PT

Organizing your rights
Originating royalties
Reshaping the music industry

+204M of originated
royalties

+38M of recovered
royalties

+100k phonograms
registered with ISRC

Some ORB Music Creators, Labels and Publishers

  • GR6

    GR6

    Sixth largest Brazilian channel on Youtube
  • PLINIO PROFETA

    Plínio Profeta

    Music producer and multi-instrumentalist
  • Arca A

    Arca A

    An artistic entrepreneurial company
  • Leonardo Matsumoto

    Leonardo Matsumoto

    National journalism
  • LOUD

    LOUD

    Streamers and Free Fire Stars
  • Lucy Alves

    Lucy Alves

    Singer, songwriter and actress
  • 02 Filmes

    02 Filmes

    Independent film, TV and advertising producer
  • James Newton Howard

    James Newton Howard

    Reference in the international film industry
  • Punks S/A

    Punks S/A

    Independent, innovative and different library
  • Mú Carvalho

    Mú Carvalho

    Songwriter, pianist and music producer
  • Umberto Tavares

    Umberto Tavares

    Songwriter and music producer, a reference in funk
  • Alberto Rosenblit

    Alberto Rosenblit

    Brazilian music producer, pianist and songwriter

What ORB can do for you

ORB_Film & TV

ORB Film & TV

Our goal is to help music creators, optimize the process of building Cue Sheets and potentialize their earnings. Be sure whenever an audiovisual is played, the music right owners get paid correctly

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ORB_Label & Strategic Distribution

ORB Label & Digital

We are in charge of planning the projects for artists and labels, marketing strategies, digital stores distribution, ISRCs and contracts, making our releases shine in the platforms.

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ORB_Royalties

ORB Royalties

We assure right owners get the royalties payment according to their contracts. The payment sources information is processed by an exclusive ORB royalties mangement system, using the top of technology to build personalized reports to right owners.

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ORB_Publishing

ORB Publishing

We manage our clients catalog, through our support areas, in order to optimize earnings and find opportunities of execution of their songs.

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News

Most common questions

The release of a song, either on digital platforms or in physical format, involves the assignment and/or license of a range of patrimonial rights, such as the copyright of the composer(s) on the musical work to be fixed in phonogram, as well as the related rights of the performer(s) and musician(s) to the interpretation and performance of this musical work.
Therefore, whether you are a composer, phonographic producer, performer or musician, it is essential that what was agreed between the parties in relation to that music be formalized in a contract, including the remuneration, term, participation percentages, formats, supports and media of Publication. It is worth remembering that legal transactions on copyright are interpreted in a restrictive way, according to Law 9,610/98 – Copyright Law, which means that all aspects of the business must be clearly specified in the contract, under the risk of not being considered valid.
At ORB Music we perform this availability and management of contracts, through models prepared and supported by a specialized legal team, to provide security and clarity to the client regarding their rights.

Yes, if you are a phonographic producer or even a music label, it is necessary to obtain authorization from all composers of the musical work, whose interpretation and/or performance will be fixed in the phonogram to be released, in any media and format. Depending on the phonographic product, this search and contact with titleholders to obtain all authorizations can be quite laborious.
At ORB Music, we carry out this process, also known as clearance, to ensure that the phonographic product to be released is previously and properly authorized with regard to the copyright on the musical works that comprise it. This process is carried out by our legal team, ensuring compliance with the terms of authorization in view of the particularities of each release, so that it occurs without any violation of third-party rights.

  1. High complexity of the rules for receiving public performance
  2. Need to master the mechanism of how to perform and what should be included in the register of works and phonograms
  3. Different types of documentation needed to generate potential revenue and receive generated and unidentified credits.
  4. With the lack of instruction and information, the vast majority of titleholders have great difficulty in demanding from companies to obtain a revenue that is more faithful to the reality of their catalogues, which makes the work of the ORB essential to optimize the collection of these rights.

  1. Authors, musicians (include arranger, choir, conductor, among others), interpreters, phonographic producers.
  2. The Author keeps 2/3 of the total collection of public execution.
  3. The remaining 1/3 goes to the connection, divided between interpreters, musicians and phonographic producers.
  4. Of this amount allocated to these 3 categories, 41.7 is for the performer, 41.7 for the phonographic producer and the remaining 16.6 for the musician category.

In the case of copyright on streaming platforms (spotify, apple music, deezer, etc), it is important to emphasize that there are two types of rights: Reproduction rights (Phonomechanical) and Public Execution. The ORB optimizes the process of receiving the Phonomechanical right, reducing time and percentage assigned, and it is not necessary to be linked to a publisher with the right or managed, different from the traditional process. The ORB acts in the monitoring and organization of the catalog and income of our music creators, offering composers accountability for all the rights due to them.

In order for you to have peace of mind and security to proceed with your creations, the ORB assists and executes the affiliation and documentation process with copyright associations, taking care of and monitoring all the bureaucratic part for you, meeting the list of information necessary for registrations in ECAD. Your catalogs, reports, receipts, distributions in one place. The entire process, from creation to execution of the music, is accompanied by a multidisciplinary team that works with documentation, analysis, contracts, registrations, transfers, processing, etc. Understanding the different items and remuneration helps to organize the income that can be received directly and indirectly, monthly, quarterly or semiannually, depending on the type of use and category. We have a team dedicated to analyzing distributions and their due amounts.

In order to correctly distribute the Public Execution revenue collected for a given audiovisual, the ECAD needs that the person in charge identifies the works and phonograms contained in that audiovisual, as well as their owners. This identification is made from a cue sheet, a document in spreadsheet format that contains the technical file for identifying the audiovisual (title, director, actors, producer, duration, year of exhibition) and information related to his musical performances. Songs must have the correct title, their respective authors, performers and the ISRC. In this way, ECAD will know to whom to distribute the authorial part (works) and the related part (phonograms). ORB, through the Docs and Film&TV teams, works from the making of the cue sheet and the registration of works and phonograms to the monitoring of distribution, ensuring that you get paid for your work in the audiovisuals

The first important thing in this question is in which viewing window the movie was distributed. ECAD considers each viewing window a different “heading”, and this will determine in which months of the year the audiovisual will be distributed. Open TV shows are distributed in January, April, July and October. Audiovisuals broadcast on pay TV (this includes open TV channels that also have a range of pay TVs) and streaming services are distributed in February, May, August and November. Finally, the cinema is distributed in March, June, September and December. And remember: to receive it correctly, it is necessary that your work and/or phonogram are correctly registered in ECAD and that your music is identified in this audiovisual (through a cue sheet or Open TV spreadsheet). Our team does all the monitoring of an audiovisual, from monitoring the exhibitions on TVs and movie theaters, making the cue sheet, registering works and phonograms and analyzing the distribution.

It takes approximately 90 days after the song is released to receive the first payment. This time is due to the processing of streams by the platforms (approximately 60 days), plus the time for international receipt and another 30 days for processing royalties for each holder.

Spotify does not pay per play. According to the website “Loud and Clear”, created by the Spotify platform itself, they pass on 2/3 of the revenue to aggregators in proportion to their market share. Aggregators, in turn, transfer proportionally to the number of plays. Thus, the final value per play varies every month depending on Spotify’s revenue, exchange rate and market share of the aggregator.

Pitch is a short presentation about your release. In it you need to say the music genre, the project proposal, a little about the artist that is releasing and any other relevant information that will help you sell this track. Pitch is for distributors and record labels to have more information about releases so they can plead with DSPs for editorial playlists, thus giving more visibility to the track.

To release a song on digital platforms you need to be in contact with a distributor or record label. Here at ORB, in addition to helping with all the clearance issues and contracts necessary for the release, we also plan, pitch and distribute your track to the platforms!
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