: For the 15-month distribution period, SUISA has processed reports on music use by Youtube with approximately 3.2m different videos, with a total of 1.7bn clicks between them. Of the latter, 590.2m clicks relate to the repertoire distributed by SUISA.

Distribution of Youtube collections

Wherever it was possible to directly link advertising revenue to a video with identified music the income will be distributed for this video, resp. the music contained therein. This means: A music video has generated income via advertising. The video contains a single work which could be identified by a music usage report from Youtube and is has a complete registration in the SUISA works database. The income generated by the video will be paid out to the rights holders of the individual video.

Further works in videos from the “music” segment, which could be identified, obtain a share of the remaining income from the Youtube agreement in line with their click rate. The distribution amount per click for the distribution period is CHF 0.0008. In comparison, SUISA could pay out an average amount of CHF 0.0018 per stream in the second Spotify distribution which is also taking place now, i.e. more than twice as much.

Just like the contracts with other online music providers, the Youtube agreement will be subject to a periodic review. The impending negotiations to renew the agreement will provide an opportunity to hold discussions on the reporting of data for the identification of the music contents of our repertoire and of course the financial conditions of the licence for Youtube. So that authors will get their fair share for the usage of their works on the biggest global video platform.

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With its online settlementof June 2015, SUISA distributes collections based on the Youtube agreement for the first time. Income from 5 quarters is included in the payout. The total distributed amount is roughly CHF 300,000. The aim is not just to pay out for titles with advertising turnover but for all used and identifiable works, depending on the click rate. Text by Andreas Wegelin, CEO

First distribution of collections arising from the Youtube agreement

According to the reports on music use by Youtube, music from SUISA members is mainly played in the following countries outside Switzerland: Germany, France, Poland, Italy and Great Britain. (Photo: Manu Leuenberger)

The agreement between SUISA and Youtube has now been running in its second year. The agreement covers direct licensing for exploitations in 43 countries. It does, of course, cover the usages in Switzerland. For the repertoire...read more

Why our members don’t have to notify SUISA whether their works are on Youtube

Members have recently asked us along the lines of ‘how, where and when can I tell SUISA that my works are on YouTube’. We explain in the following reply to a member’s query why authors do not have to notify SUISA whether their works are available on the video platform. Text by Manu Leuenberger

Why our members don’t have to notify SUISA whether their works are on Youtube

(Photo: Manu Leuenberger)

“I reckon it might be difficult for SUISA to track all videos of Swiss artists [on YouTube]. I take it that this won’t happen automatically. Is it therefore necessary that I inform SUISA of a video where I am the author and for which I want to get the relevant royalties?”

Automatic reporting between SUISA and YouTube

Authors do not need to send notifications on their works on YouTube. YouTube and SUISA have an automatic reporting in place. Said reporting takes place in two steps and the process – in simplified terms – is based on the following principle:

YouTube periodically provides SUISA with basic usage data in an electronic format. The list is called: “Masterlist”. Said list contains details on the videos that have been played via YouTube. Further details are included on the used music in the respective video, if these are known to YouTube. These details provided by YouTube consist of work / song title, artist name(s), album title plus optional additional details such as label, ISRC/ISWC no. or UPC.

Based on these details, SUISA defines the repertoire it represents. In other words: The “Masterlist” is compared to the SUISA works database. Works whose rights are represented by SUISA, are marked on the list. After that, SUISA notifies YouTube for which works on the “Masterlist” SUISA is entitled to receive royalties.

Based on this information, YouTube knows that the copyright for the marked videos must be paid out to SUISA. Only now can the second step in the reporting process take place: YouTube creates reports on music use which contain the number of clicks as well as details on the relevant income. The remuneration paid by YouTube is made up of a part of the income generated by advertising. YouTube transfers the money to SUISA. Based on the information saved in the SUISA works database, the distribution to rights holders is made.

Similar reporting principle for radio and TV

The underlying principle for the YouTube process is comparable to the broadcast reports of radio and TV stations. Most broadcasters work with digital systems today. With these systems, they create reporting logs in file format and transfer them electronically to SUISA. SUISA then carries out the matching of the works database and allocates the royalties to the authors and publishers entitled to receive a payment.

In the case of radio and TV stations, members basically do not need to notify SUISA when their song is played either. It suffices if the work has been correctly declared once with SUISA, and has subsequently been registered in the works database. The reporting between users, such as the broadcasters in this example, and SUISA takes place via (often automated) reports on music use.

Special case YouTube: Data volume and data quality

Compared to the well-established system of broadcast reports by radio/TV stations, some new and difficult questions must be answered when developing a reporting system with YouTube, the currently biggest video platform in the world.

One significant difference between YouTube and the reporting with customers such as radio/TV broadcasters is the data quality: In the case of radio and TV, the music databases are often administered by music editors. The more precisely the databases have been maintained, the more correct the details on the played song titles on the broadcast logs. The contents on YouTube, however, are mostly uploaded by private users. In the case of such “user generated content”, less diligence is usually applied in terms of the details of the used material. As a consequence, the quality of the available data on the YouTube usages is correspondingly low at times.

The enormous data volume poses another challenge: The repertoire used on YouTube is that of radio/TV stations, but many times over. YouTube indicates that currently 100 hours of video material are uploaded to YouTube per minute. According to the same statistics, 1 billion individual users are said to consume more than 6 billion hours of videos on YouTube per month, on average. The following applies: 1 user watches 1 video = 1 use which would have to be notified in principle. In the case of SUISA this applies for users who watch videos from computers with a Swiss IP address.

Customer reporting crucial for the correct distribution

In light of these huge masses of videos, SUISA depends on an automatic reporting by YouTube. SUISA does not have the resources to track individual videos of Swiss artists on the platform. SUISA does – as with all its customers – endeavour in collaboration with the licensee to develop a best possible reporting in terms of correctness and comprehensiveness, as long as this seems reasonable in relation to the administrative effort. Only then can SUISA pay its rightsholders what they are due in terms of royalties.

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  1. Marco says:

    I have a key question after reading this article, about the sentence:
    “In the case of SUISA this applies for users who watch videos from computers with a Swiss IP address.”
    This means that I can retrieve money only from the cliks that come from Switzerland? What happens with the clicks coming from the rest of the world?
    Thank you in advance for clarifying

    • Manu Leuenberger says:

      The agreement with YouTube covers the repertoire of SUISA members for the exploitation via the video platform in many countries. In particular, the agreement governs user access from Swiss IP addresses as well as access from the EU region, EFTA, EEA and other countries outside of Switzerland. For exploitations in these territories included in the contractual arrangements, remuneration is paid by YouTube to SUISA and we pass this remuneration on to the rights holders.
      Manu Leuenberger / SUISA communication department

  2. Linus Walter says:

    Verstehe ich das richtig, für unsere YouTube-Inhalte, die ausserhalb der Schweiz abgespielt werden, erhalten wir nichts?
    Oder habe ich das falsch verstanden?

    • Manu Leuenberger says:

      Lieber Linus
      Zuerst einmal bitten wir für unsere verspätete Antwort um Entschuldigung.
      Zu Deiner Frage: Durch den Vertrag mit Youtube ist das Repertoire der SUISA-Mitglieder für die Nutzung auf der Video-Plattform in einer Vielzahl von Ländern lizenziert (siehe dazu auch unsere Medienmitteilung zum Vertragsabschluss vom 25.9.2013 http://www.suisa.ch/de/news/news-archiv/news/article/2013/09/25/suisa-und-youtube-einigen-sich-auf-lizenzvertrag/). Konkret gilt der Vertrag neben Nutzer-Zugriffen von Schweizer IP-Adressen auch für Zugriffe u.a. aus dem Gebiet der EU, EFTA, EWR und weiteren Ländern ausserhalb der Schweiz. Für Nutzungen in diesen vertraglich vereinbarten Ländern werden allfällige Vergütungen von Youtube direkt an die SUISA ausbezahlt und von uns an die Rechteinhaber weitergeleitet.
      Nochmals sorry für die späte Antwort und viele Grüsse
      Manu Leuenberger / Kommunikation SUISA

Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

Members have recently asked us along the lines of ‘how, where and when can I tell SUISA that my works are on YouTube’. We explain in the following reply to a member’s query why authors do not have to notify SUISA whether their works are available on the video platform. Text by Manu Leuenberger

Why our members don’t have to notify SUISA whether their works are on Youtube

(Photo: Manu Leuenberger)

“I reckon it might be difficult for SUISA to track all videos of Swiss artists [on YouTube]. I take it that this won’t happen automatically. Is it therefore necessary that I inform SUISA of a video where I am the author and for which I want to get the relevant royalties?”

Automatic reporting between SUISA and YouTube

Authors do not need to send notifications on their works on YouTube. YouTube and SUISA have an automatic reporting in place....read more