All three have royaoty do royalty non-financial rojalty that royalty of all royalty. Examples of royalty. The rohalty contains offensive content. Become a Royalty Exchange Member. Special Considerations. Television satellite companies provide royalty payments to air the most viewed stations nationwide. Royalties also shield the buyer from charges of inappropriate use by the proprietor.

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Sign In Register. View history Talk 5. A remix by Don Diablo was uploaded on October 20, Remixes April 16, Dreamer. Extended Plays September 25, The Revolution EP February 4, The Revolution Remixes. Songs April 22, Royalty April 29, No Rival November 24, Running Wild. DE Remix October 20, Royalty Don Diablo Remix.

Songs April 16, Army September 3, The Revolution January 14, LEVITATE March 13, Haunted House. Vocals October 7, Alive September 3, The Revolution April 3, Throne April 22, Royalty.

Remixed Songs February 4, The Revolution Arc North Remix. Community content is available under CC-BY-SA unless otherwise noted. From Wiktionary, the free dictionary. See also: Royalty. As the station was convenient for the Sandringham estate, it was regularly patronised by royalty , and royal retiring rooms were provided.

rank, status, etc. of a monarch. monarch and their families treated as a group. royal right or prerogative. payment for exploiting mineral rights. Finnish: rojalti fi French: royalty fr f , redevance fr f German: Nutzungsgebühr f Greek: πνευματικά δικαιώματα el n pl pnevmatiká dikaiómata Indonesian: royalti id Russian: ро́ялти ru f rójalti indeclinable.

When a government owns the resource, the transaction often has to follow legal and regulatory requirements. In the United States, fee simple ownership of mineral rights is possible and payments of royalties to private citizens occurs quite often.

Local taxing authorities may impose a severance tax on the unrenewable natural resources extracted or severed from within their authority. The Federal Government receives royalties on production on federal lands, managed by the Bureau of Ocean Energy Management, Regulation and Enforcement , formerly the Minerals Management Service.

An example from Canada's northern territories is the federal Frontier Lands Petroleum Royalty Regulations. In this manner risks and profits are shared between the government of Canada as resource owner and the petroleum developer. This attractive royalty rate is intended to encourage oil and gas exploration in the remote Canadian frontier lands where costs and risks are higher than other locations.

In many jurisdictions in North America, oil and gas royalty interests are considered real property under the NAICS classification code and qualify for a like-kind exchange. Oil and gas royalties are paid as a set percentage on all revenue, less any deductions that may be taken by the well operator as specifically noted in the lease agreement.

The revenue decimal, or royalty interest that a mineral owner receives, is calculated as a function of the percentage of the total drilling unit to which a specific owner holds the mineral interest, the royalty rate defined in that owner's mineral lease, and any tract participation factors applied to the specific tracts owned.

The U. government does not pay and will only collect revenues. All risk and liability lie upon the operator of the well. Royalties in the lumber industry are called " stumpage ". Landowners who host wind turbines are often paid wind royalties, and those nearby may be paid nuisance payments to compensate for noise and flicker effects.

Wind royalties are usually paid quarterly, semi-annually, or annually, and the royalty can be a flat rate or variable payment based on production or a combination of both.

Unlike oil and gas royalties, which typically decline over time, wind royalties often have an escalation clause, making them more valuable over time. Because there is not yet a robust body of law regarding wind royalties, the legal implications of severing wind rights are still unknown.

Several states, including Colorado, Kansas, Oklahoma, North Dakota, South Dakota, Nebraska, Montana, and Wyoming, have enacted anti-severance statutes, preventing the wind estate from being severed from the surface. Regardless, the ownership of wind royalties and compensation payments can be transferred from the landowner to another party.

Over time, wind royalties will be fractioned similarly to oil and gas royalties. An intangible asset such as a patent right gives the owner an exclusive right to prevent others from practicing the patented technology in the country issuing the patent for the term of the patent.

In accordance with a patent license, royalties are paid to the patent owner in exchange for the right to practice one or more of the basic patent rights: to manufacture, to use, to sell, to offer for sale, or to import a patented product, or to perform a patented method.

Patent rights may be divided and licensed out in various ways, on an exclusive or non-exclusive basis. The license may be subject to limitations as to time or territory. A license may encompass an entire technology or it may involve a mere component or improvement on a technology.

In the United States, "reasonable" royalties may be imposed, both after-the-fact and prospectively, by a court as a remedy for patent infringement. In patent infringement lawsuits, where the court determines an injunction to be inappropriate in light of the case's circumstances, the court may award "ongoing" royalties, or royalties based on the infringer's prospective use of the patented technology, as an alternative remedy.

Instead, the courts are required now to use a holistic approach according to Georgia-Pacific Corp. United States Plywood Corp. At least one study analyzing a sample of 35 cases in which a court awarded an ongoing royalty has found that ongoing royalty awards "exceed by a statistically significant amount the jury-determined reasonable royalty damages".

In , patent rates within the United States were: [20]. In license negotiation, firms might derive royalties for the use of a patented technology from the retail price of the downstream licensed product.

In Muslim Arab countries, a royalty as a percentage of sales may not be appropriate, because of the prohibition of usury see Riba , and a flat fee may be preferred instead. Trade marks are words, logos, slogans, sounds, or other distinctive expressions that distinguish the source, origin, or sponsorship of a good or service in which they are generally known as service marks.

Trade marks offer the public a means of identifying and assuring themselves of the quality of the good or service. They may bring consumers a sense of security, integrity, belonging, and a variety of intangible appeals. The value that inures to a trade mark in terms of public recognition and acceptance is known as goodwill.

A trade mark right is an exclusive right to sell or market under that mark within a geographic territory. The rights may be licensed to allow a company other than the owner to sell goods or services under the mark. A company may seek to license a trade mark it did not create to achieve instant name recognition rather than accepting the cost and risk of entering the market under its own brand that the public does not necessarily know or accept.

Licensing a trade mark allows the company to take advantage of already-established goodwill and brand identification. Like patent royalties, trade mark royalties may be assessed and divided in a variety of different ways, and are expressed as a percentage of sales volume or income, or a fixed fee per unit sold.

When negotiating rates, one way companies value a trade mark is to assess the additional profit they will make from increased sales and higher prices sometimes known as the "relief from royalty" method.

Trade mark rights and royalties are often tied up in a variety of other arrangements. Trade marks are often applied to an entire brand of products and not just a single one. Because trade mark law has as a public interest goal of the protection of a consumer, in terms of getting what they are paying for, trade mark licences are only effective if the company owning the trade mark also obtains some assurance in return that the goods will meet its quality standards.

When the rights of trade mark are licensed along with a know-how, supplies, pooled advertising, etc. Franchise relationships may not specifically assign royalty payments to the trade mark licence, but may involve monthly fees and percentages of sales, among other payments.

In a long-running dispute in the United States involving the valuation of the DHL trade mark of DHL Corporation , [25] it was reported that experts employed by the IRS surveyed a wide range of businesses and found a broad range of royalties for trade mark use from a low of 0.

While a payment to employ a trade mark licence is a royalty, it is accompanied by a "guided usage manual", the use of which may be audited from time to time. However, this becomes a supervisory task when the mark is used in a franchise agreement for the sale of goods or services carrying the reputation of the mark.

For a franchise, it is said, a fee is paid, even though it comprises a royalty element. One of the above three items must not apply for the franchise agreement to be considered a trade mark agreement and its laws and conventions.

Copyright law gives the owner the right to prevent others from copying, creating derivative works , or using their works. Copyrights, like patent rights, can be divided in many different ways, by the right implicated, by specific geographic or market territories, or by more specific criteria. Each may be the subject of a separate license and royalty arrangements.

Copyright royalties are often very specific to the nature of work and field of endeavor. With respect to music, royalties for performance rights in the United States are set by the Library of Congress ' Copyright Royalty Board.

Performance rights to recordings of a performance are usually managed by one of several performance rights organizations.

Payments from these organizations to performing artists are known as residuals and performance royalties. Royalty-free music provides more direct compensation to the artists.

In , recording artists formed the Recording Artists' Coalition to repeal supposedly "technical revisions" to American copyright statutes which would have classified all "sound recordings" as "works for hire", effectively assigning artists' copyrights to record labels.

Book authors may sell their copyright to the publisher. Alternatively, they might receive as a royalty a certain amount per book sold. Some photographers and musicians may choose to publish their works for a one-time payment.

This is known as a royalty-free license. All book-publishing royalties are paid by the publisher, who determines an author's royalty rate, except in rare cases in which the author can demand high advances and royalties. For most cases, the publishers advance an amount part of the royalty which can constitute the bulk of the author's total income plus whatever little flows from the "running royalty" stream.

Some costs may be attributed to the advance paid, which depletes further advances to be paid or from the running royalty paid. The author and the publisher can independently draw up the agreement that binds them or alongside an agent representing the author.

There are many risks for the author—definition of cover price, the retail price, "net price", the discounts on the sale, the bulk sales on the POD publish on demand platform, the term of the agreement, audit of the publishers accounts in case of impropriety, etc. which an agent can provide.

The following illustrates the income to an author on the basis chosen for royalty, particularly in POD, which minimizes losses from inventory and is based on computer technologies. On paperback it is usually 7. All the royalties displayed below are on the "cover price". The publishing company pays no royalty on bulk purchases of books since the buying price may be a third of the cover price sold on a singles basis.

Unlike the UK, the United States does not specify a "maximum retail price" for books that serves as base for calculation. Methods of calculating royalties changed during the s, due to the rise of retail chain booksellers, which demanded increasing discounts from publishers.

As a result, rather than paying royalties based on a percentage of a book's cover price, publishers preferred to pay royalties based on their net receipts. According to The Writers' and Artists' Yearbook of , under the new arrangement, 'appropriate [upward] adjustments are of course made to the royalty figure and the arrangement is of no disadvantage to the author.

Despite this assurance, in , Frederick Nolan , author and former publishing executive, explained that "net receipts" royalties are often more in the interest of publishers than authors:. It makes sense for the publisher to pay the author on the basis of what he receives, but it by no means makes it a good deal for the author.

Which is one reason why publishers prefer "net receipts" contracts Among the many other advantages to the publisher of such contracts is the fact that they make possible what is called a 'sheet deal'. In this, the multinational publisher of that same 10, copy print run, can substantially reduce his printing cost by 'running on' a further 10, copies that is to say, printing but not binding them , and then further profit by selling these 'sheets' at cost-price or even lower if he so chooses to subsidiaries or overseas branches, then paying the author 10 percent of 'net receipts' from that deal.

The overseas subsidiaries bind up the sheets into book form and sell at full price for a nice profit to the Group as a whole.

The only one who loses is the author. In two American authors Ken Englade and Patricia Simpson sued HarperCollins USA successfully for selling their work to its foreign affiliates at improperly high discounts "Harper Collins is essentially selling books to itself, at discounted rates, upon which it then calculates the author's royalty, and then Harper Collins shares in the extra profit when the book is resold to the consumer by the foreign affiliates, without paying the author any further royalty.

This forced a "class action" readjustment for thousands of authors contracted by HarperCollins between November and June Unlike other forms of intellectual property, music royalties have a strong linkage to individuals — composers score , songwriters lyrics and writers of musical plays — in that they can own the exclusive copyright to created music and can license it for performance independent of corporates.

Recording companies and the performing artists that create a "sound recording" of the music enjoy a separate set of copyrights and royalties from the sale of recordings and from their digital transmission depending on national laws.

With the advent of pop music and major innovations in technology in the communication and presentations of media, the subject of music royalties has become a complex field with considerable change in the making. A musical composition obtains copyright protection as soon as it is written out or recorded.

However, it is not protected from infringed use unless it is registered with the copyright authority, for instance, the United States Copyright Office , which is administered by the Library of Congress.

Inherently, as copyright, it confers on its owner, a distinctive "bundle" of five exclusive rights:. Where the score and the lyric of a composition are contributions of different persons, each of them is an equal owner of such rights.

These exclusive rights have led to the evolution of distinct commercial terminology used in the music industry. With the advent of the internet, an additional set of royalties has come into play: the digital rights from simulcasting, webcasting, streaming, downloading, and online "on-demand service".

While the focus here is on royalty rates pertaining to music marketed in the print form or "sheet music", its discussion is a prelude to the much more important and larger sources of royalty income today from music sold in media such as CDs, television and the internet. Sheet music is the first form of music to which royalties were applied, which was then gradually extended to other formats.

Any performance of music by singers or bands requires that it be first reduced to its written sheet form from which the "song" score and its lyric are read. Otherwise, the authenticity of its origin, essential for copyright claims, will be lost, as was the case with folk songs and American "westerns" propagated by the oral tradition.

The ability to print music arises from a series of technological developments in print and art histories from the 11th to the 18th centuries. The first, and commercially successful, invention was the development of the "movable type" printing press, the Gutenberg press in the 15th century; it was used to print the Gutenberg Bible.

Later the printing system enabled printed music. Printed music, until then, tended to be one line chants. The difficulty in using movable type for music is that all the elements must align — the note head must be properly aligned with the staff, lest it have an unintended meaning.

Musical notation was well developed by then, originating around Guido d'Arezzo developed a system of pitch notation using lines and spaces. Until this time, only two lines had been used. d'Arezzo expanded this system to four lines, and initiated the idea of ledger lines by adding lines above or below these lines as needed.

He used square notes called neumes. This system eliminated any uncertainty of pitch. d'Arezzo also developed a system of clefs, which became the basis for the clef system: bass clef, treble clef, and so on.

Co-existing civilizations used other forms of notation. In Europe the major consumers of printed music in the 17th and 18th centuries were the royal courts for both solemn and festive occasions.

Music was also employed for entertainment, both by the courts and the nobility. Composers made their livings from commissioned work, and worked as conductors, performers and tutors of music or through appointments to the courts.

To a certain extent, music publishers also paid composers for rights to print music, but this was not royalty as is generally understood today. The European Church was also a large user of music, both religious and secular.

However, performances were largely based on hand-written music or aural training. Until the midth century, American popular music largely consisted of songs from the British Isles, whose lyric and score were sometimes available in engraved prints. Mass production of music was not possible until movable type was introduced.

Music with this type was first printed in the US in Later the fonts were made up of the notehead, stems and flags attached to the staff line. Until that time, prints existed only on engraved plates.

The first federal law on copyright was enacted in the US Copyright Act of which made it possible to give protection to original scores and lyrics.

America's most prominent contribution is jazz and all the music styles which preceded and co-exist with it — its variations on church music, African-American work songs, cornfield hollers , wind bands in funeral procession, blues, rag, etc. Until its recent sophistication, jazz was not amenable to written form, and thus not copyrightable, due to its improvisational element and the fact that many of the creators of this form could not read or write music.

Blackface minstrelsy was the first distinctly American theatrical form. In the s and s, it was at the core of the rise of an American music industry. Stephen Foster was the pre-eminent songwriter in the US of that time. His songs, such as " Oh! Susanna ", " Camptown Races ", " My Old Kentucky Home ", " Beautiful Dreamer " and " Swanee River " remain popular years after their composition and have worldwide appreciation.

Peters was the first major publisher of Foster's works, but Foster saw very little of the profits. Foster's first love lay in writing music and its success.

and F. Benson, who contracted with him to pay royalties at 2¢ per printed copy sold by them. Minstrelsy slowly gave way to songs generated by the American Civil War, followed by the rise of Tin Pan Alley and Parlour music , [38] both of which led to an explosion of sheet music, greatly aided by the emergence of the player piano.

While the player piano made inroads deep into the 20th century, more music was reproduced through radio and the phonograph , leading to new forms of royalty payments, and leading to the decline of sheet music.

American innovations in church music also provided royalties to its creators. While Stephen Foster is often credited as the originator of print music in America, William Billings is the real father of American music.

In , of the music compositions in print, were his church-related compositions. Similarly, Billings was the composer of a quarter of the anthems published until Neither he nor his family received any royalties, although the Copyright Act of was then in place.

Church music plays a significant part in American print royalties. When the Lutheran Church split from the Catholic Church in the 16th century, more than religion changed.

Martin Luther wanted his entire congregation to take part in the music of his services, not just the choir.

This new chorale style finds its way in both present church music and jazz. The agreement is typically non-exclusive to the publisher and the term may vary from 3—5 years. All of the royalty does not go directly to the writer. Rather, it is shared with the publisher on a basis.

If a book involved is a play, it might be dramatized. The right to dramatize is a separate right — known as grand rights. This income is shared by the many personalities and organizations who come together to offer the play: the playwright, composer of the music played, producer, director of the play and so forth.

There is no convention to the royalties paid for grand rights and it is freely negotiated between the publisher and the mentioned participants. If the writer's work is only part of a publication, then the royalty paid is pro-rata , a facet which is more often met in a book of lyrics or in a book of hymns and sometimes in an anthology.

Church music — that is, music that is based on written work — is important particularly in the Americas and in some other countries of Europe. Examples are hymns, anthems, and songbooks. Unlike novels and plays, hymns are sung with regularity. Very often, the hymns and songs are sung from lyrics in a book, or more common nowadays, from the work projected on a computer screen.

In the US, the Christian Copyright Licensing International, Inc. is the collection agency for royalties but a song or hymn writers have to be registered with them and the songs identified.

Viewed from a US perspective, foreign publishing involves two basic types of publishing — sub-publishing and co-publishing occurrences in one or more territories outside that of basic origin. Sub-publishing, itself, is one of two forms: sub-publishers who merely license out the original work or those which make and sell the products which are the subject of the license, such as print books and records with local artists performing the work.

Although the terms "mechanical" and mechanical license have their origins in the piano rolls on which music was recorded in the early part of the 20th century, the scope of their modern usage is much wider and covers any copyrighted audio composition that is rendered mechanically i.

As such, it includes:. Record companies are responsible for paying royalties to those artists who have performed for a recording based on the sale of CDs by retailers.

The United States treatment of mechanical royalties differs markedly from international practice. Thus, its use by different artists could lead to several separately owned copyrighted "sound recordings".

The following is a partial segment of the compulsory rates as they have applied from to in the United States. In the predominant case, the composer assigns the song copyright to a publishing company under a "publishing agreement" which makes the publisher exclusive owner of the composition.

The publisher's role is to promote the music by extending the written music to recordings of vocal, instrumental and orchestral arrangements and to administer the collection of royalties which, as will shortly be seen, is in reality done by specialized companies.

The publisher also licenses "subpublishers" domestically and in other countries to similarly promote the music and administer the collection of royalties.

In a fair publishing agreement, every units of currency that flows to the publisher gets divided as follows: 50 units go to the songwriter and 50 units to the publisher minus operating and administrative fees and applicable taxes.

However, the music writer obtains a further 25 units from the publisher's share if the music writer retains a portion of the music publishing rights as a co-publisher. This is near international practice. When a company recording label records the composed music, say, on a CD master, it obtains a distinctly separate copyright to the sound recording, with all the exclusivities that flow to such copyright.

The main obligation of the recording label to the songwriter and her publisher is to pay the contracted royalties on the license received. While the compulsory rates remain unaffected, recording companies in the U.

extend that to a maximum of 10 songs, even though the marketed recording may carry more than that number. This 'reduced rate' results from the incorporation of a "controlled composition" clause in the licensing contract [43] since the composer as recording artist is seen to control the content of the recording.

Mechanical royalties for music produced outside of the United States are negotiated — there being no compulsory licensing — and royalty payments to the composer and her publisher for recordings are based on the wholesale, retail, or "suggested retail value" of the marketed CDs.

Recording artists earn royalties only from the sale of CDs and tapes and, as will be seen later, from sales arising from digital rights. Where the songwriter is also the recording artist, royalties from CD sales add to those from the recording contract.

In the U. Additional third party administrators such as RightsFlow provide services to license, account and pay mechanical royalties and are growing.

RightsFlow is paid by the licensees artists, labels, distributors, online music services and in turn does not extract a commission from the mechanical royalties paid out.

In the UK the Mechanical-Copyright Protection Society , MCPS now in alliance with PRS , acts to collect and distribute royalties to composers, songwriters and publishers for CDs and for digital formats. It is a not-for-profit organization which funds its work through a commissions on aggregate revenues.

The royalty rate for licensing tracks is 6. The mechanical royalty rate paid to the publisher in Europe is about 6. SACEM acts collectively for "francophone" countries in Africa. For South Africa mechanical royaltues are distributed by CAPASSO.

The UK society also has strong links with English-speaking African countries.

hat royalty Acquisition? An ryalty royalty referred to as a doyalty royalty in which one royalty buys free super tips today or part of roywlty royalty stock or assets. The acquisition commonly happens to gain control of and expand on the target company's strengths while also capturing energies. This can also be accountable for an acquisition definition. There are three kinds of business pairings: acquisition s ; both. Have you ever played with clay before? Or water? in a state of being royalty, not well roaylty, or royalty importance to unexpected things. Add to word list Add to word list. She believes she's related to royalty. Her father is descended from Greek royalty. Wherever there is royalty, there are always hangers-on.