They must provide a listing along with the music and the written song lyrics.
The ACEMLA Affiliate is responsible of any complaints in new address and/or changes, new recordings notifications and any other information receipt of our music creators and composers that will help to improve the ACEMLA management.
To join ACEMLA as soon as your works and/or those works where you may have collaborated as a composer or that you have composed is the most important action you must take. Particularly when the work(s) may have been recorded and are available to be performed on radio, internet or television stations. Or if you and/or your group are live performers in night clubs, theaters, television or universities. Such live performances are often recorded and retransmitted through internet and other venues which should produce music royalties to you.
Remember that regardless of how small your participation in composing a musical work, you may be entitled to claim as a composer.
If you have not assigned the work(s) to a particular publisher you should join a music publisher affiliated to ACEMLA.
Your music publisher, or your own created music entity, may also join ACEMLA for the licensing and collection of their royalty share.
Latin American Music Co., Inc (LAMCO) and Zumbador Music Inc. (Zumbador) are music publishers affiliated to ACEMLA which you may join. Your works should be copyrighted immediately and that is an action you should take or that your music publisher must take in order to protect your works from being copied, or claimed by anyone else.
Yes. If you live in a foreign country and are not affiliated to any other sister Society or PRO, you may join ACEMLA. (Please contact us and submit your information. In Fact, there are several foreign composers that have joined us and receive yearly royalty reports and payments for the use of their works in the USA).
Under the law, Copy-right(s) (ownership) are obtained upon the “Creation and fixation of your musical work(s) in a copy or a recording for the first time”.
Registration of your copyright is recommended and is REQUIRED AS A PROTECTION OF when someone may copy or use (infringe) your work. REGISTRATION IS REQUIRED IN ORDER TO COMMENCE ANY COPYRIGHT INFRINGEMENT OF THE COPYRIGHT IN USA FEDERAL COURTS.
Your music publisher should register and copyright your work(s) or you may obtain such copyrights for your musical works @ copyright.gov. upon payment of certain copyright fees.
New versions of old songs or works and music made as a “derivative” work may be copyrighted. Musicalization of third party’s poems/words or existing poems. Copyright status or ownership of old USA writings and poems depends mostly of the original publication date first published Works published before 1923 probably may be in the public domain in some countries. Those published before 1978 may be copyrighted for first 95 years. For those published after January 1, 1978 copyright ownership exists for the life of the writer plus 70 years.
For Works never published, permission must be obtained in writing to use the work from the author’s heirs or estate. If the work was published, the publisher is most likely the copyright holder, and permission must be sought from them.
You may download such application and may complete the same submitting it to ACEMLA.
Yes; you may join as a Song writer or music publisher. You must register your songs.
You may also join as a music publisher or both:
There are no fees to join as a writer/composer.
You must incorporate such an entity in your state or as an on going business (DBA) Or we will do it for you at a fee cost. (Please contact us for more information).
The creator(s) of the music in a work is the songwriter or composer of the song(s) music score or the words in the musical composition. And is entitled to the writer’s royalty share of the same.
A music publisher may be an individual or company (incorporated) that may own or administer the copyright of a work. The writers or creators of the music and/or words in a work must be assigned to, and copyrighted by publisher in order for that publisher to claim ownership and its royalty share.
ACEMLA of Puerto Rico, Inc.] also known since 1953 as “Sociedad Puertorriqueña de Autores, Compositores y Editores de Música” (SPACEM) and / or “ACEMLA, is the Association of Latin American collective licensing whose powers are similar to the American society of composers, authors and publishers’ (ASCAP) and Broadcast Music, Inc. “[BMI]. (ACEMLA), 424 F.3d 50 (1st CIR. 2005).
Royalties collected and paid by performance rights organizations, (PRO’s) such as ACEMLA are produced or earned, upon the performance of musical works publicly, live or recorded in stores, radio, television, restaurants, jukeboxes, hotels, universities, government agencies, venues, internet and others, and/or collected by the PRO’s from similar organizations abroad.
ACEMLA issues music performance licenses for its music repertoire to any and all of the above mentioned places within the USA and Puerto Rico. Acemla is also entitled to collect such royalties from the various existing foreign societies, (PRO’s) as it remains as affiliate No. 76 of the International Confederation of Authors and Composers Societies (CISAC).
When the reproduction of music is made (synchronized) in to a soundtrack of a film or TV show, or to be sold in video grams or DVD’s, such is called “synchronization,” or (and the license that the TV or film producer needs to obtain is called a synchronization, or “sync,” license).
Mechanical and synchronization royalty fees are paid by record companies, film and TV producers directly to the copyright owner, usually the music publisher, or his or her representative which are in turn shared and paid to the composers.
The Harry Fox Agency, 601 West 26th Street, New York, NY 10001, represents many U.S. publishers in granting mechanical licenses.
The “mechanical” right is that right to record, reproduce any musical work onto CDs, DVDs, records or tapes. (Non-mechanical reproduction includes such things as making sheet music, for which statutorily engendered royalties are paid by the music publisher to the composer.)