Of course that got my attention, and you might want to check out their on-line document that discusses what they call “Corporate Piracy.” The basic premise is that the companies making piracy possible—ISPs, ad-supported search engines, smartphone companies with music storage capabilities, and the like—are benefiting from the work of artists and musicians, but don’t pass on any of those benefits to the people who actually create the content.
I initially considered this a bit of stretch—if someone uses a search engine to find a pirated copy of music, that’s hardly the fault of the people running the search engine. However, that’s not the only perspective.
My interpretation of this stance is it basically acknowledges that the digital genie is out of the bottle, and there’s no way to put it back: people will steal music. And if that’s what they’re thinking, I can’t really argue (I sent this article to Ole and asked if they wanted to comment; as of press time I hadn’t received a reply). But what they’re also saying is that many corporations, while making money off the genie being out of the bottle, aren’t commanding that genie to give anything back.
Now, you could also make a case that they’re making money out of helping you find the hours a restaurant is open. In that case, though, there’s compensation: The search engine makes money off your looking for the restaurant, but the restaurant makes money from you going there and having dinner. That’s certainly a fair trade that benefits all concerned.
However, if the search engine leads you to a place where you can steal music, it’s a different story. Ole appears to be advocating a tax on certain corporations that benefit from the digital genie being out of the bottle, similar to how a tax was put on blank media to compensate a pool of copyright holders.
Would such a system be perfect? Not even close—there’s no way to make sure that all musicians would be compensated fairly. And there’s no way to gauge who’s using which ISP to steal what. And what about ISPs that are conscientious about blocking pirate and warez sites? Would they be subject to the same fees as ISPs that make no effort to block these kinds of activities?
As with all aspects of piracy, there are plenty of questions and no easy answers. And while I’m not at all convinced the answer is a modern version of the blank tape tax, by identifying what they call “corporate piracy” as distinct from individual consumers, Ole has raised an interesting question.
|This Week on HC|
With over 7.7 million views, Harmony Central’s YouTube channel is the go-to destination for those who want to see a bunch of cool videos—with the centerpieces being our artist interviews and trade show coverage. What’s more, after each trade show we assemble a playlist of all the show videos so you can just click on play, sit back, relax, and get your dose o’ gear. With bigger shows, like Winter NAMM, we even create specialized playlists for guitar, recording, iOS devices, keyboards, DJ, and more.
The Summer NAMM 2012 playlist has 73 videos, from the first pre-show trailer to the last video before they turned out the lights—2 hours and 15 minutes of total running time, all in 16:9 widescreen format. You’ll see all of the show’s “greatest hits” assembled in one place, although of course you can also skip forward or backward through the playlist (and if you like surprises, select shuffle).
Naturally it’s still easy to cherry-pick individual videos, but playlists are a great way to get the full trade show experience—packed into about the same time as the average feature film. Enjoy!
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Catch up on what happened at Summer NAMM with the “official” photo and video threads. The show was supposed to be a snooze, but apparently the industry forgot to take that into account.
The Pro Review section is really hot—the page views keep piling up, the reviews get more and more in-depth, and there’s a wealth of tips, techniques, suggestions, and manufacturer interaction. Nothing else covers gear in such depth, or with such a high degree of interactivity.
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There’s more to life than solidbody basses—and as this thread shows, maybe it’s more accurate to say there’s a lot more to life than solidbody basses.
It was a big deal at the Summer NAMM 2012 show—so the Keys, Synths, and Samplers community wraps its collective head around the differences and similarities with the first generation Kronos keyboards.
Planning to rewire your house to accommodate a studio? How much current is necessary? What about grounding? Although you’ll need a licensed electrician for the final answers and to do the actual work, this thread is great for finding out what questions you need to ask, as well as some "best practices" for studio wiring.
What are the odds of needing a spare drum head? Is carrying backup heads prudent, or overkill? The Drum forum has some nuanced answers for what might seem on the surface like a simple question.
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