IFPI and WIN, working together on behalf of the global recording industry, have announced that their global repertoire data exchange service (RDx), built and run for Repertoire Data Exchange Limited by PPL, is now “fully operational”.
RDx provides a supply chain for performance rights data among record companies and music licensing companies (MLCs) to help improve the accuracy of revenue distribution to rights holders when their music is used.
When music is used in public places such as shops, pubs, clubs and offices, or in broadcasts, the background work of properly licensing these uses is carried out by MLCs.
The licence fees for the use of recordings are distributed back to rights holders by MLCs, by reference to databases of recordings and rights information.
IFPI and WIN claim that RDx is “bringing simplicity, standards and efficiency to the exchange of data between rights holders and MLCs globally”.
Record companies have historically used a variety of data delivery processes to supply data to individual MLCs around the world, and now the industry is standardising these information flows to boost efficiency.
RDx simplifies the data-handling process by offering recording rights holders, of all sizes and from any country, a single registration point to supply their repertoire data in a standardised format (DDEX RDR) that can be quickly and easily accessed by participating MLCs.
This is helping to improve the timeliness, accuracy and efficiency of MLCs’ revenue distributions to rights holders worldwide and provides mechanisms for increasing data quality and automatically alerting rights holders when potential rights conflicts are detected.
Following a request for proposals in 2018 and a robust competitive tendering process, PPL UK was selected to develop and operate the technology systems underpinning RDx.
On completion of a 12-month project to implement and test the systems, RDx was launched on time and on budget – and is now live and exchanging production data between the participating parties.
“Music companies have made it a priority to invest in and develop systems for music data to be accurately managed and reported. Now live and available worldwide, RDx will significantly contribute to this aim.”
Frances Moore, IFPI
Record companies including Beggars Group, Sony Music, state51 Music Group, Universal Music Group and Warner Music Group have already joined RDx to upload their repertoire data, and over 1.4 million registrations of their repertoire data have already been processed by RDx.
The music licensing companies receiving production data from RDx are GRAMEX Finland, PPL UK, Re:Sound (Canada) and SENA (The Netherlands). Additional record companies and MLCs will join RDx in the coming months, with GVL (Germany) and others working to onboard throughout 2020 and beyond.
Frances Moore, Chief Executive of IFPI, said: “Music companies have made it a priority to invest in and develop systems for music data to be accurately managed and reported. Now live and available worldwide, RDx will significantly contribute to this aim.
“The addition of more and more record companies and MLCs will drive further operational efficiency and cost reduction for music right holders whilst also enabling MLCs to retrieve authoritative repertoire data from a single point – further enhancing the speed of accurate revenue distribution.”
“RDx is a tool that can substantially simplify the delivery by independent record companies of their repertoire and rights data to music licensing companies around the world.”
Charlie Phillips, WIN
Charlie Phillips, Chief Operating Officer at WIN, added: “RDx is a tool that can substantially simplify the delivery by independent record companies of their repertoire and rights data to music licensing companies around the world.
“WIN has long advocated for the benefits of a ‘global single point of entry’ for performance rights data, available to all right holders and MLCs.
“The 50:50 joint venture between WIN and IFPI has delivered on this objective, with the initial participants in the project having now set up RDx for all other right holders and MLCs to join from now.”
“As a user of RDx, PPL has already begun to see the benefits of improved standardisation and quality of repertoire data, and the automation and efficiency that RDx enables.”
Peter Leathem, PPL
Peter Leathem, Chief Executive of PPL, said: “We were delighted to be selected by IFPI and WIN to deliver RDx, and we are proud to have been able to launch such an innovative and transformative service on time and on budget.
“As a user of RDx, PPL has already begun to see the benefits of improved standardisation and quality of repertoire data, and the automation and efficiency that RDx enables.”
“Authoritative data plays a critical role in our operations because it provides transparency and accuracy, enabling us to pay right holders more efficiently.”
Otis Quinn, Re:Sound
Otis Quinn, Vice President, Technology, Re:Sound, said: “Re:Sound has been part of the RDx project team from its inception.
“Authoritative data plays a critical role in our operations because it provides transparency and accuracy, enabling us to pay right holders more efficiently.
“The volume of data we handle has grown exponentially and Canadian recordings are used all around the world. RDx is a key part of the data ecosystem for Re:Sound and our member organisations.”Music Business Worldwide
