Users FAQ

1. What is AUTODIA and what is its purpose?

Autodia is a Greek non-profit Collecting Society of Music Authors and Rightsholders. Founded in 2003 and run by members of EMSE, the Hellenic Union of Composers and Authors

AUTODIA was licensed by the Greek Ministry of Culture on the 6th of March 2003 (Official Gazette 323 -18.3.2003) in accordance with Greek Law 2121/1993 regarding Intellectual Property and Related Rights and it operates under the provisions of the L.4481/17 and the European Directive 2014/26/EU.

Its purpose is to collect and manage intellectual property rights of composers, lyricists, publishers, sub publishers and rightsholders in general.

Since 8th June 2017 AUTODIA is a full member of CISAC, the International Confederation of Authors and Composers Societies (Performing Rights), and since 9th June 2017 AUTODIA is a member of BIEM, the International Confederation representing Mechanical Rights Societies.

The confidence of CISAC and BIEM towards AUTODIA rewards the efforts of its Board of Directors to enable the Organization to become the worldwide solution for the collection of copyrights for composers, lyricists, publishers and right holders in Greece.

After 15 years of active presence in collective copyright management, AUTODIA is now being established by the international community as the institutional and credential Collective Management Organisation in Greece, a member of CISAC, thus becoming a long-term entity for the Greek and international repertoire.

2. Who are AUTODIA’s rightholders?

The Organisation is administered and supervised by the General Assembly of its members and the Board of Directors, consisting of creators, and it represents millions of Greek and foreign music titles by managing the intellectual property rights of its members - either through direct agreements or through representation agreements with respective international Collective Management Organizations of composers, lyrics, publishers / sub-publishers and rightsholders in general, and in particular mechanical rights, public performance rights and private copy.

Find HERE the Greek and foreign rightsholders represented by AUTODIA with direct membership agreements.

Find HERE the representation agreements of AUTODIA with international CMOs, through which it represents millions of foreign rightsholders in Greece.

3. Is AUTODIA internationally recognised as the institutional and credential Collective Management Organisation for music copyright in Greece?

Our Organisation is an accredited member of the International Confederation of Collective Management Organizations CISAC, the supervisory body of all copyright collecting societies, which provides support, know-how and access to international musical documentation such as all the Collective Management Organizations operating on the basis of CISAC's binding resolutions and professional rules.In particular, AUTODIA was selected by CISAC as the Greek Organisation of Priority for its members, with the overwhelming majority of the international repertoire being represented today through reciprocal representation agreements with respective international Collective Management Organizations, including all American and English repertories.

Therefore, our Organization, through a credible and transparent system for collecting and distributing rights, attributes to the Creators the fair remuneration it receives from the uses of their works. Thus, AUTODIA becomes a long-lasting institution for the Greek and international repertory.

4. Which uses of represented repertoire generate royalties due to AUTODIA?

Autodia collects and distributes royalties for Public Performance rights and Mechanical rights from all sources - record companies, newspapers (premium CD/DVD), restaurants, bars, live music stages, concert halls, radio & television stations (online & offline), films - as well as from Private Copy.

The Society has signed contracts with all national public and private radio and TV stations, as well as with pay TV in Greece. Moreover, it has reached to agreements with regional stations and online services that perform music repertoire in public, online and offline (on demand, streaming, webcasting etc.).

5. Is AUTODIA’s Public Performance License mandatory?

To perform music in public legally it is required the prior permission of the creator / rightholder. AUTODIA provides to licensed businesses, through the granting of the Public Performance License, with the ability to use its represented music repertoire without restrictions. Mainly, for the public performance of music, AUTODIA grants the License of its represented repertoire in health-regulated establishments and other businesses (commercial shops, entertainment centers, cafes, hotels / rooms to rent, concert halls, gyms / sports grounds, exhibition halls etc.) for uses such as live music with orchestra and / or singers, music from CD or computer, radio, television, internet etc.

6. What are the advantages offered to the Professional by the Public Performance License for AUTODIA?

With the assistance of a well-staffed Public Performance Department, consisting of experienced and known executives in the market, and a professional network of Authorized Associates all over Greece, the Organisation has already begun to inform all health-regulated establishments and businesses, as well as their respective representative bodies and Chambers, on the statutory Public Performance License they have to obtain for being lawful when using AUTODIA’s represented repertory and on the new Tariffs 2018.

The Organisation’s new Tariffs are the product of a thorough study of the respective tariffs of the cooperating Organisations in Greece-comparable countries in Europe, in order to rationalize them and adapt them to the needs of the modern Greek professional music user.

Each venue uses a blend of Greek and international repertory. In AUTODIA, we have made sure to represent Greek and international songs that cannot be missed by a modern musical program. With AUTODIA’s Public Performance License, therefore, the Greek Professional has a legal solution through a package of Greek and international songs geared to his needs in terms of the music he wants to play in his premises.

Info:

For every information or question you may have, please contact with our Authorized Associates or the competent Public Performance Department of our Organisation (Tel.: +30 210 3215278, email: [email protected])

7. What AUTODIA’s Public Performance License includes, after the revocation of AEPI’s License?

After the revocation of AEPI’s license, AUTODIA acquired the overwhelming majority of the international repertory administrated by that company, through representation agreements with respective international Collective Management Organisations, including all American and English repertory, as well as an important volume of the large commercial and timeless repertories of Greek Composers and Lyricists. Moreover, it represents Music Publishers administrating a huge volume of international repertory, such as SONY/ATV Music Publishing, D-Version Music Publishing and MUSOU. So, in order for a business to use AUTODIA’s represented repertory legally, it has to obtain a Public Performance License from our Organisation.

8. What is the fair remuneration of 6% Article 18, par. 3 of Law. 2121/93?

Article 18 (3) of Law 2121/1993, regarding the reasonable remuneration of 6%, provides, inter alia, the following: "The remuneration received from the import or production of recording and audio and video recorders or audio and video, devices and components not integrated in the main computer unit (6%), and digital duplication media other than storage media (diskettes) of less than 100 million digits, is distributed by 55% to intellectual creators, 25% of the performers, 20% to producers of recorded magnetic tapes or other recorded material of sound or image or sound and image."

9. I have a radio/TV set in my business. Since these broadcasting companies pay royalties to AUTODIA, why should I pay royalties to your Society too?

These are two different uses according to Law 2121/93. Broadcasting companies should pay royalties generated from public performance and mechanical reproduction of represented repertoire, with which it builds an attractive program content and expects advertising revenues. On the other hand, the owner of the store attracts his clients by playing pleasant music in his business in order to increase consumption of his products/services, so he is obliged to pay royalties in his turn.

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