As a music creator, choosing how to manage your copyrights is a critical decision that can impact your creative freedom, revenue, and long-term control over your works. While JASRAC (Japanese Society for Rights of Authors, Composers, and Publishers) is one of the most prominent copyright management organizations in Japan, I’ve decided not to use their services. Here’s why:
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1. Lack of Song-by-Song Flexibility
When you sign a Copyright Trust Contract with JASRAC, you are required to entrust all your past and future works to their management. This is not done on a song-by-song basis, meaning you lose the ability to selectively manage individual works independently. For creators who want to retain control over certain pieces or experiment with different licensing models, this lack of flexibility is a significant drawback.
2. Long-Term Commitment with Limited Exit Options
The duration of JASRAC’s copyright agreements often extends for the entire term of copyright protection—up to 70 years after the creator’s death. Once signed, it becomes extremely difficult to recover rights or terminate the agreement, even if your circumstances change or you are dissatisfied with their services. This lack of flexibility can feel like an unreasonable limitation on your rights as a creator.
3. Complexity and Administrative Burden
Many creators have found JASRAC’s registration process and overall system cumbersome and difficult to navigate. Independent music creators, in particular, have reported challenges in understanding and complying with the requirements for registering their works or managing disputes over unauthorized use. For someone looking for simplicity and efficiency, this can be a deterrent.
4. Limited Control Over Licensing Decisions
Once you entrust your works to JASRAC, they control how those works are licensed and used. While this may streamline royalty collection, it also means you lose direct control over decisions like synchronization rights (e.g., using your music in films or commercials). If you want to self-manage certain rights or negotiate specific deals, this centralized approach can be restrictive.
5. Transparency Issues
There are concerns about transparency in royalty distribution and contract terms under JASRAC’s system. Many creators feel they do not receive clear explanations about how royalties are calculated or distributed. Furthermore, some contracts seem skewed in favor of publishers or other entities rather than prioritizing the creator’s interests.
6. Alternatives Exist
Organizations like NexTone offer more flexible options for copyright management in Japan, including the ability to register individual works rather than committing your entire catalog. For creators who want more autonomy and tailored solutions, these alternatives may be better suited.
Conclusion
While JASRAC provides valuable services for many creators by simplifying royalty collection and protecting intellectual property rights, its one-size-fits-all approach does not align with my goals as an independent music creator. The lack of flexibility, long-term commitment, administrative challenges, and limited control over licensing decisions outweigh the benefits for me.
For those considering JASRAC or similar organizations, I recommend carefully reviewing their contracts and exploring alternative options that better align with your creative vision and business needs.
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