The General Website Music Performance Agreement typically applies to a commercial entity that has the potential to generate revenues from operating a website or mobile application but is not considered a Music Service, as defined under the Music Service tab. Some possible sources of revenue may be non-music related subscription fees, 

E-commerce, advertising, or sponsorships.

The Non-Commercial Performance Agreement is offered to any bona fide 501(C)(3) Not-For-Profit Organizations, churches, schools, or other related charitable organizations, but are not considered a Music Service as defined under the Music Service tab. The Non-Commercial License has a rate based on traffic to pages on your website to cover the performance of BMI music on the service. Churches can click here for more information on digital licensing.


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The Music Services License is offered to websites, mobile applications, or services (or subsections thereof), whose central focus is the transmission of audio and/or audio-visual material comprising predominantly feature uses of music (e.g., music-formatted radio, on-demand transmissions of music recordings or music videos, live concerts), as opposed to programming with background or incidental and/or occasional feature uses of music (e.g., news/talk radio, situational comedies, feature films).

Many websites and/or mobile applications base their business on the use of music, while others offer it as an adjunct or compliment to the rest of the content on their service. BMI offers several licensing options in recognition of the diverse and evolving nature of digital businesses. The different rate calculations make sure that a reasonable value is placed on your particular use of music. Learn more about the five different categories of digital licensing here.

Your BMI license covers the public performance of BMI music which is made available on a website and/or mobile application either owned, operated or controlled by the licensee and delivered to end users from the URL(s) and/or mobile applications which are listed on the license. Please remember that this license does not cover the transmission of music made available on a website and/or mobile application not listed under your agreement.

Separate financial and music use reports, and separate payments including minimum fee payments, are necessary for each of your website and/or mobile application listed on Exhibit A of your Agreement. Websites and applications on various platforms (iOS, Android, Roku, etc.) with the same functionality are treated as a single service for purposes of payments and reporting. Your company only has to sign one Agreement, regardless of how many websites and/or mobile applications you own or control unless any of those fall under a different license type. Spaces are provided for each URL or application name in the license agreement and attachments (extensions) will be provided if new sites and/or application names are added.

In order to distribute performance royalties to the songwriters and publishers whose music you use, BMI will ask for information pertaining to the performances of music on your service. You will be asked to identify the music (by song titles, artists, etc.) which are or were available on your service, and to submit statistics that show the performance volume of such music.

A BMI music performance license grants businesses the right to publicly perform BMI affiliated music. With one agreement, BMI provides unlimited access to over 22.4 million musical works by more than 1.4 million BMI-affiliated songwriters, composers, and music publishers. A website and/or mobile application that publicly performs music can save time and money by signing an agreement with BMI, rather than negotiating individual agreements with each writer and/or music publisher whose music they wish to use. BMI offers flexible licensing options for websites and/or mobile applications that take into consideration the diverse and evolving nature of business models on the Internet. On behalf of our affiliated songwriters, composers and music publishers, BMI licenses all types of business, including websites, to publicly perform the over 22.4 million works in the BMI repertoire.

Musical compositions, like other intellectual property, belong to their creators. U.S. Copyright Law grants certain exclusive rights to copyright owners, including the right to publicly perform and the right to authorize others to publicly perform the work. Websites that publicly perform music must obtain a license from the copyright owner or their representative. Songwriters and publishers affiliate with a performing rights organization like BMI which, on behalf of these affiliated writers and publishers, provides license agreements for all types of businesses. With more than 1.3 million songwriters, composers and music publishers and a repertoire of 20.6 million musical works, a BMI license is an economical and efficient way to obtain the right to publicly perform BMI music.

BMI serves thousands of customers who use music as an integral part of their businesses. In addition to websites and/or mobile applications, our customers include radio stations, local television stations, cable networks and systems, television networks, telephone video-on-demand program packagers, as well as a wide variety of commercial businesses ranging from hotels and restaurants to background music services, nightclubs, shopping malls and health clubs. BMI helps its customers efficiently and effectively use the power of BMI music.

In addition to the performing rights organizations that represent the writers and publishers of the musical works that you use on your website and/or mobile application, you may need to contact the record companies and/or the RIAA through their licensing organization SoundExchange works.

A public address system (or PA system) is an electronic system comprising microphones, amplifiers, loudspeakers, and related equipment. It increases the apparent volume (loudness) of a human voice, musical instrument, or other acoustic sound source or recorded sound or music. PA systems are used in any public venue that requires that an announcer, performer, etc. be sufficiently audible at a distance or over a large area. Typical applications include sports stadiums, public transportation vehicles and facilities, and live or recorded music venues and events. A PA system may include multiple microphones or other sound sources, a mixing console to combine and modify multiple sources, and multiple amplifiers and loudspeakers for louder volume or wider distribution.

The term sound reinforcement system generally means a PA system used specifically for live music or other performances.[1] In Britain any PA system is sometimes colloquially referred to as a Tannoy, after the company of that name, now owned by TC Electronic Group, which supplied many of the PA systems used previously in Britain.[2]

In 1910, the Automatic Electric Company of Chicago, Illinois, already a major supplier of automatic telephone switchboards, announced it had developed a loudspeaker, which it marketed under the name of the Automatic Enunciator. Company president Joseph Harris foresaw multiple potential uses, and the original publicity stressed the value of the invention as a hotel public address system, allowing people in all public rooms to hear announcements.[3] In June 1910, an initial "semi-public" demonstration was given to newspaper reporters at the Automatic Electric Company building, where a speaker's voice was transmitted to loudspeakers placed in a dozen locations "all over the building".[4]

In 1913, multiple units were installed throughout the Comiskey Park baseball stadium in Chicago, both to make announcements and to provide musical interludes,[7] with Charles A. Comiskey quoted as saying: "The day of the megaphone man has passed at our park." The company also set up an experimental service, called the Musolaphone, that was used to transmitted news and entertainment programming to home and business subscribers in south-side Chicago,[8] but this effort was short-lived. The company continued to market the enunciators for making announcements in establishments such as hospitals, department stores, factories, and railroad stations, although the Automatic Enunciator Company was dissolved in 1926.[5]

This system was used by former US president William Howard Taft at a speech in Grant Park, Chicago, and first used by a current president when Woodrow Wilson addressed 50,000 people in San Diego, California.[11][12] Wilson's speech was part of his nationwide tour to promote the establishment of the League of Nations.[13] It was held on September 9, 1919, at City Stadium. As with the San Francisco installation, Jensen supervised the microphone and Pridham the loudspeakers. Wilson spoke into two large horns mounted on his platform, which channelled his voice into the microphone.[13] Similar systems were used in the following years by Warren G. Harding and Franklin D. Roosevelt.[9]

Engineers invented the first loud, powerful amplifier and speaker systems for public address systems and movie theaters. These large PA systems and movie theatre sound systems were very large and very expensive, and so they could not be used by most touring musicians. After 1927, smaller, portable AC mains-powered PA systems that could be plugged into a regular wall socket "quickly became popular with musicians"; indeed, "... Leon McAuliffe (with Bob Wills) still used a carbon mic and a portable PA as late as 1935." During the late 1920s to mid-1930s, small portable PA systems and guitar combo amplifiers were fairly similar. These early amps had a "single volume control and one or two input jacks, field coil speakers" and thin wooden cabinets; remarkably, these early amps did not have tone controls or even an on-off switch.[14] Portable PA systems you could plug into wall sockets appeared in the early 1930s when the introduction of electrolytic capacitors and rectifier tubes enabled economical built-in power supplies that could plug into wall outlets. Previously, amplifiers required heavy multiple battery packs. 17dc91bb1f

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