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Old December 3rd, 2021, 06:57 PM   #16
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Re: When copyright protection mechanism bite the bands who own the music

I'm wondering if there are similar situations for audio only artists to this one with YouTube and bogus royalty/contentID claims.

Two men have been indicted by a grand jury for running a massive YouTube Content ID scam that netted the pair more than $20m. Webster Batista Fernandez and Jose Teran managed to convince a YouTube partner that the pair owned the rights to 50,000+ tracks and then illegally monetized user uploads over a period of four years.

To protect copyright holders YouTube uses an advanced piracy recognition system that flags videos or music used on users’ channels without permission.

Through this ‘Content ID’ system, infringing content can be removed or monetized by funneling ad revenue to copyright holders, which can be quite lucrative for the rightsholders in question.


https://torrentfreak.com/u-s-indicts...d-scam-211203/
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Old December 26th, 2021, 11:52 PM   #17
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Re: When copyright protection mechanism bite the bands who own the music

There is another customer of "the system" who is dissatisfied:
[read the complete article from the link: https://www.bbc.com/news/entertainment-arts-58643787 ]

Abba’s Bjorn Ulvaeus launches campaign to fix £500m music royalty problem Sep 21, 2021

Bjorn Ulvaeus said there was "no excuse" for record labels not to credit writers properly. Abba star Bjorn Ulvaeus has launched a campaign to ensure musicians don't miss out on millions of pounds in royalties. Called Credits Due, the scheme aims to ensure all songwriters and musicians are correctly identified when a song is recorded.

At present, missing and incomplete data means that about £500m is unallocated or misallocated globally every year. "It happens frequently," Ulvaeus told the BBC. "Which means that streaming services don't know who to pay."

The scheme will also ensure fans see the correct credits for songs - from the writers and producers to the session musicians and engineers.

"We want to get back to that experience we had when we opened a double-sleeved LP and listened to the songs while reading the liner notes," Ulvaeus explained. "I think that's a very valuable experience that young listeners today are missing."

The scheme will ensure that every person who is involved in the creation of a song will be "clickable in the digital liner notes", allowing you to look up every other record they have worked on. .......
[it is a long article]
Edit, Key words: about £500m is unallocated or misallocated
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Old December 29th, 2021, 02:44 PM   #18
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Re: When copyright protection mechanism bite the bands who own the music

He was very vocal about it here. He pointed out they don't actually need the money like struggling artistes do - but their income plummeted. In the UK - the royalties paid out by PRS (the Performing Rights Society - I'm a member) still seem based on CDs in the main. One of my friends had a modest hit in the 70s and got decent royalties every year, then when streaming started, his money dropped and dropped each year. He's older and totally non-computer literate so didn't even understand streaming. His music is not on spotify and the others because he didn't know he had to do this. We also have PPL - in the UK these people deal with recording royalties - so the people in the studio get money. I get a little from them, not a lot. One of my recordings was of a popular song from the 70s - and got some airplay on the BBC. I get nothing from PRS because I didn't write it, but I do get a little from PPL for the recording rights. PPL get their BBC play info so that works - but PRS and PPL have never paid me a penny for anything streamed. This is what ABBA are complaining about. Thousands or even millions of downloads and streams just ignored by the two biggest rights organisations. I do get money from my 'go to sleep' music - own compositions that are so dull people fall asleep. Maybe $20-30 a month, so not that exciting, but that's with me doing all the distribution and stiff like that, and Songtradr who I use for my own work don't do the cover versions. I've just gone with a new company and am trying them out, because they licence them for the USA - oddly, covers in the UK seem unregulated at the moment, but without the US licence, Youtube is a problem.

It's a real mess. It's broken and needs fixing. My Distrokid cancelled account took my royalties from Tik Tok and just refused to pay them to me (and loads of others) I can't do anything about it. I contacted Tik Tok and complained Distrokid were claiming my royalties. Tik Tok solved it. They removed the videos with my music on them! No wonder people are bitter.
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