Tag Archives: Settlements

SUISA continues to be a reliable partner, even in difficult times

Dear members, we have been stuck with the corona crisis for 15 months and have been trying, as best as we can, to be a reliable partner for you when it comes to managing your copyright, despite of corona. It is now the second time round that we must hold our General Meeting by circular procedure. By Andreas Wegelin, CEO

SUISA continues to be a reliable partner, even in difficult times

SUISA continues to be a guiding light and a reliable partner in these dark times. (Photo: Tabea Hüberli)

Executive Committee, Board of Directors and staff regret very much that there won’t be a physical General Meeting in 2021 again. The General Meeting is the highlight of the yearly cycle of your company. Only a direct encounter with you shows us whether we are on the right track and whether our services cover your needs, or what we might actually have to improve yet.

We also would have liked to discuss in more detail and in person how the financial situation of your Cooperative Society has been developing in these difficult times, now that concerts have no longer taken place and no licensing fees have been collected for them anymore.

The 2020 annual results have been reasonably acceptable (-12%). For the current year’s results, we hope that there will be a relaxation of the event bans and an opening of restaurants so that the losses remain within 10% compared to 2020.

Impact of the event bans only visible after a delay

You are probably also going to feel this decline of SUISA’s collections in the settlements. Lost licence fees for cancelled live events will only result in lower amounts in the settlements which we pay out in the course of 2021 from the 2020 collections. With the 2021 settlements it thus becomes evident with a delay how the corona measures decreed by the authorities affect the pay-out of copyright remuneration.

The same applies for measures which has led to another shutdown in the context of the second wave of the pandemic from 21 December 2020. This will impact on settlements way into the year 2022.

Corona emergency fund for SUISA members

The 2020 General Meeting had decided that an emergency fund should be created for members that have a lower SUISA income due to the corona crisis. This fund continues to exist. SUISA offers its members further possibilities to bridge financial shortages: It is also possible to get advances for future settlements. Finally, there is the option that creators who get into financial hardship situations can get a support payment from the Pension Fund for Authors and Publishers.

Expansion of online services

SUISA is therefore also your point of contact throughout the crisis. We try to be there for you, subject to keeping to a strict expenses discipline when it comes to staff costs.

This is possible, among other things, because of an increased digitisation of the business transactions between you and SUISA. Since mid-May 2021, our “business intelligence” tool, the Royalty Report, has been activated for all rightsholders. It is therefore high time that you get an online access to your SUISA account and that you benefit from the digital services as soon as possible. That way, we can continue to increase transparency and expand our services for our members despite the pandemic.

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Dear members, we have been stuck with the corona crisis for 15 months and have been trying, as best as we can, to be a reliable partner for you when it comes to managing your copyright, despite of corona. It is now the second time round that we must hold our General Meeting by circular procedure. By Andreas Wegelin, CEO

SUISA continues to be a reliable partner, even in difficult times

SUISA continues to be a guiding light and a reliable partner in these dark times. (Photo: Tabea Hüberli)

Executive Committee, Board of Directors and staff regret very much that there won’t be a physical General Meeting in 2021 again. The General Meeting is the highlight of the yearly cycle of your company. Only a direct encounter with you shows us whether we are on the right track and whether our services cover your...read more

The Royalty Report is online

News about “My account”: Thanks to user-friendly graphics, the Royalty Report provides a quick overview of how the copyright royalties developed over the last five years and allows individual analyses per mouse click. Text by Claudia Kempf

The Royalty Report is online

The user interface of the SUISA Royalty Report. The data analysis tool is available to all members via the portal under “My account”. (Photo: SUISA)

The SUISA member portal is very popular and is used a lot. More than two thirds of all members have access to “My account” and use the advantages of the portal. Since May 2021, a significant function has been added to the portal: the Royalty Report. With this newly introduced analysis tool, you can create statistical evaluations of your own SUISA income and turn them into graphics.

After all, there is a lot of information in the SUISA settlements. You can access the settlements in “My account” as navigable PDFs. An accumulated evaluation of this data required manual or, in the case of publishers receiving electronic settlements, technical efforts.

This additional effort is now a thing of the past: With the Royalty Report, all members can, simply by clicking on the right button, get answers to questions such as: Which of my works is doing really well in a specific country? Which of my works generated the highest turnover last year? In which areas was a specific work most used: Radio, online or in discotheques?

The Royalty Report is interactive

The basic setting provides an overview of all work usages of the last five years and the current financial year. It shows at first glance: How many works did it take to reach the turnover I have generated? When were the works used, and where? What are the top works and what is the turnover they generated in that time? Did I earn more as a lyricist or a composer, as an original or sub-publisher? Are my works used more on Spotify or Apple Music?

The Royalty Report is interactive. With just one click on a work or a country, for example, the entire appearance of the display is adjusted to the selected work or country. The link sign (chain symbol) in the work list leads you directly to the works database and provides details how the relevant work has been registered at SUISA.

Thanks to various filter options, the income can be shown by different criteria such as settlement date, usage period, country, distribution category, work or online music providers. In order to gain a deeper insight, the selection criteria can be combined in any way. The program also allows for an export of the filtered data to Excel. The settlements and usage periods can be specified further with a click on the arrows in front of the respective selection criteria so that an evaluation is also possible for an individual settlement.

If you have questions on how to use the Royalty Report, the following functions are available:

  • Info buttons: They appear if you hover over a field with your mouse at the top right in the user interface. They contain information about the data which are shown in this area.
  • A user manual summarises the most important functions and contains tips and tricks on the use of the Royalty Report and explanations on the various displays and distribution categories.
  • A video shows the most important user tips:

The Royalty Report is available in English. The manual contains translations of all terms and info buttons which are used in the report.

The Royalty Report is based on the data analysis tool by Microsoft Office. The software developer recommends to use the application on a computer with a browser of the latest generation. Mobile end devices such as smartphones and tablets are, however, not suitable for processing large data volumes.

The member portal will be expanded in the medium term to become a central point of contact for our members so that core tasks of SUISA can be offered more quickly and cost-efficiently. The Royalty Report is an important step into the digital future. A next step is the renewal of the login process so that members can manage their online accounts completely independently.

The access to “My account” and the Royalty Report is open to all SUISA members. Order your login for a personal online user account now: www.suisa.ch/my-account

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News about “My account”: Thanks to user-friendly graphics, the Royalty Report provides a quick overview of how the copyright royalties developed over the last five years and allows individual analyses per mouse click. Text by Claudia Kempf

The Royalty Report is online

The user interface of the SUISA Royalty Report. The data analysis tool is available to all members via the portal under “My account”. (Photo: SUISA)

The SUISA member portal is very popular and is used a lot. More than two thirds of all members have access to “My account” and use the advantages of the portal. Since May 2021, a significant function has been added to the portal: the Royalty Report. With this newly introduced analysis tool, you can create statistical evaluations of your own SUISA income and turn them into graphics.

After all, there is a...read more

Changes to the SUISA organisation chart

In the course of the retirement of our Head of the International Documentation Department, the Executive Committee decided several modifications of SUISA’s organisation chart , taking effect from 1 March 2021. These modifications also entail changes in terms of staff responsibilities. Text by Irène Philipp Ziebold

Changes to the SUISA organisation chart

Brigitte Küng (image taken during a management seminar in 2012) worked for SUISA for nearly half a century and her last position was that of Head of the International Documentation Department. (Photo: Günter Bolzern)

After more than 48 years at SUISA, Brigitte Küng took her retirement at the end of February 2021.

In 1972, she started her apprenticeship with SUISA and stayed true to SUISA for nearly half a century! Her first role included the distribution of licences for sound recordings in the then MECHANLIZENZ, from 1973 she continued her task after the merger with SUISA. She continued to work in the International Documentation and finally took over the helm of said department which she led successfully up to the date of her retirement.

Brigitte Küng was also responsible for the global database of the “Compositeurs, Auteurs and Editeurs (CAE)” which is nowadays known as IPI (Interested Party Information) and reflects all interested parties in the copyright world. She became a very highly appreciated contact for documentation queries among colleagues around the world. With regards to new collective management organisations, Brigitte Küng held courses for the build-up and maintenance of documentation data. She was travelling several continents to fulfil this task.

We thank Brigitte Küng very much for her many years of loyalty and her excellent work for SUISA!

Wolfgang Rudigier takes over the International Documentation Department

Brigitte Küng’s valuable work is continued by Wolfgang Rudigier. From 1 March 2021 onwards, he has taken over the responsibility for the International Documentation in addition to the Distribution Department. Due to his long-term experience as Head of the Distribution Department, he also holds a well-founded knowledge regarding the documentation sector. Thanks to these skills, synergies can be created, not least because documentation and distribution go hand in hand from a process perspective.

Claudia Kempf now in charge of the Domestic Settlement Inquiries team

In parallel, the group referred to as Domestic Settlement Inquiries which had been located under the Distribution Department was shifted across to the Members Department and therefore to Claudia Kempf from 01 March 2021. The Members Department can, as a consequence of this organisational change, provide a comprehensive service and support and advise SUISA members both in terms of the rights administration agreement and work registrations and distribution queries.

Hansruedi Jung looks after IPI

The IPI (Interested Party Information) was integrated into the IT Department and is now in the remit of Hansruedi Jung, Head of Systems Technology. The IPI is our international database of authors and publishers which reflects member agreements from all over the world. The technical infrastructure of the IPI belongs to SUISA. It issues an invoice to collective management organisations which are using the system for this service provided to them by SUISA each year.

New organisation team leaders

These changes in the SUISA organisation chart also led to re-organisations at team leader levels: Simon Klopfenstein holds the team Domestic Settlement Inquiries from 01 March 2021 and thus changed across to the Members Department.

Eva Bisaz continues to be in charge of the group International Distribution and Settlement Inquiries (sister societies) within the Distribution Department, but has also taken on the group Domestic Broadcasting Distribution from 01 March 2021 onwards.

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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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In the course of the retirement of our Head of the International Documentation Department, the Executive Committee decided several modifications of SUISA’s organisation chart , taking effect from 1 March 2021. These modifications also entail changes in terms of staff responsibilities. Text by Irène Philipp Ziebold

Changes to the SUISA organisation chart

Brigitte Küng (image taken during a management seminar in 2012) worked for SUISA for nearly half a century and her last position was that of Head of the International Documentation Department. (Photo: Günter Bolzern)

After more than 48 years at SUISA, Brigitte Küng took her retirement at the end of February 2021.

In 1972, she started her apprenticeship with SUISA and stayed true to SUISA for nearly half a century! Her first role included the distribution of licences for sound recordings in the then MECHANLIZENZ, from 1973 she...read more

Support for SUISA members during the corona crisis

Following the federal COVID-19 ordinances, music usage plummeted depriving authors and publishers of a significant portion of their royalty revenues. SUISA offers its members financial support to bridge the loss in earnings. Text by Irène Philipp Ziebold

Support for SUISA members during the corona crisis

No concerts means no revenues from performing rights. Instead, Kety Fusco played live music from her home for the SUISAblog “Music for Tomorrow” series and for SUISA Music Stories on social media. (Photo: screen shot video Kety Fusco)

Cancelled concerts, closed shops and cinema theatres, reduced advertising on radio and TV – the consequences of the federal measures against the spread of the coronavirus have a direct impact on rights management revenues: if there is no music usage, there is no royalty income.

SUISA offers its members financial support to bridge the loss in earnings:

Advances

First and foremost, SUISA has the option, as it has always had, to grant advances to its members. Both authors and publishers can qualify for an advance. The amount of the advance is based on the member’s average revenues in the preceding years. Advances can only be granted to members who have earned more than CHF 500 on average in royalties in recent years. Members may apply for an advance by email. Applications are processed within seven days. The decision is communicated in writing by email. If the applicant satisfies the qualification criteria, the advance will be paid immediately by bank transfer.

Under normal circumstances, advances are offset against the member’s next settlement. This means that the amount advanced is deducted from the distributable amount. As an immediate measure in the exceptional context of the corona pandemic, SUISA’s Board has decided that advances would not be offset before June 2022 at the earliest. The Board and the Executive Committee are keeping a close eye on the crisis situation and, depending on economic developments, may decide to further postpone the offsetting of such advances. In any event, repayment of these advances will not be due before June 2022 at the earliest.

Support payments for members

If an advance is insufficient to alleviate the existential financial hardship suffered by a member as a result of the loss in royalty revenues, the member may apply to SUISA for support payments. SUISA’s Pension Fund makes funds available to authors in the event of an emergency. As a further immediate measure, the Executive Committee has decided to create an additional emergency relief fund from which support payments can be made to authors and publishers alike. The emergency relief fund still has to be ratified by the General Meeting by postal voting. (Addendum added on 27.08.2020: The General Meeting approved the relief fund by a large majority. For more information, see article: “SUISA General Meeting: Emergency fund for authors and publishers approved”.)

In the framework of its rights administration responsibilities, SUISA provides support to members who suffer a loss in their royalty revenues. However, only limited funds are available for support payments. SUISA members who are not already receiving hardship relief from the emergency fund of Suisseculture Sociale or under other cantonal measures may apply for support payments from SUISA.

Applicants must prove their financial hardship. Applications for support payments can be submitted via the members’ portal “My account”. Application documentation will be processed within seven days. Decisions are communicated in writing by email. Payment is made by bank transfer as soon as an application is approved. Support payments do not have to be repaid.

Federal support measures and other aid

The financial support provided by SUISA is designed to help bridge a shortfall in royalty income. SUISA’s support is supplemental – not in lieu of or as an alternative to federal support measures. Information about the measures introduced by the Swiss government to alleviate the economic consequences of the corona pandemic on the cultural sector is available (in German, French and Italian) on the website of the Federal Office of Culture (FOC): www.bak.admin.ch/bak/de/home/themen/coronavirus.html

The Swiss cultural foundation Pro Helvetia also publishes continuously updated information at: www.prohelvetia.ch/en/dossier/info-hub-covid-19/

Go to: www.suisseculture.ch for information about the emergency relief fund for cultural workers, and a link to the application portal. Applications for immediate aid can be submitted through this portal.

Helpful information for musicians is also available on the website of Sonart, the professional association of freelance musicians in Switzerland.

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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.

Following the federal COVID-19 ordinances, music usage plummeted depriving authors and publishers of a significant portion of their royalty revenues. SUISA offers its members financial support to bridge the loss in earnings. Text by Irène Philipp Ziebold

Support for SUISA members during the corona crisis

No concerts means no revenues from performing rights. Instead, Kety Fusco played live music from her home for the SUISAblog “Music for Tomorrow” series and for SUISA Music Stories on social media. (Photo: screen shot video Kety Fusco)

Cancelled concerts, closed shops and cinema theatres, reduced advertising on radio and TV – the consequences of the federal measures against the spread of the coronavirus have a direct impact on rights management revenues: if there is no music usage, there is no royalty income.

SUISA offers its members financial support to bridge the loss in earnings:

Advances

First and foremost,...read more

Brave new world

There is hardly any other technical development that has turned the music business upside down as much as the success of platforms such as YouTube. And hardly any technical development has been as remiss in the treatment of authors’ rights as the internet. In this interview, SUISA CEO Andreas Wegelin explores opportunities and difficulties of this rather young business sector. Interview by guest author Silvano Cerutti

Brave new world

“If I compare SUISA with other organisations that are still in their early days when it comes to online, we are already well underway”, SUISA CEO Andreas Wegelin is convinced. (Photo: Günter Bolzern)

Andreas Wegelin, the distribution of online royalties is affected by delays which caused disappointment in some members. Can you empathise with that?
Andreas Wegelin: It is our job to get as much collected on behalf of our members as possible, not just online but for all usage categories. If there is a cause for criticism, we take it seriously and examine it. There is, however, also the aspect that some members have received more than before, and they are not disappointed.

Maybe the question needs rephrasing?
Well, maybe the level of expectation is too high. Today, music is consumed in much smaller units, there are possibly one or two songs from a CD and that is reflected in the turnover, of course.

But members should receive a settlement four times per year. That did not quite work out in 2019. Why?
That’s right. One of the reasons for this is that the payment of one major customer was late. The amounts in the June distribution would thus have been far too small: On the one hand, the settlement would have fallen under the so-called payout threshold, they would therefore have received nothing. On the other hand, the administration costs would have been too high. We subsequently decided to postpone the settlement. Our goal, however, remains to pay out on a quarterly basis.

So, you don’t have a problem with the data volume you received that you need for the calculation of the online royalties?
No, we don’t. Yes, the data volume we receive is rather huge and requires complex processing with respect to many countries and currencies, but our systems have proved to be extremely efficient in this regard.

I can now upload my work on platforms such as iMusician, from where it is distributed to various service providers (Spotify etc.) and I can see how much my work is used, and where. Can SUISA also do that?
These are two different business models. iMusician monitors where an individual recording is played. That is, of course, much easier to track than having to simultaneously trace dozens, if not hundreds of recordings of one single work. What’s more, music providers know exactly who the artists of a recording are, but don’t have information on the composers of the song.

So SUISA’s job is more complex?
Of course. Add to that the obligation to provide clear information on the rights whenever you upload a song to such a distribution service. At our end, however, we also get notifications of works which have been uploaded by a fan without any details at all. If I do compare our administration costs with the fees that a service such as iMusician charges, I think to myself: we can keep up very well. But – such distribution services show us how we could improve our service in future and what is in demand on the market.

Which is?
The key word is tracking. I give you an example: If commercials with music of Swiss authors are broadcast abroad, the best way for me to get information on the number of broadcasts is via a tracking system. Today, not least on the grounds of cost, we have a system where the broadcasters deliver the information to us. Which could be something like “Nivea spot”. Well, which one? If I already have the melody as a sound file, I can track that. That is our future, even if it is not the most pressing measure we need to take for the online sector.

Automation is therefore only as good as the data that are available to it?
Exactly. And they are often incomplete.

What about monitoring service providers such as Utopia Music which can track songs across the internet?
Monitoring is a huge topic. We follow this very closely and are also planning a pilot project. Yet again, this is a matter of the relevant cost-benefit ratio. That ratio may well be good for an international hit producer but when it comes to an overall repertoire such as ours, the expense can push the administration costs up to silly levels.

The ‘rucksack of completeness’ has been around for the offline sector for many years and the distribution works rather well in that area. In the online sector, however, where everything could be measured, things are complicated.
That is annoying, yes. The offline system has been functioning well for nearly 100 years. But we only cover Switzerland and Liechtenstein for that. Online, we need to take a global approach and are also facing competition, because, according to the EU, each rights holder can choose who they are represented by.

What are the consequences?
In the past, rights holders assigned their rights to SUISA via so-called reciprocal representation agreements for the perception of their work in Switzerland and the Principality of Liechtenstein. Based on that system it was possible to pass on the relevant share from Switzerland to any composer, whether English or American, and one subsequently received the relevant shares from abroad for Swiss authors.

Online, on the other hand….
…. it is only possible for a society to collect for the rights holder whom it represents directly, even though this can be done at a global level. All of a sudden, the documentation must be more accurate and also completed for other countries since it otherwise won’t match. One collective management organisation might declare that their share of a work amounts to 80 percent, another organisation claims to hold 40 percent, which adds up to 120. Such cases happen all the time.

And what’s the consequence of this?
The provider says: As long as you do not know who sends an invoice for what, I won’t pay you. Or we do not get any money, but the info: I have already paid someone else!

How do disputes among rights representatives arise?
Let’s take an example: I have a work with a composer, a lyricist and a publisher. The latter, however, has an agreement with a sub-publisher and has, for another territory, instructed a third publisher, and now all of these entitled parties can choose their own collective management organisation for the online exploitation. This means that there might be four or five collective management organisations which are then in charge for their respective part of the work. Now, I have to agree exactly which part belongs to me. This is where the “disputes” start, because the entry may be different at their end.

Is there no regulation among the copyright management organisations how you can proceed in such situations?
The societies are trying to coordinate their collaboration better in technical working groups. Due to the new competition situation among the organisations, a complete solution for these difficulties has not been found yet.

Music is consumed in small units, the rights representation happens at an even smaller scale, international competition and no smooth processes – doesn’t that frustrate you?
No, that is what makes this job so interesting! Changes such as the internet come to you from outside. You can either put your head in the sand or try to make the most of it. If I compare SUISA with other organisations that are still in their early days when it comes to online, we are already well underway.

But you do understand that authors are stressed out by such a situation?
Of course, it stresses us, too (laughs). We are building a new service here, which will hopefully be profitable and in demand and which gets the most out of it for our members. This can only happen in small steps and with setbacks, but there is also progress: We were able to improve the agreements, modernise infrastructure and the duration between the usage date and the distribution date could be halved since 2012. I am very optimistic.

To the second part of the interview: “Penny-pinching in digital music distribution”

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There is hardly any other technical development that has turned the music business upside down as much as the success of platforms such as YouTube. And hardly any technical development has been as remiss in the treatment of authors’ rights as the internet. In this interview, SUISA CEO Andreas Wegelin explores opportunities and difficulties of this rather young business sector. Interview by guest author Silvano Cerutti

Brave new world

“If I compare SUISA with other organisations that are still in their early days when it comes to online, we are already well underway”, SUISA CEO Andreas Wegelin is convinced. (Photo: Günter Bolzern)

Andreas Wegelin, the distribution of online royalties is affected by delays which caused disappointment in some members. Can you empathise with that?
Andreas Wegelin: It is our job to get as much collected on behalf...read more

Changes in distribution for Common Tariff K and Z revenues

The CHF 20 limit for the distribution of revenues under Common Tariffs K (concerts) and Z (circuses) has been eliminated. As a result, amounts previously allocated to distribution category 4C will be otherwise regulated. The changes concern points 4.1, 4.2, 5.4 and 5.5 of SUISA’s Distribution Rules. Text by Irène Philipp Ziebold

Changes in distribution for Common Tariff K and Z revenues

SUISA has optimised its distribution rules for revenues from live performances. (Photo: Tabea Hüberli)

Revenues from CT K and CT Z had hitherto been allocated to two different distribution categories. Amounts over CHF 20 per work were allocated to DC 4B “Concerts and other performances with revenues of more than CHF 20 per work”. Distribution in this category was made on a per file basis. On the other hand, performance revenues of less than CHF 20 per work were allocated to DC 4C “Concerts with revenues of up to CHF 20 per work” and were then distributed on a flat-rate basis.

As is in the nature of flat-rate solutions which at best only approximate real circumstances, this practice did not always produce satisfactory results. In the case of DC 4C, a flat point value, calculated based on the revenues and programme information of all the events assigned to this distribution category, was applied.

Distribution based on actual usage is more advantageous

The flat point value actually applied could be higher or lower than the actual point value of an individual event. Therefore, it could happen that entitled parties would receive a higher amount than that actually paid by the organiser in respect of an event for which only the minimum fee under Tariff K had been paid. Naturally, the opposite was equally possible. The changes made in the Distribution Rules now eliminate the potential disadvantage or advantage for the beneficiaries of DC 4C.

In practice, these changes remove the CHF 20 limit and eliminate distribution category 4C altogether. Henceforth, all revenues from CT K and CT Z – regardless of amount or point value per work – will be allocated to and distributed in DC 4B. The rules for DC 4B itself remain unchanged; only the name of this category has been changed. It is now called: “Concerts & concert-like performances.”

The revenues previously allocated to DC 4C will henceforth flow into DC 4B as well. These consist in the allocations from revenues without programme information from Tariffs Hb, L, Ma, 3a, 7, 8, K and Z, as well as Tariff B revenues from orchestra consortia (with programme information).

Overview of changes in Distribution Rules

Here, in a nutshell, are the advantages of the changes in the Distribution Rules:

  • Even smaller amounts will be equitably distributed per file when programme information is available. This corresponds to a per-work distribution where the proceeds from an event will be distributed directly to the entitled parties.
  • Hitherto, only the entitled parties under DC 4C had the benefit of the above-listed allocations. Since both distribution categories (4B and 4C) relate to concert repertoires, there is no objective reason not to take into account DC 4B works in the distribution of allocations. Thanks to these changes, this will now be the case.
  • By introducing per-file distribution for all performances subject to Tariffs K and Z, settlement statements will be more transparent. Members will now be able to clearly see the make-up of their revenues from live performances under this Tariff.

The changes in the Distribution Rules will first be implemented in the September 2019 distribution.

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The CHF 20 limit for the distribution of revenues under Common Tariffs K (concerts) and Z (circuses) has been eliminated. As a result, amounts previously allocated to distribution category 4C will be otherwise regulated. The changes concern points 4.1, 4.2, 5.4 and 5.5 of SUISA’s Distribution Rules. Text by Irène Philipp Ziebold

Changes in distribution for Common Tariff K and Z revenues

SUISA has optimised its distribution rules for revenues from live performances. (Photo: Tabea Hüberli)

Revenues from CT K and CT Z had hitherto been allocated to two different distribution categories. Amounts over CHF 20 per work were allocated to DC 4B “Concerts and other performances with revenues of more than CHF 20 per work”. Distribution in this category was made on a per file basis. On the other hand, performance revenues of less than CHF 20 per work were allocated to...read more

Positive figures for the 2018 financial year to date

The Board meeting held the day before the General Assembly in June 2018 had a multi-layered agenda to handle. In addition to preparing for the General Assembly, the meeting also reviewed the course of business for the year to date. Report from the Board by Dora Zeller

Positive figures for the 2018 financial year to date

Satisfactory revenue and distribution results for composers, lyricists and publishers: SUISA’s 2018 financial year got off to a good start in terms of results. (Photo: Manu Leuenberger)

Key figures for the start of the 2018 financial year are positive: domestic revenues totalled CHF 60.3 million as at 31 May 2018, exceeding the budget by 8% and the prior year by 7%. The amount distributed in the second-quarter settlement in mid-June was CHF 43.8 million. At CHF 13.2 million, expenses were within budget.

Review of business activities

The Board approved the comprehensive report and explanatory notes to the 2017 financial statements prepared by the Auditor. These are part of the documentation that SUISA is required to file with the Federal Intellectual Property Institute (IPI) each year for its review of SUISA’s business activities.

Following changes in the Financial Market Infrastructure Act and its implementing ordinances, SUISA had to amend its investment regulations, in particular as regards due care rules for derivatives trading. The Board laid down clear guidelines regulating SUISA’s activities on the investment market. SUISA is also required to submit any amendments to these regulations each year to the IPI, the competent regulatory authority.

Satisfactory income and distribution results for year-to-date 2018

For the year to date as at 31 May, revenues increased for all classes of rights compared both with the budget and the prior year. The growth in revenues from online uses – plus 174%, or CHF 4.7 million – was particularly noteworthy. When preparing the budget, it had been expected that all online contracts would be transferred to SUISA Digital Licensing or Mint Digital Services, and that the corresponding revenues would flow into these companies. However, negotiations with the online service providers are taking longer than expected. Until the new contracts are signed, the corresponding revenues will continue to flow to SUISA, the parent company.

Initial distribution results for 2018 are also positive. The remuneration collected under most tariffs is meanwhile distributed to rightsholders following a quarterly schedule. The first quarterly settlement comprised 8,879 individual settlements representing a total distribution of CHF 13.8 million; the second, in mid-June, comprised 11,800 individual settlements and a total distribution of CHF 43.8 million.

With regard to revenues from abroad, thanks to a new IT application, we managed to distribute a larger number of settlements from our foreign sister societies than ever before at this time of the year. Remuneration totalling CHF 4.1 million was distributed to SUISA members. Moreover, starting in autumn 2018, foreign revenues will also be distributed on a quarterly basis. This means that the second of the three foreign settlements for 2018 will be distributed in mid-September. The third settlement will then be made in mid-December.

Sponsoring commitments and distribution rules

Figures aside, on to sponsoring: SUISA is making itself seen and heard with a number of actions in the framework of various musical events. The overriding aim is always to inform the public about the purpose and activities of our Cooperative Society and to attract well-deserved attention and esteem for the creative work ofour members. In this context, the members of the Committee for Organisation and Communication learnt about SUISA’s commitment in support of the Walo Prize and the organisation of the successful Songwriting Camp. Other events (co-)sponsored by SUISA include a day of concerts in the “Offen für Neues” (“open for the new”) series at the Festival Murten Classics in August, as well as “Label Suisse” in mid-September in Lausanne.

At the meeting, the Board also spent considerable time debating the amendment of the Distribution Rules. The amendments proposed by the Executive Committee are first examined by the Distribution and Works Committee. They are then referred to the Committee for Tariffs and Distribution before being sent to the Board. Finally, the amendments must be submitted to the IPI and the Liechtenstein Office of Economic Affairs. The amendments come into force once they are approved by both institutions, and the document is published.

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The Board meeting held the day before the General Assembly in June 2018 had a multi-layered agenda to handle. In addition to preparing for the General Assembly, the meeting also reviewed the course of business for the year to date. Report from the Board by Dora Zeller

Positive figures for the 2018 financial year to date

Satisfactory revenue and distribution results for composers, lyricists and publishers: SUISA’s 2018 financial year got off to a good start in terms of results. (Photo: Manu Leuenberger)

Key figures for the start of the 2018 financial year are positive: domestic revenues totalled CHF 60.3 million as at 31 May 2018, exceeding the budget by 8% and the prior year by 7%. The amount distributed in the second-quarter settlement in mid-June was CHF 43.8 million. At CHF 13.2 million, expenses were within budget.

Review of business activities

The Board...read more

Since December 2017, statements are made available via “my account”

Thanks to the password-protected members’ area “my account”, our members can keep an overview of their distribution statements and distribution settlements. Many members asked us to stop the dispatch by post. We have taken this request into account and introduced the option to renounce on the postal dispatch. Text by Claudia Kempf

Since December 2017, statements are made available via “my account”

SUISA members with access to the password-protected membership area have been informed via a personal infomail since December 2017 if a new settlement is available in “my account”. (Photo: Rawpixel / Shutterstock.com, edited by Manu leuenberger)

During autumn 2017, more than 14,000 members with access to “my account” were informed that they would only receive statements upon request in future. Only a minority have since asked for the postal dispatch. Online access to the distributions therefore corresponds to a requirement supported by the majority. The pdfs which are listed in a clear order and can be easily navigated as well as the overview of the annual remuneration is something that is appreciated by our members and that makes the postal dispatch obsolete for many.

With the fourth quarterly distribution dated 15 December 2017, registered users of “my account” will be informed in person for the first time when a new statement is available for download in “my account”. About half of all authors and publishers for whom a settlement had been created received an infomail and have checked their distributions directly via “my account”. Only 0.1% of the e-mails could not be delivered. The introduction of this new type of dispatch has thus been successfully introduced.

We do try to contact those members to whom we could not deliver the infomail – if possible – in person. If this is not possible, the access to “my account” is blocked and the member is requested in writing to provide a new, valid e-mail address. Please therefore remember to inform us of any changes to your e-mail address without any delay.

Do you also wish to be informed as soon as a new statement has been created for you? This is where you can order the access for your personal account: www.suisa.ch/my-account

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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.

Thanks to the password-protected members’ area “my account”, our members can keep an overview of their distribution statements and distribution settlements. Many members asked us to stop the dispatch by post. We have taken this request into account and introduced the option to renounce on the postal dispatch. Text by Claudia Kempf

Since December 2017, statements are made available via “my account”

SUISA members with access to the password-protected membership area have been informed via a personal infomail since December 2017 if a new settlement is available in “my account”. (Photo: Rawpixel / Shutterstock.com, edited by Manu leuenberger)

During autumn 2017, more than 14,000 members with access to “my account” were informed that they would only receive statements upon request in future. Only a minority have since asked for the postal dispatch. Online access to the distributions therefore corresponds to a requirement supported...read more

SUISA settlement dates 2018 – and one improvement

SUISA shall stick to its established settlement dates in 2018. They comprise, in the main, four quarterly settlements as well as various supplementary settlements spread across the coming year in analogy to the previous year. From the 2nd semester of 2018 onwards, settlements of international collections shall be switched over to a quarterly distribution frequency. Text by Wolfgang Rudigier and Manu Leuenberger

SUISA settlement dates 2018 - and one improvement

Always staying on top of their copyright remuneration: SUISA members get online access to their settlements via the portal “My Account” and can take a look by simply clicking their way through. (Photo: Denis Nata / Shutterstock.com)

The first settlement for international collections shall be paid out at the usual date, at the end of May, in 2018. Later on, after the 2nd semester, the payment of the remuneration from abroad will be switched over to quarterly settlements: Thanks to this improvement, two dates for international settlements will be added in September and December instead of the previous November pay-out.

Another enhancement in terms of international settlements had already been introduced successfully with the recent settlement of November 2017: By way of a new application, the settlements for the remuneration from abroad now also reflect the variety of usage categories of the works (e.g. live, radio, TV, sound recordings, downloads, streaming etc.). Moreover, further usage details (such as online provider, radio channel etc.) are now visible. This requires that such details have been passed on to SUISA by its sister society.

SUISA settlement dates 2018 – an overview

Settlement Date
Quarterly settlement 2018-1 15/03/2018
Domestic performing rights, tariffs: D, K, Z (3rd quarter 2017)
Domestic broadcasting rights, tariff: A (SRG Radio & TV 3rd quarter 2017)
Reproduction rights, tariffs: PA, PI, PN, VI, VN (3rd quarter 2017)
Reproduction rights online (Downloads & Streaming)
Supplementary settlements
Adjustments 2018, 1st settlement End of March
Settlements from abroad: Performing, broadcasting and reproduction rights 2018, 1st settlement End of May
Quarterly settlement 2018-2 15/06/2018
Domestic performing rights, tariffs: B, C, D, E, H, Hb, HV, K, Z (2017)
Domestic broadcasting rights, tariff: A (SRG Radio & TV 4rd quarter 2017)
Domestic broadcasting rights, tariff: A (SRG commercials 2017)
Domestic broadcasting rights, tariffs: S, Y (2017)
Reproduction rights, tariffs: PA, PI, PN, VI, VN (4th quarter 2017)
Reproduction rights, central licensing (2nd semester 2017)
Reproduction rights, online (Downloads & Streaming)
Supplementary settlements
Publisher’s pension benefits Beginning of July
Author’s pension benefits Mid-July
Quarterly settlement 2018-3 15/09/2018
Domestic performing rights, tariffs: D, K, Z (1st quarter 2018)
Domestic broadcasting rights, tariff: A (SRG Radio & TV 1st quarter 2018)
Advertising windows (2016)
Reproduction rights, tariffs: PA, PI, PN, VI, VN (1st quarter 2018)
Reproduction rights, online (Downloads & Streaming)
Supplementary settlements
Settlements from abroad: Performing, broadcasting and reproduction rights 2018, 2nd settlement Mid-September
Blank media levy (CT 4), settlement 2018 Mid-September
Sub-publisher shares cable networks, settlement 2018 Mid-September
Adjustments 2018, 2nd settlement End of September
Re-recording rights settlement, 2018 End of October
Quarterly settlement 2018-4 15/12/2018
Domestic performing rights, tariffs: D, K, Z (2nd quarter 2018)
Domestic broadcasting rights, tariff: A (SRG Radio & TV 2nd quarter 2018)
Reproduction rights, tariffs: PA, PI, PN, VI, VN (2nd quarter 2018)
Reproduction rights, central licensing (1st semester 2018)
Reproduction rights, online (Downloads & Streaming)
Supplementary settlements
Settlements from abroad: Performing, broadcasting and reproduction rights 2018, 3rd settlement Mid-December

Further information on the SUISA settlements can be accessed at:
www.suisa.ch/settlementdates

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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.

SUISA shall stick to its established settlement dates in 2018. They comprise, in the main, four quarterly settlements as well as various supplementary settlements spread across the coming year in analogy to the previous year. From the 2nd semester of 2018 onwards, settlements of international collections shall be switched over to a quarterly distribution frequency. Text by Wolfgang Rudigier and Manu Leuenberger

SUISA settlement dates 2018 - and one improvement

Always staying on top of their copyright remuneration: SUISA members get online access to their settlements via the portal “My Account” and can take a look by simply clicking their way through. (Photo: Denis Nata / Shutterstock.com)

The first settlement for international collections shall be paid out at the usual date, at the end of May, in 2018. Later on, after the 2nd semester, the payment of the remuneration from abroad...read more

Always on top of things thanks to “my account”

More than 14,000 members are already using our member portal “my account”. More than half of all new registrations of original works during 2016 were done online. Why do more and more members regularly use “my account”? Text by Claudia Kempf

Always on top of things thanks to “my account”

Via our online portal “my account”, members enjoy personalised access to SUISA matters – via a single keystroke (Foto: Manu Leuenberger)

Thanks to the password-protected members’ area “my account”, our members keep an overview of the most significant SUISA matters such as settlements and work registrations.

Settlements always to hand as navigable PDFs

All settlements of the past five years can be accessed online at any time. The settlements in PDF format are user friendly as our members can navigate their way around in settlements that span several pages simply by using their mouse. Upon clicking on a work title in the table of contents, the respective detailed list of the work usages will be displayed, whereas a click on the SUISA number leads to the sound and audiovisual recordings’ list.

The total distributed amount for a year is shown in a cumulated way. It is visible at a glance which amount was paid out by SUISA over a year. Members who have access to “my account” can, in future, renounce on the paper dispatch of settlements. If a new settlement becomes available, a notification will be sent to members in future.

Access to personal data at any time

In the user profile, personal data such as postal addresses and payment addresses can be accessed. This area is currently being expanded so that members can amend their details directly in their profile section. Registered pseudonyms and relating IPI numbers are also included in this area. For publisher members with sub-editions or several main publishers, all information can be accessed via a login.

My account works database

With a personal user account, SUISA members can specifically search online for provisional works via the portal “my account”. (Photo: Screenshot www.suisa.ch)

Optimised search functionalities for provisional works

Users have the option to search specifically for provisional works in our works database. Provisional works come into existence when they appear on reports on music use submitted to SUISA by users and the work has not been registered with SUISA at all or under a different title. The income generated for such provisional works is, however, held back from payment until the works have been registered and/or been linked to existing works. Read more about provisional works in the article “Why are there undocumented works in my works database?” (article in german) in SUISAinfo issue 3.12.

Efficient registration of works and sub-publishing agreements

Online work registration is simple. Since 2017, the IPI number of SUISA members can be searched within the registration process and be implemented into the notification. Publishers have benefited from the option to register sub-publishing agreements via the portal since spring this year. Thanks to the link to the SUISA systems, online registrations are processed more quickly and efficiently.

Mobile-friendly and future-proof

Of course, our SUISA platform is compatible with mobile devices such as tablets or smartphones. The membership portal is therefore available and accessible at any time and from anywhere.

We continue to expand our service range offered and to add new functionalities and services. We shall keep you informed on any related news via SUISAblog.ch, suisa.ch or in our SUISAinfo magazine.

Access to “my account” is open to every SUISA member. Request a login or your personal online user account at:

www.suisa.ch/my-account

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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.

More than 14,000 members are already using our member portal “my account”. More than half of all new registrations of original works during 2016 were done online. Why do more and more members regularly use “my account”? Text by Claudia Kempf

Always on top of things thanks to “my account”

Via our online portal “my account”, members enjoy personalised access to SUISA matters – via a single keystroke (Foto: Manu Leuenberger)

Thanks to the password-protected members’ area “my account”, our members keep an overview of the most significant SUISA matters such as settlements and work registrations.

Settlements always to hand as navigable PDFs

All settlements of the past five years can be accessed online at any time. The settlements in PDF format are user friendly as our members can navigate their way around in settlements that span several pages simply by using their mouse....read more