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Old 5th December 2018
  #91
Quote:
Originally Posted by Ukiah Bass View Post
I agree with this premise. What about old music -- where the writer(s) is dead? Not so old as to fit into "Traditional" category. But new enough that a publisher is still collecting tolls?
https://www.copyright.gov/circs/circ15a.pdf

"Works Created on or after January 1, 1978
The law automatically protects a work that is created and fixed in a tangible medium of expression on or after January 1, 1978, from the moment of its creation and gives it a term lasting for the author’s life plus an additional 70 years. For a “joint work prepared by two or more authors who did not work for hire,” the term lasts for 70 years after the last surviving author’s death. For works made for hire and anonymous and pseudonymous works, the dura- tion of copyright is 95 years from first publication or 120 years from creation, whichever is shorter (unless the author’s identity is later revealed in Copyright Office records, in which case the term becomes the author’s life plus 70 years)."

in that document it also explains the length of copyright for works created before 1978 as well.

After copyright runs out, the piece of music becomes public domain.

collecting tolls? using the term tolls makes me think you might reside outside the US? If so, copyright law is different from country to country. So you will need to look up the terms for copyright in your country.


Quote:
As for "modern requirements," the old processes fit a world of sit-down meetings with lawyers, drafting agreements, negotiating fees etc.
what are you talking about? Today everything is done through email. No old world sitting down with lawyers at a table.

If you want to get a license for a track, you email the publishing company. It's as simple as that. Most publishers have a form you fill out to request a license right on their website...

for example...

Universal Music Publishing Group | US

Quote:
The modern world consists of more automated systems enabling minimum friction and maximum alacrity in implementing ideas and ultra rapid distribution. Numbers for the song writers could be (and possibly are) just as big in the new world. But why should this exclude "small time" operators who could pay what they're worth, which would be a pittance by comparison, but if implemented by electronic systems, could easily scale to fit everyone's needs -- and put in a commensurate amount of compensation. I don't see this as a zero sum game for song writers. If anything, it would be additive, bringing in revenue that would be uncapturable with old, manual processes.

Just trying to be open minded here. There are a lot of creative professions trying to figure out a way forward. Professionally, I am also a creator and have experienced the hammer of forces brought on by the internet. It's not going away. We just have to figure out what will work. What will NOT work is sticking our heads in the sand and insisting the old way is the best way.
you mean like this?

FyrFly-SongFreedom - Real Music. Licensed.

Quote:
SongFreedom (now FyrFly-SongFreedom) began as the bridge connecting visual and musical artists. This bridge now supports over 800 creatives and includes electrifying Top 10 artists such as Lady Gaga and singer songwriters like The Royal Foundry.
I think this is what you are asking for, is it not?