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How does Tunecore screen 3rd party's submissions for copyrighted material? What names are Tunecore required to screen for in similarity? When the plaintiff's intellectual property is discovered in violation of copyright, what does Tunecore do to the customer's account? Does Tunecore impede the copyright holder's ability to take legal action against the customers that violating copyright law?= What percentage of Tunecore's library is made of the plaintiff's intellectual property? What happens to users and user accounts that upload copyrighted materials? What happens to accounts with one offense? Two? Etc? It's a bit like asking UPS if it's checking packages for intellectual property rights violations.
I hate record labels, due to decades of idiocy, exploitation and general abuse. I'm still gonna side with the labels on this one. If some tech bro:s want to create a service to "diSRuPt" the music distribution economy, and cut costs for identifyng infringing content that brings ample revenue, thereby thumbing their nose at copyright laws, and on top neglect to hire enough staff to field any issues (because ProFiT), they should be prepared to in turn have your own business brutally disrupted. There is only one thing more tiring than middle men: inept middle men.
@noll8b i swear the business in this world is so off. Profit, above humans is the problem. The blind chasing of profit is ruining things. People b4 profits. The fallacy of going to college is a problem! College gives the best case scenario, the real world give the worst case scenario. U can't fight the worst case scenario the way u would fight the best case scenario. Doesn't help that people don't even know what "scenario" means. People can barely even read now. understanding words and being able to use them like "sticks & stones" is advantageous, I am a wordematician who can outstupid this world like no other...
In the old days record companies were needed to provide the upfront capital to pay for the recording, production, manufacturing, and distribution of records, plus bribing a few radio program managers along the way. Now with no need to front the money for physical distribution and no radio stations to bribe, what exactly are record companies good for?
Not a damn thing. At this point, some artists use them if they don't want to shoulder the burden of all the work involved in being an independent artist. However, if you are good at marketing yourself and are driven and dedicated to the craft, you can do quite well for yourself. Prof for example, has said that he's at the point where he has more money than he knows what to do with. Definitely wouldn't be in that position with a label involved.
TuneCore's Publishing Administration Service is part of the scam. I know personally. They literally listed themselves as the record label to SIX of my songs with the MLC and Harry Fox.
In Germany this would most likely be considered "false ownership claim". American "copyright" laws are complete garbade as they are not designed to protect the artist but the money.
Things** that might help the artist : a) a copyright that applies to original versions of the song replayed at data-rates other than originally captured/produced. b) a percentile of royalties/payments given re-mixes and sampled works (some amount of this may already be in play) c) ensure that the discovery is truly 2-way, in that :if the Plaintiffs claim to be pressing this suit in-part to help their artists, then they should have to make full financial disclosures illustrating the benefit ratio between that shared with the artist and that which is/would be retained by the labels. i.e. attempt to crash the case by demonstrating false/inaccurate statements made by the Plaintiffs assertion that this will help the artists with a reasonable percentage of funds recovered. (probably not going to get legal traction, but it was fun to type out) **I'm no attorney or member of the music writing/recording/producing/label/distribution "industries". I have done a little consulting (for free) to a few people who make devices for music creation, and to musicians in regards to resolving noise issues and basic electronic knowledge to help them get the most out of their gear. - oh, fair enough : back in the 5th/6th grades (uh, roughly 1968-70) my voice appeared as one of 60 or so kids on 2 (Educational) Albums done by Joyce Eilers as music teacher at Harding Elementary School to demonstrate how you could get legit 3 and 4 part harmony out of an UNPICKED group of kids... So I guess I *AM* a member of the artist industry... never received a penny. - 2nd admission : for 9-10 months, I worked at Rodgers Organ Co, which makes those huge pipe organs...technician/tuner/voicer/troubleshooter. Just a wage-grunt and no recording/writing involved... unless you count my self-taught 'test-music' which was a mashup of Devo and Bsch's Toccata and Fugue in Dminor. (former technician, turned engineer) - my doctorate and profession does involve (at least part) the apparatus by which we make sound (dentist) but no recordings go on there, so I doubt it can be claimed to be a conflict of interest. .... I can't think of anything else to caveat. lol
As someone who has music distributed through Tunecore, this is absolutely ridiculous, just laughable. It's like the industry is saying since I make pennies from my music through Tunecore (like most do, just pennies), I really should be making fractions of a penny through the labels themselves, or not have my music distributed, for profit in any way, at all. Or just be sued out of the ability to share my music for any money at all. Not that Tunecore cares either, really. It's the new ultra-capitalist corporate world, folks. And it's not going to get any better I fear.
I hear your frustration. The system can feel rigged when you're only seeing pennies from your music, and the added hurdles from services like TuneCore don't make it easier. It’s tough for independent artists navigating a landscape dominated by corporate interests.
LOL my wife graduated barret as well from ASU she has her master's in History. Her name is Marissa in case you guys knew each other because of how small the classes were back then. This channel is very neat and is a great informative watch, thanks!
I haven't distributed anything new through Tunecore since 2014 and I will probably never use their services again. Let's just say, I'm not Tunecore's biggest fan. That being said, I distributed a cover through them in 2012 and had to supply them with a copy of the cover license before they would touch it. If that procedure has remained the same, those record companies are in for a pretty bitter morning coffee.
It sounds like you've had a frustrating experience with Tunecore. If their procedures haven't changed, those labels might be in for a rough time if they’re not prepared with the proper documentation. It’s always important to be aware of the specifics when dealing with distribution platforms, especially when it comes to copyright and licensing issues.
it's only been in the last few years that Meta, considering they've been around 20yrs, has licensed paid for using music, something they should pay back artists n musicians for making them Meta billions!
There is some concern that they are trying to limit speech by creating barriers to entry. I think I am paying $20 a year to be distributed but it changed to a percentage if I allow my landr subscription expired.
Wait, what? So Tunecore has uploads of music released by letter-salad uploaders of actual existing copywritten artists? 🤔 Not covers or remixes but literally just renaming the original track just under a slightly misspelled variant of the artist? Tunecore is pretty hard-core when it comes to releasing any content containing uncleared samples or even public accessed samples from Splice, LoopCloud or sample packs; I couldn't imagine they would not catch someone uploading an existing track as their own.
Damn, Andy Rehfeldt's long-running channel of cover songs finally got killed by copyright strikes. They were all in a different genre so there is no way to confuse them with the originals.
When statutory damages less the filing costs for legal action to have them apply exceed the licensing income that the labels would make in the medium term ….Just Extract Wealth Somehow….
Record labels are pretty dark! They have a long history of conspiracy, abuse and just plain nastiness, Micheal Hutchinson hated them Wendy Mathew’s hated them, Vanessa Amorosi hated them! I was chatting with Vanessa in make up on set once and she told me she felt like she was being forced into millions of dollars of debt by them, and that at that time she felt totally locked in! Lately she’s been fighting with her mother over money spent, it’s extremely sad! it’s not that a record deal isn’t a great ideology it’s all the things that are expected of you to pay everyone from the work they get you on top of their fees structures. And we won’t even mention that in some labels if your value drops below the value of your insurance, well it’s pop pop goodnight isn’t it!
@@williambillyshears9129i would counter this with there should b an ethical label that gives a deal that is right. We as musicians already put alot of skin in the game learning, purchasing, making stuff up... I could go on... labels only bring 1 thing to the table and they don't even bring it, they just dangle it... how come the coin on a string is ok when u do it in the guise of a business, which is basically what ALL businesses do? Want $ to treat ppl fairly, not hoard it and b unethical w it... sad that we live in the world we live in...
@@zackcarty4790 In the 1960's and 1970's, the record labels were run by real music people. An example would be A&M Records, Another would be Geffen. Now? There are only three majors left. Thank you so much for your comment! Cheers.
It’s unfortunate but not surprising that many artists have had negative experiences with record labels. The structure often leaves them feeling trapped, burdened with debt, and manipulated by the financial expectations and control. Record labels can promise a lot, but the reality is that they sometimes prioritize their bottom line over the artist’s well-being. It's clear that for some, the dream of a deal comes with a harsh reality of exploitation. These struggles highlight the importance of being informed and cautious when navigating the industry-particularly when it comes to finances and contract terms.
Hi there what are you views on this matter: UA-cam claims to be highly concerned about copyright, issuing strikes, closing creators' channels, and so on. However, the platform has not secured the creators' media files. This means that every creator and every artist who has uploaded their work to UA-cam to earn ad revenue is at risk of losing income. Once their work has been downloaded onto a person’s computer, there is no longer a need for that person to view it on UA-cam, and therefore no ad revenue is generated for the creators, copyright holders, or artists. So, what is worse: a creator using a small piece of music in their video or UA-cam’s entire music library being openly available for anyone to download? Software like ByClick Downloader allows people to download the entire content of a channel. This raises the possibility that AI training was done using UA-cam content. Due to UA-cam’s lack of content protection, the platform not only has the largest amount of content but is also one of the easiest to access and download from.
hi there, i'm looking to step away from playing (tenor sax) and trying to get more clients for mixing, what would you recommend the best way to do so? cheers from sapin and keep up the good work :)
So, once these guys sue everyone they can think of, then what? The list of entities they can sue has to be somewhat limited. Once they're done, maybe a couple of years, or, so, down the line, and they've run out of targets, what's next? 🤔
Sounds to me that record labels are going to try to position themselves as the new distributors, and pre-emptively getting rid of the competition 😉😉😊🧙🏻♂️
Every release I have used TC for has been flagged for some reason. They get back to me but the responses are usually pretty dumb really. I cant imagine that misspelled names and slowed down tracks would get through. Doesn’t make a lot of. Sense.
Hello there! Hope everyone is doing okay! As I am in the process of shaping my already registered Record Label "Sorani Music, LLC", I know I have to register with one of these publishers...I have only heard of Distrokid and Tunecore...Tunecore being the one I was leaning towards...now I don't know which one would be the best choice. Any light or advise in that matter would be a good help here for me. Thanks.
I don’t think you read the complaint properly at 12:40. It was that tunecore was claiming UA-cam revenue for the *original* songs, not the knock-off songs. This is a legitimate complaint. How would you feel if someone copied one of your original songs, published it to Spotify and then claimed the revenue on videos with your original song in it.Didn’t you just do a video about that happening to Olaf England?
It's silly for fraudsters to think that sped up or slowed down copyrighted material skirts the law. It boggles my mind that people are getting away with it. Speed of playback doesn't and shouldn't negate copyright. It should be covered. Tell me where people think that they can use altered music without a license.
These games of semantics grow tiresome... how are people not considered music distributors when they play it? 1 thing, $... the world we live in is built on the backs of PEOPLE not $... I am LITERALLY a distributor of music by playing it. The "music distributors" are considered "distributors" by making $ off it. NOT by actually playing it to quote Bob Seeger "like the sweat pouring out of their body..."
So basically this is the old story of: Classic Record labels still refuse to aknowledge the 21st centuary and it's digital age while new businesses based on digital consumption are adopting the old habits of classic record labels. I tell you something honest: 70% of todays music is medicore, repetetive stuff that lacks originality. If you are good and or unique you toally don't need anything like a record label or asscrab platform like Spotify. Put your stuff up on UA-cam or back then MySpace and you will be sucsessful. Prime examples: "The Protomen" from Nashville or "REN" from the UK. The reality of music industry is very simple: 100 Gazillion people think they are the new Micheal Jackson and should make big money but they are not. True artists hab been fed up with rotten record labels so record labels started the busisess of "artificial" stars with castig shows, further flodding the music market with medicore asscrab. And all of this amounts to one party trying to rip of the other party unsing shitty laws that were never desinged to protect artists but big money. That is the major difference between the shitty American "copyright" law - pay attention to the word - and the suprior German - "creators rights" - laws again pay attention to the word in regard of ownership.
I have never really fallen for the old IP narrative. Sure, it sounds good on paper but the fact of the matter is that a every artist is standing on the shoulders of giants and to try and claim ownership over the same old chords I, Iv, & V which is used extensively and almost exclusively in popular music seems ridiculous. Mechanical copyrights I get, but IP just feeds into the vanity of the artist who surrounded by enough sycophants will believe that they are the new poet laureate of our time. Yes, major label artists are great but also have the support of incredible sessions musicians, producers, top line writers, mixing engineers and a host of marketing power and money. So as far as I see it, since all the major labels fight over which part of new major record release that they can claim belongs to their artists is primarily how the industry works. How many lawyers weighted in on Thickes track, 13 joint owners is it? lol, laughable and so it doesn't surprise me a jot that the lawyers in charge of the record industry use IP copyright wherever and however they can, that's why they invented it. It's bad for Indies but we weren't given any favours anyway, bottom feeders scraping around with whatever share is left over after the majors have gorged their fill. Great that us Indies also pay for Taylor and Eddie on each stream we generate. If the DSPs were artist centric payments we wouldn't have to support major artists - the whole book is cooked and I could care less who fights over whatever is left to steal. There is literally nothing left for us Indies anyway so I will sit back and enjoy this show. That's what happens when you let lawyers and accountants dictate your supposedly creative centric business model. it becomes about money and law not music, obviously.
Nothing's changed in decades in this shark infested industry. It's always about the money and predators out to get it in different ways. One form of exploitation and business model are lawsuits. In practice and historically they've been more interested in receiving revenue from settlements instead of from proper artist, fan and advertisement marketing transactions. 90% business 10% music
You failed to mention that the 100% to artists that TuneCore offers only applies to streaming services and stores, and not social media platforms, where they take 20% of the revenues (this is covered later in the pricing page you showed).
Krystle, I have no love for TuneCore or Belive, however I know this is going to sound very black and white. But if a business is going to sell products which have a tangible medium which is similar to other businesses (and it's proved) then unfortunately they have themselves to blame when they are getting sued. In today's landscape if something is going to get you sued, don't do it. However Krystle, I do feel for the artists who have been or are registered to TuneCore, I do believe the "S**t will run down the hill." I don't like what the labels are doing in this circumstance, they have a right to protect their music they own. TuneCore/Believe have walked into this unfortunately. I do think it's right that the labels have taken on AI music platforms and I hope they win.
@buildupdevelopers3820 Im not lazy at all it's a general question to music attorney not you of course I do extensive research on what I need to know and Iam about to sign a record deal soon trust me when I say Iam coming for the doubters nay sayers haters etc. whoever got something to say against me
@eastsidey.o.p435 do your due diligence and research or any her for answering your question. You obviously have a internet connection and I don't care if you were directing it to me or anyone else. You posted in a public domain with a question you can easily find, so yes you are LAZY and obviously a incompetent researcher. Yes, INCOMPETENT. So again, quit being lazy and actually put in some work instead of trying to have other people doing it for you for free.
@@eastsidey.o.p435 Track ID is a feature commonly used in music apps, streaming platforms, and DJ software that helps identify the name and artist of a song playing in real-time. When a user hears a song they want to know more about, they can activate Track ID (or similar identification tools) to analyze the audio and return details like the track title, artist, album, and sometimes even lyrics. Services like Shazam and SoundHound popularized this functionality, but it's now integrated into many platforms, helping users quickly discover and save music they're interested in.
God, I can't thank you enough to give the knowledge about this distributor/aggregator feud stuff and help me choose what distributor that suit me the most. I'm still new in this game, but I already started producing music with my schoolmate 3 years ago. We're grateful enough to release a song from our local artist last year through third party distributor in our city, and now we decided we wanna take a shot to release on our own record label. We were almost taking Tunecore deal because that's the one we're most familiar with, but we decided to take further research before we seal the deal. Sure enough, we saw lots of complains from the clients, including this channel talking about the feud happening. We decided to switch direction to another distributor. I'm not saying it's like the perfect true lawful company, all companies have some matter in the terms & conditions that we tend to not agree with. In the end we choose this company, the price is right for us, lots of positive reviews from the clients, the features is enough for our needs, and hopefully in the future the company keeps their good record. Sorry if you feel like reading a whole essay in here. Again thank you for educating us about this matter and appreciate for reading my long ass comments after all 😂
I say "wordematics: wordplay so logical... it defies it!" Need help monetizing this lawyer lady! Got a ton of other ideas too... IP out the wadzoo since that car wreck, tapped into that big ocean of knowledge...
Judges are notorious for lacking the technical knowledge to properly decide copyright and patent issues. You mock the person who wrote the brief for being "out of touch". I am 99% certain the judge who will hear this case has never heard of tunecore before.
Drilling down to the tooncore of it all... at the toocore of the matter is.... cartoons! They have a pretty marketable name for it, but toondora's box Cannot b closed oh wait TUNEcore.... oops... that instrument needs to b tunecored...
All BS for the dummies, The same folks run music, entertainment, run that AI crap. They use it in their music and have been for decades. You can fool some folks but not all. .
Adding to the algorithm that looks for infringements so that it checks for sped up versions shouldn't be too difficult. Heck, just checking the text for "sped up" in the title should be incredibly easy.
Musicians, NOTHING WORKS NO MATTER WHAT YOU DO! Musicians give me your best case scenario for success that you can imagine - as if everything works out perfectly for you. Then I will show you how The Big Three Labels, Warner, Universal, Sony, that control the entire industry; will ruin it for you! WANT PROOF? There is no new types of music or new musicians on the charts and radio each week. No one-hit wonders, no instrumentals, no novelty songs, no regional hits, no new music cities; nothing new! Join the music revolution against them. Start your real career by sharing this! Let me start with these. They won't work: Win a national song contest. Have thousands follow you on Spotify. Have thousands follow you on UA-cam. Have thousands follow you on TikTok Have thousands follow you on Facebook Have successful recordings on an indie label. Have success on Patreon. Win a grammy Sign with the Big Three Labels Have success on SoundCloud, ReverbNation, BandCamp. Tour, sell cd's, sell t-shirts.
Who do you side with in this lawsuit?
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I don't side with either, they are both as bad as each other
How does Tunecore screen 3rd party's submissions for copyrighted material?
What names are Tunecore required to screen for in similarity?
When the plaintiff's intellectual property is discovered in violation of copyright, what does Tunecore do to the customer's account? Does Tunecore impede the copyright holder's ability to take legal action against the customers that violating copyright law?=
What percentage of Tunecore's library is made of the plaintiff's intellectual property?
What happens to users and user accounts that upload copyrighted materials? What happens to accounts with one offense? Two? Etc?
It's a bit like asking UPS if it's checking packages for intellectual property rights violations.
I hate record labels, due to decades of idiocy, exploitation and general abuse. I'm still gonna side with the labels on this one.
If some tech bro:s want to create a service to "diSRuPt" the music distribution economy, and cut costs for identifyng infringing content that brings ample revenue, thereby thumbing their nose at copyright laws, and on top neglect to hire enough staff to field any issues (because ProFiT), they should be prepared to in turn have your own business brutally disrupted.
There is only one thing more tiring than middle men: inept middle men.
@noll8b i swear the business in this world is so off. Profit, above humans is the problem. The blind chasing of profit is ruining things. People b4 profits. The fallacy of going to college is a problem! College gives the best case scenario, the real world give the worst case scenario. U can't fight the worst case scenario the way u would fight the best case scenario. Doesn't help that people don't even know what "scenario" means. People can barely even read now. understanding words and being able to use them like "sticks & stones" is advantageous, I am a wordematician who can outstupid this world like no other...
In the old days record companies were needed to provide the upfront capital to pay for the recording, production, manufacturing, and distribution of records, plus bribing a few radio program managers along the way. Now with no need to front the money for physical distribution and no radio stations to bribe, what exactly are record companies good for?
Not a damn thing. At this point, some artists use them if they don't want to shoulder the burden of all the work involved in being an independent artist. However, if you are good at marketing yourself and are driven and dedicated to the craft, you can do quite well for yourself. Prof for example, has said that he's at the point where he has more money than he knows what to do with. Definitely wouldn't be in that position with a label involved.
TuneCore's Publishing Administration Service is part of the scam. I know personally. They literally listed themselves as the record label to SIX of my songs with the MLC and Harry Fox.
In Germany this would most likely be considered "false ownership claim". American "copyright" laws are complete garbade as they are not designed to protect the artist but the money.
Things** that might help the artist :
a) a copyright that applies to original versions of the song replayed at data-rates other than originally captured/produced.
b) a percentile of royalties/payments given re-mixes and sampled works (some amount of this may already be in play)
c) ensure that the discovery is truly 2-way, in that :if the Plaintiffs claim to be pressing this suit in-part to help their artists, then they should have to make full financial disclosures illustrating the benefit ratio between that shared with the artist and that which is/would be retained by the labels. i.e. attempt to crash the case by demonstrating false/inaccurate statements made by the Plaintiffs assertion that this will help the artists with a reasonable percentage of funds recovered. (probably not going to get legal traction, but it was fun to type out)
**I'm no attorney or member of the music writing/recording/producing/label/distribution "industries".
I have done a little consulting (for free) to a few people who make devices for music creation, and to musicians in regards to resolving noise issues and basic electronic knowledge to help them get the most out of their gear.
- oh, fair enough : back in the 5th/6th grades (uh, roughly 1968-70) my voice appeared as one of 60 or so kids on 2 (Educational) Albums done by Joyce Eilers as music teacher at Harding Elementary School to demonstrate how you could get legit 3 and 4 part harmony out of an UNPICKED group of kids... So I guess I *AM* a member of the artist industry... never received a penny.
- 2nd admission : for 9-10 months, I worked at Rodgers Organ Co, which makes those huge pipe organs...technician/tuner/voicer/troubleshooter. Just a wage-grunt and no recording/writing involved... unless you count my self-taught 'test-music' which was a mashup of Devo and Bsch's Toccata and Fugue in Dminor. (former technician, turned engineer)
- my doctorate and profession does involve (at least part) the apparatus by which we make sound (dentist) but no recordings go on there, so I doubt it can be claimed to be a conflict of interest.
.... I can't think of anything else to caveat.
lol
As someone who has music distributed through Tunecore, this is absolutely ridiculous, just laughable. It's like the industry is saying since I make pennies from my music through Tunecore (like most do, just pennies), I really should be making fractions of a penny through the labels themselves, or not have my music distributed, for profit in any way, at all. Or just be sued out of the ability to share my music for any money at all. Not that Tunecore cares either, really.
It's the new ultra-capitalist corporate world, folks. And it's not going to get any better I fear.
I hear your frustration. The system can feel rigged when you're only seeing pennies from your music, and the added hurdles from services like TuneCore don't make it easier. It’s tough for independent artists navigating a landscape dominated by corporate interests.
The "artists" in speech marks tells you everything you need to know about what the majors think about independent music makers.
LOL my wife graduated barret as well from ASU she has her master's in History. Her name is Marissa in case you guys knew each other because of how small the classes were back then. This channel is very neat and is a great informative watch, thanks!
I breathed a sigh of relief when I got my music off tunecore. Never again.
I haven't distributed anything new through Tunecore since 2014 and I will probably never use their services again. Let's just say, I'm not Tunecore's biggest fan. That being said, I distributed a cover through them in 2012 and had to supply them with a copy of the cover license before they would touch it. If that procedure has remained the same, those record companies are in for a pretty bitter morning coffee.
It sounds like you've had a frustrating experience with Tunecore. If their procedures haven't changed, those labels might be in for a rough time if they’re not prepared with the proper documentation. It’s always important to be aware of the specifics when dealing with distribution platforms, especially when it comes to copyright and licensing issues.
it's only been in the last few years that Meta, considering they've been around 20yrs, has licensed paid for using music, something they should pay back artists n musicians for making them Meta billions!
There is some concern that they are trying to limit speech by creating barriers to entry. I think I am paying $20 a year to be distributed but it changed to a percentage if I allow my landr subscription expired.
Wait, what? So Tunecore has uploads of music released by letter-salad uploaders of actual existing copywritten artists? 🤔
Not covers or remixes but literally just renaming the original track just under a slightly misspelled variant of the artist?
Tunecore is pretty hard-core when it comes to releasing any content containing uncleared samples or even public accessed samples from Splice, LoopCloud or sample packs; I couldn't imagine they would not catch someone uploading an existing track as their own.
Damn, Andy Rehfeldt's long-running channel of cover songs finally got killed by copyright strikes.
They were all in a different genre so there is no way to confuse them with the originals.
My take:
Major labels are trying to flatten distributors, as we know them now, and take over that part.
This is attempt #1 to check out the water.
When statutory damages less the filing costs for legal action to have them apply exceed the licensing income that the labels would make in the medium term
….Just Extract Wealth Somehow….
….and these costs will be borne by the income that would be paid to the independent artists….
Record labels are pretty dark! They have a long history of conspiracy, abuse and just plain nastiness, Micheal Hutchinson hated them Wendy Mathew’s hated them, Vanessa Amorosi hated them! I was chatting with Vanessa in make up on set once and she told me she felt like she was being forced into millions of dollars of debt by them, and that at that time she felt totally locked in! Lately she’s been fighting with her mother over money spent, it’s extremely sad! it’s not that a record deal isn’t a great ideology it’s all the things that are expected of you to pay everyone from the work they get you on top of their fees structures. And we won’t even mention that in some labels if your value drops below the value of your insurance, well it’s pop pop goodnight isn’t it!
That is why in 2024, it makes sense for an artist to simply start their own boutique independent label rather than trying to get "signed" by a major.
@@williambillyshears9129i would counter this with there should b an ethical label that gives a deal that is right. We as musicians already put alot of skin in the game learning, purchasing, making stuff up... I could go on... labels only bring 1 thing to the table and they don't even bring it, they just dangle it... how come the coin on a string is ok when u do it in the guise of a business, which is basically what ALL businesses do? Want $ to treat ppl fairly, not hoard it and b unethical w it... sad that we live in the world we live in...
@@zackcarty4790 In the 1960's and 1970's, the record labels were run by real music people. An example would be A&M Records, Another would be Geffen. Now? There are only three majors left. Thank you so much for your comment! Cheers.
It’s unfortunate but not surprising that many artists have had negative experiences with record labels. The structure often leaves them feeling trapped, burdened with debt, and manipulated by the financial expectations and control. Record labels can promise a lot, but the reality is that they sometimes prioritize their bottom line over the artist’s well-being. It's clear that for some, the dream of a deal comes with a harsh reality of exploitation. These struggles highlight the importance of being informed and cautious when navigating the industry-particularly when it comes to finances and contract terms.
Hi there what are you views on this matter: UA-cam claims to be highly concerned about copyright, issuing strikes, closing creators' channels, and so on. However, the platform has not secured the creators' media files. This means that every creator and every artist who has uploaded their work to UA-cam to earn ad revenue is at risk of losing income. Once their work has been downloaded onto a person’s computer, there is no longer a need for that person to view it on UA-cam, and therefore no ad revenue is generated for the creators, copyright holders, or artists.
So, what is worse: a creator using a small piece of music in their video or UA-cam’s entire music library being openly available for anyone to download? Software like ByClick Downloader allows people to download the entire content of a channel. This raises the possibility that AI training was done using UA-cam content. Due to UA-cam’s lack of content protection, the platform not only has the largest amount of content but is also one of the easiest to access and download from.
hi there, i'm looking to step away from playing (tenor sax) and trying to get more clients for mixing, what would you recommend the best way to do so? cheers from sapin and keep up the good work :)
So, once these guys sue everyone they can think of, then what? The list of entities they can sue has to be somewhat limited. Once they're done, maybe a couple of years, or, so, down the line, and they've run out of targets, what's next? 🤔
The sooner you quit worrying about this the better your life will be. Self distribute.
Sounds to me that record labels are going to try to position themselves as the new distributors, and pre-emptively getting rid of the competition 😉😉😊🧙🏻♂️
That's never going to happen. These lawsuits will tale years if not decades.
Every release I have used TC for has been flagged for some reason. They get back to me but the responses are usually pretty dumb really. I cant imagine that misspelled names and slowed down tracks would get through. Doesn’t make a lot of. Sense.
Hello there! Hope everyone is doing okay! As I am in the process of shaping my already registered Record Label "Sorani Music, LLC", I know I have to register with one of these publishers...I have only heard of Distrokid and Tunecore...Tunecore being the one I was leaning towards...now I don't know which one would be the best choice. Any light or advise in that matter would be a good help here for me. Thanks.
Neither. Use ditto or someone else.
I don’t think you read the complaint properly at 12:40. It was that tunecore was claiming UA-cam revenue for the *original* songs, not the knock-off songs. This is a legitimate complaint. How would you feel if someone copied one of your original songs, published it to Spotify and then claimed the revenue on videos with your original song in it.Didn’t you just do a video about that happening to Olaf England?
It's silly for fraudsters to think that sped up or slowed down copyrighted material skirts the law. It boggles my mind that people are getting away with it.
Speed of playback doesn't and shouldn't negate copyright. It should be covered. Tell me where people think that they can use altered music without a license.
Good for tune core, they have been playing with a lot of artists. Deleting our music. Karma got them. This is just the beginning.
Can't you be just talented? Do you have to be a lawyer and gorgeous too? Please pick ONE
Yeah but her songs...
Wow bro. 100% creeper. You're the reason why they make serial killer movies.
These games of semantics grow tiresome... how are people not considered music distributors when they play it? 1 thing, $... the world we live in is built on the backs of PEOPLE not $... I am LITERALLY a distributor of music by playing it. The "music distributors" are considered "distributors" by making $ off it. NOT by actually playing it to quote Bob Seeger "like the sweat pouring out of their body..."
Interesting fact, I learn more when you keep your glasses on 🙂
So basically this is the old story of:
Classic Record labels still refuse to aknowledge the 21st centuary and it's digital age while new businesses based on digital consumption are adopting the old habits of classic record labels.
I tell you something honest: 70% of todays music is medicore, repetetive stuff that lacks originality. If you are good and or unique you toally don't need anything like a record label or asscrab platform like Spotify. Put your stuff up on UA-cam or back then MySpace and you will be sucsessful.
Prime examples: "The Protomen" from Nashville or "REN" from the UK.
The reality of music industry is very simple: 100 Gazillion people think they are the new Micheal Jackson and should make big money but they are not. True artists hab been fed up with rotten record labels so record labels started the busisess of "artificial" stars with castig shows, further flodding the music market with medicore asscrab. And all of this amounts to one party trying to rip of the other party unsing shitty laws that were never desinged to protect artists but big money.
That is the major difference between the shitty American "copyright" law - pay attention to the word - and the suprior German - "creators rights" - laws again pay attention to the word in regard of ownership.
This chick is as about as much of a qualified certified lawyer, as Bugs Bunny is !
This sounds like a bs way to shut down the independent artists by attacking the way they typically are able to distribute.
Of course. They are feeling very threatened and obsolete rn.
I have never really fallen for the old IP narrative. Sure, it sounds good on paper but the fact of the matter is that a every artist is standing on the shoulders of giants and to try and claim ownership over the same old chords I, Iv, & V which is used extensively and almost exclusively in popular music seems ridiculous. Mechanical copyrights I get, but IP just feeds into the vanity of the artist who surrounded by enough sycophants will believe that they are the new poet laureate of our time. Yes, major label artists are great but also have the support of incredible sessions musicians, producers, top line writers, mixing engineers and a host of marketing power and money. So as far as I see it, since all the major labels fight over which part of new major record release that they can claim belongs to their artists is primarily how the industry works. How many lawyers weighted in on Thickes track, 13 joint owners is it? lol, laughable and so it doesn't surprise me a jot that the lawyers in charge of the record industry use IP copyright wherever and however they can, that's why they invented it. It's bad for Indies but we weren't given any favours anyway, bottom feeders scraping around with whatever share is left over after the majors have gorged their fill. Great that us Indies also pay for Taylor and Eddie on each stream we generate. If the DSPs were artist centric payments we wouldn't have to support major artists - the whole book is cooked and I could care less who fights over whatever is left to steal. There is literally nothing left for us Indies anyway so I will sit back and enjoy this show. That's what happens when you let lawyers and accountants dictate your supposedly creative centric business model. it becomes about money and law not music, obviously.
Nothing's changed in decades in this shark infested industry. It's always about the money and predators out to get it in different ways.
One form of exploitation and business model are lawsuits. In practice and historically they've been more interested in receiving revenue from settlements instead of from proper artist, fan and advertisement marketing transactions.
90% business
10% music
0:20. I never thought i'd be good at something.. 😂. It happens. 🤷
You failed to mention that the 100% to artists that TuneCore offers only applies to streaming services and stores, and not social media platforms, where they take 20% of the revenues (this is covered later in the pricing page you showed).
Krystle, I have no love for TuneCore or Belive, however I know this is going to sound very black and white. But if a business is going to sell products which have a tangible medium which is similar to other businesses (and it's proved) then unfortunately they have themselves to blame when they are getting sued. In today's landscape if something is going to get you sued, don't do it.
However Krystle, I do feel for the artists who have been or are registered to TuneCore, I do believe the "S**t will run down the hill."
I don't like what the labels are doing in this circumstance, they have a right to protect their music they own. TuneCore/Believe have walked into this unfortunately. I do think it's right that the labels have taken on AI music platforms and I hope they win.
all i know is that copy claim system is be abused.
I have a question do you know what is a track id and how to obtain it
If you don't know what a track ID is then you need to educate yourself. Take the time to learn the business and quit being lazy.
@buildupdevelopers3820 Im not lazy at all it's a general question to music attorney not you of course
I do extensive research on what I need to know and Iam about to sign a record deal soon trust me when I say Iam coming for the doubters nay sayers haters etc. whoever got something to say against me
@eastsidey.o.p435 do your due diligence and research or any her for answering your question. You obviously have a internet connection and I don't care if you were directing it to me or anyone else. You posted in a public domain with a question you can easily find, so yes you are LAZY and obviously a incompetent researcher. Yes, INCOMPETENT. So again, quit being lazy and actually put in some work instead of trying to have other people doing it for you for free.
@@eastsidey.o.p435 Track ID is a feature commonly used in music apps, streaming platforms, and DJ software that helps identify the name and artist of a song playing in real-time. When a user hears a song they want to know more about, they can activate Track ID (or similar identification tools) to analyze the audio and return details like the track title, artist, album, and sometimes even lyrics.
Services like Shazam and SoundHound popularized this functionality, but it's now integrated into many platforms, helping users quickly discover and save music they're interested in.
God, I can't thank you enough to give the knowledge about this distributor/aggregator feud stuff and help me choose what distributor that suit me the most.
I'm still new in this game, but I already started producing music with my schoolmate 3 years ago. We're grateful enough to release a song from our local artist last year through third party distributor in our city, and now we decided we wanna take a shot to release on our own record label.
We were almost taking Tunecore deal because that's the one we're most familiar with, but we decided to take further research before we seal the deal. Sure enough, we saw lots of complains from the clients, including this channel talking about the feud happening. We decided to switch direction to another distributor. I'm not saying it's like the perfect true lawful company, all companies have some matter in the terms & conditions that we tend to not agree with. In the end we choose this company, the price is right for us, lots of positive reviews from the clients, the features is enough for our needs, and hopefully in the future the company keeps their good record.
Sorry if you feel like reading a whole essay in here. Again thank you for educating us about this matter and appreciate for reading my long ass comments after all 😂
This Is what some people call, rice with anus.
Get them a musical drone of the percussive type.
I say "wordematics: wordplay so logical... it defies it!" Need help monetizing this lawyer lady! Got a ton of other ideas too... IP out the wadzoo since that car wreck, tapped into that big ocean of knowledge...
Judges are notorious for lacking the technical knowledge to properly decide copyright and patent issues. You mock the person who wrote the brief for being "out of touch". I am 99% certain the judge who will hear this case has never heard of tunecore before.
Timestamps: YEEEEES
Drilling down to the tooncore of it all... at the toocore of the matter is.... cartoons! They have a pretty marketable name for it, but toondora's box Cannot b closed oh wait TUNEcore.... oops... that instrument needs to b tunecored...
Labels knowntheir time isnup so they are desperatly trying to make as much koney as possible before the industry becomes a free for all
Did you censor yourself at 36:18? LOL
All BS for the dummies, The same folks run music, entertainment, run that AI crap. They use it in their music and have been for decades. You can fool some folks but not all. .
Leeches
aka When cheaters cry "foul"!! LOL
Adding to the algorithm that looks for infringements so that it checks for sped up versions shouldn't be too difficult. Heck, just checking the text for "sped up" in the title should be incredibly easy.
Musicians, NOTHING WORKS NO MATTER WHAT YOU DO!
Musicians give me your best case scenario for success that you can imagine - as if everything works out perfectly for you. Then I will show you how The Big Three Labels, Warner, Universal, Sony, that control the entire industry; will ruin it for you!
WANT PROOF? There is no new types of music or new musicians on the charts and radio each week. No one-hit wonders, no instrumentals, no novelty songs, no regional hits, no new music cities; nothing new!
Join the music revolution against them. Start your real career by sharing this!
Let me start with these. They won't work:
Win a national song contest.
Have thousands follow you on Spotify.
Have thousands follow you on UA-cam.
Have thousands follow you on TikTok
Have thousands follow you on Facebook
Have successful recordings on an indie label.
Have success on Patreon.
Win a grammy
Sign with the Big Three Labels
Have success on SoundCloud, ReverbNation, BandCamp.
Tour, sell cd's, sell t-shirts.
Bro lay off the drugs