Copyrights: What’s Wrong With Spotify?
Listening to music, it’s, even more, more accessible with today’s available platforms like Spotify, Pandora, Google play, apple music, and so many others on the market.
But have you ever considered or thought about how precisely these services can spread and reproduce music so easily regarding copyrights?
We will explain how this works.
As we explained in another article, being a musician, it’s not just having a song and its profit. Before any revenue, bands and artists are, very often, in debt to their record label.
Every single song published has six copyright clauses to ensure: the right of reproduction, public performance, derivatives, public display, digital transmissions, and distributions.
Every time a song is published automatically, there are two different sides of the process that benefits from copyrights: the recording entity and the composition (song and melody). Therefore, legally speaking, the performer comes after this legal split between who recorded and who made it.
The right of reproduction means that every time a song is reproduced, the song and melody owners are paid, and every time a physical object, such as a cd or a cassette, is published, the composition agents (song and melody) needs to be paid. Long story short, every time a song is released and every time that song is put into some physical and tangible object, the composition side of it is getting paid.
The music industry and copyright clauses were never easy to understand. With technology evolution, people started to buy music online downloading these songs, but Spotify brought another reality and a complicated process for the music industry: the conception of renting music. So before people were downloading their favorite music, buying it and contributing directly to its owners. Now, with a simple touch, people can listen to any song for how long they want, how many times they want. Thus, adding another clause to the ‘reproduction copyright,’ has added more 50 shades to it, starting with the difference between interactive and non-interactive service. Spotify is renting music to its owners providing unlimited use of that song, concerning reproducing it more than ten times, for example. Spotify is considered an interactive music platform due to its core business, facilitating and simplifying music’s transmission and reproduction. Pandora, for example, it’s in the other side of the road. Considered a non-interactive service platform, you are not able to listen to ten times the same song. Placed in a different category, that means that every songwriter and music compositor, as long as his work is tangible, and therefore published, has the right of reproduction implemented.
Although Spotify needs to pay to every songwriter and melody compositor every time the music is reproduced, sometimes that doesn’t happen. And when it does, but not accurately, Spotify hires a third party company to deal with unhappy songwriters and melody compositors. The called ‘Stream Music on Demand’ services, like Spotify, are complicating the copyright law and, therefore, artists and music’s professionals’ rights.
Myrillion wants to settle effective agreements to a direct connection and interaction regarding contractual terms between the artist, (songwriter, melody composer, singer, etc.), and music entities. Thanks to smart contracts and blockchain technology, every contractual agreement and normative clauses are made between the parties involved in an effective and transparent method, making sure all the parties involved are aware of their benefits and obligations.
Know more here: https://www.myrillion.io