17 U.S.C. § 115 — Scope of exclusive rights in nondramatic

Page 78 TITLE 17—COPYRIGHTS § 115 ‘‘(4) The representatives have indicated that they do not believe the agreement provides for or in any way approximates fair or reasonable royalty rates and terms, or rates and terms that would have been negotiated in the marketplace between a willing buyer and a willing seller. ‘‘(5) Congress has made no determination as to whether the agreement provides for or in any way ap- proximates fair or reasonable fees and terms, or rates and terms that would have been negotiated in the marketplace between a willing buyer and a willing seller. ‘‘(6) Congress likewise has made no determination as to whether the July 8 order is reasonable or arbi- trary, and nothing in this Act [amending this section and enacting provisions set out as notes under this section and section 101 of this title] shall be taken into account by the United States Court of Appeals for the District of Columbia Circuit in its review of such order. ‘‘(7) It is, nevertheless, in the public interest for the parties to be able to enter into such an agreement without fear of liability for deviating from the fees and terms of the July 8 order, if it is clear that the agreement will not be admissible as evidence or oth- erwise taken into account in any government pro- ceeding involving the setting or adjustment of the royalties payable to copyright owners of sound re- cordings for the public performance or reproduction in ephemeral phonorecords or copies of such works, the determination of terms or conditions related thereto, or the establishment of notice or record- keeping requirements.’’ Pub. L. 107–321, § 5(a), Dec. 4, 2002, 116 Stat. 2783, pro- vided that: ‘‘Congress finds that— ‘‘(1) in the case of royalty payments from the li- censing of digital transmissions of sound recordings under subsection (f) of section 114 of title 17, United States Code, the parties have voluntarily negotiated arrangements under which payments shall be made directly to featured recording artists and the admin- istrators of the accounts provided in subsection (g)(2) of that section; ‘‘(2) such voluntarily negotiated payment arrange- ments have been codified in regulations issued by the Librarian of Congress, currently found in section 261.4 of title 37, Code of Federal Regulations, as pub- lished in the Federal Register on July 8, 2002; ‘‘(3) other regulations issued by the Librarian of Congress were inconsistent with the voluntarily ne- gotiated arrangements by such parties concerning the deductibility of certain costs incurred for licens- ing and arbitration, and Congress is therefore restor- ing those terms as originally negotiated among the parties; and ‘‘(4) in light of the special circumstances described in this subsection, the uncertainty created by the regulations issued by the Librarian of Congress, and the fact that all of the interested parties have reached agreement, the voluntarily negotiated ar- rangements agreed to among the parties are being codified.’’ SUSPENSION OF CERTAIN PAYMENTS Pub. L. 107–321, § 3, Dec. 4, 2002, 116 Stat. 2781, provided that: ‘‘(a) NONCOMMERCIAL WEBCASTERS.— ‘‘(1) IN GENERAL.—The payments to be made by non- commercial webcasters for the digital performance of sound recordings under section 114 of title 17, United States Code, and the making of ephemeral phonorecords under section 112 of title 17, United States Code, during the period beginning on October 28, 1998, and ending on May 31, 2003, which have not already been paid, shall not be due until June 20, 2003. ‘‘(2) DEFINITION.—In this subsection, the term ‘non- commercial webcaster’ has the meaning given that term in section 114(f)(5)(E)(i) [now 114(f)(4)(E)(i)] of title 17, United States Code, as added by section 4 of this Act. ‘‘(b) SMALL COMMERCIAL WEBCASTERS.— ‘‘(1) IN GENERAL.—The receiving agent may, in a writing signed by an authorized representative there- of, delay the obligation of any 1 or more small com- mercial webcasters to make payments pursuant to sections 112 and 114 of title 17, United States Code, for a period determined by such entity to allow negotia- tions as permitted in section 4 of this Act [amending this section], except that any such period shall end no later than December 15, 2002. The duration and terms of any such delay shall be as set forth in such writing. ‘‘(2) DEFINITIONS.—In this subsection— ‘‘(A) the term ‘webcaster’ has the meaning given that term in section 114(f)(5)(E)(iii) [now 114(f)(4)(E)(iii)] of title 17, United States Code, as added by section 4 of this Act; and ‘‘(B) the term ‘receiving agent’ shall have the meaning given that term in section 261.2 of title 37, Code of Federal Regulations, as published in the Federal Register on July 8, 2002.’’ REPORT TO CONGRESS Pub. L. 107–321, § 6, Dec. 4, 2002, 116 Stat. 2785, required that, by not later than June 1, 2004, the Comptroller General, in consultation with the Register of Copy- rights, was to conduct and submit to Congress a study concerning the economic arrangements among small commercial webcasters covered by agreements entered into pursuant to subsec. (f) of this section and third parties, and the effect of those arrangements on roy- alty fees payable on a percentage of revenue or expense basis. § 115. Scope of exclusive rights in nondramatic musical works: Compulsory license for mak- ing and distributing phonorecords In the case of nondramatic musical works, the exclusive rights provided by clauses (1) and (3) of section 106, to make and to distribute phonorecords of such works, are subject to com- pulsory licensing under the conditions specified by this section. (a) AVAILABILITY AND SCOPE OF COMPULSORY LICENSE IN GENERAL.— (1) ELIGIBILITY FOR COMPULSORY LICENSE.— (A) CONDITIONS FOR COMPULSORY LICENSE.— A person may by complying with the provi- sions of this section obtain a compulsory li- cense to make and distribute phonorecords of a nondramatic musical work, including by means of digital phonorecord delivery. A person may obtain a compulsory license only if the primary purpose in making phonorecords of the musical work is to dis- tribute them to the public for private use, including by means of digital phonorecord delivery, and— (i) phonorecords of such musical work have previously been distributed to the public in the United States under the au- thority of the copyright owner of the work, including by means of digital phono- record delivery; or (ii) in the case of a digital music pro- vider seeking to make and distribute dig- ital phonorecord deliveries of a sound re- cording embodying a musical work under a compulsory license for which clause (i) does not apply— (I) the first fixation of such sound re- cording was made under the authority of the musical work copyright owner, and the sound recording copyright owner has Page 79 TITLE 17—COPYRIGHTS § 115 the authority of the musical work copy- right owner to make and distribute dig- ital phonorecord deliveries embodying such work to the public in the United States; and (II) the sound recording copyright owner, or the authorized distributor of the sound recording copyright owner, has authorized the digital music pro- vider to make and distribute digital pho- norecord deliveries of the sound record- ing to the public in the United States. (B) DUPLICATION OF SOUND RECORDING.—A person may not obtain a compulsory license for the use of the work in the making of phonorecords duplicating a sound recording fixed by another, including by means of dig- ital phonorecord delivery, unless— (i) such sound recording was fixed law- fully; and (ii) the making of the phonorecords was authorized by the owner of the copyright in the sound recording or, if the sound re- cording was fixed before February 15, 1972, by any person who fixed the sound record- ing pursuant to an express license from the owner of the copyright in the musical work or pursuant to a valid compulsory li- cense for use of such work in a sound re- cording. (2) MUSICAL ARRANGEMENT.—A compulsory license includes the privilege of making a mu- sical arrangement of the work to the extent necessary to conform it to the style or manner of interpretation of the performance involved, but the arrangement shall not change the basic melody or fundamental character of the work, and shall not be subject to protection as a derivative work under this title, except with the express consent of the copyright owner. (b) PROCEDURES TO OBTAIN A COMPULSORY LI- CENSE.— (1) PHONORECORDS OTHER THAN DIGITAL PHO- NORECORD DELIVERIES.—A person who seeks to obtain a compulsory license under subsection (a) to make and distribute phonorecords of a musical work other than by means of digital phonorecord delivery shall, before, or not later than 30 calendar days after, making, and be- fore distributing, any phonorecord of the work, serve notice of intention to do so on the copyright owner. If the registration or other public records of the Copyright Office do not identify the copyright owner and include an address at which notice can be served, it shall be sufficient to file the notice of intention with the Copyright Office. The notice shall comply, in form, content, and manner of serv- ice, with requirements that the Register of Copyrights shall prescribe by regulation. (2) DIGITAL PHONORECORD DELIVERIES.—A per- son who seeks to obtain a compulsory license under subsection (a) to make and distribute phonorecords of a musical work by means of digital phonorecord delivery— (A) prior to the license availability date, shall, before, or not later than 30 calendar days after, first making any such digital phonorecord delivery, serve a notice of in- tention to do so on the copyright owner (but may not file the notice with the Copyright Office, even if the public records of the Of- fice do not identify the owner or the owner’s address), and such notice shall comply, in form, content, and manner of service, with requirements that the Register of Copy- rights shall prescribe by regulation; or (B) on or after the license availability date, shall, before making any such digital phonorecord delivery, follow the procedure described in subsection (d)(2), except as pro- vided in paragraph (3). (3) RECORD COMPANY INDIVIDUAL DOWNLOAD LICENSES.—Notwithstanding paragraph (2)(B), a record company may, on or after the license availability date, obtain an individual download license in accordance with the no- tice requirements described in paragraph (2)(A) (except for the requirement that notice occur prior to the license availability date). A record company that obtains an individual download license as permitted under this para- graph shall provide statements of account and pay royalties as provided in subsection (c)(2)(I). (4) FAILURE TO OBTAIN LICENSE.— (A) PHONORECORDS OTHER THAN DIGITAL PHONORECORD DELIVERIES.—In the case of phonorecords made and distributed other than by means of digital phonorecord deliv- ery, the failure to serve or file the notice of intention required by paragraph (1) fore- closes the possibility of a compulsory license under paragraph (1). In the absence of a vol- untary license, the failure to obtain a com- pulsory license renders the making and dis- tribution of phonorecords actionable as acts of infringement under section 501 and sub- ject to the remedies provided by sections 502 through 506. (B) DIGITAL PHONORECORD DELIVERIES.— (i) IN GENERAL.—In the case of phonorecords made and distributed by means of digital phonorecord delivery: (I) The failure to serve the notice of in- tention required by paragraph (2)(A) or paragraph (3), as applicable, forecloses the possibility of a compulsory license under such paragraph. (II) The failure to comply with para- graph (2)(B) forecloses the possibility of a blanket license for a period of 3 years after the last calendar day on which the notice of license was required to be sub- mitted to the mechanical licensing col- lective under such paragraph. (ii) EFFECT OF FAILURE.—In either case described in subclause (I) or (II) of clause (i), in the absence of a voluntary license, the failure to obtain a compulsory license renders the making and distribution of phonorecords by means of digital phono- record delivery actionable as acts of in- fringement under section 501 and subject to the remedies provided by sections 502 through 506. (c) GENERAL CONDITIONS APPLICABLE TO COM- PULSORY LICENSE.— (1) ROYALTY PAYABLE UNDER COMPULSORY LI- CENSE.— Page 80 TITLE 17—COPYRIGHTS § 115 (A) IDENTIFICATION REQUIREMENT.—To be entitled to receive royalties under a compul- sory license obtained under subsection (b)(1) the copyright owner must be identified in the registration or other public records of the Copyright Office. The owner is entitled to royalties for phonorecords made and dis- tributed after being so identified, but is not entitled to recover for any phonorecords pre- viously made and distributed. (B) ROYALTY FOR PHONORECORDS OTHER THAN DIGITAL PHONORECORD DELIVERIES.—Ex- cept as provided by subparagraph (A), for every phonorecord made and distributed under a compulsory license under subsection (a) other than by means of digital phono- record delivery, with respect to each work embodied in the phonorecord, the royalty shall be the royalty prescribed under sub- paragraphs (D) through (F), paragraph (2)(A), and chapter 8. For purposes of this subpara- graph, a phonorecord is considered ‘‘distrib- uted’’ if the person exercising the compul- sory license has voluntarily and perma- nently parted with its possession. (C) ROYALTY FOR DIGITAL PHONORECORD DE- LIVERIES.—For every digital phonorecord de- livery of a musical work made under a com- pulsory license under this section, the roy- alty payable shall be the royalty prescribed under subparagraphs (D) through (F), para- graph (2)(A), and chapter 8. (D) AUTHORITY TO NEGOTIATE.—Notwith- standing any provision of the antitrust laws, any copyright owners of nondramatic musi- cal works and any persons entitled to obtain a compulsory license under subsection (a) may negotiate and agree upon the terms and rates of royalty payments under this section and the proportionate division of fees paid among copyright owners, and may designate common agents on a nonexclusive basis to negotiate, agree to, pay or receive such roy- alty payments. Such authority to negotiate the terms and rates of royalty payments in- cludes, but is not limited to, the authority to negotiate the year during which the roy- alty rates prescribed under this subpara- graph, subparagraphs (E) and (F), paragraph (2)(A), and chapter 8 shall next be deter- mined. (E) DETERMINATION OF REASONABLE RATES AND TERMS.—Proceedings under chapter 8 shall determine reasonable rates and terms of royalty payments for the activities speci- fied by this section during the period begin- ning with the effective date of such rates and terms, but not earlier than January 1 of the second year following the year in which the petition requesting the proceeding is filed, and ending on the effective date of suc- cessor rates and terms, or such other period as the parties may agree. Any copyright owners of nondramatic musical works and any persons entitled to obtain a compulsory license under subsection (a) may submit to the Copyright Royalty Judges licenses cov- ering such activities. The parties to each proceeding shall bear their own costs. (F) SCHEDULE OF REASONABLE RATES.—The schedule of reasonable rates and terms de- termined by the Copyright Royalty Judges shall, subject to paragraph (2)(A), be binding on all copyright owners of nondramatic mu- sical works and persons entitled to obtain a compulsory license under subsection (a) dur- ing the period specified in subparagraph (E), such other period as may be determined pur- suant to subparagraphs (D) and (E), or such other period as the parties may agree. The Copyright Royalty Judges shall establish rates and terms that most clearly represent the rates and terms that would have been negotiated in the marketplace between a willing buyer and a willing seller. In deter- mining such rates and terms for digital pho- norecord deliveries, the Copyright Royalty Judges shall base their decision on eco- nomic, competitive, and programming infor- mation presented by the parties, including— (i) whether use of the compulsory licens- ee’s service may substitute for or may pro- mote the sales of phonorecords or other- wise may interfere with or may enhance the musical work copyright owner’s other streams of revenue from its musical works; and (ii) the relative roles of the copyright owner and the compulsory licensee in the copyrighted work and the service made available to the public with respect to the relative creative contribution, techno- logical contribution, capital investment, cost, and risk. (2) ADDITIONAL TERMS AND CONDITIONS.— (A) VOLUNTARY LICENSES AND CONTRACTUAL ROYALTY RATES.— (i) IN GENERAL.—License agreements vol- untarily negotiated at any time between one or more copyright owners of nondra- matic musical works and one or more per- sons entitled to obtain a compulsory li- cense under subsection (a) shall be given effect in lieu of any determination by the Copyright Royalty Judges. Subject to clause (ii), the royalty rates determined pursuant to subparagraphs (E) and (F) of paragraph (1) shall be given effect as to digital phonorecord deliveries in lieu of any contrary royalty rates specified in a contract pursuant to which a recording artist who is the author of a nondramatic musical work grants a license under that person’s exclusive rights in the musical work under paragraphs (1) and (3) of sec- tion 106 or commits another person to grant a license in that musical work under paragraphs (1) and (3) of section 106, to a person desiring to fix in a tangible medium of expression a sound recording embodying the musical work. (ii) APPLICABILITY.—The second sentence of clause (i) shall not apply to— (I) a contract entered into on or before June 22, 1995, and not modified thereafter for the purpose of reducing the royalty rates determined pursuant to subpara- graphs (E) and (F) of paragraph (1) or of increasing the number of musical works within the scope of the contract covered by the reduced rates, except if a contract entered into on or before June 22, 1995, is Page 81 TITLE 17—COPYRIGHTS § 115 modified thereafter for the purpose of in- creasing the number of musical works within the scope of the contract, any contrary royalty rates specified in the contract shall be given effect in lieu of royalty rates determined pursuant to subparagraphs (E) and (F) of paragraph (1) for the number of musical works within the scope of the contract as of June 22, 1995; and (II) a contract entered into after the date that the sound recording is fixed in a tangible medium of expression sub- stantially in a form intended for com- mercial release, if at the time the con- tract is entered into, the recording artist retains the right to grant licenses as to the musical work under paragraphs (1) and (3) of section 106. (B) SOUND RECORDING INFORMATION.—Ex- cept as provided in section 1002(e), a digital phonorecord delivery licensed under this paragraph shall be accompanied by the in- formation encoded in the sound recording, if any, by or under the authority of the copy- right owner of that sound recording, that identifies the title of the sound recording, the featured recording artist who performs on the sound recording, and related informa- tion, including information concerning the underlying musical work and its writer. (C) INFRINGEMENT REMEDIES.— (i) IN GENERAL.—A digital phonorecord delivery of a sound recording is actionable as an act of infringement under section 501, and is fully subject to the remedies provided by sections 502 through 506, un- less— (I) the digital phonorecord delivery has been authorized by the sound recording copyright owner; and (II) the entity making the digital pho- norecord delivery has obtained a compul- sory license under subsection (a) or has otherwise been authorized by the musi- cal work copyright owner, or by a record company pursuant to an individual download license, to make and distribute phonorecords of each musical work em- bodied in the sound recording by means of digital phonorecord delivery. (ii) OTHER REMEDIES.—Any cause of ac- tion under this subparagraph shall be in addition to those available to the owner of the copyright in the nondramatic musical work under subparagraph (J) and section 106(4) and the owner of the copyright in the sound recording under section 106(6). (D) LIABILITY OF SOUND RECORDING OWN- ERS.—The liability of the copyright owner of a sound recording for infringement of the copyright in a nondramatic musical work embodied in the sound recording shall be de- termined in accordance with applicable law, except that the owner of a copyright in a sound recording shall not be liable for a dig- ital phonorecord delivery by a third party if the owner of the copyright in the sound re- cording does not license the distribution of a phonorecord of the nondramatic musical work. (E) RECORDING DEVICES AND MEDIA.—Noth- ing in section 1008 shall be construed to pre- vent the exercise of the rights and remedies allowed by this paragraph, subparagraph (J), and chapter 5 in the event of a digital phono- record delivery, except that no action alleg- ing infringement of copyright may be brought under this title against a manufac- turer, importer or distributor of a digital audio recording device, a digital audio re- cording medium, an analog recording device, or an analog recording medium, or against a consumer, based on the actions described in such section. (F) PRESERVATION OF RIGHTS.—Nothing in this section annuls or limits— (i) the exclusive right to publicly per- form a sound recording or the musical work embodied therein, including by means of a digital transmission, under paragraphs (4) and (6) of section 106; (ii) except for compulsory licensing under the conditions specified by this sec- tion, the exclusive rights to reproduce and distribute the sound recording and the mu- sical work embodied therein under para- graphs (1) and (3) of section 106, including by means of a digital phonorecord deliv- ery; or (iii) any other rights under any other provision of section 106, or remedies avail- able under this title, as such rights or rem- edies exist before, on, or after the date of enactment of the Digital Performance Right in Sound Recordings Act of 1995. (G) EXEMPT TRANSMISSIONS AND RETRANS- MISSIONS.—The provisions of this section concerning digital phonorecord deliveries shall not apply to any exempt transmissions or retransmissions under section 114(d)(1). The exemptions created in section 114(d)(1) do not expand or reduce the rights of copy- right owners under paragraphs (1) through (5) of section 106 with respect to such trans- missions and retransmissions. (H) DISTRIBUTION BY RENTAL, LEASE, OR LENDING.—A compulsory license obtained under subsection (b)(1) to make and dis- tribute phonorecords includes the right of the maker of such a phonorecord to dis- tribute or authorize distribution of such phonorecord, other than by means of a dig- ital phonorecord delivery, by rental, lease, or lending (or by acts or practices in the na- ture of rental, lease, or lending). With re- spect to each nondramatic musical work em- bodied in the phonorecord, the royalty shall be a proportion of the revenue received by the compulsory licensee from every such act of distribution of the phonorecord under this clause equal to the proportion of the revenue received by the compulsory licensee from distribution of the phonorecord under sub- section (a)(1)(A)(ii)(II) that is payable by a compulsory licensee under that clause and under chapter 8. The Register of Copyrights shall issue regulations to carry out the pur- pose of this subparagraph. (I) PAYMENT OF ROYALTIES AND STATEMENTS OF ACCOUNT.—Except as provided in para- graphs (4)(A)(i) and (10)(B) of subsection (d), Page 82 TITLE 17—COPYRIGHTS § 115 royalty payments shall be made on or before the twentieth day of each month and shall include all royalties for the month next pre- ceding. Each monthly payment shall be made under oath and shall comply with re- quirements that the Register of Copyrights shall prescribe by regulation. The Register shall also prescribe regulations under which detailed cumulative annual statements of account, certified by a certified public ac- countant, shall be filed for every compulsory license under subsection (a). The regulations covering both the monthly and the annual statements of account shall prescribe the form, content, and manner of certification with respect to the number of records made and the number of records distributed. (J) NOTICE OF DEFAULT AND TERMINATION OF COMPULSORY LICENSE.—In the case of a li- cense obtained under paragraph (1), (2)(A), or (3) of subsection (b), if the copyright owner does not receive the monthly payment and the monthly and annual statements of ac- count when due, the owner may give written notice to the licensee that, unless the de- fault is remedied not later than 30 days after the date on which the notice is sent, the compulsory license will be automatically terminated. Such termination renders either the making or the distribution, or both, of all phonorecords for which the royalty has not been paid, actionable as acts of infringe- ment under section 501 and fully subject to the remedies provided by sections 502 through 506. In the case of a license obtained under subsection (b)(2)(B), license authority under the compulsory license may be termi- nated as provided in subsection (d)(4)(E). (d) BLANKET LICENSE FOR DIGITAL USES, ME- CHANICAL LICENSING COLLECTIVE, AND DIGITAL LI- CENSEE COORDINATOR.— (1) BLANKET LICENSE FOR DIGITAL USES.— (A) IN GENERAL.—A digital music provider that qualifies for a compulsory license under subsection (a) may, by complying with the terms and conditions of this subsection, ob- tain a blanket license from copyright owners through the mechanical licensing collective to make and distribute digital phonorecord deliveries of musical works through one or more covered activities. (B) INCLUDED ACTIVITIES.—A blanket li- cense— (i) covers all musical works (or shares of such works) available for compulsory li- censing under this section for purposes of engaging in covered activities, except as provided in subparagraph (C); (ii) includes the making and distribution of server, intermediate, archival, and inci- dental reproductions of musical works that are reasonable and necessary for the digital music provider to engage in cov- ered activities licensed under this sub- section, solely for the purpose of engaging in such covered activities; and (iii) does not cover or include any rights or uses other than those described in clauses (i) and (ii). (C) OTHER LICENSES.—A voluntary license for covered activities entered into by or under the authority of 1 or more copyright owners and 1 or more digital music pro- viders, or authority to make and distribute permanent downloads of a musical work ob- tained by a digital music provider from a sound recording copyright owner pursuant to an individual download license, shall be given effect in lieu of a blanket license under this subsection with respect to the musical works (or shares thereof) covered by such voluntary license or individual download authority and the following condi- tions apply: (i) Where a voluntary license or indi- vidual download license applies, the li- cense authority provided under the blan- ket license shall exclude any musical works (or shares thereof) subject to the voluntary license or individual download license. (ii) An entity engaged in covered activi- ties under a voluntary license or authority obtained pursuant to an individual download license that is a significant non- blanket licensee shall comply with para- graph (6)(A). (iii) The rates and terms of any vol- untary license shall be subject to the sec- ond sentence of clause (i) and clause (ii) of subsection (c)(2)(A) and paragraph (9)(C), as applicable. (D) PROTECTION AGAINST INFRINGEMENT AC- TIONS.—A digital music provider that ob- tains and complies with the terms of a valid blanket license under this subsection shall not be subject to an action for infringement of the exclusive rights provided by para- graphs (1) and (3) of section 106 under this title arising from use of a musical work (or share thereof) to engage in covered activi- ties authorized by such license, subject to paragraph (4)(E). (E) OTHER REQUIREMENTS AND CONDITIONS APPLY.—Except as expressly provided in this subsection, each requirement, limitation, condition, privilege, right, and remedy oth- erwise applicable to compulsory licenses under this section shall apply to compulsory blanket licenses under this subsection. (2) AVAILABILITY OF BLANKET LICENSE.— (A) PROCEDURE FOR OBTAINING LICENSE.—A digital music provider may obtain a blanket license by submitting a notice of license to the mechanical licensing collective that specifies the particular covered activities in which the digital music provider seeks to en- gage, as follows: (i) The notice of license shall comply in form and substance with requirements that the Register of Copyrights shall es- tablish by regulation. (ii) Unless rejected in writing by the me- chanical licensing collective not later than 30 calendar days after the date on which the mechanical licensing collective re- ceives the notice, the blanket license shall be effective as of the date on which the no- tice of license was sent by the digital music provider, as shown by a physical or electronic record. Page 83 TITLE 17—COPYRIGHTS § 115 (iii) A notice of license may only be re- jected by the mechanical licensing collec- tive if— (I) the digital music provider or notice of license does not meet the require- ments of this section or applicable regu- lations, in which case the requirements at issue shall be specified with reason- able particularity in the notice of rejec- tion; or (II) the digital music provider has had a blanket license terminated by the me- chanical licensing collective during the 3-year period preceding the date on which the mechanical licensing collec- tive receives the notice pursuant to paragraph (4)(E). (iv) If a notice of license is rejected under clause (iii)(I), the digital music pro- vider shall have 30 calendar days after re- ceipt of the notice of rejection to cure any deficiency and submit an amended notice of license to the mechanical licensing col- lective. If the deficiency has been cured, the mechanical licensing collective shall so confirm in writing, and the license shall be effective as of the date that the original notice of license was provided by the dig- ital music provider. (v) A digital music provider that believes a notice of license was improperly rejected by the mechanical licensing collective may seek review of such rejection in an appropriate district court of the United States. The district court shall determine the matter de novo based on the record be- fore the mechanical licensing collective and any additional evidence presented by the parties. (B) BLANKET LICENSE EFFECTIVE DATE.— Blanket licenses shall be made available by the mechanical licensing collective on and after the license availability date. No such license shall be effective prior to the license availability date. (3) MECHANICAL LICENSING COLLECTIVE.— (A) IN GENERAL.—The mechanical licensing collective shall be a single entity that— (i) is a nonprofit entity, not owned by any other entity, that is created by copy- right owners to carry out responsibilities under this subsection; (ii) is endorsed by, and enjoys substan- tial support from, musical work copyright owners that together represent the great- est percentage of the licensor market for uses of such works in covered activities, as measured over the preceding 3 full cal- endar years; (iii) is able to demonstrate to the Reg- ister of Copyrights that the entity has, or will have prior to the license availability date, the administrative and technological capabilities to perform the required func- tions of the mechanical licensing collec- tive under this subsection and that is gov- erned by a board of directors in accordance with subparagraph (D)(i); and (iv) has been designated by the Register of Copyrights, with the approval of the Li- brarian of Congress pursuant to section 702, in accordance with subparagraph (B). (B) DESIGNATION OF MECHANICAL LICENSING COLLECTIVE.— (i) INITIAL DESIGNATION.—Not later than 270 days after the enactment date, the Register of Copyrights shall initially des- ignate the mechanical licensing collective as follows: (I) Not later than 90 calendar days after the enactment date, the Register shall publish notice in the Federal Reg- ister soliciting information to assist in identifying the appropriate entity to serve as the mechanical licensing collec- tive, including the name and affiliation of each member of the board of directors described under subparagraph (D)(i) and each committee established pursuant to clauses (iii), (iv), and (v) of subparagraph (D). (II) After reviewing the information re- quested under subclause (I) and making a designation, the Register shall publish notice in the Federal Register setting forth— (aa) the identity of and contact in- formation for the mechanical licensing collective; and (bb) the reasons for the designation. (ii) PERIODIC REVIEW OF DESIGNATION.— Following the initial designation of the mechanical licensing collective, the Reg- ister shall, every 5 years, beginning with the fifth full calendar year to commence after the initial designation, publish no- tice in the Federal Register in the month of January soliciting information con- cerning whether the existing designation should be continued, or a different entity meeting the criteria described in clauses (i) through (iii) of subparagraph (A) shall be designated. Following publication of such notice, the Register shall— (I) after reviewing the information submitted and conducting additional proceedings as appropriate, publish no- tice in the Federal Register of a con- tinuing designation or new designation of the mechanical licensing collective, as the case may be, and the reasons for such a designation, with any new des- ignation to be effective as of the first day of a month that is not less than 6 months and not longer than 9 months after the date on which the Register pub- lishes the notice, as specified by the Reg- ister; and (II) if a new entity is designated as the mechanical licensing collective, adopt regulations to govern the transfer of li- censes, funds, records, data, and adminis- trative responsibilities from the existing mechanical licensing collective to the new entity. (iii) CLOSEST ALTERNATIVE DESIGNA- TION.—If the Register is unable to identify an entity that fulfills each of the quali- fications set forth in clauses (i) through (iii) of subparagraph (A), the Register shall Page 84 TITLE 17—COPYRIGHTS § 115 designate the entity that most nearly ful- fills such qualifications for purposes of carrying out the responsibilities of the me- chanical licensing collective. (C) AUTHORITIES AND FUNCTIONS.— (i) IN GENERAL.—The mechanical licens- ing collective is authorized to perform the following functions, subject to more par- ticular requirements as described in this subsection: (I) Offer and administer blanket li- censes, including receipt of notices of li- cense and reports of usage from digital music providers. (II) Collect and distribute royalties from digital music providers for covered activities. (III) Engage in efforts to identify musi- cal works (and shares of such works) em- bodied in particular sound recordings, and to identify and locate the copyright owners of such musical works (and shares of such works). (IV) Maintain the musical works data- base and other information relevant to the administration of licensing activities under this section. (V) Administer a process by which copyright owners can claim ownership of musical works (and shares of such works), and a process by which royalties for works for which the owner is not identified or located are equitably dis- tributed to known copyright owners. (VI) Administer collections of the ad- ministrative assessment from digital music providers and significant non- blanket licensees, including receipt of notices of nonblanket activity. (VII) Invest in relevant resources, and arrange for services of outside vendors and others, to support the activities of the mechanical licensing collective. (VIII) Engage in legal and other efforts to enforce rights and obligations under this subsection, including by filing bank- ruptcy proofs of claims for amounts owed under licenses, and acting in co- ordination with the digital licensee coor- dinator. (IX) Initiate and participate in pro- ceedings before the Copyright Royalty Judges to establish the administrative assessment under this subsection. (X) Initiate and participate in pro- ceedings before the Copyright Office with respect to activities under this sub- section. (XI) Gather and provide documentation for use in proceedings before the Copy- right Royalty Judges to set rates and terms under this section. (XII) Maintain records of the activities of the mechanical licensing collective and engage in and respond to audits de- scribed in this subsection. (XIII) Engage in such other activities as may be necessary or appropriate to fulfill the responsibilities of the mechan- ical licensing collective under this sub- section. (ii) RESTRICTIONS CONCERNING LICENSING AND ADMINISTRATIVE ACTIVITIES.—With re- spect to the administration of licenses, ex- cept as provided in clauses (i) and (iii) and subparagraph (E)(v), the mechanical li- censing collective may only— (I) issue blanket licenses pursuant to subsection (d)(1); and (II) administer blanket licenses for re- production or distribution rights in mu- sical works for covered activities, in- cluding collecting and distributing roy- alties, pursuant to blanket licenses. (iii) ADDITIONAL ADMINISTRATIVE ACTIVI- TIES.—Subject to paragraph (11)(C), the mechanical licensing collective may also administer, including by collecting and distributing royalties, voluntary licenses issued by, or individual download licenses obtained from, copyright owners only for reproduction or distribution rights in mu- sical works for covered activities, for which the mechanical licensing collective shall charge reasonable fees for such serv- ices. (iv) RESTRICTION ON LOBBYING.—The me- chanical licensing collective may not en- gage in government lobbying activities, but may engage in the activities described in subclauses (IX), (X), and (XI) of clause (i). (D) GOVERNANCE.— (i) BOARD OF DIRECTORS.—The mechan- ical licensing collective shall have a board of directors consisting of 14 voting mem- bers and 3 nonvoting members, as follows: (I) Ten voting members shall be rep- resentatives of music publishers— (aa) to which songwriters have as- signed exclusive rights of reproduction and distribution of musical works with respect to covered activities; and (bb) none of which may be owned by, or under common control with, any other board member. (II) Four voting members shall be pro- fessional songwriters who have retained and exercise exclusive rights of repro- duction and distribution with respect to covered activities with respect to musi- cal works they have authored. (III) One nonvoting member shall be a representative of the nonprofit trade as- sociation of music publishers that rep- resents the greatest percentage of the li- censor market for uses of musical works in covered activities, as measured for the 3-year period preceding the date on which the member is appointed. (IV) One nonvoting member shall be a representative of the digital licensee co- ordinator, provided that a digital li- censee coordinator has been designated pursuant to paragraph (5)(B). Otherwise, the nonvoting member shall be the non- profit trade association of digital licens- ees that represents the greatest percent- age of the licensee market for uses of musical works in covered activities, as measured over the preceding 3 full cal- endar years. Page 85 TITLE 17—COPYRIGHTS § 115 (V) One nonvoting member shall be a representative of a nationally recognized nonprofit trade association whose pri- mary mission is advocacy on behalf of songwriters in the United States. (ii) BYLAWS.— (I) ESTABLISHMENT.—Not later than 1 year after the date on which the mechan- ical licensing collective is initially des- ignated by the Register of Copyrights under subparagraph (B)(i), the collective shall establish bylaws to determine issues relating to the governance of the collective, including, but not limited to— (aa) the length of the term for each member of the board of directors; (bb) the staggering of the terms of the members of the board of directors; (cc) a process for filling a seat on the board of directors that is vacated be- fore the end of the term with respect to that seat; (dd) a process for electing a member to the board of directors; and (ee) a management structure for daily operation of the collective. (II) PUBLIC AVAILABILITY.—The me- chanical licensing collective shall make the bylaws established under subclause (I) available to the public. (iii) BOARD MEETINGS.—The board of di- rectors shall meet not less frequently than biannually and discuss matters pertinent to the operations of the mechanical licens- ing collective, including the mechanical li- censing collective budget. (iv) OPERATIONS ADVISORY COMMITTEE.— The board of directors of the mechanical licensing collective shall establish an oper- ations advisory committee consisting of not fewer than 6 members to make rec- ommendations to the board of directors concerning the operations of the mechan- ical licensing collective, including the effi- cient investment in and deployment of in- formation technology and data resources. Such committee shall have an equal num- ber of members of the committee who are— (I) musical work copyright owners who are appointed by the board of directors of the mechanical licensing collective; and (II) representatives of digital music providers who are appointed by the dig- ital licensee coordinator. (v) UNCLAIMED ROYALTIES OVERSIGHT COMMITTEE.—The board of directors of the mechanical licensing collective shall es- tablish and appoint an unclaimed royalties oversight committee consisting of 10 mem- bers, 5 of which shall be musical work copyright owners and 5 of which shall be professional songwriters whose works are used in covered activities. (vi) DISPUTE RESOLUTION COMMITTEE.— The board of directors of the mechanical licensing collective shall establish and ap- point a dispute resolution committee that shall— (I) consist of not fewer than 6 mem- bers; and (II) include an equal number of rep- resentatives of musical work copyright owners and professional songwriters. (vii) MECHANICAL LICENSING COLLECTIVE ANNUAL REPORT.— (I) IN GENERAL.—Not later than June 30 of each year commencing after the li- cense availability date, the mechanical licensing collective shall post, and make available online for a period of not less than 3 years, an annual report that sets forth information regarding— (aa) the operational and licensing practices of the collective; (bb) how royalties are collected and distributed; (cc) budgeting and expenditures; (dd) the collective total costs for the preceding calendar year; (ee) the projected annual mechanical licensing collective budget; (ff) aggregated royalty receipts and payments; (gg) expenses that are more than 10 percent of the annual mechanical li- censing collective budget; and (hh) the efforts of the collective to locate and identify copyright owners of unmatched musical works (and shares of works). (II) SUBMISSION.—On the date on which the mechanical licensing collective posts each report required under subclause (I), the collective shall provide a copy of the report to the Register of Copyrights. (viii) INDEPENDENT OFFICERS.—An indi- vidual serving as an officer of the mechan- ical licensing collective may not, at the same time, also be an employee or agent of any member of the board of directors of the collective or any entity represented by a member of the board of directors, as de- scribed in clause (i). (ix) OVERSIGHT AND ACCOUNTABILITY.— (I) IN GENERAL.—The mechanical li- censing collective shall— (aa) ensure that the policies and practices of the collective are trans- parent and accountable; (bb) identify a point of contact for publisher inquiries and complaints with timely redress; and (cc) establish an anti-comingling pol- icy for funds not collected under this section and royalties collected under this section. (II) AUDITS.— (aa) IN GENERAL.—Beginning in the fourth full calendar year that begins after the initial designation of the me- chanical licensing collective by the Register of Copyrights under subpara- graph (B)(i), and in every fifth calendar year thereafter, the collective shall re- tain a qualified auditor that shall— Page 86 TITLE 17—COPYRIGHTS § 115 (AA) examine the books, records, and operations of the collective; (BB) prepare a report for the board of directors of the collective with re- spect to the matters described in item (bb); and (CC) not later than December 31 of the year in which the qualified audi- tor is retained, deliver the report de- scribed in subitem (BB) to the board of directors of the collective. (bb) MATTERS ADDRESSED.—Each re- port prepared under item (aa) shall ad- dress the implementation and efficacy of procedures of the mechanical licens- ing collective— (AA) for the receipt, handling, and distribution of royalty funds, includ- ing any amounts held as unclaimed royalties; (BB) to guard against fraud, abuse, waste, and the unreasonable use of funds; and (CC) to protect the confidentiality of financial, proprietary, and other sensitive information. (cc) PUBLIC AVAILABILITY.—With re- spect to each report prepared under item (aa), the mechanical licensing collective shall— (AA) submit the report to the Reg- ister of Copyrights; and (BB) make the report available to the public. (E) MUSICAL WORKS DATABASE.— (i) ESTABLISHMENT AND MAINTENANCE OF DATABASE.—The mechanical licensing col- lective shall establish and maintain a database containing information relating to musical works (and shares of such works) and, to the extent known, the iden- tity and location of the copyright owners of such works (and shares thereof) and the sound recordings in which the musical works are embodied. In furtherance of maintaining such database, the mechan- ical licensing collective shall engage in ef- forts to identify the musical works em- bodied in particular sound recordings, as well as to identify and locate the copy- right owners of such works (and shares thereof), and update such data as appro- priate. (ii) MATCHED WORKS.—With respect to musical works (and shares thereof) that have been matched to copyright owners, the musical works database shall include— (I) the title of the musical work; (II) the copyright owner of the work (or share thereof), and the ownership percentage of that owner; (III) contact information for such copyright owner; (IV) to the extent reasonably available to the mechanical licensing collective— (aa) the international standard musi- cal work code for the work; and (bb) identifying information for sound recordings in which the musical work is embodied, including the name of the sound recording, featured artist, sound recording copyright owner, pro- ducer, international standard record- ing code, and other information com- monly used to assist in associating sound recordings with musical works; and (V) such other information as the Reg- ister of Copyrights may prescribe by reg- ulation. (iii) UNMATCHED WORKS.—With respect to unmatched musical works (and shares of works) in the database, the musical works database shall include— (I) to the extent reasonably available to the mechanical licensing collective— (aa) the title of the musical work; (bb) the ownership percentage for which an owner has not been identi- fied; (cc) if a copyright owner has been identified but not located, the identity of such owner and the ownership per- centage of that owner; (dd) identifying information for sound recordings in which the work is embodied, including sound recording name, featured artist, sound recording copyright owner, producer, inter- national standard recording code, and other information commonly used to assist in associating sound recordings with musical works; and (ee) any additional information re- ported to the mechanical licensing col- lective that may assist in identifying the work; and (II) such other information relating to the identity and ownership of musical works (and shares of such works) as the Register of Copyrights may prescribe by regulation. (iv) SOUND RECORDING INFORMATION.— Each musical work copyright owner with any musical work listed in the musical works database shall engage in commer- cially reasonable efforts to deliver to the mechanical licensing collective, including for use in the musical works database, to the extent such information is not then available in the database, information re- garding the names of the sound recordings in which that copyright owner’s musical works (or shares thereof) are embodied, to the extent practicable. (v) ACCESSIBILITY OF DATABASE.—The musical works database shall be made available to members of the public in a searchable, online format, free of charge. The mechanical licensing collective shall make such database available in a bulk, machine-readable format, through a wide- ly available software application, to the following entities: (I) Digital music providers operating under the authority of valid notices of li- cense, free of charge. (II) Significant nonblanket licensees in compliance with their obligations under paragraph (6), free of charge. Page 87 TITLE 17—COPYRIGHTS § 115 (III) Authorized vendors of the entities described in subclauses (I) and (II), free of charge. (IV) The Register of Copyrights, free of charge (but the Register shall not treat such database or any information there- in as a Government record). (V) Any other person or entity for a fee not to exceed the marginal cost to the mechanical licensing collective of pro- viding the database to such person or en- tity. (vi) ADDITIONAL REQUIREMENTS.—The Register of Copyrights shall establish re- quirements by regulations to ensure the usability, interoperability, and usage re- strictions of the musical works database. (F) NOTICES OF LICENSE AND NONBLANKET ACTIVITY.— (i) NOTICES OF LICENSES.—The mechan- ical licensing collective shall receive, re- view, and confirm or reject notices of li- cense from digital music providers, as pro- vided in paragraph (2)(A). The collective shall maintain a current, publicly acces- sible list of blanket licenses that includes contact information for the licensees and the effective dates of such licenses. (ii) NOTICES OF NONBLANKET ACTIVITY.— The mechanical licensing collective shall receive notices of nonblanket activity from significant nonblanket licensees, as provided in paragraph (6)(A). The collec- tive shall maintain a current, publicly ac- cessible list of notices of nonblanket activ- ity that includes contact information for significant nonblanket licensees and the dates of receipt of such notices. (G) COLLECTION AND DISTRIBUTION OF ROY- ALTIES.— (i) IN GENERAL.—Upon receiving reports of usage and payments of royalties from digital music providers for covered activi- ties, the mechanical licensing collective shall— (I) engage in efforts to— (aa) identify the musical works em- bodied in sound recordings reflected in such reports, and the copyright owners of such musical works (and shares thereof); (bb) confirm uses of musical works subject to voluntary licenses and indi- vidual download licenses, and the cor- responding pro rata amounts to be de- ducted from royalties that would oth- erwise be due under the blanket li- cense; and (cc) confirm proper payment of roy- alties due; (II) distribute royalties to copyright owners in accordance with the usage and other information contained in such re- ports, as well as the ownership and other information contained in the records of the collective; and (III) deposit into an interest-bearing account, as provided in subparagraph (H)(ii), royalties that cannot be distrib- uted due to— (aa) an inability to identify or locate a copyright owner of a musical work (or share thereof); or (bb) a pending dispute before the dis- pute resolution committee of the me- chanical licensing collective. (ii) OTHER COLLECTION EFFORTS.—Any royalties recovered by the mechanical li- censing collective as a result of efforts to enforce rights or obligations under a blan- ket license, including through a bank- ruptcy proceeding or other legal action, shall be distributed to copyright owners based on available usage information and in accordance with the procedures de- scribed in subclauses (I) and (II) of clause (i), on a pro rata basis in proportion to the overall percentage recovery of the total royalties owed, with any pro rata share of royalties that cannot be distributed depos- ited in an interest-bearing account as pro- vided in subparagraph (H)(ii). (H) HOLDING OF ACCRUED ROYALTIES.— (i) HOLDING PERIOD.—The mechanical li- censing collective shall hold accrued roy- alties associated with particular musical works (and shares of works) that remain unmatched for a period of not less than 3 years after the date on which the funds were received by the mechanical licensing collective, or not less than 3 years after the date on which the funds were accrued by a digital music provider that subse- quently transferred such funds to the me- chanical licensing collective pursuant to paragraph (10)(B), whichever period expires sooner. (ii) INTEREST-BEARING ACCOUNT.—Accrued royalties for unmatched works (and shares thereof) shall be maintained by the me- chanical licensing collective in an inter- est-bearing account that earns monthly in- terest— (I) at the Federal, short-term rate; and (II) that accrues for the benefit of copyright owners entitled to payment of such accrued royalties. (I) MUSICAL WORKS CLAIMING PROCESS.— When a copyright owner of an unmatched work (or share of a work) has been identified and located in accordance with the proce- dures of the mechanical licensing collective, the collective shall— (i) update the musical works database and the other records of the collective ac- cordingly; and (ii) provided that accrued royalties for the musical work (or share thereof) have not yet been included in a distribution pursuant to subparagraph (J)(i), pay such accrued royalties and a proportionate amount of accrued interest associated with that work (or share thereof) to the copyright owner, accompanied by a cumu- lative statement of account reflecting usage of such work and accrued royalties based on information provided by digital music providers to the mechanical licens- ing collective. Page 88 TITLE 17—COPYRIGHTS § 115 (J) DISTRIBUTION OF UNCLAIMED ACCRUED ROYALTIES.— (i) DISTRIBUTION PROCEDURES.—After the expiration of the prescribed holding period for accrued royalties provided in subpara- graph (H)(i), the mechanical licensing col- lective shall distribute such accrued royal- ties, along with a proportionate share of accrued interest, to copyright owners iden- tified in the records of the collective, sub- ject to the following requirements, and in accordance with the policies and proce- dures established under clause (ii): (I) The first such distribution shall occur on or after January 1 of the second full calendar year to commence after the license availability date, with not less than 1 such distribution to take place during each calendar year thereafter. (II) Copyright owners’ payment shares for unclaimed accrued royalties for par- ticular reporting periods shall be deter- mined in a transparent and equitable manner based on data indicating the rel- ative market shares of such copyright owners as reflected in reports of usage provided by digital music providers for covered activities for the periods in question, including, in addition to usage data provided to the mechanical licens- ing collective, usage data provided to copyright owners under voluntary li- censes and individual download licenses for covered activities, to the extent such information is available to the mechan- ical licensing collective. In furtherance of the determination of equitable market shares under this subparagraph— (aa) the mechanical licensing collec- tive may require copyright owners seeking distributions of unclaimed ac- crued royalties to provide, or direct the provision of, information con- cerning the usage of musical works under voluntary licenses and indi- vidual download licenses for covered activities; and (bb) the mechanical licensing collec- tive shall take appropriate steps to safeguard the confidentiality and secu- rity of usage, financial, and other sen- sitive data used to compute market shares in accordance with the con- fidentiality provisions prescribed by the Register of Copyrights under para- graph (12)(C). (ii) ESTABLISHMENT OF DISTRIBUTION POLI- CIES.—The unclaimed royalties oversight committee established under subparagraph (D)(v) shall establish policies and proce- dures for the distribution of unclaimed ac- crued royalties and accrued interest in ac- cordance with this subparagraph, includ- ing the provision of usage data to copy- right owners to allocate payments and credits to songwriters pursuant to clause (iv), subject to the approval of the board of directors of the mechanical licensing col- lective. (iii) PUBLIC NOTICE OF UNCLAIMED AC- CRUED ROYALTIES.—The mechanical licens- ing collective shall— (I) maintain a publicly accessible on- line facility with contact information for the collective that lists unmatched musical works (and shares of works), through which a copyright owner may assert an ownership claim with respect to such a work (and a share of such a work); (II) engage in diligent, good-faith ef- forts to publicize, throughout the music industry— (aa) the existence of the collective and the ability to claim unclaimed ac- crued royalties for unmatched musical works (and shares of such works) held by the collective; (bb) the procedures by which copy- right owners may identify themselves and provide contact, ownership, and other relevant information to the col- lective in order to receive payments of accrued royalties; (cc) any transfer of accrued royalties for musical works under paragraph (10)(B), not later than 180 days after the date on which the transfer is re- ceived; and (dd) any pending distribution of un- claimed accrued royalties and accrued interest, not less than 90 days before the date on which the distribution is made; and (III) as appropriate, participate in music industry conferences and events for the purpose of publicizing the mat- ters described in subclause (II). (iv) SONGWRITER PAYMENTS.—Copyright owners that receive a distribution of un- claimed accrued royalties and accrued in- terest shall pay or credit a portion to songwriters (or the authorized agents of songwriters) on whose behalf the copyright owners license or administer musical works for covered activities, in accordance with applicable contractual terms, but notwithstanding any agreement to the contrary— (I) such payments and credits to song- writers shall be allocated in proportion to reported usage of individual musical works by digital music providers during the reporting periods covered by the dis- tribution from the mechanical licensing collective; and (II) in no case shall the payment or credit to an individual songwriter be less than 50 percent of the payment received by the copyright owner attributable to usage of musical works (or shares of works) of that songwriter. (K) DISPUTE RESOLUTION.—The dispute res- olution committee established under sub- paragraph (D)(vi) shall establish policies and procedures— (i) for copyright owners to address in a timely and equitable manner disputes re- lating to ownership interests in musical Page 89 TITLE 17—COPYRIGHTS § 115 works licensed under this section and allo- cation and distribution of royalties by the mechanical licensing collective, subject to the approval of the board of directors of the mechanical licensing collective; (ii) that shall include a mechanism to hold disputed funds in accordance with the requirements described in subparagraph (H)(ii) pending resolution of the dispute; and (iii) except as provided in paragraph (11)(D), that shall not affect any legal or equitable rights or remedies available to any copyright owner or songwriter con- cerning ownership of, and entitlement to royalties for, a musical work. (L) VERIFICATION OF PAYMENTS BY MECHAN- ICAL LICENSING COLLECTIVE.— (i) VERIFICATION PROCESS.—A copyright owner entitled to receive payments of roy- alties for covered activities from the me- chanical licensing collective may, individ- ually or with other copyright owners, con- duct an audit of the mechanical licensing collective to verify the accuracy of royalty payments by the mechanical licensing col- lective to such copyright owner, as fol- lows: (I) A copyright owner may audit the mechanical licensing collective only once in a year for any or all of the 3 cal- endar years preceding the year in which the audit is commenced, and may not audit records for any calendar year more than once. (II) The audit shall be conducted by a qualified auditor, who shall perform the audit during the ordinary course of busi- ness by examining the books, records, and data of the mechanical licensing col- lective, according to generally accepted auditing standards and subject to appli- cable confidentiality requirements pre- scribed by the Register of Copyrights under paragraph (12)(C). (III) The mechanical licensing collec- tive shall make such books, records, and data available to the qualified auditor and respond to reasonable requests for relevant information, and shall use com- mercially reasonable efforts to facilitate access to relevant information main- tained by third parties. (IV) To commence the audit, any copy- right owner shall file with the Copyright Office a notice of intent to conduct an audit of the mechanical licensing collec- tive, identifying the period of time to be audited, and shall simultaneously de- liver a copy of such notice to the me- chanical licensing collective. The Reg- ister of Copyrights shall cause the notice of audit to be published in the Federal Register not later than 45 calendar days after the date on which the notice is re- ceived. (V) The qualified auditor shall deter- mine the accuracy of royalty payments, including whether an underpayment or overpayment of royalties was made by the mechanical licensing collective to each auditing copyright owner, except that, before providing a final audit re- port to any such copyright owner, the qualified auditor shall provide a ten- tative draft of the report to the mechan- ical licensing collective and allow the mechanical licensing collective a reason- able opportunity to respond to the find- ings, including by clarifying issues and correcting factual errors. (VI) The auditing copyright owner or owners shall bear the cost of the audit. In case of an underpayment to any copy- right owner, the mechanical licensing collective shall pay the amounts of any such underpayment to such auditing copyright owner, as appropriate. In case of an overpayment by the mechanical li- censing collective, the mechanical li- censing collective may debit the account of the auditing copyright owner or own- ers for such overpaid amounts, or such owner or owners shall refund overpaid amounts to the mechanical licensing col- lective, as appropriate. (ii) ALTERNATIVE VERIFICATION PROCE- DURES.—Nothing in this subparagraph shall preclude a copyright owner and the mechanical licensing collective from agreeing to audit procedures different from those described in this subparagraph, except that a notice of the audit shall be provided to and published by the Copyright Office as described in clause (i)(IV). (M) RECORDS OF MECHANICAL LICENSING COLLECTIVE.— (i) RECORDS MAINTENANCE.—The mechan- ical licensing collective shall ensure that all material records of the operations of the mechanical licensing collective, in- cluding those relating to notices of li- cense, the administration of the claims process of the mechanical licensing collec- tive, reports of usage, royalty payments, receipt and maintenance of accrued royal- ties, royalty distribution processes, and legal matters, are preserved and main- tained in a secure and reliable manner, with appropriate commercially reasonable safeguards against unauthorized access, copying, and disclosure, and subject to the confidentiality requirements prescribed by the Register of Copyrights under para- graph (12)(C) for a period of not less than 7 years after the date of creation or re- ceipt, whichever occurs later. (ii) RECORDS ACCESS.—The mechanical li- censing collective shall provide prompt ac- cess to electronic and other records per- taining to the administration of a copy- right owner’s musical works upon reason- able written request of the owner or the authorized representative of the owner. (4) TERMS AND CONDITIONS OF BLANKET LI- CENSE.—A blanket license is subject to, and conditioned upon, the following requirements: (A) ROYALTY REPORTING AND PAYMENTS.— (i) MONTHLY REPORTS AND PAYMENT.—A digital music provider shall report and pay royalties to the mechanical licensing col- Page 90 TITLE 17—COPYRIGHTS § 115 lective under the blanket license on a monthly basis in accordance with clause (ii) and subsection (c)(2)(I), except that the monthly reporting shall be due on the date that is 45 calendar days, rather than 20 cal- endar days, after the end of the monthly reporting period. (ii) DATA TO BE REPORTED.—In reporting usage of musical works to the mechanical licensing collective, a digital music pro- vider shall provide usage data for musical works used under the blanket license and usage data for musical works used in cov- ered activities under voluntary licenses and individual download licenses. In the report of usage, the digital music provider shall— (I) with respect to each sound record- ing embodying a musical work— (aa) provide identifying information for the sound recording, including sound recording name, featured artist, and, to the extent acquired by the dig- ital music provider in connection with its use of sound recordings of musical works to engage in covered activities, including pursuant to subparagraph (B), sound recording copyright owner, producer, international standard re- cording code, and other information commonly used in the industry to identify sound recordings and match them to the musical works the sound recordings embody; (bb) to the extent acquired by the digital music provider in the metadata provided by sound recording copyright owners or other licensors of sound re- cordings in connection with the use of sound recordings of musical works to engage in covered activities, including pursuant to subparagraph (B), provide information concerning authorship and ownership of the applicable rights in the musical work embodied in the sound recording (including each song- writer, publisher name, and respective ownership share) and the international standard musical work code; and (cc) provide the number of digital phonorecord deliveries of the sound re- cording, including limited downloads and interactive streams; (II) identify and provide contact infor- mation for all musical work copyright owners for works embodied in sound re- cordings as to which a voluntary license, rather than the blanket license, is in ef- fect with respect to the uses being re- ported; and (III) provide such other information as the Register of Copyrights shall require by regulation. (iii) FORMAT AND MAINTENANCE OF RE- PORTS.—Reports of usage provided by dig- ital music providers to the mechanical li- censing collective shall be in a machine- readable format that is compatible with the information technology systems of the mechanical licensing collective and meets the requirements of regulations adopted by the Register of Copyrights. The Reg- ister shall also adopt regulations setting forth requirements under which records of use shall be maintained and made avail- able to the mechanical licensing collective by digital music providers engaged in cov- ered activities under a blanket license. (iv) ADOPTION OF REGULATIONS.—The Register of Copyrights shall adopt regula- tions— (I) setting forth requirements under which records of use shall be maintained and made available to the mechanical li- censing collective by digital music pro- viders engaged in covered activities under a blanket license; and (II) regarding adjustments to reports of usage by digital music providers, includ- ing mechanisms to account for overpay- ment and underpayment of royalties in prior periods. (B) COLLECTION OF SOUND RECORDING INFOR- MATION.—A digital music provider shall en- gage in good-faith, commercially reasonable efforts to obtain from sound recording copy- right owners and other licensors of sound re- cordings made available through the service of such digital music provider information concerning— (i) sound recording copyright owners, producers, international standard record- ing codes, and other information com- monly used in the industry to identify sound recordings and match them to the musical works the sound recordings em- body; and (ii) the authorship and ownership of mu- sical works, including songwriters, pub- lisher names, ownership shares, and inter- national standard musical work codes. (C) PAYMENT OF ADMINISTRATIVE ASSESS- MENT.—A digital music provider and any sig- nificant nonblanket licensee shall pay the administrative assessment established under paragraph (7)(D) in accordance with this sub- section and applicable regulations. (D) VERIFICATION OF PAYMENTS BY DIGITAL MUSIC PROVIDERS.— (i) VERIFICATION PROCESS.—The mechan- ical licensing collective may conduct an audit of a digital music provider operating under the blanket license to verify the ac- curacy of royalty payments by the digital music provider to the mechanical licensing collective as follows: (I) The mechanical licensing collective may commence an audit of a digital music provider not more frequently than once in any 3-calendar-year period to cover a verification period of not more than the 3 full calendar years preceding the date of commencement of the audit, and such audit may not audit records for any such 3-year verification period more than once. (II) The audit shall be conducted by a qualified auditor, who shall perform the audit during the ordinary course of busi- ness by examining the books, records, Page 91 TITLE 17—COPYRIGHTS § 115 and data of the digital music provider, according to generally accepted auditing standards and subject to applicable con- fidentiality requirements prescribed by the Register of Copyrights under para- graph (12)(C). (III) The digital music provider shall make such books, records, and data available to the qualified auditor and re- spond to reasonable requests for relevant information, and shall use commercially reasonable efforts to provide access to relevant information maintained with respect to a digital music provider by third parties. (IV) To commence the audit, the me- chanical licensing collective shall file with the Copyright Office a notice of in- tent to conduct an audit of the digital music provider, identifying the period of time to be audited, and shall simulta- neously deliver a copy of such notice to the digital music provider. The Register of Copyrights shall cause the notice of audit to be published in the Federal Reg- ister not later than 45 calendar days after the date on which notice is re- ceived. (V) The qualified auditor shall deter- mine the accuracy of royalty payments, including whether an underpayment or overpayment of royalties was made by the digital music provider to the me- chanical licensing collective, except that, before providing a final audit re- port to the mechanical licensing collec- tive, the qualified auditor shall provide a tentative draft of the report to the dig- ital music provider and allow the digital music provider a reasonable opportunity to respond to the findings, including by clarifying issues and correcting factual errors. (VI) The mechanical licensing collec- tive shall pay the cost of the audit, un- less the qualified auditor determines that there was an underpayment by the digital music provider of not less than 10 percent, in which case the digital music provider shall bear the reasonable costs of the audit, in addition to paying the amount of any underpayment to the me- chanical licensing collective. In case of an overpayment by the digital music provider, the mechanical licensing col- lective shall provide a credit to the ac- count of the digital music provider. (VII) A digital music provider may not assert section 507 or any other Federal or State statute of limitations, doctrine of laches or estoppel, or similar provision as a defense to a legal action arising from an audit under this subparagraph if such legal action is commenced not more than 6 years after the commencement of the audit that is the basis for such ac- tion. (ii) ALTERNATIVE VERIFICATION PROCE- DURES.—Nothing in this subparagraph shall preclude the mechanical licensing collective and a digital music provider from agreeing to audit procedures dif- ferent from those described in this sub- paragraph, except that a notice of the audit shall be provided to and published by the Copyright Office as described in clause (i)(IV). (E) DEFAULT UNDER BLANKET LICENSE.— (i) CONDITIONS OF DEFAULT.—A digital music provider shall be in default under a blanket license if the digital music pro- vider— (I) fails to provide 1 or more monthly reports of usage to the mechanical li- censing collective when due; (II) fails to make a monthly royalty or late fee payment to the mechanical li- censing collective when due, in all or material part; (III) provides 1 or more monthly re- ports of usage to the mechanical licens- ing collective that, on the whole, is or are materially deficient as a result of in- accurate, missing, or unreadable data, where the correct data was available to the digital music provider and required to be reported under this section and ap- plicable regulations; (IV) fails to pay the administrative as- sessment as required under this sub- section and applicable regulations; or (V) after being provided written notice by the mechanical licensing collective, refuses to comply with any other mate- rial term or condition of the blanket li- cense under this section for a period of not less than 60 calendar days. (ii) NOTICE OF DEFAULT AND TERMI- NATION.—In case of a default by a digital music provider, the mechanical licensing collective may proceed to terminate the blanket license of the digital music pro- vider as follows: (I) The mechanical licensing collective shall provide written notice to the dig- ital music provider describing with rea- sonable particularity the default and ad- vising that unless such default is cured not later than 60 calendar days after the date of the notice, the blanket license will automatically terminate at the end of that period. (II) If the digital music provider fails to remedy the default before the end of the 60-day period described in subclause (I), the license shall terminate without any further action on the part of the me- chanical licensing collective. Such ter- mination renders the making of all dig- ital phonorecord deliveries of all musical works (and shares thereof) covered by the blanket license for which the royalty or administrative assessment has not been paid actionable as acts of infringe- ment under section 501 and subject to the remedies provided by sections 502 through 506. (iii) NOTICE TO COPYRIGHT OWNERS.—The mechanical licensing collective shall pro- vide written notice of any termination under this subparagraph to copyright own- ers of affected works. Page 92 TITLE 17—COPYRIGHTS § 115 (iv) REVIEW BY FEDERAL DISTRICT COURT.—A digital music provider that be- lieves a blanket license was improperly terminated by the mechanical licensing collective may seek review of such termi- nation in an appropriate district court of the United States. The district court shall determine the matter de novo based on the record before the mechanical licensing col- lective and any additional supporting evi- dence presented by the parties. (5) DIGITAL LICENSEE COORDINATOR.— (A) IN GENERAL.—The digital licensee coor- dinator shall be a single entity that— (i) is a nonprofit, not owned by any other entity, that is created to carry out respon- sibilities under this subsection; (ii) is endorsed by and enjoys substantial support from digital music providers and significant nonblanket licensees that to- gether represent the greatest percentage of the licensee market for uses of musical works in covered activities, as measured over the preceding 3 calendar years; (iii) is able to demonstrate that it has, or will have prior to the license availability date, the administrative capabilities to perform the required functions of the dig- ital licensee coordinator under this sub- section; and (iv) has been designated by the Register of Copyrights, with the approval of the Li- brarian of Congress pursuant to section 702, in accordance with subparagraph (B). (B) DESIGNATION OF DIGITAL LICENSEE COOR- DINATOR.— (i) INITIAL DESIGNATION.—The Register of Copyrights shall initially designate the digital licensee coordinator not later than 270 days after the enactment date, in ac- cordance with the same procedure de- scribed for designation of the mechanical licensing collective in paragraph (3)(B)(i). (ii) PERIODIC REVIEW OF DESIGNATION.— Following the initial designation of the digital licensee coordinator, the Register of Copyrights shall, every 5 years, begin- ning with the fifth full calendar year to commence after the initial designation, determine whether the existing designa- tion should be continued, or a different en- tity meeting the criteria described in clauses (i) through (iii) of subparagraph (A) should be designated, in accordance with the same procedure described for the mechanical licensing collective in para- graph (3)(B)(ii). (iii) INABILITY TO DESIGNATE.—If the Reg- ister of Copyrights is unable to identify an entity that fulfills each of the qualifica- tions described in clauses (i) through (iii) of subparagraph (A) to serve as the digital licensee coordinator, the Register may de- cline to designate a digital licensee coordi- nator. The determination of the Register not to designate a digital licensee coordi- nator shall not negate or otherwise affect any provision of this subsection except to the limited extent that a provision ref- erences the digital licensee coordinator. In such case, the reference to the digital li- censee coordinator shall be without effect unless and until a new digital licensee co- ordinator is designated. (C) AUTHORITIES AND FUNCTIONS.— (i) IN GENERAL.—The digital licensee co- ordinator is authorized to perform the fol- lowing functions, subject to more par- ticular requirements as described in this subsection: (I) Establish a governance structure, criteria for membership, and any dues to be paid by its members. (II) Engage in efforts to enforce notice and payment obligations with respect to the administrative assessment, including by receiving information from and co- ordinating with the mechanical licensing collective. (III) Initiate and participate in pro- ceedings before the Copyright Royalty Judges to establish the administrative assessment under this subsection. (IV) Initiate and participate in pro- ceedings before the Copyright Office with respect to activities under this sub- section. (V) Gather and provide documentation for use in proceedings before the Copy- right Royalty Judges to set rates and terms under this section. (VI) Maintain records of its activities. (VII) Assist in publicizing the exist- ence of the mechanical licensing collec- tive and the ability of copyright owners to claim royalties for unmatched musi- cal works (and shares of works) through the collective. (VIII) Engage in such other activities as may be necessary or appropriate to fulfill its responsibilities under this sub- section. (ii) RESTRICTION ON LOBBYING.—The dig- ital licensee coordinator may not engage in government lobbying activities, but may engage in the activities described in subclauses (III), (IV), and (V) of clause (i). (iii) ASSISTANCE WITH PUBLICITY FOR UN- CLAIMED ROYALTIES.—The digital licensee coordinator shall make reasonable, good- faith efforts to assist the mechanical li- censing collective in the efforts of the col- lective to locate and identify copyright owners of unmatched musical works (and shares of such works) by encouraging dig- ital music providers to publicize the exist- ence of the collective and the ability of copyright owners to claim unclaimed ac- crued royalties, including by— (I) posting contact information for the collective at reasonably prominent loca- tions on digital music provider websites and applications; and (II) conducting in-person outreach ac- tivities with songwriters. (6) REQUIREMENTS FOR SIGNIFICANT NON- BLANKET LICENSEES.— (A) IN GENERAL.— (i) NOTICE OF ACTIVITY.—Not later than 45 calendar days after the license avail- Page 93 TITLE 17—COPYRIGHTS § 115 ability date, or 45 calendar days after the end of the first full calendar month in which an entity initially qualifies as a sig- nificant nonblanket licensee, whichever occurs later, a significant nonblanket li- censee shall submit a notice of nonblanket activity to the mechanical licensing col- lective. The notice of nonblanket activity shall comply in form and substance with requirements that the Register of Copy- rights shall establish by regulation, and a copy shall be made available to the digital licensee coordinator. (ii) REPORTING AND PAYMENT OBLIGA- TIONS.—The notice of nonblanket activity submitted to the mechanical licensing col- lective shall be accompanied by a report of usage that contains the information de- scribed in paragraph (4)(A)(ii), as well as any payment of the administrative assess- ment required under this subsection and applicable regulations. Thereafter, subject to clause (iii), a significant nonblanket li- censee shall continue to provide monthly reports of usage, accompanied by any re- quired payment of the administrative as- sessment, to the mechanical licensing col- lective. Such reports and payments shall be submitted not later than 45 calendar days after the end of the calendar month being reported. (iii) DISCONTINUATION OF OBLIGATIONS.— An entity that has submitted a notice of nonblanket activity to the mechanical li- censing collective that has ceased to qual- ify as a significant nonblanket licensee may so notify the collective in writing. In such case, as of the calendar month in which such notice is provided, such entity shall no longer be required to provide re- ports of usage or pay the administrative assessment, but if such entity later quali- fies as a significant nonblanket licensee, such entity shall again be required to com- ply with clauses (i) and (ii). (B) REPORTING BY MECHANICAL LICENSING COLLECTIVE TO DIGITAL LICENSEE COORDI- NATOR.— (i) MONTHLY REPORTS OF NONCOMPLIANT LICENSEES.—The mechanical licensing col- lective shall provide monthly reports to the digital licensee coordinator setting forth any significant nonblanket licensees of which the collective is aware that have failed to comply with subparagraph (A). (ii) TREATMENT OF CONFIDENTIAL INFOR- MATION.—The mechanical licensing collec- tive and digital licensee coordinator shall take appropriate steps to safeguard the confidentiality and security of financial and other sensitive data shared under this subparagraph, in accordance with the con- fidentiality requirements prescribed by the Register of Copyrights under para- graph (12)(C). (C) LEGAL ENFORCEMENT EFFORTS.— (i) FEDERAL COURT ACTION.—Should the mechanical licensing collective or digital licensee coordinator become aware that a significant nonblanket licensee has failed to comply with subparagraph (A), either may commence an action in an appro- priate district court of the United States for damages and injunctive relief. If the significant nonblanket licensee is found liable, the court shall, absent a finding of excusable neglect, award damages in an amount equal to three times the total amount of the unpaid administrative as- sessment and, notwithstanding anything to the contrary in section 505, reasonable attorney’s fees and costs, as well as such other relief as the court determines appro- priate. In all other cases, the court shall award relief as appropriate. Any recovery of damages shall be payable to the me- chanical licensing collective as an offset to the collective total costs. (ii) STATUTE OF LIMITATIONS FOR EN- FORCEMENT ACTION.—Any action described in this subparagraph shall be commenced within the time period described in section 507(b). (iii) OTHER RIGHTS AND REMEDIES PRE- SERVED.—The ability of the mechanical li- censing collective or digital licensee coor- dinator to bring an action under this sub- paragraph shall in no way alter, limit or negate any other right or remedy that may be available to any party at law or in equity. (7) FUNDING OF MECHANICAL LICENSING COL- LECTIVE.— (A) IN GENERAL.—The collective total costs shall be funded by— (i) an administrative assessment, as such assessment is established by the Copyright Royalty Judges pursuant to subparagraph (D) from time to time, to be paid by— (I) digital music providers that are en- gaged, in all or in part, in covered activi- ties pursuant to a blanket license; and (II) significant nonblanket licensees; and (ii) voluntary contributions from digital music providers and significant non- blanket licensees as may be agreed with copyright owners. (B) VOLUNTARY CONTRIBUTIONS.— (i) AGREEMENTS CONCERNING CONTRIBU- TIONS.—Except as provided in clause (ii), voluntary contributions by digital music providers and significant nonblanket li- censees shall be determined by private ne- gotiation and agreement, and the fol- lowing conditions apply: (I) The date and amount of each vol- untary contribution to the mechanical licensing collective shall be documented in a writing signed by an authorized agent of the mechanical licensing collec- tive and the contributing party. (II) Such agreement shall be made available as required in proceedings be- fore the Copyright Royalty Judges to es- tablish or adjust the administrative as- sessment in accordance with applicable statutory and regulatory provisions and rulings of the Copyright Royalty Judges. (ii) TREATMENT OF CONTRIBUTIONS.—Each voluntary contribution described in clause Page 94 TITLE 17—COPYRIGHTS § 115 (i) shall be treated for purposes of an ad- ministrative assessment proceeding as an offset to the collective total costs that would otherwise be recovered through the administrative assessment. Any allocation or reallocation of voluntary contributions between or among individual digital music providers or significant nonblanket licens- ees shall be a matter of private negotia- tion and agreement among such parties and outside the scope of the administra- tive assessment proceeding. (C) INTERIM APPLICATION OF ACCRUED ROY- ALTIES.—In the event that the administra- tive assessment, together with any funding from voluntary contributions as provided in subparagraphs (A) and (B), is inadequate to cover current collective total costs, the col- lective, with approval of its board of direc- tors, may apply unclaimed accrued royalties on an interim basis to defray such costs, subject to future reimbursement of such roy- alties from future collections of the assess- ment. (D) DETERMINATION OF ADMINISTRATIVE AS- SESSMENT.— (i) ADMINISTRATIVE ASSESSMENT TO COVER COLLECTIVE TOTAL COSTS.—The administra- tive assessment shall be used solely and exclusively to fund the collective total costs. (ii) SEPARATE PROCEEDING BEFORE COPY- RIGHT ROYALTY JUDGES.—The amount and terms of the administrative assessment shall be determined and established in a separate and independent proceeding be- fore the Copyright Royalty Judges, accord- ing to the procedures described in clauses (iii) and (iv). The administrative assess- ment determined in such proceeding shall— (I) be wholly independent of royalty rates and terms applicable to digital music providers, which shall not be taken into consideration in any manner in establishing the administrative as- sessment; (II) be established by the Copyright Royalty Judges in an amount that is cal- culated to defray the reasonable collec- tive total costs; (III) be assessed based on usage of mu- sical works by digital music providers and significant nonblanket licensees in covered activities under both compul- sory and nonblanket licenses; (IV) may be in the form of a percent- age of royalties payable under this sec- tion for usage of musical works in cov- ered activities (regardless of whether a different rate applies under a voluntary license), or any other usage-based metric reasonably calculated to equitably allo- cate the collective total costs across dig- ital music providers and significant non- blanket licensees engaged in covered ac- tivities, and shall include as a compo- nent a minimum fee for all digital music providers and significant nonblanket li- censees; and (V) take into consideration anticipated future collective total costs and collec- tions of the administrative assessment, including, as applicable— (aa) any portion of past actual col- lective total costs of the mechanical li- censing collective not funded by pre- vious collections of the administrative assessment or voluntary contributions because such collections or contribu- tions together were insufficient to fund such costs; (bb) any past collections of the ad- ministrative assessment and voluntary contributions that exceeded past ac- tual collective total costs, resulting in a surplus; and (cc) the amount of any voluntary contributions by digital music pro- viders or significant nonblanket licens- ees in relevant periods, described in subparagraphs (A) and (B) of paragraph (7). (iii) INITIAL ADMINISTRATIVE ASSESS- MENT.—The procedure for establishing the initial administrative assessment shall be as follows: (I) Not later than 270 days after the en- actment date, the Copyright Royalty Judges shall commence a proceeding to establish the initial administrative as- sessment by publishing a notice in the Federal Register seeking petitions to participate. (II) The mechanical licensing collec- tive and digital licensee coordinator shall participate in the proceeding de- scribed in subclause (I), along with any interested copyright owners, digital music providers or significant non- blanket licensees that have notified the Copyright Royalty Judges of their desire to participate. (III) The Copyright Royalty Judges shall establish a schedule for submission by the parties of information that may be relevant to establishing the adminis- trative assessment, including actual and anticipated collective total costs of the mechanical licensing collective, actual and anticipated collections from digital music providers and significant non- blanket licensees, and documentation of voluntary contributions, as well as a schedule for further proceedings, which shall include a hearing, as the Copyright Royalty Judges determine appropriate. (IV) The initial administrative assess- ment shall be determined, and such de- termination shall be published in the Federal Register by the Copyright Roy- alty Judges, not later than 1 year after commencement of the proceeding de- scribed in this clause. The determination shall be supported by a written record. The initial administrative assessment shall be effective as of the license avail- ability date, and shall continue in effect unless and until an adjusted administra- tive assessment is established pursuant to an adjustment proceeding under clause (iv). Page 95 TITLE 17—COPYRIGHTS § 115 (iv) ADJUSTMENT OF ADMINISTRATIVE AS- SESSMENT.—The administrative assess- ment may be adjusted by the Copyright Royalty Judges periodically, in accordance with the following procedures: (I) Not earlier than 1 year after the most recent publication of a determina- tion of the administrative assessment by the Copyright Royalty Judges, the me- chanical licensing collective, the digital licensee coordinator, or one or more in- terested copyright owners, digital music providers, or significant nonblanket li- censees, may file a petition with the Copyright Royalty Judges in the month of May to commence a proceeding to ad- just the administrative assessment. (II) Notice of the commencement of such proceeding shall be published in the Federal Register in the month of June following the filing of any petition, with a schedule of requested information and additional proceedings, as described in clause (iii)(III). The mechanical licens- ing collective and digital licensee coordi- nator shall participate in such pro- ceeding, along with any interested copy- right owners, digital music providers, or significant nonblanket licensees that have notified the Copyright Royalty Judges of their desire to participate. (III) The determination of the adjusted administrative assessment, which shall be supported by a written record, shall be published in the Federal Register dur- ing June of the calendar year following the commencement of the proceeding. The adjusted administrative assessment shall take effect January 1 of the year following such publication. (v) ADOPTION OF VOLUNTARY AGREE- MENTS.—In lieu of reaching their own de- termination based on evaluation of rel- evant data, the Copyright Royalty Judges shall approve and adopt a negotiated agreement to establish the amount and terms of the administrative assessment that has been agreed to by the mechanical licensing collective and the digital li- censee coordinator (or if none has been designated, interested digital music pro- viders and significant nonblanket licensees representing more than half of the market for uses of musical works in covered ac- tivities), except that the Copyright Roy- alty Judges shall have the discretion to re- ject any such agreement for good cause shown. An administrative assessment adopted under this clause shall apply to all digital music providers and significant nonblanket licensees engaged in covered activities during the period the adminis- trative assessment is in effect. (vi) CONTINUING AUTHORITY TO AMEND.— The Copyright Royalty Judges shall retain continuing authority to amend a deter- mination of an administrative assessment to correct technical or clerical errors, or modify the terms of implementation, for good cause, with any such amendment to be published in the Federal Register. (vii) APPEAL OF ADMINISTRATIVE ASSESS- MENT.—The determination of an adminis- trative assessment by the Copyright Roy- alty Judges shall be appealable, not later than 30 calendar days after publication in the Federal Register, to the Court of Ap- peals for the District of Columbia Circuit by any party that fully participated in the proceeding. The administrative assessment as established by the Copyright Royalty Judges shall remain in effect pending the final outcome of any such appeal, and the mechanical licensing collective, digital li- censee coordinator, digital music pro- viders, and significant nonblanket licens- ees shall implement appropriate financial or other measures not later than 90 days after any modification of the assessment to reflect and account for such outcome. (viii) REGULATIONS.—The Copyright Roy- alty Judges may adopt regulations to gov- ern the conduct of proceedings under this paragraph. (8) ESTABLISHMENT OF RATES AND TERMS UNDER BLANKET LICENSE.— (A) RESTRICTIONS ON RATESETTING PARTICI- PATION.—Neither the mechanical licensing collective nor the digital licensee coordi- nator shall be a party to a proceeding de- scribed in subsection (c)(1)(E), except that the mechanical licensing collective or the digital licensee coordinator may gather and provide financial and other information for the use of a party to such a proceeding and comply with requests for information as re- quired under applicable statutory and regu- latory provisions and rulings of the Copy- right Royalty Judges. (B) APPLICATION OF LATE FEES.—In any proceeding described in subparagraph (A) in which the Copyright Royalty Judges estab- lish a late fee for late payment of royalties for uses of musical works under this section, such fee shall apply to covered activities under blanket licenses, as follows: (i) Late fees for past due royalty pay- ments shall accrue from the due date for payment until payment is received by the mechanical licensing collective. (ii) The availability of late fees shall in no way prevent a copyright owner or the mechanical licensing collective from as- serting any other rights or remedies to which such copyright owner or the me- chanical licensing collective may be enti- tled under this title. (C) INTERIM RATE AGREEMENTS IN GEN- ERAL.—For any covered activity for which no rate or terms have been established by the Copyright Royalty Judges, the mechan- ical licensing collective and any digital music provider may agree to an interim rate and terms for such activity under the blan- ket license, and any such rate and terms— (i) shall be treated as nonprecedential and not cited or relied upon in any rate- setting proceeding before the Copyright Royalty Judges or any other tribunal; and (ii) shall automatically expire upon the establishment of a rate and terms for such Page 96 TITLE 17—COPYRIGHTS § 115 covered activity by the Copyright Royalty Judges, under subsection (c)(1)(E). (D) ADJUSTMENTS FOR INTERIM RATES.—The rate and terms established by the Copyright Royalty Judges for a covered activity to which an interim rate and terms have been agreed under subparagraph (C) shall super- sede the interim rate and terms and apply retroactively to the inception of the activity under the blanket license. In such case, not later than 90 days after the effective date of the rate and terms established by the Copy- right Royalty Judges— (i) if the rate established by the Copy- right Royalty Judges exceeds the interim rate, the digital music provider shall pay to the mechanical licensing collective the amount of any underpayment of royalties due; or (ii) if the interim rate exceeds the rate established by the Copyright Royalty Judges, the mechanical licensing collec- tive shall credit the account of the digital music provider for the amount of any over- payment of royalties due. (9) TRANSITION TO BLANKET LICENSES.— (A) SUBSTITUTION OF BLANKET LICENSE.—On the license availability date, a blanket li- cense shall, without any interruption in li- cense authority enjoyed by such digital music provider, be automatically sub- stituted for and supersede any existing com- pulsory license previously obtained under this section by the digital music provider from a copyright owner to engage in 1 or more covered activities with respect to a musical work, except that such substitution shall not apply to any authority obtained from a record company pursuant to a com- pulsory license to make and distribute per- manent downloads unless and until such record company terminates such authority in writing to take effect at the end of a monthly reporting period, with a copy to the mechanical licensing collective. (B) EXPIRATION OF EXISTING LICENSES.—Ex- cept to the extent provided in subparagraph (A), on and after the license availability date, licenses other than individual download licenses obtained under this sec- tion for covered activities prior to the li- cense availability date shall no longer con- tinue in effect. (C) TREATMENT OF VOLUNTARY LICENSES.—A voluntary license for a covered activity in effect on the license availability date will remain in effect unless and until the vol- untary license expires according to the terms of the voluntary license, or the parties agree to amend or terminate the voluntary license. In a case where a voluntary license for a covered activity entered into before the license availability date incorporates the terms of this section by reference, the terms so incorporated (but not the rates) shall be those in effect immediately prior to the li- cense availability date, and those terms shall continue to apply unless and until such voluntary license is terminated or amended, or the parties enter into a new voluntary li- cense. (D) FURTHER ACCEPTANCE OF NOTICES FOR COVERED ACTIVITIES BY COPYRIGHT OFFICE.— On and after the enactment date— (i) the Copyright Office shall no longer accept notices of intention with respect to covered activities; and (ii) notices of intention filed before the enactment date will no longer be effective or provide license authority with respect to covered activities, except that, before the license availability date, there shall be no liability under section 501 for the repro- duction or distribution of a musical work (or share thereof) in covered activities if a valid notice of intention was filed for such work (or share) before the enactment date. (10) PRIOR UNLICENSED USES.— (A) LIMITATION ON LIABILITY IN GENERAL.— A copyright owner that commences an ac- tion under section 501 on or after January 1, 2018, against a digital music provider for the infringement of the exclusive rights pro- vided by paragraph (1) or (3) of section 106 arising from the unauthorized reproduction or distribution of a musical work by such digital music provider in the course of en- gaging in covered activities prior to the li- cense availability date, shall, as the copy- right owner’s sole and exclusive remedy against the digital music provider, be eligi- ble to recover the royalty prescribed under subsection (c)(1)(C) and chapter 8, from the digital music provider, provided that such digital music provider can demonstrate com- pliance with the requirements of subpara- graph (B), as applicable. In all other cases the limitation on liability under this sub- paragraph shall not apply. (B) REQUIREMENTS FOR LIMITATION ON LI- ABILITY.—The following requirements shall apply on the enactment date and through the end of the period that expires 90 days after the license availability date to digital music providers seeking to avail themselves of the limitation on liability described in subparagraph (A): (i) Not later than 30 calendar days after first making a particular sound recording of a musical work available through its service via one or more covered activities, or 30 calendar days after the enactment date, whichever occurs later, a digital music provider shall engage in good-faith, commercially reasonable efforts to iden- tify and locate each copyright owner of such musical work (or share thereof). Such required matching efforts shall include the following: (I) Good-faith, commercially reason- able efforts to obtain from the owner of the corresponding sound recording made available through the digital music pro- vider’s service the following informa- tion: (aa) Sound recording name, featured artist, sound recording copyright owner, producer, international stand- ard recording code, and other informa- tion commonly used in the industry to identify sound recordings and match them to the musical works they em- body. Page 97 TITLE 17—COPYRIGHTS § 115 (bb) Any available musical work ownership information, including each songwriter and publisher name, per- centage ownership share, and inter- national standard musical work code. (II) Employment of 1 or more bulk electronic matching processes that are available to the digital music provider through a third-party vendor on com- mercially reasonable terms, except that a digital music provider may rely on its own bulk electronic matching process if that process has capabilities comparable to or better than those available from a third-party vendor on commercially rea- sonable terms. (ii) The required matching efforts shall be repeated by the digital music provider not less than once per month for so long as the copyright owner remains unidentified or has not been located. (iii) If the required matching efforts are successful in identifying and locating a copyright owner of a musical work (or share thereof) by the end of the calendar month in which the digital music provider first makes use of the work, the digital music provider shall provide statements of account and pay royalties to such copy- right owner in accordance with this sec- tion and applicable regulations. (iv) If the copyright owner is not identi- fied or located by the end of the calendar month in which the digital music provider first makes use of the work, the digital music provider shall accrue and hold roy- alties calculated under the applicable stat- utory rate in accordance with usage of the work, from initial use of the work until the accrued royalties can be paid to the copyright owner or are required to be transferred to the mechanical licensing collective, as follows: (I) Accrued royalties shall be main- tained by the digital music provider in accordance with generally accepted ac- counting principles. (II) If a copyright owner of an un- matched musical work (or share thereof) is identified and located by or to the dig- ital music provider before the license availability date, the digital music pro- vider shall— (aa) not later than 45 calendar days after the end of the calendar month during which the copyright owner was identified and located, pay the copy- right owner all accrued royalties, such payment to be accompanied by a cu- mulative statement of account that in- cludes all of the information that would have been provided to the copy- right owner had the digital music pro- vider been providing monthly state- ments of account to the copyright owner from initial use of the work in accordance with this section and appli- cable regulations, including the req- uisite certification under subsection (c)(2)(I); (bb) beginning with the accounting period following the calendar month in which the copyright owner was identi- fied and located, and for all other ac- counting periods prior to the license availability date, provide monthly statements of account and pay royal- ties to the copyright owner as required under this section and applicable regu- lations; and (cc) beginning with the monthly roy- alty reporting period commencing on the license availability date, report usage and pay royalties for such musi- cal work (or share thereof) for such re- porting period and reporting periods thereafter to the mechanical licensing collective, as required under this sub- section and applicable regulations. (III) If a copyright owner of an un- matched musical work (or share thereof) is not identified and located by the li- cense availability date, the digital music provider shall— (aa) not later than 45 calendar days after the license availability date, transfer all accrued royalties to the mechanical licensing collective, such payment to be accompanied by a cu- mulative statement of account that in- cludes all of the information that would have been provided to the copy- right owner had the digital music pro- vider been serving monthly statements of account on the copyright owner from initial use of the work in accord- ance with this section and applicable regulations, including the requisite certification under subsection (c)(2)(I), and accompanied by an additional cer- tification by a duly authorized officer of the digital music provider that the digital music provider has fulfilled the requirements of clauses (i) and (ii) of subparagraph (B) but has not been suc- cessful in locating or identifying the copyright owner; and (bb) beginning with the monthly roy- alty reporting period commencing on the license availability date, report usage and pay royalties for such musi- cal work (or share thereof) for such pe- riod and reporting periods thereafter to the mechanical licensing collective, as required under this subsection and applicable regulations. (v) A digital music provider that com- plies with the requirements of this sub- paragraph with respect to unmatched mu- sical works (or shares of works) shall not be liable for or accrue late fees for late payments of royalties for such works until such time as the digital music provider is required to begin paying monthly royal- ties to the copyright owner or the mechan- ical licensing collective, as applicable. (C) ADJUSTED STATUTE OF LIMITATIONS.— Notwithstanding anything to the contrary in section 507(b), with respect to any claim of infringement of the exclusive rights pro- Page 98 TITLE 17—COPYRIGHTS § 115 vided by paragraphs (1) and (3) of section 106 against a digital music provider arising from the unauthorized reproduction or distribu- tion of a musical work by such digital music provider in the course of engaging in covered activities that accrued not more than 3 years prior to the license availability date, such action may be commenced not later than the later of— (i) 3 years after the date on which the claim accrued; or (ii) 2 years after the license availability date. (D) OTHER RIGHTS AND REMEDIES PRE- SERVED.—Except as expressly provided in this paragraph, nothing in this paragraph shall be construed to alter, limit, or negate any right or remedy of a copyright owner with respect to unauthorized use of a musi- cal work. (11) LEGAL PROTECTIONS FOR LICENSING AC- TIVITIES.— (A) EXEMPTION FOR COMPULSORY LICENSE ACTIVITIES.—The antitrust exemption de- scribed in subsection (c)(1)(D) shall apply to negotiations and agreements between and among copyright owners and persons enti- tled to obtain a compulsory license for cov- ered activities, and common agents acting on behalf of such copyright owners or per- sons, including with respect to the adminis- trative assessment established under this subsection. (B) LIMITATION ON COMMON AGENT EXEMP- TION.—Notwithstanding the antitrust exemp- tion provided in subsection (c)(1)(D) and sub- paragraph (A) of this paragraph (except for the administrative assessment referenced in such subparagraph (A) and except as pro- vided in paragraph (8)(C)), neither the me- chanical licensing collective nor the digital licensee coordinator shall serve as a com- mon agent with respect to the establishment of royalty rates or terms under this section. (C) ANTITRUST EXEMPTION FOR ADMINISTRA- TIVE ACTIVITIES.—Notwithstanding any pro- vision of the antitrust laws, copyright own- ers and persons entitled to obtain a compul- sory license under this section may des- ignate the mechanical licensing collective to administer voluntary licenses for the repro- duction or distribution of musical works in covered activities on behalf of such copy- right owners and persons, subject to the fol- lowing conditions: (i) Each copyright owner shall establish the royalty rates and material terms of any such voluntary license individually and not in agreement, combination, or concert with any other copyright owner. (ii) Each person entitled to obtain a compulsory license under this section shall establish the royalty rates and mate- rial terms of any such voluntary license individually and not in agreement, com- bination, or concert with any other digital music provider. (iii) The mechanical licensing collective shall maintain the confidentiality of the voluntary licenses in accordance with the confidentiality provisions prescribed by the Register of Copyrights under para- graph (12)(C). (D) LIABILITY FOR GOOD-FAITH ACTIVITIES.— The mechanical licensing collective shall not be liable to any person or entity based on a claim arising from its good-faith ad- ministration of policies and procedures adopted and implemented to carry out the responsibilities described in subparagraphs (J) and (K) of paragraph (3), except to the ex- tent of correcting an underpayment or over- payment of royalties as provided in para- graph (3)(L)(i)(VI), but the collective may participate in a legal proceeding as a stake- holder party if the collective is holding funds that are the subject of a dispute be- tween copyright owners. For purposes of this subparagraph, the term ‘‘good-faith adminis- tration’’ means administration in a manner that is not grossly negligent. (E) PREEMPTION OF STATE PROPERTY LAWS.—The holding and distribution of funds by the mechanical licensing collective in ac- cordance with this subsection shall super- sede and preempt any State law (including common law) concerning escheatment or abandoned property, or any analogous provi- sion, that might otherwise apply. (F) RULE OF CONSTRUCTION.—Except as ex- pressly provided in this subsection, nothing in this subsection shall negate or limit the ability of any person to pursue an action in Federal court against the mechanical licens- ing collective or any other person based upon a claim arising under this title or other applicable law. (12) REGULATIONS.— (A) ADOPTION BY REGISTER OF COPYRIGHTS AND COPYRIGHT ROYALTY JUDGES.—The Reg- ister of Copyrights may conduct such pro- ceedings and adopt such regulations as may be necessary or appropriate to effectuate the provisions of this subsection, except for reg- ulations concerning proceedings before the Copyright Royalty Judges to establish the administrative assessment, which shall be adopted by the Copyright Royalty Judges. (B) JUDICIAL REVIEW OF REGULATIONS.—Ex- cept as provided in paragraph (7)(D)(vii), reg- ulations adopted under this subsection shall be subject to judicial review pursuant to chapter 7 of title 5. (C) PROTECTION OF CONFIDENTIAL INFORMA- TION.—The Register of Copyrights shall adopt regulations to provide for the appro- priate procedures to ensure that confiden- tial, private, proprietary, or privileged infor- mation contained in the records of the me- chanical licensing collective and digital li- censee coordinator is not improperly dis- closed or used, including through any disclo- sure or use by the board of directors or per- sonnel of either entity, and specifically in- cluding the unclaimed royalties oversight committee and the dispute resolution com- mittee of the mechanical licensing collec- tive. (13) SAVINGS CLAUSES.— (A) LIMITATION ON ACTIVITIES AND RIGHTS COVERED.—This subsection applies solely to Page 99 TITLE 17—COPYRIGHTS § 115 uses of musical works subject to licensing under this section. The blanket license shall not be construed to extend or apply to ac- tivities other than covered activities or to rights other than the exclusive rights of re- production and distribution licensed under this section, or serve or act as the basis to extend or expand the compulsory license under this section to activities and rights not covered by this section on the day before the enactment date. (B) RIGHTS OF PUBLIC PERFORMANCE NOT AF- FECTED.—The rights, protections, and immu- nities granted under this subsection, the data concerning musical works collected and made available under this subsection, and the definitions under subsection (e) shall not extend to, limit, or otherwise affect any right of public performance in a musical work. (e) DEFINITIONS.—As used in this section: (1) ACCRUED INTEREST.—The term ‘‘accrued interest’’ means interest accrued on accrued royalties, as described in subsection (d)(3)(H)(ii). (2) ACCRUED ROYALTIES.—The term ‘‘accrued royalties’’ means royalties accrued for the re- production or distribution of a musical work (or share thereof) in a covered activity, cal- culated in accordance with the applicable roy- alty rate under this section. (3) ADMINISTRATIVE ASSESSMENT.—The term ‘‘administrative assessment’’ means the fee es- tablished pursuant to subsection (d)(7)(D). (4) AUDIT.—The term ‘‘audit’’ means a roy- alty compliance examination to verify the ac- curacy of royalty payments, or the conduct of such an examination, as applicable. (5) BLANKET LICENSE.—The term ‘‘blanket li- cense’’ means a compulsory license described in subsection (d)(1)(A) to engage in covered ac- tivities. (6) COLLECTIVE TOTAL COSTS.—The term ‘‘col- lective total costs’’— (A) means the total costs of establishing, maintaining, and operating the mechanical licensing collective to fulfill its statutory functions, including— (i) startup costs; (ii) financing, legal, audit, and insurance costs; (iii) investments in information tech- nology, infrastructure, and other long- term resources; (iv) outside vendor costs; (v) costs of licensing, royalty adminis- tration, and enforcement of rights; (vi) costs of bad debt; and (vii) costs of automated and manual ef- forts to identify and locate copyright own- ers of musical works (and shares of such musical works) and match sound record- ings to the musical works the sound re- cordings embody; and (B) does not include any added costs in- curred by the mechanical licensing collec- tive to provide services under voluntary li- censes. (7) COVERED ACTIVITY.—The term ‘‘covered activity’’ means the activity of making a dig- ital phonorecord delivery of a musical work, including in the form of a permanent download, limited download, or interactive stream, where such activity qualifies for a compulsory license under this section. (8) DIGITAL MUSIC PROVIDER.—The term ‘‘dig- ital music provider’’ means a person (or per- sons operating under the authority of that person) that, with respect to a service engaged in covered activities— (A) has a direct contractual, subscription, or other economic relationship with end users of the service, or, if no such relation- ship with end users exists, exercises direct control over the provision of the service to end users; (B) is able to fully report on any revenues and consideration generated by the service; and (C) is able to fully report on usage of sound recordings of musical works by the service (or procure such reporting). (9) DIGITAL LICENSEE COORDINATOR.—The term ‘‘digital licensee coordinator’’ means the entity most recently designated pursuant to subsection (d)(5). (10) DIGITAL PHONORECORD DELIVERY.—The term ‘‘digital phonorecord delivery’’ means each individual delivery of a phonorecord by digital transmission of a sound recording that results in a specifically identifiable reproduc- tion by or for any transmission recipient of a phonorecord of that sound recording, regard- less of whether the digital transmission is also a public performance of the sound recording or any musical work embodied therein, and in- cludes a permanent download, a limited download, or an interactive stream. A digital phonorecord delivery does not result from a real-time, noninteractive subscription trans- mission of a sound recording where no repro- duction of the sound recording or the musical work embodied therein is made from the in- ception of the transmission through to its re- ceipt by the transmission recipient in order to make the sound recording audible. A digital phonorecord delivery does not include the dig- ital transmission of sounds accompanying a motion picture or other audiovisual work as defined in section 101. (11) ENACTMENT DATE.—The term ‘‘enact- ment date’’ means the date of the enactment of the Musical Works Modernization Act. (12) INDIVIDUAL DOWNLOAD LICENSE.—The term ‘‘individual download license’’ means a compulsory license obtained by a record com- pany to make and distribute, or authorize the making and distribution of, permanent downloads embodying a specific individual musical work. (13) INTERACTIVE STREAM.—The term ‘‘inter- active stream’’ means a digital transmission of a sound recording of a musical work in the form of a stream, where the performance of the sound recording by means of such trans- mission is not exempt under section 114(d)(1) and does not in itself, or as a result of a pro- gram in which it is included, qualify for statu- tory licensing under section 114(d)(2). An interactive stream is a digital phonorecord de- livery. Page 100 TITLE 17—COPYRIGHTS § 115 (14) INTERESTED.—The term ‘‘interested’’, as applied to a party seeking to participate in a proceeding under subsection (d)(7)(D), is a party as to which the Copyright Royalty Judges have not determined that the party lacks a significant interest in such proceeding. (15) LICENSE AVAILABILITY DATE.—The term ‘‘license availability date’’ means January 1 following the expiration of the 2-year period beginning on the enactment date. (16) LIMITED DOWNLOAD.—The term ‘‘limited download’’ means a digital transmission of a sound recording of a musical work in the form of a download, where such sound recording is accessible for listening only for a limited amount of time or specified number of times. (17) MATCHED.—The term ‘‘matched’’, as ap- plied to a musical work (or share thereof), means that the copyright owner of such work (or share thereof) has been identified and lo- cated. (18) MECHANICAL LICENSING COLLECTIVE.—The term ‘‘mechanical licensing collective’’ means the entity most recently designated as such by the Register of Copyrights under subsection (d)(3). (19) MECHANICAL LICENSING COLLECTIVE BUDG- ET.—The term ‘‘mechanical licensing collec- tive budget’’ means a statement of the finan- cial position of the mechanical licensing col- lective for a fiscal year or quarter thereof based on estimates of expenditures during the period and proposals for financing those ex- penditures, including a calculation of the col- lective total costs. (20) MUSICAL WORKS DATABASE.—The term ‘‘musical works database’’ means the database described in subsection (d)(3)(E). (21) NONPROFIT.—The term ‘‘nonprofit’’ means a nonprofit created or organized in a State. (22) NOTICE OF LICENSE.—The term ‘‘notice of license’’ means a notice from a digital music provider provided under subsection (d)(2)(A) for purposes of obtaining a blanket license. (23) NOTICE OF NONBLANKET ACTIVITY.—The term ‘‘notice of nonblanket activity’’ means a notice from a significant nonblanket licensee provided under subsection (d)(6)(A) for pur- poses of notifying the mechanical licensing collective that the licensee has been engaging in covered activities. (24) PERMANENT DOWNLOAD.—The term ‘‘per- manent download’’ means a digital trans- mission of a sound recording of a musical work in the form of a download, where such sound recording is accessible for listening without restriction as to the amount of time or number of times it may be accessed. (25) QUALIFIED AUDITOR.—The term ‘‘quali- fied auditor’’ means an independent, certified public accountant with experience performing music royalty audits. (26) RECORD COMPANY.—The term ‘‘record company’’ means an entity that invests in, produces, and markets sound recordings of musical works, and distributes such sound re- cordings for remuneration through multiple sales channels, including a corporate affiliate of such an entity engaged in distribution of sound recordings. (27) REPORT OF USAGE.—The term ‘‘report of usage’’ means a report reflecting an entity’s usage of musical works in covered activities described in subsection (d)(4)(A). (28) REQUIRED MATCHING EFFORTS.—The term ‘‘required matching efforts’’ means efforts to identify and locate copyright owners of musi- cal works as described in subsection (d)(10)(B)(i). (29) SERVICE.—The term ‘‘service’’, as used in relation to covered activities, means any site, facility, or offering by or through which sound recordings of musical works are digitally transmitted to members of the public. (30) SHARE.—The term ‘‘share’’, as applied to a musical work, means a fractional ownership interest in such work. (31) SIGNIFICANT NONBLANKET LICENSEE.—The term ‘‘significant nonblanket licensee’’— (A) means an entity, including a group of entities under common ownership or control that, acting under the authority of one or more voluntary licenses or individual download licenses, offers a service engaged in covered activities, and such entity or group of entities— (i) is not currently operating under a blanket license and is not obligated to pro- vide reports of usage reflecting covered ac- tivities under subsection (d)(4)(A); (ii) has a direct contractual, subscrip- tion, or other economic relationship with end users of the service or, if no such rela- tionship with end users exists, exercises direct control over the provision of the service to end users; and (iii) either— (I) on any day in a calendar month, makes more than 5,000 different sound recordings of musical works available through such service; or (II) derives revenue or other consider- ation in connection with such covered activities greater than $50,000 in a cal- endar month, or total revenue or other consideration greater than $500,000 dur- ing the preceding 12 calendar months; and (B) does not include— (i) an entity whose covered activity con- sists solely of free-to-the-user streams of segments of sound recordings of musical works that do not exceed 90 seconds in length, are offered only to facilitate a li- censed use of musical works that is not a covered activity, and have no revenue di- rectly attributable to such streams consti- tuting the covered activity; or (ii) a ‘‘public broadcasting entity’’ as de- fined in section 118(f). (32) SONGWRITER.—The term ‘‘songwriter’’ means the author of all or part of a musical work, including a composer or lyricist. (33) STATE.—The term ‘‘State’’ means each State of the United States, the District of Co- lumbia, and each territory or possession of the United States. (34) UNCLAIMED ACCRUED ROYALTIES.—The term ‘‘unclaimed accrued royalties’’ means ac- crued royalties eligible for distribution under subsection (d)(3)(J). Page 101 TITLE 17—COPYRIGHTS § 115 (35) UNMATCHED.—The term ‘‘unmatched’’, as applied to a musical work (or share thereof), means that the copyright owner of such work (or share thereof) has not been identified or lo- cated. (36) VOLUNTARY LICENSE.—The term ‘‘vol- untary license’’ means a license for use of a musical work (or share thereof) other than a compulsory license obtained under this sec- tion. (Pub. L. 94–553, title I, § 101, Oct. 19, 1976, 90 Stat. 2561; Pub. L. 98–450, § 3, Oct. 4, 1984, 98 Stat. 1727; Pub. L. 104–39, § 4, Nov. 1, 1995, 109 Stat. 344; Pub. L. 105–80, §§ 4, 10, 12(a)(7), Nov. 13, 1997, 111 Stat. 1531, 1534; Pub. L. 108–419, § 5(d), Nov. 30, 2004, 118 Stat. 2364; Pub. L. 109–303, § 4(c), Oct. 6, 2006, 120 Stat. 1482; Pub. L. 110–403, title II, § 209(a)(3), Oct. 13, 2008, 122 Stat. 4264; Pub. L. 111–295, § 6(g), Dec. 9, 2010, 124 Stat. 3181; Pub. L. 115–264, title I, § 102(a), Oct. 11, 2018, 132 Stat. 3677.) HISTORICAL AND REVISION NOTES HOUSE REPORT NO. 94–1476 The provisions of section 1(e) and 101(e) of the present law [sections 1(e) and 101(e) of former title 17], estab- lishing a system of compulsory licensing for the mak- ing and distribution of phonorecords of copyrighted music, are retained with a number of modifications and clarifications in section 115 of the bill. Under these pro- visions, which represented a compromise of the most controversial issue of the 1909 act, a musical composi- tion that has been reproduced in phonorecords with the permission of the copyright owner may generally be re- produced in phonorecords by another person, if that person notifies the copyright owner and pays a speci- fied royalty. The fundamental question of whether to retain the compulsory license or to do away with it altogether was a major issue during earlier stages of the program for general revision of the copyright law. At the hear- ings it was apparent that the argument on this point had shifted, and the real issue was not whether to re- tain the compulsory license but how much the royalty rate under it should be. The arguments for and against retention of the compulsory license are outlined at pages 66–67 of this Committee’s 1967 report (H. Rept. No. 83, 90th Cong., 1st Sess.). The Committee’s conclu- sion on this point remains the same as in 1967: ‘‘that a compulsory licensing system is still warranted as a condition for the rights of reproducing and distributing phonorecords of copyrighted music,’’ but ‘‘that the present system is unfair and unnecessarily burdensome on copyright owners, and that the present statutory rate is too low.’’ Availability and Scope of Compulsory License. Sub- section (a) of section 115 deals with three doubtful ques- tions under the present law: (1) the nature of the origi- nal recording that will make the work available to oth- ers for recording under a compulsory license; (2) the na- ture of the sound recording that can be made under a compulsory license; and (3) the extent to which some- one acting under a compulsory license can depart from the work as written or recorded without violating the copyright owner’s right to make an ‘‘arrangement’’ or other derivative work. The first two of these questions are answered in clause (1) of section 115(a), and the third is the subject of clause (2). The present law, though not altogether clear, appar- ently bases compulsory licensing on the making or li- censing of the first recording, even if no authorized records are distributed to the public. The first sentence of section 115(a)(1) would change the basis for compul- sory licensing to authorized public distribution of phonorecords (including disks and audio tapes but not the sound tracks or other sound records accompanying a motion picture or other audiovisual work). Under the clause, a compulsory license would be available to any- one as soon as ‘‘phonorecords of a nondramatic musical work have been distributed to the public in the United States under the authority of the copyright owner.’’ The second sentence of clause (1), which has been the subject of some debate, provides that ‘‘a person may obtain a compulsory license only if his or her primary purpose in making phonorecords is to distribute them to the public for private use.’’ This provision was criti- cized as being discriminatory against background music systems, since it would prevent a background music producer from making recordings without the express consent of the copyright owner; it was argued that this could put the producer at a great competitive disadvantage with performing rights societies, allow discrimination, and destroy or prevent entry of busi- nesses. The committee concluded, however, that the purpose of the compulsory license does not extend to manufacturers of phonorecords that are intended pri- marily for commercial use, including not only broad- casters and jukebox operators but also background music services. The final sentence of clause (1) provides that a person may not obtain a compulsory license for use of the work in the duplication of a sound recording made by another, unless the sound recording being duplicated was itself fixed lawfully and the making of phonorecords duplicated from it was authorized by the owner of copyright in the sound recording (or, if the re- cording was fixed before February 15, 1972, by the vol- untary or compulsory licensee of the music used in the recording). The basic intent of this sentence is to make clear that a person is not entitled to a compulsory li- cense of copyrighted musical works for the purpose of making an unauthorized duplication of a musical sound recording originally developed and produced by an- other. It is the view of the Committee that such was the original intent of the Congress in enacting the 1909 Copyright Act, and it has been so construed by the 3d, 5th, 9th and 10th Circuits in the following cases: Duch- ess Music Corp. v. Stern, 458 F.2d 1305 (9th Cir.), cert. de- nied, 409 U.S. 847 (1972) [93 S.Ct. 52, 34 L.Ed.2d 88]; Ed- ward B. Marks Music Corp. v. Colorado Magnetics, Inc., 497 F.2d 285, aff’d on rehearing en banc, 497 F.2d 292 (10th Cir. 1974), cert. denied, 419 U.S. 1120 (1975) [95 S.Ct. 801, 42 L.Ed.2d 819]; Jondora Music Publishing Co. v. Mel- ody Recordings, Inc., 506 F.2d 392 (3d Cir. 1974, as amend- ed 1975), cert. denied, 421 U.S. 1012 (1975) [95 S.Ct. 2417, 44 L.Ed.2d 680]; and Fame Publishing Co. v. Alabama Cus- tom Tape, Inc., 507 F.2d 667 (5th Cir.), cert. denied, 423 U.S. 841 (1975) [96 S.Ct. 73, 46 L.Ed.2d 61]. Under this provision, it would be possible to obtain a compulsory license for the use of copyrighted music under section 115 if the owner of the sound recording being duplicated authorizes its duplication. This does not, however, in any way require the owner of the original sound recording to grant a license to duplicate the original sound recording. It is not intended that copyright protection for sound recordings be cir- cumscribed by requiring the owners of sound recordings to grant a compulsory license to unauthorized duplica- tors or others. The second clause of subsection (a) is intended to rec- ognize the practical need for a limited privilege to make arrangements of music being used under a com- pulsory license, but without allowing the music to be perverted, distorted, or travestied. Clause (2) permits arrangements of a work ‘‘to the extent necessary to conform it to the style or manner of interpretation of the performance involved,’’ so long as it does not ‘‘change the basic melody or fundamental character of the work.’’ The provision also prohibits the compulsory licensee from claiming an independent copyright in his arrangement as a ‘‘derivative work’’ without the ex- press consent of the copyright owner. Procedure for Obtaining Compulsory License. Section 115(b)(1) requires anyone who wishes to take advantage of the compulsory licensing provisions to serve a ‘‘no- tice of intention to obtain a compulsory license,’’ which is much like the ‘‘notice of intention to use’’ re- Page 102 TITLE 17—COPYRIGHTS § 115 quired by the present law. Under section 115, the notice must be served before any phonorecords are distrib- uted, but service can take place ‘‘before or within 30 days after making’’ any phonorecords. The notice is to be served on the copyright owner, but if the owner is not identified in the Copyright Office records, ‘‘it shall be sufficient to file the notice of intention in the Copy- right Office.’’ The Committee deleted clause (2) of section 115(b) of S. 22 as adopted by the Senate. The provision was a ves- tige of jukebox provisions in earlier bills, and its re- quirements no longer served any useful purpose. Clause (2) [formerly clause (3)] of section 115(b) [cl. (2) of subsec. (b) of this section] provides that ‘‘failure to serve or file the notice required by clause (1) * * * fore- closes the possibility of a compulsory license and, in the absence of a negotiated license, renders the making and distribution of phonorecords actionable as acts of infringement under section 501 and fully subject to the remedies provided by sections 502 through 506.’’ The remedies provided in section 501 are those applicable to infringements generally. Royalty Payable Under Compulsory License. Identi- fication of Copyright Owner.—Under the present law a copyright owner is obliged to file a ‘‘notice of use’’ in the Copyright Office, stating that the initial recording of the copyrighted work has been made or licensed, in order to recover against an unauthorized record manu- facturer. This requirement has resulted in a technical loss of rights in some cases, and serves little or no pur- pose where the registration and assignment records of the Copyright Office already show the facts of owner- ship. Section 115(c)(1) therefore drops any formal ‘‘no- tice of use’’ requirements and merely provides that, ‘‘to be entitled to receive royalties under a compulsory li- cense, the copyright owner must be identified in the registration or other public records of the Copyright Office.’’ On the other hand, since proper identification is an important precondition of recovery, the bill fur- ther provides that ‘‘the owner is entitled to royalties for phonorecords manufactured and distributed after being so identified, but is not entitled to recover for any phonorecords previously made and distributed.’’ Basis of Royalty.—Under the present statute the speci- fied royalty is payable ‘‘on each such part manufac- tured,’’ regardless of how many ‘‘parts’’ (i.e., records) are sold. This basis for calculating the royalty has been revised in section 115(c)(2) to provide that ‘‘the royalty under a compulsory license shall be payable for every phonorecord made and distributed in accordance with the license.’’ This basis is more compatible with the general practice in negotiated licenses today. It is un- justified to require a compulsory licensee to pay li- cense fees on records which merely go into inventory, which may later be destroyed, and from which the record producer gains no economic benefit. It is intended that the Register of Copyrights will prescribe regulations insuring that copyright owners will receive full and prompt payment for all phonorec- ords made and distributed. Section 115(c)(2) states that ‘‘a phonorecord is considered ‘distributed’ if the person exercising the compulsory license has voluntarily and permanently parted with its possession.’’ For this pur- pose, the concept of ‘‘distribution’’ comprises any act by which the person exercising the compulsory license voluntarily relinquishes possession of a phonorecord (considered as a fungible unit), regardless of whether the distribution is to the public, passes title, con- stitutes a gift, or is sold, rented, leased, or loaned, un- less it is actually returned and the transaction can- celled. Neither involuntary relinquishment, as through theft or fire, nor the destruction of unwanted records, would constitute ‘‘distribution.’’ The term ‘‘made’’ is intended to be broader than ‘‘manufactured,’’ and to include within its scope every possible manufacturing or other process capable of re- producing a sound recording in phonorecords. The use of the phrase ‘‘made and distributed’’ establishes the basis upon which the royalty rate for compulsory li- censing under section 115 is to be calculated, but it is in no way intended to weaken the liability of record pressers and other manufacturers and makers of phonorecords for copyright infringement where the compulsory licensing requirements have not been met. As under the present law, even if a presser, manufac- turer, or other maker had no role in the distribution process, that person would be regarded as jointly and severally liable in a case where the court finds that in- fringement has taken place because of failure to com- ply with the provisions of section 115. Under existing practices in the record industry, phonorecords are distributed to wholesalers and retail- ers with the privilege of returning unsold copies for credit or exchange. As a result, the number of record- ings that have been ‘‘permanently’’ distributed will not usually be known until some time—six or seven months on the average—after the initial distribution. In rec- ognition of this problem, it has become a well-estab- lished industry practice, under negotiated licenses, for record companies to maintain reasonable reserves of the mechanical royalties due the copyright owners, against which royalties on the returns can be offset. The Committee recognizes that this practice may be consistent with the statutory requirements for month- ly compulsory license accounting reports, but recog- nizes the possibility that, without proper safeguards, the maintenance of such reserves could be manipulated to avoid making payments of the full amounts owing to copyright owners. Under these circumstances, the regu- lations prescribed by the Register of Copyrights should contain detailed provisions ensuring that the ultimate disposition of every phonorecord made under a compul- sory license is accounted for, and that payment is made for every phonorecord ‘‘voluntarily and permanently’’ distributed. In particular, the Register should prescribe a point in time when, for accounting purposes under section 115, a phonorecord will be considered ‘‘perma- nently distributed,’’ and should prescribe the situations in which a compulsory licensee is barred from main- taining reserves (e.g., situations in which the compul- sory licensee has frequently failed to make payments in the past.) Rate of Royalty.—A large preponderance of the exten- sive testimony presented to the Committee on section 115 was devoted to the question of the amount of the statutory royalty rate. An extensive review and anal- ysis of the testimony and arguments received on this question appear in the 1974 Senate report (S. Rep. No. 94–473) at page 71–94. While upon initial review it might be assumed that the rate established in 1909 would not be reasonable at the present time, the committee believes that an in- crease in the mechanical royalty rate must be justified on the basis of existing economic conditions and not on the mere passage of 67 years. Following a thorough analysis of the problem, the Committee considers that an increase of the present two-cent royalty to a rate of 23⁄4 cents (or .6 of one cent per minute or fraction of playing time) is justified. This rate will be subject to review by the Copyright Royalty Commission, as pro- vided by section 801, in 1980 and at 10-year intervals thereafter. Accounting and Payment of Royalties; Effect of De- fault. Clause (3) of Section 115(c) provides that royalty payments are to be made on a monthly basis, in accord- ance with requirements that the Register of Copyrights shall prescribe by regulation. In order to increase the protection of copyright proprietors against economic harm from companies which might refuse or fail to pay their just obligations, compulsory licensees will also be required to make a detailed cumulative annual state- ment of account, certified by a Certified Public Ac- countant. A source of criticism with respect to the compulsory licensing provisions of the present statute has been the rather ineffective sanctions against default by compul- sory licensees. Clause (4) of section 115(c) corrects this defect by permitting the copyright owner to serve writ- ten notice on a defaulting licensee, and by providing for termination of the compulsory license if the default is Page 103 TITLE 17—COPYRIGHTS § 115 not remedied within 30 days after notice is given. Ter- mination under this clause ‘‘renders either the making or the distribution, or both, of all phonorecords for which the royalty had not been paid, actionable as acts of infringement under section 501 and fully subject to the remedies provided by sections 502 through 506.’’ Editorial Notes REFERENCES IN TEXT The date of enactment of the Digital Performance Right in Sound Recordings Act of 1995, referred to in subsec. (c)(2)(F)(iii), is the date of enactment of Pub. L. 104–39, which was approved Nov. 1, 1995. The date of the enactment of the Musical Works Mod- ernization Act, referred to in subsec. (e)(11), is the date of enactment of title I of Pub. L. 115–264, which was ap- proved Oct. 11, 2018. AMENDMENTS 2018—Subsec. (a). Pub. L. 115–264, § 102(a)(1)(A), in- serted ‘‘in General’’ after ‘‘Availability and Scope of Compulsory License’’ in heading. Subsec. (a)(1). Pub. L. 115–264, § 102(a)(1)(B), added par. (1) and struck out former par. (1) which read as follows: ‘‘When phonorecords of a nondramatic musical work have been distributed to the public in the United States under the authority of the copyright owner, any other person, including those who make phonorecords or dig- ital phonorecord deliveries, may, by complying with the provisions of this section, obtain a compulsory li- cense to make and distribute phonorecords of the work. A person may obtain a compulsory license only if his or her primary purpose in making phonorecords is to dis- tribute them to the public for private use, including by means of a digital phonorecord delivery. A person may not obtain a compulsory license for use of the work in the making of phonorecords duplicating a sound record- ing fixed by another, unless: (i) such sound recording was fixed lawfully; and (ii) the making of the phonorecords was authorized by the owner of copyright in the sound recording or, if the sound recording was fixed before February 15, 1972, by any person who fixed the sound recording pursuant to an express license from the owner of the copyright in the musical work or pursuant to a valid compulsory license for use of such work in a sound recording.’’ Subsec. (a)(2). Pub. L. 115–264, § 102(a)(1)(C), inserted heading. Subsec. (b). Pub. L. 115–264, § 102(a)(2), added subsec. (b) and struck out former subsec. (b). Prior to amend- ment, text read as follows: ‘‘(1) Any person who wishes to obtain a compulsory license under this section shall, before or within thirty days after making, and before distributing any phonorecords of the work, serve notice of intention to do so on the copyright owner. If the registration or other public records of the Copyright Office do not identify the copyright owner and include an address at which notice can be served, it shall be sufficient to file the notice of intention in the Copyright Office. The no- tice shall comply, in form, content, and manner of serv- ice, with requirements that the Register of Copyrights shall prescribe by regulation. ‘‘(2) Failure to serve or file the notice required by clause (1) forecloses the possibility of a compulsory li- cense and, in the absence of a negotiated license, ren- ders the making and distribution of phonorecords ac- tionable as acts of infringement under section 501 and fully subject to the remedies provided by sections 502 through 506 and 509.’’ Subsec. (c). Pub. L. 115–264, § 102(a)(3), amended sub- sec. (c) generally. Prior to amendment, subsec. (c) re- lated to royalty payable under compulsory license. Subsec. (d). Pub. L. 115–264, § 102(a)(4), amended sub- sec. (d) generally. Prior to amendment, text read as fol- lows: ‘‘As used in this section, the following term has the following meaning: A ‘digital phonorecord delivery’ is each individual delivery of a phonorecord by digital transmission of a sound recording which results in a specifically identifiable reproduction by or for any transmission recipient of a phonorecord of that sound recording, regardless of whether the digital trans- mission is also a public performance of the sound re- cording or any nondramatic musical work embodied therein. A digital phonorecord delivery does not result from a real-time, non-interactive subscription trans- mission of a sound recording where no reproduction of the sound recording or the musical work embodied therein is made from the inception of the transmission through to its receipt by the transmission recipient in order to make the sound recording audible.’’ Subsec. (e). Pub. L. 115–264, § 102(a)(5), added subsec. (e). 2010—Subsec. (c)(3)(G)(i). Pub. L. 111–295 made tech- nical correction to directory language of Pub. L. 110–403, § 209(a)(3)(A). See 2008 Amendment note below. 2008—Subsec. (c)(3)(G)(i). Pub. L. 110–403, § 209(a)(3)(A), as amended by Pub. L. 111–295 struck out ‘‘and section 509’’ after ‘‘506’’ in introductory provisions. Subsec. (c)(6). Pub. L. 110–403, § 209(a)(3)(B), struck out ‘‘and 509’’ before period at end. 2006—Subsec. (c)(3)(B). Pub. L. 109–303, § 4(c)(1), sub- stituted ‘‘this subparagraph and subparagraphs (C) through (E)’’ for ‘‘subparagraphs (B) through (F)’’. Subsec. (c)(3)(D). Pub. L. 109–303, § 4(c)(2), inserted ‘‘in subparagraphs (B) and (C)’’ after ‘‘described’’ in third sentence. Subsec. (c)(3)(E)(i), (ii)(I). Pub. L. 109–303, § 4(c)(3), substituted ‘‘(C) and (D)’’ for ‘‘(C) or (D)’’ wherever ap- pearing. 2004—Subsec. (c)(3)(A)(ii). Pub. L. 108–419, § 5(d)(1), substituted ‘‘(E)’’ for ‘‘(F)’’. Subsec. (c)(3)(B). Pub. L. 108–419, § 5(d)(2)(C), which di- rected substitution of ‘‘this subparagraph and subpara- graphs (C) through (E)’’ for ‘‘subparagraphs (C) through (F)’’, could not be executed because ‘‘subparagraphs (C) through (F)’’ does not appear in text. Pub. L. 108–419, § 5(d)(2)(A), (B), substituted ‘‘under this section’’ for ‘‘under this paragraph’’ and inserted ‘‘on a nonexclusive basis’’ after ‘‘common agents’’. Subsec. (c)(3)(C). Pub. L. 108–419, § 5(d)(3), substituted first sentence for former first sentence which read: ‘‘During the period of June 30, 1996, through December 31, 1996, the Librarian of Congress shall cause notice to be published in the Federal Register of the initiation of voluntary negotiation proceedings for the purpose of determining reasonable terms and rates of royalty pay- ments for the activities specified by subparagraph (A) during the period beginning January 1, 1998, and ending on the effective date of any new terms and rates estab- lished pursuant to subparagraph (C), (D) or (F), or such other date (regarding digital phonorecord deliveries) as the parties may agree.’’, substituted ‘‘Copyright Roy- alty Judges’’ for ‘‘Librarian of Congress’’ in third sen- tence, and struck out ‘‘negotiation’’ before ‘‘pro- ceeding’’ in last sentence. Subsec. (c)(3)(D). Pub. L. 108–419, § 5(d)(4), substituted first sentence for former first sentence which read: ‘‘In the absence of license agreements negotiated under subparagraphs (B) and (C), upon the filing of a petition in accordance with section 803(a)(1), the Librarian of Congress shall, pursuant to chapter 8, convene a copy- right arbitration royalty panel to determine a schedule of rates and terms which, subject to subparagraph (E), shall be binding on all copyright owners of nondra- matic musical works and persons entitled to obtain a compulsory license under subsection (a)(1) during the period beginning January 1, 1998, and ending on the ef- fective date of any new terms and rates established pursuant to subparagraph (C), (D) or (F), or such other date (regarding digital phonorecord deliveries) as may be determined pursuant to subparagraphs (B) and (C).’’, substituted ‘‘Copyright Royalty Judges may consider’’ for ‘‘copyright arbitration royalty panel may consider’’ and ‘‘described’’ for ‘‘negotiated as provided in subpara- graphs (B) and (C)’’ in third sentence, and ‘‘Copyright Royalty Judges shall also establish’’ for ‘‘Librarian of Congress shall also establish’’ in last sentence. Page 104 TITLE 17—COPYRIGHTS § 115 Subsec. (c)(3)(E)(i). Pub. L. 108–419, § 5(d)(5)(A), sub- stituted ‘‘Librarian of Congress and Copyright Royalty Judges’’ for ‘‘Librarian of Congress’’ in first sentence and ‘‘(C) or (D) shall be given effect as to digital phono- record deliveries’’ for ‘‘(C), (D) or (F) shall be given ef- fect’’ in second sentence. Subsec. (c)(3)(E)(ii)(I). Pub. L. 108–419, § 5(d)(5)(B), sub- stituted ‘‘(C) or (D)’’ for ‘‘(C), (D) or (F)’’ in two places. Subsec. (c)(3)(F) to (L). Pub. L. 108–419, § 5(d)(6), redes- ignated subpars. (G) to (L) as (F) to (K), respectively, and struck out former subpar. (F), which read as fol- lows: ‘‘The procedures specified in subparagraphs (C) and (D) shall be repeated and concluded, in accordance with regulations that the Librarian of Congress shall prescribe, in each fifth calendar year after 1997, except to the extent that different years for the repeating and concluding of such proceedings may be determined in accordance with subparagraphs (B) and (C).’’ 1997—Subsec. (c)(3)(D). Pub. L. 105–80, § 4, struck out ‘‘and publish in the Federal Register’’ before ‘‘a sched- ule of rates and terms’’. Subsec. (c)(3)(E)(i). Pub. L. 105–80, § 12(a)(7)(A), sub- stituted ‘‘paragraphs (1) and (3) of section 106’’ for ‘‘sec- tions 106(1) and (3)’’ in two places. Subsec. (c)(3)(E)(ii)(II). Pub. L. 105–80, § 12(a)(7)(A), substituted ‘‘paragraphs (1) and (3) of section 106’’ for ‘‘sections 106(1) and 106(3)’’. Subsec. (d). Pub. L. 105–80, § 10, amended directory language of Pub. L. 104–39, § 4. See 1995 Amendment note below. 1995—Subsec. (a)(1). Pub. L. 104–39, § 4(1), substituted ‘‘any other person, including those who make phonorecords or digital phonorecord deliveries,’’ for ‘‘any other person’’ in first sentence and inserted be- fore period at end of second sentence ‘‘, including by means of a digital phonorecord delivery’’. Subsec. (c)(2). Pub. L. 104–39, § 4(2), inserted ‘‘and other than as provided in paragraph (3),’’ after ‘‘For this purpose,’’ in second sentence. Subsec. (c)(3) to (6). Pub. L. 104–39, § 4(3), added par. (3) and redesignated former pars. (3) to (5) as (4) to (6), respectively. Subsec. (d). Pub. L. 104–39, § 4(4), as renumbered by Pub. L. 105–80, § 10, added subsec. (d). 1984—Subsec. (c)(3) to (5). Pub. L. 98–450 added par. (3) and redesignated existing pars. (3) and (4) as (4) and (5), respectively. Statutory Notes and Related Subsidiaries EFFECTIVE DATE OF 2018 AMENDMENT Pub. L. 115–264, title I, § 102(c), Oct. 11, 2018, 132 Stat. 3722, provided that: ‘‘The amendments made by sub- section (a)(3) [amending this section] and section 103(g)(2) [amending section 801 of this title] shall apply to any proceeding before the Copyright Royalty Judges that is commenced on or after the date of the enact- ment of this Act [Oct. 11, 2018].’’ EFFECTIVE DATE OF 2006 AMENDMENT Amendment by Pub. L. 109–303 effective as if included in the Copyright Royalty and Distribution Reform Act of 2004, Pub. L. 108–419, see section 6 of Pub. L. 109–303, set out as a note under section 111 of this title. EFFECTIVE DATE OF 2004 AMENDMENT Amendment by Pub. L. 108–419 effective 6 months after Nov. 30, 2004, subject to transition provisions, see section 6 of Pub. L. 108–419, set out as an Effective Date; Transition Provisions note under section 801 of this title. EFFECTIVE DATE OF 1995 AMENDMENT Amendment by Pub. L. 104–39 effective 3 months after Nov. 1, 1995, see section 6 of Pub. L. 104–39, set out as a note under section 101 of this title. TECHNICAL AND CONFORMING AMENDMENTS TO TITLE 37, PART 385 OF THE CODE OF FEDERAL REGULATIONS Pub. L. 115–264, title I, § 102(d), Oct. 11, 2018, 132 Stat. 3722, provided that: ‘‘Not later than 270 days after the date of enactment of this Act [Oct. 11, 2018], the Copy- right Royalty Judges shall amend the regulations for section 115 of title 17, United States Code, in part 385 of title 37, Code of Federal Regulations, to conform the definitions used in such part to the definitions of the same terms described in section 115(e) of title 17, United States Code, as added by subsection (a). In so doing, the Copyright Royalty Judges shall make ad- justments to the language of the regulations as nec- essary to achieve the same purpose and effect as the original regulations with respect to the rates and terms previously adopted by the Copyright Royalty Judges.’’ COPYRIGHT OFFICE PUBLIC OUTREACH AND EDUCATIONAL ACTIVITIES Pub. L. 115–264, title I, § 102(e), Oct. 11, 2018, 132 Stat. 3722, provided that: ‘‘The Register of Copyrights shall engage in public outreach and educational activities— ‘‘(1) regarding the amendments made by subsection (a) to section 115 of title 17, United States Code, in- cluding the responsibilities of the mechanical licens- ing collective designated under those amendments; ‘‘(2) which shall include educating songwriters and other interested parties with respect to the process established under section 115(d)(3)(C)(i)(V) of title 17, United States Code, as added by subsection (a), by which— ‘‘(A) a copyright owner may claim ownership of musical works (and shares of such works); and ‘‘(B) royalties for works for which the owner is not identified or located shall be equitably distrib- uted to known copyright owners; and ‘‘(3) which the Register shall make available on- line.’’ UNCLAIMED ROYALTIES STUDY AND RECOMMENDATIONS Pub. L. 115–264, title I, § 102(f), Oct. 11, 2018, 132 Stat. 3722, provided that: ‘‘(1) IN GENERAL.—Not later than 2 years after the date on which the Register of Copyrights initially des- ignates the mechanical licensing collective under sec- tion 115(d)(3)(B)(i) of title 17, United States Code, as added by subsection (a)(4), the Register, in consultation with the Comptroller General of the United States, and after soliciting and reviewing comments and relevant information from music industry participants and other interested parties, shall submit to the Committee on the Judiciary of the Senate and the Committee on the Judiciary of the House of Representatives a report that recommends best practices that the collective may implement in order to— ‘‘(A) identify and locate musical work copyright owners with unclaimed accrued royalties held by the collective; ‘‘(B) encourage musical work copyright owners to claim the royalties of those owners; and ‘‘(C) reduce the incidence of unclaimed royalties. ‘‘(2) CONSIDERATION OF RECOMMENDATIONS.—The me- chanical licensing collective shall carefully consider, and give substantial weight to, the recommendations submitted by the Register of Copyrights under para- graph (1) when establishing the procedures of the col- lective with respect to the— ‘‘(A) identification and location of musical work copyright owners; and ‘‘(B) distribution of unclaimed royalties.’’ PERSONS OPERATING UNDER PREDECESSOR COMPULSORY LICENSING PROVISIONS Pub. L. 94–553, title I, § 106, Oct. 19, 1976, 90 Stat. 2599, provided that: ‘‘In any case where, before January 1, 1978, a person has lawfully made parts of instruments serving to reproduce mechanically a copyrighted work under the compulsory license provisions of section 1(e) of title 17 as it existed on December 31, 1977, such per- son may continue to make and distribute such parts embodying the same mechanical reproduction without obtaining a new compulsory license under the terms of section 115 of title 17 as amended by the first section of Page 105 TITLE 17—COPYRIGHTS § 116 this Act [this section]. However, such parts made on or after January 1, 1978, constitute phonorecords and are otherwise subject to the provisions of said section 115 [this section].’’ § 116. Negotiated licenses for public perform- ances by means of coin-operated phono- record players (a) APPLICABILITY OF SECTION.—This section applies to any nondramatic musical work em- bodied in a phonorecord. (b) NEGOTIATED LICENSES.— (1) AUTHORITY FOR NEGOTIATIONS.—Any own- ers of copyright in works to which this section applies and any operators of coin-operated phonorecord players may negotiate and agree upon the terms and rates of royalty payments for the performance of such works and the pro- portionate division of fees paid among copy- right owners, and may designate common agents to negotiate, agree to, pay, or receive such royalty payments. (2) CHAPTER 8 PROCEEDING.—Parties not sub- ject to such a negotiation may have the terms and rates and the division of fees described in paragraph (1) determined in a proceeding in accordance with the provisions of chapter 8. (c) LICENSE AGREEMENTS SUPERIOR TO DETER- MINATIONS BY COPYRIGHT ROYALTY JUDGES.—Li- cense agreements between one or more copy- right owners and one or more operators of coin- operated phonorecord players, which are nego- tiated in accordance with subsection (b), shall be given effect in lieu of any otherwise applica- ble determination by the Copyright Royalty Judges. (d) DEFINITIONS.—As used in this section, the following terms mean the following: (1) A ‘‘coin-operated phonorecord player’’ is a machine or device that— (A) is employed solely for the performance of nondramatic musical works by means of phonorecords upon being activated by the insertion of coins, currency, tokens, or other monetary units or their equivalent; (B) is located in an establishment making no direct or indirect charge for admission; (C) is accompanied by a list which is com- prised of the titles of all the musical works available for performance on it, and is af- fixed to the phonorecord player or posted in the establishment in a prominent position where it can be readily examined by the pub- lic; and (D) affords a choice of works available for performance and permits the choice to be made by the patrons of the establishment in which it is located. (2) An ‘‘operator’’ is any person who, alone or jointly with others— (A) owns a coin-operated phonorecord player; (B) has the power to make a coin-operated phonorecord player available for placement in an establishment for purposes of public performance; or (C) has the power to exercise primary con- trol over the selection of the musical works made available for public performance on a coin-operated phonorecord player. (Added Pub. L. 100–568, § 4(a)(4), Oct. 31, 1988, 102 Stat. 2855, § 116A; renumbered § 116 and amended Pub. L. 103–198, § 3(b)(1), Dec. 17, 1993, 107 Stat. 2309; Pub. L. 105–80, § 5, Nov. 13, 1997, 111 Stat. 1531; Pub. L. 108–419, § 5(e), Nov. 30, 2004, 118 Stat. 2365.) Editorial Notes PRIOR PROVISIONS A prior section 116, Pub. L. 94–553, title I, § 101, Oct. 19, 1976, 90 Stat. 2562; Pub. L. 100–568, § 4(b)(1), Oct. 31, 1988, 102 Stat. 2857, related to scope of exclusive rights in nondramatic musical works and compulsory licenses for public performances by means of coin-operated pho- norecord players, prior to repeal by Pub. L. 103–198, § 3(a), Dec. 17, 1993, 107 Stat. 2309. AMENDMENTS 2004—Subsec. (b)(2). Pub. L. 108–419, § 5(e)(1), amended heading and text of par. (2) generally. Prior to amend- ment, text read as follows: ‘‘Parties not subject to such a negotiation may determine, by arbitration in accord- ance with the provisions of chapter 8, the terms and rates and the division of fees described in paragraph (1).’’ Subsec. (c). Pub. L. 108–419, § 5(e)(2), substituted ‘‘De- terminations by Copyright Royalty Judges’’ for ‘‘Copy- right Arbitration Royalty Panel Determinations’’ in heading and ‘‘the Copyright Royalty Judges’’ for ‘‘a copyright arbitration royalty panel’’ in text. 1997—Subsec. (b)(2). Pub. L. 105–80, § 5(1), amended par. (2) generally. Prior to amendment, par. (2) read as follows: ‘‘(2) ARBITRATION.—Parties to such a negotiation, within such time as may be specified by the Librarian of Congress by regulation, may determine the result of the negotiation by arbitration. Such arbitration shall be governed by the provisions of title 9, to the extent such title is not inconsistent with this section. The parties shall give notice to the Librarian of Congress of any determination reached by arbitration and any such determination shall, as between the parties to the arbi- tration, be dispositive of the issues to which it re- lates.’’ Subsec. (d). Pub. L. 105–80, § 5(2), added subsec. (d). 1993—Pub. L. 103–198, § 3(b)(1)(A), renumbered section 116A of this title as this section. Subsec. (b). Pub. L. 103–198, § 3(b)(1)(B), (C), redesig- nated subsec. (c) as (b), substituted ‘‘Librarian of Con- gress’’ for ‘‘Copyright Royalty Tribunal’’ in two places in par. (2), and struck out former subsec. (b) which re- lated to limitation on exclusive right if licenses not ne- gotiated. Subsec. (c). Pub. L. 103–198, § 3(b)(1)(B), (D), redesig- nated subsec. (d) as (c), in heading substituted ‘‘Arbi- tration Royalty Panel’’ for ‘‘Royalty Tribunal’’, and in text substituted ‘‘subsection (b)’’ for ‘‘subsection (c)’’ and ‘‘a copyright arbitration royalty panel’’ for ‘‘the Copyright Royalty Tribunal’’. Subsecs. (d) to (g). Pub. L. 103–198, § 3(b)(1)(B), (E), re- designated subsec. (d) as (c) and struck out subsecs. (e) to (g) which provided, in subsec. (e), for a schedule for negotiation of licenses, in subsec. (f), for a suspension of various ratemaking activities by the Copyright Roy- alty Tribunal, and in subsec. (g), for transition provi- sions and retention of Copyright Royalty Tribunal ju- risdiction. Statutory Notes and Related Subsidiaries EFFECTIVE DATE OF 2004 AMENDMENT Amendment by Pub. L. 108–419 effective 6 months after Nov. 30, 2004, subject to transition provisions, see section 6 of Pub. L. 108–419, set out as an Effective Date; Transition Provisions note under section 801 of this title.