Your Music, Your Money
Shedding The Light On Global Rights
Despite all of the available information and organizations involved with the collection and distribution of intellectual property rights remuneration, there is more confusion, doubt and neglect of royalties than ever before. Transparence Entertainment Group was established to fill that void. Building on a solid foundation, and to ensure the highest level of service to performers, TEG has forged formal alliances with leading international data platform providers to process royalty payments worldwide.
Meet The Team
Chairman & Shareholder
In addition to a career as an active film, television and jingle composer (The Punisher, Mobsters, The Shadow, Columbo), record producer (The O’Jays), and session musician (The Beach Boys, Brian Wilson, Leon Russell, Delbert McClinton, Bruce Johnson, Terry Melcher) Dennis Dreith has orchestrated and/or conducted scores for such pictures as Misery, Addams Family, Heart and Souls and A League of Their Own providing services for John Williams, Lalo Schifrin, Dominick Frontiere, Marc Shaiman, Hans Zimmer, Elliott Goldenthal, Mark Isham and Cliff Eidelman.
Shari Hoffman CEO & Founder
Shari Hoffman’s extensive career spans from major record label promotion to managing operations in the fields of booking and touring, post production, performance rights, royalty management and large-scale non-profits in the entertainment industry.
Bruce Waynne Vice President
Bruce Waynne (born Waynne Nugent) is half of the Grammy Award Winning Production Duo MIDI Mafia. The music production team established in 2003 is most notable for their production of 50 Cent’s number-one single “21 Questions”, as well as the producer for artists such as Jennifer Lopez, Justin Bieber, John Legend and Fantasia, to name a few.
Neighboring Rights for Performers & Copyright Owners
Neighboring Rights address the contributions made to a recording for the performance by featured artists, session musicians, background vocalists, other musical performers and the copyright holders (the record companies) of such performances. A broadcast of a recording on radio and in clubs, a broadcast and/or an exhibition of an audio-visual work (film and/or television), and the private copying of a work qualifies in certain countries for remuneration to a performer, artist and copyright owner.
Transparence Entertainment Group offers complete service for:
• Royalty Administration for Featured & Non-Featured Performers
• Royalty Administration for Master Owners
• Music Rights Related Advice
• Claims Research
• Registering and Claiming of Rights
• Collection of Royalty Rights from the Source
• Verification and Proper Metadata Implementation
• Consolidation of Royalty Statements
Copyrights for Authors and Composers
TEG offers complete service for Catalog Administration:
• Launching of publishing companies
• Copyright: contracts, registration of works
• Royalties: TEG claims, collects and verifies
• Sub-Publishing: TEG has built an immense and reliable network of sub-publishers all around the world
the physical sound recording containing the composition preformed by an artist (who may or may not be the songwriter/composer). A separate copyright generally owned by the recording company.
the public performance of a composition or sound recording via live performance, radio airplay, streaming, webcasting, subscription service, television broadcast, cable, etc.
Public Performance License
right to transmit performances to the public via concerts, radio, television broadcast, digital deliveries, etc. Typically issued by a Performance Rights Organization (PRO) as a “blanket license” for all the rights controlled by the PRO.
50% of the performance rights associated with the Composition.
sometime referred to as Compulsory License. Under the U.S. Copyright Law, the songwriter and his/her publisher have approval rights over the first recorded and released version of a newly written composition (i.e., a “first use” license). This is the license issued the first time a song/composition is recorded which is particularly important if an artist who is not the songwriter desires to record a previously unrecorded song.
Compulsory Mechanical License
more commonly referred to as a Mechanical License. This is a license granted generally by the publisher for a song that was previously recorded and distributed. This is a statutory license, meaning that it must be granted (i.e. compulsory) provided that the composition is not altered (lyrics cannot be changed, and the melodic and harmonic structure of the song is not altered except for performance inflections), and the rate is fixed. The statutory rate is currently 9.1 cents or 1.75 cents per minute of composition, whichever is greater, per unit.
Synchronization (Synch) License
license granted by the publisher for the synchronization of a composition in an audiovisual work (e.g. motion picture, television program, video game, etc).
Master Use License
similar to the Sync License except this is granted by the owner of the sound recording for the use of the sound recording in an audiovisual work (to use a record in an AV work you must secure both a Sync License and a Master Use License).
Sound Recording Performance License
grants the right to transmit master sound recordings to the public via non-interactive streaming services. This is a statutory license whose rates are set by the Copyright Royalty Board, and is issued in the U.S. by SoundExchange as a blanket license.
it all starts here. When a song is first written the songwriters/composers start with 100% of the rights (50% writers/authors), unless they already have a deal with a publisher in which case that publisher will get up to 50% of the rights (e.g. 100% of the publishing) depending on the agreement between the songwriter and publisher.
the entity that owns or controls the copyright of the composition for purposes of licensing and collecting publishing royalties. A songwriter may own his/her own publishing company or it may be an outside entity with a publishing agreement with a songwriter.
record companies own or control the copyright of the sound recording and are responsible for licensing and distributing the master recordings for various uses and for paying the artist royalties for such uses. Major labels sign recording artists, “indie” labels are often owned in part or whole by the artists themselves.
Performance Right Organization (PRO)
entities that monitor and collect performances royalties (e.g. broadcast airplay) for composers and publishers (ASCAP, BMI and SESAC in the US).
Collective Management Organizations (CMOs)
entities that monitor and collect statutory royalties and royalties from foreign levies (e.g. digital broadcast, private copy, audiovisual) for featured performers, non-featured performers and recording companies (SoundExchange, AARC and AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund in the U.S.).
The Royalty Registration Process
Too complicated? Let us help manage your royalties.
The TEG Solution
The Transparence Solution to Maximizing your Intellectual Property