[Chuckdallas]

Michael & JDT, I’m not sure how “big” this problem is overall, but it sounds like it might be. If there are enough composers affected who could viably claim copyright violation and subsequent loss of performance royalties (AND willing to participate, of course), would a Class Action lawsuit be worth considering? I don’t often jump to legal recourse as the answer, but if enough individual attempts reach dead ends, it might be a consideration. A well versed Lawyer or Law Firm might be interested in at least looking into this and possibly pursuing it. Thoughts?

[Chuckdallas]

It looks like Spotify is trying to expand their artist ecosystem by leveraging Soundbetter to get more involved on the front end of the creative cycle. Soundbetter hooks up clients with musical talent which is a good thing for artists if it works. Question I have: WHO are the clients? I’m not aware of who utilizes Soundbetter for their projects… anybody have more insight on this?

[Chuckdallas]

Thanks for your thoughts/experiences about this. I tend to agree with the Australian artist’s approach cited towards the end of the Wired article: “If the content is merely ‘objectionable,’ then I’ll just ignore it and try not to call attention to it’s existence,” Opie says. But, “if I found my music in something that was actually illegal,” or in a video that promotes violence, “then of course I’m going to report it.”

[Chuckdallas]

This is valuable insight, Music1234 – thanks so much for sharing your knowledge and experience!

[Chuckdallas]

Thanks ENW1. Hope everything works out. Some of the sessions are pretty good — I enjoyed listening to Tyler Bates. But I’ve got the most out of meeting other Composer-Producers, sharing experiences and hearing about what’s worked for them and what hasn’t worked.

[Chuckdallas]

Thanks Beatslinger! I’m anxious to dig in with you guys and try to figure some things out… should be fun!

[Author]

Posts