Hi Rob. Youtube has designed it so that the record company and/or publishing company gets the revenue. I cannot see how it is a question of morals at all.
LyricLab A.I assisted chords and lyric app. Export lyrics and import directly into Band-in-a-Box 2024. https://lyriclab.net Play-along with songs you know and love, download SGU files https://playiit.com/
There's a process that takes place before you "get sued". If someone posts a video of one of my songs on YT without a license/permission, they get sent what's called a take-down notice. Pretty obvious what that is, it's a notice that you've posted copyrighted material and you need to take it down. If you comply, and remove the video, there's no problem and that's where it ends.
If, on the other hand, you don't remove it, and if you were to have a substantial number of infringing videos posted, you start running the risk of getting sued...especially if the copyrights violated are owned by labels or publishers who keep an eye on that sort of thing.
The specific laws regarding take-downs, infringements, etc. vary from country to country. In the U.S., the process I described is what typically takes place. I've sent, or had someone else send, a few take-down notices. There is some of my stuff on YT that, while technically is infringing, I view as harmless and innocent and I don't worry about those. It's only if I see someone profiting from the infringed works that I get proactive about making it stop. Hope this is helpful to the discussion.
*by the way, you can do a search for "youtube takedown notice" and you'll find a page that describes the process.*
Hi Roger. I think it is important to note that the majority of the publishers do not do that. They monetize your video.
Last edited by JoanneCooper; 04/11/2004:53 AM.
LyricLab A.I assisted chords and lyric app. Export lyrics and import directly into Band-in-a-Box 2024. https://lyriclab.net Play-along with songs you know and love, download SGU files https://playiit.com/
David, there is a certain flavor of the CCLI that lets you stream from sites under control of the holder of the site. I recommend your church obtain that CCLI then use Facebook Live streaming.
Hi Joanne. I respectfully disagree, every publisher I've ever written for (Warner Bros, Sony, Universal, etc.) absolutely send take down notices. Also, here's a link to an interesting article on the subject.
Hi Joanne. I respectfully disagree, every publisher I've ever written for (Warner Bros, Sony, Universal, etc.) absolutely send take down notices. Also, here's a link to an interesting article on the subject.
Hi Roger. My experience has been that the publisher seems to do that on instruction from the writer(s) and not across their catalog. What I mean is that the majority of the well-known writers don't do that. Perhaps they can see that it is a win-win situation to allow covers of their material on Youtube?
I am bowing out of this discussion now because I can see what the general opinion is on this forum. If anybody is interested in learning more from me they can pm me.
LyricLab A.I assisted chords and lyric app. Export lyrics and import directly into Band-in-a-Box 2024. https://lyriclab.net Play-along with songs you know and love, download SGU files https://playiit.com/
It all depends on what you're doing. If it's older obscure stuff fine but if it's really big name classic songs it will probably get taken down. Duke Ellington is an example. I had bookmarked several Ellington vids taken from old movies and early TV shows. They would last a month or so then disappear with the window saying it had been taken down. The take downs is the reason I had to start downloading the vids I really liked. Too many of the ones I bookmarked would not be available when I went back to watch them again.
However, this is not true for everything even some very big name artists. Here's a good test for this. On the Best of YouTube forum there is this:
This is a great vid, a good cover version of Come Together by the Beatles. This is as big as it gets, MJ bought the Beatles catalog then I think he sold it to Sony and then McCartney bought it back? This vid was uploaded today. I'm going to track it and see what happens.
I've been wary of posting covers on YT because years ago there were stories of people having their accounts banned after 2 or 3 take down notices even if they took them down. It sounds like that's not the way it works now? I've got some covers I would like to put up there and I agree with Joanne, if this is how it works now then there's no harm because the rights holder still has their full rights respected. They can allow YT to monetize it and they get paid or they decide to have it taken down. As long as the uploader isn't penalized for too many take down orders, I'm fine with it.
BTW, what happened to the OP? Is this another thread where a noob posts a question then disappears and we're talking to ourselves?
So far my experience with covers on YouTube has been benign from management.
I've posted a few cover tunes with some photos. I do credit the writer. I have not monetized my site.
I have posted a few cover songs on Soundcloud and done the same.
For media I plan to sell (a CD for example) I pay the royalties. Hey, If I make money, the guy writing the tune should get paid also.
I would post my covers on a BIAB forum but my read of the bylaws here it is strictly "No Covers". Is that currently true? I would love to get feedback on my work from forum members
mrgeeze - Post a link to your YT covers on the I heard BIAB on youtube forum NOT the users showcase and you're fine.
As far as this general discussion, I agree with Joanne. If I was new artist/songwriter trying to make it today, I'd want covers on YT. Any free promotion and publicity that I can get paid for in this day and age seems like a good thing to me.
After reading the above, it seems to me that posting covers on Youtube and then Youtube monetizes them for the copyright owner is pretty much equivalent to the old days where if I liked a song, I'd go and buy the sheet music.
In both cases the original copyright owner gains. I suspect that monetizing on Youtube would be a whole heap more beneficial to the original copyright owner than the sale of sheet music.
When I consider Joanne Cooper's site with its 21,000,000 views, I'm pretty sure that that's a big enough number for Joanne to be respected as a 'good financial opportunity' for the original owners of the songs that she posts. It's definitely a win-win situation.
Is it really right to steal or violate another persons rights based on whether or not they will sue or punish you for it?
No. It is not right. This is super simple. If you are using someone else's work you should 1) get permission and 2) pay for the use! If you decide to do it anyway without permission and paying you are stealing.
If the music hasn't been properly licensed, how exactly is YouTube supposed to know who to pay? There isn't some gigantic global database at their disposal. That's where this notion goes off-base.
Is it really right to steal or violate another persons rights based on whether or not they will sue or punish you for it?
No. It is not right. This is super simple. If you are using someone else's work you should 1) get permission and 2) pay for the use! If you decide to do it anyway without permission and paying you are stealing.
John's comment struck me as being correct but not at all super simple. I immediately thought of examples where a party's unique, one of a kind creation that is not easy for others to duplicate or replicate be it for cost or uniqueness. I found an example to research and it appears that stealing (if it is stealing) is rampant. Even in an instance I found where the artist secured audio from a legitimate source and paid royalties and gave proper credits, it isn't established the original source did the same to secure permission or paid for the use.
While reading John's comment I thought of the unique, one of a kind, privately owned sound of trains. Railroads are the only mode of transportation where the vehicle and the route are privately owned property. Railroads purchase the land they lay track on, and own and maintain bridges and the equipment at crossings.
So I think the use of a unique, privately owned, one of a kind sound being used in a recording should require permission and payment. In most cases it seems, one simply sets up recording equipment at a crossing and records the sounds of a passing train and crossing equipment, includes it in their record and that's the end of it. A google search turns up thousands of songs with train sound effects.
But in one famous and lucrative example, "Pet Sounds", The Beach Boys purchased a train sound effect from Brad Miller's 1963 release "Mr. D's Machines". The recorded track was "Train #58- The Owl at Edison California". That train was owned and operated by Southern Pacific - the locomotive was an EMD-F7... A locomotive engine today costs up to $6 million. My point is that it costs a lot of money to create the sound of a train at crossing. The Beach Boys had to pay for the use of #58-The Owl recording.
So, do you owe the railway for the use of their train sound if you make a recording of it and use it in your record? Do you need to secure their permission to record their train? Before reading the posts here on this thread, I doubt I'd ever have given a second thought to standing beside a train crossing with a Zoom H4N and capturing the sound effect.
Let’s use BiaB for an example. PGM owns the rights to this software. Let’s say I copy the software and post it on eBay, but I make arrangement for some of the money to go to PGM. Now I don’t ask PGM if that’s okay I’m just do it anyway. Sure they benefit, but that might not be inline with their marketing of profit structure. Maybe they make less on a sale on eBay than from their servers. It that right?
Okay let’s add sauce to the goose. There is a legal outlet for selling BiaB it is called a third party licensing agreement or resale license. (Hence Harry fox agency, BMI, ASCAP, ETC depends on type license is needed) So rather than asking and getting permission, or paying up front for a license, I just take it and post it and let eBay structure or monetize what they think is a fair price to pay PGM.
Sort of like taking the neighbors lawn mower, and leaving $5 on the door step when you return. You didn’t ask permission, and it is not yours to take, no matter what you leave in compensation.
If it was okay to do this companies like PGM or Norton music would include the melodies in their creation of styles. This is exactly why karaoke music is not free. There are license fee to pay for use.
Charlie, that was a fun example, but the train passing by on the track is not copyrighted property, at best it is noise pollution if you live by it. And recording the sound of a train going by can’t be compared to copying a song someone wrote and recorded, and legally filed documents to protect that property. Now if you and I hopped on that train fired the old gal up and went to Albuquerque by way of Cucamonga (obscure bugs bunny reference, hey “what’s up doc”) now that’s illegal, not to mention a really bad idea.
Last edited by Rob Helms; 04/11/2005:40 PM.
Lenovo Win 10 16 gig ram, Mac mini with 16 gig of ram, BiaB 2022, Realband, Harrison Mixbus 32c version 9.1324, Melodyne 5 editor, Presonus Audiobox 1818VSL, Presonus control app, Komplete 49 key controller.
Apparently Tony interpreted runandwrite's question similar to me which is why I decided to offer my two cents. I thought that rather than continue to operate with two understanding of what the actual question was, it was important to get some feedback on what he meant. In point of fact , only the OP can tell us if his meaning was properly understood or it wasn’t.
Hey Rob, thanks for commenting. And yes, I posted an oddball example just for fun and not serious debate. However, when you state, "the train passing by on the track is not copyrighted property, at best it is noise pollution if you live by it. And recording the sound of a train going by can’t be compared to copying a song someone wrote and recorded, and legally filed documents to protect that property.", apparently music legal council in California disagreed with your theory, as did The Beach Boys and their production staff and I'm sure Mr. Brad Miller would take issue. Your theory doesn't explain why The Beach Boys chose to pay license and copyright fees for noise pollution they had the means, time and talent to get it themselves for free. It's indisputable "that" particular train I referenced passing by on the track "is" copyrighted property with legally filed documents to protect that property.
Think about it. If my neighbor's lawnmower makes a unique, one of a kind funny noise (noise Pollution)but I like the sound so I go borrow his mower without permission to make a HQ recording of the mower noise and use that in a record I make, copyright the song (with the mower sound effect included), isn't the mower sound the same as the train sound in "Pet Sounds"? Isn't the mower sound effect now copyrighted? Haven't I met John's criteria that "If you are using someone else's work you should 1) get permission and 2) pay for the use! If you decide to do it anyway without permission and paying you are stealing."?
What can be argued that remains murky is the 'work' which is intellectual property rather than the physical mower. The sound source belongs to another but with the mower and with the train, someone else has seen the intellect and art of the source sound. It's my contention If I'm using someone else's intellectual property I should 1) get permission and 2) pay for the use! If I decide to do it anyway without permission and paying, I'm stealing. Just because I see value in someone else's property that they don't see doesn't give me permission to use that intellectual property without just compensation to the rightful owner.
I gotcha Charlie. It want the train per se but the sound effect of the train on the album that mister Davis recorded and licensed that was paid for to use.
Hey I’ll bring your mower back tomorrow!
Lenovo Win 10 16 gig ram, Mac mini with 16 gig of ram, BiaB 2022, Realband, Harrison Mixbus 32c version 9.1324, Melodyne 5 editor, Presonus Audiobox 1818VSL, Presonus control app, Komplete 49 key controller.
User Video: Next-Level AI Music Editing with ACE Studio and Band-in-a-Box®
The Bob Doyle Media YouTube channel is known for demonstrating how you can creatively incorporate AI into your projects - from your song projects to avatar building to face swapping, and more!
His latest video, Next-Level AI Music Editing with ACE Studio and Band-in-a-Box, he explains in detail how you can use the Melodist feature in Band-in-a-Box with ACE Studio. Follow along as he goes from "nothing" to "something" with his Band-in-a-Box MIDI Melodist track, using ACE Studio to turn it into a vocal track (or tracks, you'll see) by adding lyrics for those notes that will trigger some amazing AI vocals!
Wir waren fleißig und haben über 50 neue Funktionen und eine erstaunliche Sammlung neuer Inhalte hinzugefügt, darunter 222 RealTracks, neue RealStyles, MIDI SuperTracks, Instrumental Studies, "Songs with Vocals" Artist Performance Sets, abspielbare RealTracks Set 3, abspielbare RealDrums Set 2, zwei neue Sets von "RealDrums Stems", XPro Styles PAK 6, Xtra Styles PAK 17 und mehr!
Add updated printing options, enhanced tracks settings, smoother use of MGU and SGU (BB files) within PowerTracks, and more with the latest PowerTracks Pro Audio 2024 update!
Download and install this to your RealBand 2024 for updated print options, streamlined loading and saving of .SGU & MGU (BB) files, and to add a number of program adjustments that address user-reported bugs and concerns.
Did you know... not only can you download your Band-in-a-Box® Pro, MegaPAK, or PlusPAK purchase - you can also choose to add a flash drive backup copy with the installation files for only $15? It even comes with a Band-in-a-Box® keychain!
For the larger Band-in-a-Box® packages (UltraPAK, UltraPAK+, Audiophile Edition), the hard drive backup copy is available for only $25. This will include a preinstalled and ready to use program, along with your installation files.
Backup copies are offered during the checkout process on our website.
Already purchased your e-delivery version, and now you wish you had a backup copy? It's not too late! If your purchase was for the current version of Band-in-a-Box®, you can still reach out to our team directly to place your backup copy order!
Note: the Band-in-a-Box® keychain is only included with flash drive backup copies, and cannot be purchased separately.
Handy flash drive tip: Always try plugging in a USB device the wrong way first? If your flash drive (or other USB plug) doesn't have a symbol to indicate which way is up, look for the side with a seam on the metal connector (it only has a line across one side) - that's the side that either faces down or to the left, depending on your port placement.
Update your Band-in-a-Box® 2024 for Windows® Today!
Update your Band-in-a-Box® 2024 for Windows for free with build 1111!
With this update, there's more control when saving images from the Print Preview window, we've added defaults to the MultiPicker for sorting and font size, updated printing options, updated RealTracks and other content, and addressed user-reported issues with the StylePicker, MIDI Soloists, key signature changes, and more!
A few excerpts:
"The Tracks view is possibly the single most powerful addition in 2024 and opens up a new way to edit and generate accompaniments. Combined with the new MultiPicker Library Window, it makes BIAB nearly perfect as an 'intelligent' composer/arranger program."
"MIDI SuperTracks partial generation showing six variations – each time the section is generated it can be instantly auditioned, re-generated or backed out to a previous generation – and you can do this with any track type. This is MAJOR! This takes musical experimentation and honing an arrangement to a new level, and faster than ever."
"Band in a Box continues to be an expansive musical tool-set for both novice and experienced musicians to experiment, compose, arrange and mix songs, as well as an extensive educational resource. It is huge, with hundreds of functions, more than any one person is likely to ever use. Yet, so is any DAW that I have used. BIAB can do some things that no DAW does, and this year BIAB has more DAW-like functions than ever."
One of our representatives will be happy to help you over the phone. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday, and 8:00AM to 4:00PM PST Saturday. We are closed Sunday. You can also send us your questions via email.
One of our representatives will be happy to help you on our Live Chat or by email. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday; 8:00AM to 4:00PM PST (GMT -8) Saturday; Closed Sunday.
Norton Music
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean