# Recording Metadata Stardard Debuts



## immortalgropher (Feb 16, 2010)

Santa Monica, CA (July 30, 2010)--The Recording Academy Producers & Engineers Wing and BMS/Chace, a media data management firm, partnered with the Library of Congress to create a new metadata standard, dubbed CCD (Content Creator Data), and accompanying studio collection application.

http://www.prosoundnews.com/article/30288

Interesting!


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## ngarjuna (Mar 29, 2010)

Interesting. I didn't get any idea from that article what the standard includes or how it differs from current ones. Any idea what was specifically rolled out?


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## immortalgropher (Feb 16, 2010)

Nope. I'm blank there too. lol


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## ngarjuna (Mar 29, 2010)

I guess if/when it becomes a real standard we'll hear more about it =).


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## spacedout (Dec 17, 2007)

Very interesting... seems to allow for the tracking of all files used from the initial recordings (including which take!) right down to final master and beyond... somehow :blink:


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## immortalgropher (Feb 16, 2010)

spacedout said:


> Very interesting... seems to allow for the tracking of all files used from the initial recordings (including which take!) right down to final master and beyond... somehow :blink:


If it goes down I'm sure there's gonna be pro tools 8.0.5 real soon. :rofl2:


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## ejbragg (Dec 13, 2009)

It sounds like a great idea. I wonder how deep it will go into making sure those included in the process get paid. A lot of questions arise, such as, if some band plays a show and they do a tune by say, Anberlin. Can someone walk in and say, "Hey, we need to see the gross income and expenses report for the show. You played this song, one of 12 (1/12 the earnings) * total profit - misc costs." .. In other words, "Here's the total royalties you owe." Then the musicians, publishers, distributors, producers, engineers, etc. get their fair share, if set up on a royalties schedule.

Could all transactions become strictly electronic, as like a credit card? In other words, could Anberlin's album "Blueprints for the Black Market" be set up such that any songs played over the air (or live) off that album ... be associated with fees and royalties, set up in percentages - automatically computing different shares and sending them to the appropriate accounts? And who will be in charge of these accounts? In fact, who is in charge of these accounts now? Likely the record labels?

Sorry, guys, my head is reeling. I feel like I'm going off like a machine gun with my many, many questions. Would be nice to have the opinions of an entertainment lawyer out here!


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## ngarjuna (Mar 29, 2010)

Publishing fronts (like ASCAP and BMI) usually handle live performance / publishing rights. I don't know a lot about how they determine fees or how those fees get distributed, though.

I think whomever holds the mechanical license would handle needledrop rights and whomever owns the copyright should have the rights for derivatives.

I think there are technological issues to trying to automate these processes (anyone who was disconnected from networks, hacks, etc.) not entirely dissimilar from the issues preventing automated/technological control of illegal copies and torrents.

However...they could indeed set up a network for automation which, at least for those who actually care about compliance, could cut some costs in lining up these kinds of rights. Since those people would have paid for licenses anyway, there shouldn't be any net change in income.


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## 1Michael (Nov 2, 2006)

It seems more like marketing hype to me...


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