LABBAIKALLAH - Lagu sempena Musim Haji 2013

Labbaikallah... labbaikallah... labbaikallahummalabbaik...
Tidak berjahit kain putih di tubuh,, berbekal iman dan taqwa kepada Mu.
Bermula langkah kaki ku bersama niat yang teguh,,
menuju Baitullah menjunjung titah Mu.
Muhajadah di Jabal Rahmah Arafah.
Musyahadah aku di tepian Ka'abah.
Semoga tenang hati ku mengingati Mu ya Allah.
Di turun naik nafas karamlah aku.
Labbaikallah... labbaikallah... labbaikallahummalabbaik...
Sekelian umat Muhammad yang hadhir.
Berkorbanlah dengan seikhlas hati mu.
Bertakbir dan bertahmidlah kepada Tuhan yang esa.
Tiada lagi tuhan selain Allah.
Bertakratul ihram ghaiblah aku.
Di dalam sifat-sifat Ketuhanan Mu.
Berbaki hayat ku ini di atas dunia yang fana'.
Kau peliharakanlah keimanan ku.
Labbaikallah... labbaikallah... labbaikallahummalabbaik...

Nazz Abdul Aziz di ReverbNation Playlist

Dapatkan lagu-lagu saya di ReverbNation dalam format mp3 dan boleh download. Jumpa di sana ---> http://www.reverbnation.com/nazzabdulaziz/songs

RPM RECEIVES FULL SUPPORT FROM MUSIC INDUSTRY PLAYERS

16 August 2013, Kuala Lumpur – The key local music industry players, namely Recording Industry Association of Malaysia (RIM), Public Performance Malaysia Sdn Bhd (PPM), Music Authors’ Copyright Protection (MACP) Berhad and Persatuan Karyawan Malaysia (Karyawan) officially expressed their full support to Recording Performers Malaysia Berhad (RPM) in a show of unity, for the benefit of the music industry, in a joint statement made today.

Dato’ Sheila Majid, the Chairperson of RPM was extremely grateful with the endorsement and support given by the key players in the music industry. She said “All performers in the music industry, be they singers or musicians, should place great importance on this aspect of their careers as it is an additional source of income for us. We must ensure we gain our fair dues and this could only happen if we are united and stand together as one.”

“RPM only represents recording artistes and recording musicians (“recording performers”) and our membership does not include dancers, actors, comedians, students, etc. simply because our royalty collections is based on audio recording air play and public performance. We are very clear with our objective and we will collect and distribute royalties collected accordingly only to recording performers pursuant to Section 16B under the Malaysian Copyright Act, 1987. We acknowledge that MACP and PPM have being doing a splendid job for the past 23 years for the song writers and record labels respectively and we want to follow the best possible practices and we are determined to maintain transparency and fairness in the collection and distribution of royalties amongst the recording performers represented by RPM”, stressed Dato’ Sheila Majid.

“RPM places strong emphasis on democratic representation and transparent operations as there were numerous complaints and issues raised by recording performers in these areas in the past. We urge fellow artistes and musicians who have queries on their past royalty distribution to support Nan Alias in his request to audit the distribution done by the previous performers body prior to 1st January 2012”, said Dato’ Sheila Majid. RPM has commenced collection with the full support extended by PPM, RPM’s exclusive collection agent with effect from 1st January 2012 onwards. “We should move forward together in support of each other and fight for our rightful representation and with the full commitment and support extended by RIM, MACP, PPM and Karyawan to RPM, we, as members of RPM can all expect a brighter future and better income from this day on God willing”, said Dato Sheila Majid.

“We strongly believe that the music industry will definitely do better if everyone in the industry stands united and support each other. Record companies, publishers, composers, lyricists and recording performers, who are involved in a production of a sound recording should be supporting each other in order for the music industry to continue growing rapidly”, said Encik Norman Abdul Halim, Chairman of RIM. RIM currently represents almost 300 recording companies and businesses, all of which are involved in the production, manufacturing and distribution of local and international sound, music video and karaoke recordings. He added that RIM will urge all its members to support and ask their recording artistes to join
RPM.

“We are the collecting body representing composers, lyricists and publishers since 1989 and we are thankful for the trust and recognition given by various parties which attributed to the success of MACP. Without these composers, lyricists and publishers whom have remained united under MACP, we will not be where we are today. As elected members on the Board, it is our commitment to plan and decide in the best interests of our members” said Puan Habsah Hassan, the MACP Chairperson. “We fully support RPM as we believe they are doing the right thing for their members in a transparent and democratic way and we encourage recording artistes and musicians to come together to support RPM”, added Puan Habsah Hassan.

Mr. Adrian Lim, the Chairman of PPM said “A licensing body since 1988, PPM has extensive manpower and resources to support RPM in terms of collective services throughout the country. With the support extended by PPM, it will be more cost-efficiency for RPM and therefore, members of RPM will be able to enjoy higher distributable royalties.” Dato’ Freddie Fernandez added “Karyawan is calling all eligible recording performers to join RPM as we believe that RPM is the future for all recording performers. As the body representing artistes in the country, we will be working closely with RPM to encourage all recording performers who are members of Karyawan to register with RPM. Let us extend our full cooperation and support to RPM and ensure the success of its management in achieving their objective”

Encik Norman Abdul Halim, Puan Habsah Hassan, Mr. Adrian Lim and Dato’ Freddie Fernandez, as chairperson of their respective organisations in the music industry unanimously confirm their full commitment to RPM and to work hand in hand for better transparency and more effective operations for all. With the pledge by RIM, MACP, PPM and Karyawan, and the determination of RPM to carry out its collection objectives, the music industry is set to look forward to better things through unity, fairness and prosperity for all its members. For more information, please visit www.rpm.my, www.rim.org.my, www.ppm.org.my, www.macp.com.my and www.karyawan.com.my or contact :

Ms. Maisy Yao, Manager, RPM
Email: maisy@rpm.my, Tel: 03 6207 2988

Ms. Jumiza Judin, Senior Executive, Events & Communications, RIM and PPM
Email: jumiza.judin@rimgroup.my, Tel: 03 6207 2976

Ms. Chan Miew Lan, General Manager, MACP
Email: mlchan@macp.com.my, Tel: 03 6207 8638

Dato’ Freddie Fernandez, President, Karyawan
Email: fredez2009@gmail.com, Tel: 012 207 1400

RPM MENDAPAT SOKONGAN PENUH DARI BADAN UTAMA INDUSTRI MUZIK TANAHAIR

16 Ogos 2013, Kuala Lumpur – Badan-badan utama industri muzik negara, iaitu Persatuan Industri Rakaman Malaysia (RIM), Public Performance Malaysia Sdn Bhd (PPM), Music Authors’ Copyright Protection (MACP) Berhad dan Persatuan Karyawan Malaysia (Karyawan) telah menyatakan sokongan padu mereka kepada Recording Performers Malaysia Berhad (RPM) secara rasmi sebagai tanda perpaduan demi kepentingan industri muzik dalam kenyataan bersama hari ini. Dato’ Sheila Majid sebagai Pengerusi RPM amat berterima kasih dengan pengiktirafan dan sokongan yang diberikan oleh badan-badan utama dalam industri muzik tersebut. Beliau berkata, "Semua artis-artis di dalam industri muzik, sama ada penyanyi atau pemuzik rakaman, perlu meletakkan keutamaan pada aspek ini dalam kerjaya mereka kerana ia merupakan sumber pendapatan tambahan untuk kita. Kita perlu memastikan kita mendapat bayaran secara adil dan ini hanya boleh berlaku jika kita bersatu dan berdiri bersama sebagai satu."

"RPM hanya mewakili artis rakaman dan pemuzik rakaman ("pelaku rakaman") dan keahlian kami tidak termasuk penari, pelakon, pelawak, pelajar, dan lain-lain kerana kutipan royalti kami adalah berdasarkan audio rakaman yang dimainkan di udara dan persembahan awam. Matlamat kami adalah sangat jelas dan kami akan mengutip dan mengagihkan royalti sewajarnya hanya untuk pelaku rakaman menurut Seksyen 16B di bawah Akta Hak Cipta Malaysia, 1987. Kami akui bahawa MACP dan PPM telahpun melakukan kerja yang terbaik sejak 23 tahun yang lalu untuk pencipta-pencipta lagu dan syarikat rakaman, dan kerana itulah kami ingin mengikut langkah mereka sebaik mungkin. Kami berazam untuk mengekalkan ketelusan dan keadilan di dalam pengutipan dan pengagihan royalti di kalangan pelaku rakaman yang diwakili oleh RPM ", tegas Dato’ Sheila Majid.

"RPM memberi penekanan ke atas perwakilan demokratik dan operasi secara telus kerana terdapat banyak aduan dan isu-isu yang dibangkitkan oleh pelaku rakaman berkenaan perkara ini pada masa yang lalu. Kami menggesa rakan-rakan artis dan pemuzik yang mempunyai kemusykilan tentang pengagihan royalti mereka untuk menyokong Nan Alias dalam permintaan beliau untuk mengaudit pengagihan yang dilakukan sebelum 1 Januari 2012 oleh badan pelaku yang terdahulu", kata Dato 'Sheila Majid. RPM telah memulakan kutipan dengan sokongan penuh yang diberikan oleh PPM, agen pengutipan eksklusif RPM berkuat kuasa mulai 1 Januari 2012. "Kita perlu bersama-sama bergerak ke hadapan, bersatu-padu dan menyokong antara satu sama lain, dan berjuang untuk perwakilan yang sewajarnya. Dengan komitmen dan sokongan padu yang diberikan oleh RIM, MACP, PPM dan Karyawan kepada RPM, kami sebagai ahli RPM boleh  mengharapkan masa depan yang lebih cerah dan pendapatan yang lebih baik bermula dari hari ini,
InsyaAllah", kata Dato’ Sheila Majid.

"Kami percaya bahawa industri muzik pasti akan menjadi lebih baik jika semua penggiat industri ini dapat bersatu dan menyokong antara satu sama lain. Syarikat rakaman, penerbit, komposer, penulis lirik dan pelaku rakaman yang terlibat dalam pengeluaran sesuatu rakaman bunyi perlu menyokong antara satu sama lain agar industri muzik boleh terus berkembang pesat," kata Encik Norman Abdul Halim, Pengerusi RIM. RIM kini mewakili hampir 300 syarikat dan perniagaan rakaman, yang terlibat dalam pengeluaran, pengilangan dan pengedaran rakaman bunyi, muzik video dan karaoke tempatan dan antarabangsa. Beliau menambah bahawa RIM akan menyeru semua ahli-ahlinya untuk menyokong dan meminta artis rakaman di bawah naungan mereka untuk menyertai RPM.

"Sebagai badan kutipan yang mewakili komposer, penulis lirik dan penerbit sejak tahun 1989, kami amat berterima kasih di atas kepercayaan dan pengiktirafan yang diberikan oleh pelbagai pihak yang menyumbang kepada kejayaan MACP. Tanpa komposer, penulis lirik dan penerbit yang kekal bersatu di bawah MACP, kami tidak akan berada pada tahap ini. Sebagai ahli yang dipilih untuk berkhidmat di Lembaga Pengarah, adalah menjadi tanggungjawab kami untuk merancang dan membuat keputusan terbaik demi kepentingan ahli-ahli kami", kata Puan Habsah Hassan, Pengerusi MACP. "Kami menyokong penuh RPM kerana kami percaya mereka bertindak wajar untuk ahli-ahli mereka secara telus dan demokratik, dan kami juga menggalakkan artis dan pemuzik rakaman untuk bersatu bagi menyokong RPM", tambah Puan Habsah Hassan.

Encik Adrian Lim, Pengerusi PPM berkata "Sebagai badan pelesenan yang telah ditubuhkan sejak tahun 1988, PPM mempunyai tenaga kerja dan sumber-sumber yang luas untuk menyokong RPM dari segi perkhidmatan kolektif di seluruh negara. Dengan sokongan yang diberikan oleh PPM, RPM mampu beroperasi dengan lebih cekap dari segi kewangan, dan oleh itu, ahli-ahli RPM akan menikmati jumlah royalti yang lebih tinggi. "

Dato' Freddie Fernandez menambah "Karyawan menyeru semua pelaku rakaman yang layak untuk menyertai RPM kerana kami percaya bahawa RPM adalah masa depan untuk semua pelaku rakaman. Sebagai badan yang mewakili artis-artis di negara ini, kami akan bekerjasama dengan RPM untuk menggalakkan semua pelaku rakaman yang merupakan ahli Karyawan mendaftar dengan RPM. Marilah kita memberikan kerjasama penuh dan sokongan kepada RPM dan memastikan kejayaan pengurusannya dalam mencapai matlamat mereka."

Encik Norman Abdul Halim, Puan Habsah Hassan, Encik Adrian Lim dan Dato’ Freddie Fernandez sebagai pengerusi organisasi masing-masing dalam industri muzik sebulat suara mengesahkan sokongan mereka kepada RPM dan berganding bahu demi ketelusan yang lebih baik dan operasi yang cekap untuk semua. Dengan perakuan yang dibuat oleh RIM, MACP, PPM dan Karyawan, dan keazaman RPM untuk menjalankan matlamat kutipannya, industri muzik tanahair diharapkan dapat berkembang maju ke arah yang lebih baik melalui perpaduan, keadilan dan kemakmuran untuk ahli-ahlinya. Untuk maklumat lanjut, sila layari lawan sesawang www.rpm.my, www.rim.org.my, www.ppm.org.my, www.macp.com.my dan www.karyawan.com.my atau hubungi:

Cik Maisy Yao, Pengurus, RPM
Emel: maisy@rpm.my, Tel: 03 6207 2988

Cik Jumiza Judin, Eksekutif Kanan, Bahagian Acara & Komunikasi, RIM dan PPM
Emel: jumiza.judin@rimgroup.my, Tel: 03 6207 2976

Cik Chan Miew Lan, Pengurus Besar, MACP
Emel: mlchan@macp.com.my, Tel: 03 6207 8638

Dato’ Freddie Fernandez, Presiden, Karyawan
Emel: fredez2009@gmail.com, Tel: 012 207 1400

Legal Use of Music on Youtube

Many people looking for music that they can legally use in their YouTube videos, Google Videos and Metacafe video productions, will visit a library of stock music. Through these stock music libraries, music composers and publishers sell their music tracks for a one-off simple license fee, and when purchased, their music can be safely and legally used in videos that are posted online - whether it's on your own site, your blog, or on YouTube. These fully legal music licenses are often sold for a low price, and typically a percentage of that direct sale price will be paid to the composer. This direct payment to the composer is usually not a whole lot, so the composer will rely on an additional payment from YouTube when his music is used in a YouTube video.

Most composers are members of so called "performance rights societies" such as MACP, ASCAP, BMI, SESAC, PRS or others. The task of these societies is to oversee where, how, and how much their members' music is being broadcast and played in public. Based on how much their music has been used in public, the performance rights society pays the composer and publisher a certain amount of "performance royalties".
The performance rights societies in turn collect money from broadcasters of music. That includes TV stations, radio stations and most recenty also YouTube. YouTube is a "broadcaster" of video just as much as a TV station. YouTube, in turn, collects money from their advertisers. So, in a rather complex and convoluted way, you may say that money travels like this: Advertiser -> YouTube -> Performance rights society -> Music Composer. I would like to stress that you, as a video producer and video uploader, do not pay any of these performance royalties. It does not cost you anything beyond the normal one-time stock music license fee, to use royalty-free music on YouTube. The money that YouTube pays to the performance rights societies originate from YouTube's advertisers - not from video uploaders. In an ideal world, this is how it's supposed to work. The challenge however - and this is where the system is not yet good enough - is that YouTube have no idea exactly what music is playing in each of their millions of videos. They have no idea who wrote and who published how many minutes and seconds of music used in how many YouTube videos. There simply is no record of this.

In the real world though, what happens most of the time is that YouTube just sends money to the performance rights organizations without any detailed lists of who this money is meant for. They simply don't know who composed the music in all their videos, and how this money should be divided amongst composers and publishers. The performance rights society, in turn, receives a sum of money from YouTube and, frankly, they really don't know who to give this money to. So what they do is to "guess" the best they can, how much music, by which composer and publisher, has been used "most" in YouTube videos. They literally then divide up this money, on a percentage scale, among the composers who are already making the most royalties from traditional TV and radio broadcasts. They simply assume that the percentages will be likewise -- i.e. if Britney Spears has so-and-so much music played on the radio, then she probably also has a similar amount of music played at YouTube. This is how YouTube's music royalties are divided as per today. Sadly, if you're a composer and you've had your music used in a YouTube video, it's unlikely that you'll ever see any performance royalties for that, unless you also happen to be on high rotation on MTV and the radio stations.


I have reason to believe, though, that YouTube and the performance rights organizations are trying to find a way to distribute the money better and more accurately. Frankly, nobody will ever have the time to sit and listen through every YouTube video and find out who composed the music that's playing in that video. But what they can do is start asking video uploaders to put proper music credits in the video information when they upload it to YouTube. There is a text field where video uploaders can enter "more text" about their video, and this is a good place to include good and proper music credits.

To be honest, even if music credits are included here, it does not mean that the composer and publisher will automatically get their fair and correct performance royalties. I believe that, as of today, nobody is checking these text areas for music credits and applying a share of the performance royalties to the correct composer.
But we have to start somewhere. We strongly believe that this is a step in the right direction and that eventually, YouTube and the performance rights organizations are going to find a way to "spider" the text areas for music credits and, with time, get better and better, more and more accurate distribution of the performance royalties that should rightfully be with the actual composers who made the music in the videos - rather than already high-earning pop artists who get all the YouTube money because they happen to have their music played on radio and MTV a lot. When we ask you to credit our music as accurately and completely as possible when you upload a video that contains our music - it's really about future proofing. Soon, there will definitely be a system in place to find these music credits and then properly distribute the performance royalties. And when that happens, we would like to be ready for it, with all composers' music already properly credited. So - thanks for reading and thanks for always including music composer, lyricist and publisher info, whenever you use my music in a YouTube video.

Bagaimana MUSIC AUTHORS' COPYRIGHT PROTECTION (MACP) Berfungsi Menjaga Hakcipta Karyawan

Music Authors' Copyright Protection (MACP) Berhad adalah sebuah badan bukan berasaskan keuntungan dan berperanan untuk mengutip royalti dari pengguna muzikal atau lagu seperti stesen-stesen radio, televisyen, tempat hiburan, siaran secara online, syarikat komunikasi, perhotelan, penerbangan, pengangkutan awam dan sebagainya, di mana hasil kutipan royalti tadi akan diberikan kepada pencipta lagu, penulis lirik dan penerbit secara bayaran tahunan.

MACP telah ditubuhkan sebagai syarikat awam berhad pada September 1989 dan sehingga kini mempunyai lebih dari 3,000 keahlian yang terdiri dari pencipta lagu, penulis lirik dan penerbit. MACP kini mengawal pemilikan dan akses kepada lebih dari 50,000 buah lagu dan karya muzik tempatan. Dengan adanya perjanjian dengan persatuan-persatuan yang mengawal hakcipta lagu-lagu luar negara, MACP mengawal lebih dari 12 juta buah lagu dan karya muzikal meliputi 2 juta pencipta lagu, lirik dan penerbit antarabangsa. Dalam konteks Malaysia, MACP berhak mengeluarkan lesen pukal untuk penyiaran karya-karya tersebut kepada mana-mana pihak yang berkepentingan untuk menyiarkan karya-karya yang tersebut di dalam katalog senarai MACP.

MACP mengutip wang bayaran dari lesen yang dikeluarkan kepada pihak-pihak yang menyiarkan karya-karya terbabit dan mengagihkan kepada pencipta lagu, penulis lirik dan penerbit karya-karya berkenaan. Pengerusi MACP ialah Puan Habsah Binti Hassan manakala timbalannya ialah En. Ahmad Izham Bin Omar. Ahli lembaga pengarah MACP pula terdiri dari Y. Bhg. Dato' Mohd Nasir Bin Mohamed, En. Abdullah Bin Mamat, En. Ahmad Shahadrian bin A Samad dan En. Johan bin Mohamed Nawawi. Pengarah MACP mewakili penerbit pula ialah Ms. Carol Chan Choy Fong dari Warner Chappel Music (Malaysia) Sdn Bhd sebagai timbalan pengerusi, Mr. Jack Teo Chen Shin dari Universal Music Publishing Sdn Bhd, Ms Janice Foong Wai Heng dari Sony Music Publishing Sdn Bhd, Mr. Eric Yeo Lik Koon dari Indie Works Sdn Bhd, Mr. Ang Swee Giap dari Like Music dan Ms. Gim Siew Urban Poh (Jackie) dari NSR Music Publishing Sdn Bhd.

Hakcipta dalam yang berhubung dengan karya lagu/muzik didefinasikan sebagai hak eksklusif di mana pemilik karya berhak terhadap penggunaan karya di sisi undang-undang yang menegah mana-mana pihak menggunakan karya tersebut tanpa keizinan pemilik karya. Akta Hakcipta 1987 mendefinasikan bahawa, hakcipta di dalam konteks karya muzikal dan menjadikan haknya eksklusif terhadap;

1) Pengeluaran semula karya dalam apa jua bentuk.
2) Komunikasi dengan pihak awam dengan menggunakan karya tersebut.
3) Menampilkan, mempersembahkan atau memainkan karya tersebut kepada pihak awam.
4) Pengagihan salinan karya kepada umum melalui jualan, pemindahan atau pemilikan.
5) Menyewakan karya kepada pihak awam untuk tujuan komersial.

Pelanggaran ini membenarkan pencipta lagu atau penulis lirik atau penerbit untuk menegah penggunaan hakcipta eksklusif tanpa kebenaran mereka. Kebenaran biasanya akan diberi dengan membayar yuran yang dikenali sebagai royalti.

Secara praktik di Malaysia, royalti dibayar secara tahunan kepada pemilik hakcipta sepanjang hidupnya dan dibayar kepada pewaris yang dinamakan sepanjang 50 tahun selepas pemilik hakcipta meninggal dunia. Pelanggaran hakcipta dikatakan berlaku apabila seseorang atau mana-mana pihak menggunakan suatu karya hakcipta seseorang tanpa kebenaran pemilik hakcipta tersebut dan tertakluk kepada Akta Hakcipta 1987 seperti yang dijelaskan di atas. Maklumat lanjut boleh diperolehi melalui Bahagian Hakcipta Perbadanan Harta Intelek Malaysia (MyIPO) yang merangka polisi hakcipta bagi pihak Kerajaan Malaysia.