Apart from the collection of a tax on the resale of certain artificial objects, there are few facets common to different national systems. Most systems prescribe a minimum amount that the artwork must receive before the artist can avail himself of the right of resale (usually the price or price of the hammer). Some countries write and others, such as Australia, do not write the maximum fee that can be received. Most of them impose the basis for calculating the levy. Some countries make the use of royalties mandatory. Some countries require a single monopoly collection agency, while others, such as the United Kingdom and France, allow several agencies. Some systems include different degrees of retroactive application, and other systems such as those in Australia are not retroactive at all. In some cases, for example in Germany.B, “copyrights” are used in an open tax-wise manner; Half of the money raised is redistributed to fund public programs. Companies in developing countries are often invited by the provider of expertise or patent license to consider technical services (TS) and technical assistance (TA) as part of the technology transfer process and to pay them “royalties”. TS and TA are linked to the IP (intellectual property) transmitted – and sometimes dependent on its acquisition – but they are not IP.  TA and TS may also be the only part of the transfer or transfer of the investigation period, their simultaneous supplier. They rarely meet in developed countries, which sometimes even resemble a know-how as a TS. In 1995, Congress introduced the Digital Performance Right in Sound Recordings Act (DPRA), which came into effect on February 1, 1996.
The Act granted audio record holders an exclusive license for the public performance of the copyrighted work through digital audio transmissions, but exempted non-subscription-related services (and some other services). If the rights holder was unable to voluntarily agree with the channel, he was able to benefit from the mandatory licensing provisions. According to the law, the mandatory royalty (the following royalty plan) should be shared as follows: 50% for record companies, 45% for artists presented, 21.2% for musicians not presented by the American Federation of Musicians (AFM) in the United States and Canada and 21.2% for singers not presented by the American Federation of Television and RadioTRAist (AF).  The U.S. Congress has also created a new mandatory license for certain digital subscription audit services, which broadcast cable audio recordings and direct-to-air satellites (DBS) on a non-interactive basis, without voluntary negotiation and agreement. Use the form below to download a license agreement from the RoyaltyRange database.