I'm super excited about being on Steemit. It's only been a few days and I see how revolutionary this platform is for us content creators - enabling us essentially to make a decent living by sharing our content. I'M HOOKED!
As a singer/songwriter, I am very grateful to the creator of @dsound and @dtube for giving us these amazing tools to monetize our music!
BUT, as you might have noticed, the IPFS link enables anyone to download the content - that I'm still ok with it. However, what if that someone uploads my content and starts monetizing it? That's not so cool in my view.
So what should be done about the copyright and protecting music/content creators?
It've very evident that with the creation of blockchain we've entered a paradigm shift. And I embrace it wholeheartedly!
Still the question stares us in the face - how can we protect our works of art to which we've invested money, sweat and tears?
A couple of suggestions come to mind:
- Creative Commons License - this is nothing new and we could recycle the idea on the blockchain - I think...
- Enable users to embed a digital footprint (something like an ISRC code) into the sound file before uploading it. It should have something like a smart contract attached to it - which specifies who are the copyright holders and what are the splits. @musicoin is already doing it with their licenses - although there I have a questions - what if the splits owners are not members of the Musicoin platform?
Your suggestions?
I'd love to hear what you are your ideas. After all, we are all creating this new ecosystem together and these questions will need to be addressed sooner or later. So why not get on with it asap?
Hi Petra,
When you post on D-sound, you can then edit your post on Steemit. Go to the html and remove the code corresponding to the ipfs link... When I post on DS, I do this systematically.
For protecting the music from people that rip to sell, copyright isn't enough, as it is not worth suing unless your track is a multimillion dollar buster. DRM system is too complicated, and is probably not foolproof, and also probably hackable by someone really motivated.
When I discovered my music sold by these assholes on dodgy sites, my solution was to watermark all my tracks and then re-upload as replacement on the platform where my music is located. Strangely, the watermark doesn't seem to bother too much. Put it very low level, and a listener will not be inconvenienced.
However, even at very low level, it makes it impossible to sell. And if the listener really likes it and wants to listen to it without this interference, I give him the possibility to buy the track :-)
You are from A'Dam, me Leiden. I noticed also a guy that was from Den Haag. Maybe the seed of a Dutch Steemit group?
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Hey, thanks for th comment! It’s late now and it’s a complex issue...
And yes - was thinking of meeting up with steemians in the NL! What’s the best way to create a group here?
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Agree that copyrights are still applicable, even in crypto space. Platforms like LBRY have setting for copyright, like YouTube has. DTube, DSounds and all, do not have this. Question is however; How can it be enforced? YouTube has already issues with enforcement, so much illegal material on their platform. DTube and DSounds are also used more and more to upload illegally ripped content from other social media and content sharing platforms. Digital Rights Management (DRM) was something that the music industry implemented more then 20 to 30 years ago, but abandoned altogether when even the big publishers figured out it was simply not enforceable. The issue with digital footprint / DRM solutions is that all players must embed the DRM protection, hence it requires a world standard, and that was never achieved. Now in the video/movie segment, they are trying to get to some standard in DRM, but also there, they struggle. Companies releasing their own standards, and that essentially ties streamers and player together, creating silo's in technology. My predictions is that DRM in the movie segment will fail as well. I have quite a number of musicians and producers in my friends circle, and network and when discussing this topic with them, I always come to the conclusion that musicians and producers shall earn from their gigs, and their recording/tracks are more for marketing purposes, not to earn a lot of money from.
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Thanks for your comments. I’ve been already experiencing that most income comes from gigs but then again, I got a nice upvote on DSound for my first track there so it could work in this space that we get paid for recordings, too.
https://dsound.audio/#/@petrajordan
Still not sure why DRM couldn’t work on blockchain though - I’m not a programmer but isn’t there some way of matching the digital footprint of a file on the entire network - e.g. like a BTC transaction?
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DRM Technology works for sure, but the player shall support the DRM technique implemented. At the moment we don't see eg VLC integrated with eg Musicoin, but the moment VLC and other players most people use, will be integrated with the example of Musicoin, then VLC needs to support the DRM technique as implemented by Musicoin. When this technique is unique to Musicoin, then it is highly unlikely VLC will implement soon due to other features being more relevant to their users. Now I took VLC as an example, and I took Musicoin as an example. Many more Musicoin like blockchain are out there, many more players like VLC are out there. When all have their own standard and techniques for DRM, most likely the players will not implement them, when most of thier user base is not using one or more of those music sources. That is what happenened two decades ago when DRM was implemented at the server side, but players didn't want to implement therefore anybody who published their music with DRM support, whould have a smaller group of users who bought their music, since without the DRM support at the player side, the music was not accessible. In the end the BIG music publishers include EMI abandoned the fight for illegal downloads by abandoning DRM completely. Don't forget this as well: YouTube doesn't allow people to download the videos, and does not provide tools to do so. However, many webbased tools are out there to rip a video from YouTube. On players, their are also players who circumvent DRM when implemented in a track, ie crack it so the track can still be played. So, yes, technology to protect content is kinda possible, however the implementation is almost not possible due to too many different standards, competitors not wanting to work together to define a world standard, all those engineers and software developers that decide never to adopt DRM in their players because of whatever reason, and the hackers who always find ways to crack codes making the track playable even when it is protected.
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in simple terms.. we need a WORLD standard
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They need to be very careful. Soundcloud employs an automated audio matching system to stop copyrighted songs being uploaded.
This will be needed here too. Without it people will start uploading new releases just to get the votes. Then the labels will sue. It will only be a matter of time.
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Matching recording on Soundcloud: Rules are different in each country. Some countries enforce, others dont. I also think different rules apply to eg DJ mixes, where eg two records are playing together... in the end you can argue that the result is a new song. In the music world ideas are any times used from others, maybe change slightly so it is not exactly the same, but still a beat, or loop, or even the idea of a song text may be heavily inspired by someone else. To define the line between inspired by and copy is pretty hard. Literally copy/paste = of course not difficult to define, and with the right software and tools it is detectable. In my country (The Netherlands) the organisation that controls artists copyright control uses already for years detection software at festivals to identify which records are played and who gets paid (every promoter needs to pay x% of ticket revenue to this organisation) - BUT, only when you claim your revenue as an artists, you get paid, all the money that is not claimed goes to the top x artists in NL.
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Yep,, I’m a member of Buma/Stemra and after each gig, I log my setlist to get performance royalties- alas paid only once a year. But that’s different than distributing content online
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When doing the admin like you do, you maximise your income from gigs at events Buma has one their list. But, here is another problem: Buma only checks the bigger events. They will never be able to check all events. Also, none Dutch residents have troubles to claim their work with Buma Stemra; I think BUma allows them to claim, but think of this: You are a international DJ and play each year in 100 different countries, mayb in many of those 1 or two times a year. Every year to claim at 100 different countries causes sooo much additional admin, that the revenue coming out of it will probably be lower than the cost. Ok, their are companies who can do that for you, and because they are specialist, they can claim for a single artist for a much lower 'cost', but there is still a cost to the artist to this company, while you dont really know what the income will be. Hence, many artist in eg NL, only claim at Buma in NL, but not in other countries.
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Agreed! They should sort the legal matters asap.
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I think on illegal music uploads, labels will not take action. Maybe when it concerns top x pop music, since the revenues from those tracks are good enough. But look at what happens at YouTube, users of illegal uploads are not dragged into court, YouTube is requested to take the content and maybe also the user down, and they do that. BUT, still many illegal uploads at YouTube active and many users that actually uploaded the illegal content to YouTube continue to stay active. My take: They (labels, YouTube) try to prevent illegal uploads, but it is almost impossible to keep up.
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You could do what rappers do and say your name during the song so you get credit no matter where and how its listened to...
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