Revelator V1 Glossary

Anything that an organisation owns at least a portion of. Assets in the platform may be resources, tracks, Releases, images, video, composition or Rights. For example organisation A can own 15% of the rights to track C while organisation B owns 85% of the rights to the same track.

  • UPC: Unique identifier on a Release (Album) level (Generic product identifier). Example: 074640857942

  • ISRC: Unique identifier on a track level (Music industry specific term). Example: USSM11003491

  • ISWC: Unique identifier on a track level for Composition royalties paid to writers. Example: T-913.451.508-5

  • ISNI: Unique identifier on a name level for all parties involved in the creative work (researchers, inventors, writers, artists, visual creators, performers, producers, publishers, aggregators...). Gradually adopted in the industry. Example: 0000 0001 2147 9733.

  • IPI: Unique identifier on a rights holder level. Example: I-000000229-7.

A Release is an abstract entity representing a bundle of one or more Resources compiled by an Issuer for the purpose of distribution to individual consumers, directly or through intermediaries. The Resources in Releases are normally primarily sound recordings or music audio-visual recordings, but this is not invariably the case. The Release is not itself the item of trade (or “Product”). Products have more extensive attributes than Releases; one Release may be disseminated in many different Products. Rights controllers can send release(s) to DSPs by an Electronic Release Notification (ERN) [source: DDEX].

A Manifestation of a Release (or another Resource) which is made available to Consumers, by sale, loan or other means. The attributes of a Release in its digital manifestation as a Product may be technical (e.g., the codec or bit rate); a mode of distribution (e.g., downloading or streaming); or a commercial term (e.g., price) [source: DDEX].

  • Physical product

  • LP (Long Play)

  • Album

  • EP (Extended Play)

  • Single

A digital fixation of an expression of an abstract Work (such as a sound recording, a video, an image, software or a passage of text). Resources are individual assets that make up a Release. Typical Resources are sound recordings, video clips and cover art images [source: DDEX].

A Resource that is not a main Resource of a Release. It supports the Primary Resources (examples are lyrics, cover art etc). A change in a Primary Resource typically requires a new Release Identifier, whereas change in a Secondary Resource does not [source: DDEX].

A well-defined collection of Releases.

Royalties paid out to writers (Authors, Composers). Aggregated by Collective Rights Organisations on national levels and distributed according to best available information.

Royalties paid out to Performing artists (current focus of the platform). Payments performed directly by DSPs or preforming rights prgamisations (PROs) according to direct agreements with right holders.

A mean to specify ownership/obligation to pay a portion of an asset(s) total income to certain payee(s), within a defined period (or indefinite) of time. A contract involves asset(s), payee(s), consumption context, and share of income (percentage), as well as duration period. At least one side to the contract will be an organisation on the platform.

Used in : ACL100

A Party who owns (right owners - RO) and/or manages (right managers - RM) rights in a Musical Work or other Creation. Creations include Musical Works, Sound Recordings and other Resources as well as Releases. Right controllers are, in the context of a license agreement, often referred to as Licensors [source: DDEX].

An Agent granting permission to use a Creation (Musical Work, Sound Recording or Release) in a License Agreement. In many cases, a Licensor is also the Rights controller [source DDEX].

Report which aggregates income from all Services (Revenue Reports), on asset, Asset Group level, as well as Consumption types

Periodic report corresponding to payout, detailing generated revenue sources, down to the asset level, and consumption types. The reports are sent to right controllers by a source for a service. For example, Apple (the source) sends Bob Dylan Record Group (the Right controller) a revenue report regarding his digital sales on iTunes Music Store (the service). Revenue reports can be generated for many music consumption methods (digital, physical, licensing, publishing…).

An act of generation of a statement (report) outlining what an organisation owes/owed for defined period of time, deriving from actual contracts at the time of the run.

The business entity that provides services via its storefront(s). The Source sends revenue reports to Right controllers. One source may send multiple revenue reports for different storefronts. For example, Apple (the Source) sends different reports for music that was consumed on iTunes/Apple Music (the Storefronts).

Used in : FIN110 ADM500

The place where consumption occurs. Storefronts belong to Source Organisations.

Used in : FIN110 ADM500

The way in which assets are consumed. Consumption types may have multiple layers. For example: * Digital >> streaming >> ad-based streaming * Physical >> Record sale >> vinyl

Used in : ADM500

A certain Source that provides digital consumption type(s). A party making Releasesavailable to consumers (to download or stream) or other DSPs over a public Telecom network. This includes MSPs (Mobile Service Providers) and ISPs (Internet Service Providers) [source: DDEX].

Used in : FIN110

An intermediary, allowing distribution of music or videos in DSPs. Some DSPs will only accept releases that came from distributors. Some distributors offer “label services” for well-performing artists. Some distributors offer a royalty splitting mechanism to help artist allocate the appropriate revenue to their collaborators.

Used in : ACL100

A Party that is an Administrator on behalf of many Rights controllers usually in respect of one territory. A Collective Rights Organisation may also be a Rights Controller. Collective Rights Organisations tend to be non-profit organisations and are also referred to as Performance Rights Organisations (PROs) when they administer performance rights. Some CROs collect performance royalties, some mechanical royalties - and some would collect both [source: DDEX].

A person who uses the platform. Each person is affiliated with at least one organisation, but not necessarily as an admin.

Used in : ACL100

A person who was invited to use the platform, by an organisation that is not an employee of. External users will be grouped together in a dedicated group within the inviting org. External users experience the system via the portal UI.

Used in : ACL100

A business entity (not necessarily a company, can also be an individual) on the platform that can own asset(s) and can pay or be paid by others. An organisation includes one or more users, at least one of which is the organisation’s admin.

Used in : ACL100 FIN110

A user who can manage read/write permissions within the organisation. The admin is allowed to: invite users/ create & manage teams/ edit org info. Each organisation has at least one admin. A user that creates an organisation is automatically the admin of that organisation.

Used in : ACL100

A user that has access to the system admin settings and to all organisations and documentson the system.

Used in : ACL100

An organisation’s admin can manage the different users within the organisation in teams. The read/write permissions of team members can be edited by the admin collectively. For example, the admin of a record label can group together all the accountants in the label and allow them to read/write revenue reports.

Used in : ACL100 FIN110

A contact is an entity that an org wants to keep track of. The contact may, or may not, be invited to the system by the org. An org can have 0..n contacts. A contact belongs to only 1 org. If invited and registered, the information about the contact should be attributed to his new user account.

Used in : CBP100

User Generated Content

A Work intended to be perceivable as a combination of sounds, with or without accompanying text. Any words that are intended to be expressed with a Musical Work (often termed Lyrics) form part of that Musical Work; not all Musical Works have Lyrics. A Musical Work may be expressed and fixed to become part of a Sound Recording or a Video Recording, or may be used to create notated music (sheet music, scores, instrumental parts) or sound generation codes (such as MIDI files). In some cases, the Musical Work comes into existence simultaneously with its expression. This is common in extemporized forms such as jazz music [source: DDEX].

A Rights controller who is assigned rights directly by the writer. Note that a writer may have zero, one or many Original Publishers [source: DDEX].

A Project combines together many Sound Recordings, Recording Components, Sessions, Musical Works and Data Carriers. A project might be a 12 song album, or it might simply be a remix. A project could be a compilation of older recordings from different projects. And a project could also be a "Various Artists" type of compilation [source: DDEX].

A creative creator of the musical or lyrical elements of a Musical Work. Writers include Adapters, Arrangers, Authors, Composers, Composer Lyricists, Librettists, Lyricists, Non Lyric Authors and Translators [source: DDEX].

A Deal is what transforms a Release into a Product. A Deal states how a Release may be made available to consumers. For example, a deal may specify that the release should be available only in Canada and only to download [source: DDEX].

A process in which Rights controllers ask DSP(s) to make Release(s) unavailable for consumers. Takedowns can be performed by an Electronic Release Notification (ERN).

A format that is used by publishers to register Musical Work to Collective Rights Organisations.

A unique identifier that is issued to an interested party in a musical work. The IPI contains 11 digits and is related to a name, so 1 entity can have multiple IPI numbers related to it (e.g. the artist Prince has the following names and each has its own IPI: Nelson Prince Rogers/ Prince/ Nelson Prince R). The IPI number is linked to the ISWC code of the musical work.

Used in : CBP100

A unique identifier for names. Currently used by YouTube to identify artists. The ISNI code is made out of 16 digits. e.g. 0000 0001 2096 4892.

Used in : CBP100

A distributor operated by Revelator. From the system perspective, RDS is not different from any other distributor.

Used in : ACL100

A&R is the person or group of people who sign new artists to a record label.

A blanket license is an exclusive arrangement which is the same for everyone who uses the license. Rights-owners who sign a blanket license agreement get a basic package that fits most cases. For example, if you don’t want tobacco companies to use your tracks in advertising you need a blanket license with that condition, or to opt out of that license (if you can).

In the U.S., the record label can deduct from the statutory rate when songs are written by the artist (on USA releases).

A dedicated UI that lets organisation share some, or all, of their console with external users. For example, a record label can create a portal to share information with its artists.

Used in : ACL100

A document is any kind of object in the system (assets, revenue reports, users...). A document must be owned by one and only one organisation and has an ACL (Access Control List) that defines who is allowed to Read / Write it.

Used in : ACL100

The console is the general Revelator system, where users can see and manage their different solutions (Assets, Finance, Analytics).

Used in : ACL100

Modules in the system that combine a collection of features of a certain functionality. Examples of Solutions: Assets, Finance, Analytics. Users may have access to some, or all, solutions. Solutions are managed in the Console.

Used in : ACL100

Functionalities in the system that allows users to do certain actions. Examples of features: Albums, Sales reports, Daily trends. Features are grouped together into solutions. For example, the solution "Finance" includes the tools "Sales reports", "Invoices" and "Royalty runs".

A parent org owns the children org and all its documents. An organisation has 0..n children orgs. A children org has 1 parent org.

Used in : ACL100

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