Copyright and music
Copyright in the “music” * industry is increasingly becoming a subject of discussion, both on the Internet and in the media (* the word “music” here in quotes is not accidental, the music in this industry itself is negligible). Some are trying to show us mothers of many children whose record companies are fining millions of dollars. Others allegedly want to protect unfortunate, hungry musicians who, allegedly through the fault of users of p2p and torrent networks, lose the last piece of bread. Still others are just used to buying TOP 200 EUROHIT wheels for 100 rubles from the metro and believe that copyright issues are only overseas, and only for very rich people. The fourth (and their absolute minority) buy licensed CDs for 300 to 900 rubles (a completely inadequate price compared to the cost price, even overseas). But they do it not because they fear copyright holders or alien organizations with strange names, such as the RIAA, but because they know that their favorite group, who spent 2 weeks in the studio, will receive at least some of this money.
Perhaps many now disagree with me. Once again I will clarify that we are talking only about music. So: the copyright in music can be treated differently, but this copyright in any case should belong to the author. Otherwise, the author of a musical work is, as it were, not quite the author, or this copyright itself, which does not belong to him, is not already quite copyright. Otherwise it does not work. Otherwise it is illogical. And why did this happen?
The absolute majority of musical works now belong to non-authors, who invented them, composed, performed and recorded. “Copyright” * (* again, not by chance in quotes) on them belong to various record companies, their associations, controlling organizations, committees and media corporations. Why no one dares to ask himself the simplest question of all possible? A question that puts everything right in its place. Is it fair?
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Let's go back in time. For example, in the sixties of the last century. At that time, the musicians had absolutely no opportunity to record their works in any decent quality, because even the simplest equipment cost just cosmic money. They also had no opportunity to declare themselves to the world, because nobody had heard anything about global communications. All they could do was go-go-bars, restaurants and discos (I mean those sixties, oh, it was time).
At the same time, a player appeared in the USA in almost every home. At the same time, there was just a crazy demand for audio recordings. Hippie summer, rock wave, beatlemania ... the world went crazy. Many of the musicians who were incredibly popular back then, now do not even remember people who are well versed in the music of that time. Because then there were a lot of these groups. People wanted to listen to them, and this could be earned. There are people who are ready to invest money in this business. They concluded contracts with musicians, gave studio, equipment, tools, advertising - all that was needed, and for this they received their share of the sale of records. It was quite fair, because everything that they did for the musicians really required huge material and labor costs.
But since then the world has changed. This "crazy" demand has disappeared, the equipment has stepped forward, many new channels of communication have appeared. Now anyone can arrange at home, even if a budget one, but still a studio, record everything they want, and put it somewhere on my space or on last.fm. Then distribute the links to friends and ask them to write something about themselves (about the author) on blogs and social networks. You can buy some contextual advertising, you can send demo recordings to Internet radio stations and so on and so forth. Then get a WMZ wallet, put its number on the most prominent place on your page and wait for the money. Provided that you make good (or at least not very bad) music, if you effectively use all available communications, you can easily recoup your creativity.
Record companies are not needed by contemporary musicians (the radiohead clearly showed this to everyone), and even more so bureaucrats like RIAA who are distraught with greed are not needed. But record companies need musicians, they are very necessary. Because otherwise they will have nothing to sell. There is such an expression as the "specific coefficient of greed." So at record companies, he has long been rolls over. From the money that we pay for the music, those who write it get very little. But in the pockets of “holders” settles a large part.
Payment mechanisms for purchases over the Internet already exist and they are quite reliable. Is it time for authors and listeners to start using them more actively? There are not so many musicians selling their works for “voluntary donations”, but they exist. There is a trend. In the future, in any case, we should expect a complete collapse of the entire music industry. Instead of the model “musician> recording studio> listener” there will be a simpler, more open and fair model “musician - listener”. This is the only logical and right direction for the development of the industry. But how can a business be adjusted to this area? The question is very complicated. For the time being, they are just shoving sticks in the wheels of the locomotive and wasting their and other people's time in vain. We hope that the situation will change soon.
Perhaps many now disagree with me. Once again I will clarify that we are talking only about music. So: the copyright in music can be treated differently, but this copyright in any case should belong to the author. Otherwise, the author of a musical work is, as it were, not quite the author, or this copyright itself, which does not belong to him, is not already quite copyright. Otherwise it does not work. Otherwise it is illogical. And why did this happen?
The absolute majority of musical works now belong to non-authors, who invented them, composed, performed and recorded. “Copyright” * (* again, not by chance in quotes) on them belong to various record companies, their associations, controlling organizations, committees and media corporations. Why no one dares to ask himself the simplest question of all possible? A question that puts everything right in its place. Is it fair?
')
Let's go back in time. For example, in the sixties of the last century. At that time, the musicians had absolutely no opportunity to record their works in any decent quality, because even the simplest equipment cost just cosmic money. They also had no opportunity to declare themselves to the world, because nobody had heard anything about global communications. All they could do was go-go-bars, restaurants and discos (I mean those sixties, oh, it was time).
At the same time, a player appeared in the USA in almost every home. At the same time, there was just a crazy demand for audio recordings. Hippie summer, rock wave, beatlemania ... the world went crazy. Many of the musicians who were incredibly popular back then, now do not even remember people who are well versed in the music of that time. Because then there were a lot of these groups. People wanted to listen to them, and this could be earned. There are people who are ready to invest money in this business. They concluded contracts with musicians, gave studio, equipment, tools, advertising - all that was needed, and for this they received their share of the sale of records. It was quite fair, because everything that they did for the musicians really required huge material and labor costs.
But since then the world has changed. This "crazy" demand has disappeared, the equipment has stepped forward, many new channels of communication have appeared. Now anyone can arrange at home, even if a budget one, but still a studio, record everything they want, and put it somewhere on my space or on last.fm. Then distribute the links to friends and ask them to write something about themselves (about the author) on blogs and social networks. You can buy some contextual advertising, you can send demo recordings to Internet radio stations and so on and so forth. Then get a WMZ wallet, put its number on the most prominent place on your page and wait for the money. Provided that you make good (or at least not very bad) music, if you effectively use all available communications, you can easily recoup your creativity.
Record companies are not needed by contemporary musicians (the radiohead clearly showed this to everyone), and even more so bureaucrats like RIAA who are distraught with greed are not needed. But record companies need musicians, they are very necessary. Because otherwise they will have nothing to sell. There is such an expression as the "specific coefficient of greed." So at record companies, he has long been rolls over. From the money that we pay for the music, those who write it get very little. But in the pockets of “holders” settles a large part.
Payment mechanisms for purchases over the Internet already exist and they are quite reliable. Is it time for authors and listeners to start using them more actively? There are not so many musicians selling their works for “voluntary donations”, but they exist. There is a trend. In the future, in any case, we should expect a complete collapse of the entire music industry. Instead of the model “musician> recording studio> listener” there will be a simpler, more open and fair model “musician - listener”. This is the only logical and right direction for the development of the industry. But how can a business be adjusted to this area? The question is very complicated. For the time being, they are just shoving sticks in the wheels of the locomotive and wasting their and other people's time in vain. We hope that the situation will change soon.
Source: https://habr.com/ru/post/62689/
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