Since the rights conceded by copyright law are elite to the copyright proprietor (s), you will encroach copyright on the off chance that you do any of those things without the consent of the copyright proprietor (s) – for instance, in the event that you duplicate or adjust to copyright work, or make it accessible on the Internet.
An ideal approach to staying away from copyright encroachment is to guarantee that you don’t utilize anything made by any other individual. Basic as that.
The artists interviewed by The FADER admit having used SoundCloud frequently to exchange ideas with other artists and the general public in a very satisfactory way, and they are not happy with the changes. They are not sure how they will continue to work in this regard and assume that a new platform similar to the “old” SoundCloud in the short-medium term. The controversy is served.
Particularly striking is what is said about the promotion of artists. SoundCloud was born as a platform to share musical ideas for free and without profit, taking advantage of the power of communication that the Internet provides us for it. That is the ideal that many other previous platforms have pursued (Myspace, Bandcamp …) and that sometimes have made us think that an artist no longer needs to tie himself to a label to get the diffusion he wants.
But this ideal seems to falter (like so many other “freedoms” of the internet) when it begins to talk about earning a decent income that will allow at least subsist artists and coordinators of music labels. The laws of the capitalist market, which are the only ones that we know or are allowed to use, are applied with all their harshness as in any other commercial field. And then arise premium rates, exclusive content, advertising, positioning in search engines depending on the pasta that is invested.
The work of promotion is as hard and the chances of success as limited as they have always been (since the record industry exists as such) or even harder, given the asphyxiating dominance exercised by a few large record conglomerates. Is there an alternative?
Currently, there are a good number of small artists that have already been downloaded from SoundCloud and the company has commented that it works on a solution that “satisfies all parties.”
From TIU we have pressed the opinion of several people affected by this controversy, trying to open the range to the different SoundCloud users, whether they are “active” as musicians and DJs or “passive” as promoters or simple listeners.
We pose the five questions and collect your impressions in an article that does not offer magic solutions, nor points in one direction. Instead, it provides different ways in which to develop and advance this exciting debate, which ultimately is extended to the whole process of production and consumption of music.