Tag Archives: publishing

Ep.5: Wolfgang Senges, C3S (DMT 1-2-1)

This week on DMT 1-2-1 Andrea Leonelli interviews Wolfgang Senges (twitter.com/wolfgangsenges), project lead and biz dev at C3S, a not-for-profit project that aims to become a new music collection society operating first out of Germany and then throughout Europe. C3S wants to make it easy for songwriters to be able to chose a Creative Commons license. See below the embeds for the questions in the interview (and their timing, so you can skip ahead if you want to) and visit http://www.c3s.cc for more information.

00:37 What is C3S?

02:15 In English C3S stands for Cultural Commons Collecting Society so a strong tie-in with Creative Commons as you mentioned before. What are the challenges in Germany and other European territories when it comes to musicians and Creative Commons?

04:30 There are some hugely complex processes involved in the day-to-day maintenance of a collection process, how do you plan on starting out C3S as an organism that can meet those challenges?

06:37 There must be an overlap at times between artists that want to be with Gema but that also want to have tracks live with Creative Commons licenses especially given how easy is to post tracks under CC on services like Soundcloud. How does that overlap work?

08:00 What is the feeling amongst artists in Germany about some of the latest developments for example in regards to the deal with YouTube?

09:35 Looking at the roadmap for C3S it’s a of course going to be a relatively long process, what are the next steps?

11:21 Do you find there are restraints or legal roadblocks in setting up an alternative to what is still essentially a monopoly since in Europe you only have one collection society in each territory?

14:10 Looking at some of the companies that are making good use of Creative Commons I was quite surprised to hear that one of the artists on your panel at SXSW mentioned how the amount of usage his music was getting changed overnight when he went from free for non-commercial use to free for commercial use which really enabled him to get music licensed on a number projects – people seem to be looking for free music even in a commercial setting. But the scary part is that you could see large corporations decide to save on music and use free creative commons tracks, and does that generate enough exposure for the artist to justify the music being free. Do you see that as being a problem?

17:00 And just to clarify for artists that may be listening if you do offer your music via Creative Commons allowing that to be for commercial use as well, what is the process? Do the people that decide to use the track for commercial use have to get in touch with you anyway? I guess that’s a major concern for artists.

20:00 That’s a very important point as it makes it even more glaring how there’s the need for a society like C3S that can take care of people that are using Creative Commons to help guarantee their rights. If you’re an independent musician working alone with Creative Commons it may be very daunting to initiate any sort of litigation if someone breaches your copyright so having someone backing you like C3S would be pretty great.
Looking at the next 12 months what are your biggest challenges as an organization? Funding?

Ep.5: Wolfgang Senges, C3S (DMT 1-2-1)

This week on DMT 1-2-1 Andrea Leonelli interviews Wolfgang Senges (twitter.com/wolfgangsenges), project lead and biz dev at C3S, a not-for-profit project that aims to become a new music collection society operating first out of Germany and then throughout Europe. C3S wants to make it easy for songwriters to be able to chose a Creative Commons license. See below the embeds for the questions in the interview (and their timing, so you can skip ahead if you want to) and visit http://www.c3s.cc for more information.

00:37 What is C3S?

02:15 In English C3S stands for Cultural Commons Collecting Society so a strong tie-in with Creative Commons as you mentioned before. What are the challenges in Germany and other European territories when it comes to musicians and Creative Commons?

04:30 There are some hugely complex processes involved in the day-to-day maintenance of a collection process, how do you plan on starting out C3S as an organism that can meet those challenges?

06:37 There must be an overlap at times between artists that want to be with Gema but that also want to have tracks live with Creative Commons licenses especially given how easy is to post tracks under CC on services like Soundcloud. How does that overlap work?

08:00 What is the feeling amongst artists in Germany about some of the latest developments for example in regards to the deal with YouTube?

09:35 Looking at the roadmap for C3S it’s a of course going to be a relatively long process, what are the next steps?

11:21 Do you find there are restraints or legal roadblocks in setting up an alternative to what is still essentially a monopoly since in Europe you only have one collection society in each territory?

14:10 Looking at some of the companies that are making good use of Creative Commons I was quite surprised to hear that one of the artists on your panel at SXSW mentioned how the amount of usage his music was getting changed overnight when he went from free for non-commercial use to free for commercial use which really enabled him to get music licensed on a number projects – people seem to be looking for free music even in a commercial setting. But the scary part is that you could see large corporations decide to save on music and use free creative commons tracks, and does that generate enough exposure for the artist to justify the music being free. Do you see that as being a problem?

17:00 And just to clarify for artists that may be listening if you do offer your music via Creative Commons allowing that to be for commercial use as well, what is the process? Do the people that decide to use the track for commercial use have to get in touch with you anyway? I guess that’s a major concern for artists.

20:00 That’s a very important point as it makes it even more glaring how there’s the need for a society like C3S that can take care of people that are using Creative Commons to help guarantee their rights. If you’re an independent musician working alone with Creative Commons it may be very daunting to initiate any sort of litigation if someone breaches your copyright so having someone backing you like C3S would be pretty great.
Looking at the next 12 months what are your biggest challenges as an organization? Funding?

Ep.5: Wolfgang Senges, C3S – DMT 1-2-1

This week on DMT 1-2-1 Andrea Leonelli chats to Wolfgang Senges (twitter.com/wolfgangsenges), project lead and biz dev C3S, a not-for-profit project that aims to become a new music collection society operating first out of Germany and then throughout Europe. C3S wants to make it easy for songwriters to chose a Creative Commons license. See below the embeds for the questions in the interview (and their timing, so you can skip ahead if you want to) and visit http://www.c3s.cc for more information.



 

00:37 What is C3S?

02:15 In English C3S stands for Cultural Commons Collecting Society so a strong tie-in with Creative Commons as you mentioned before. What are the challenges in Germany and other European territories when it comes to musicians and Creative Commons?

04:30 There are some hugely complex processes involved in the day-to-day maintenance of a collection process, how do you plan on starting out C3S as an organism that can meet those challenges?

06:37 There must be an overlap at times between artists that want to be with Gema but that also want to have tracks live with Creative Commons licenses especially given how easy is to post tracks under CC on services like Soundcloud. How does that overlap work?

08:00 What is the feeling amongst artists in Germany about some of the latest developments for example in regards to the deal with YouTube?

09:35 Looking at the roadmap for C3S it’s a of course going to be a relatively long process, what are the next steps?

11:21 Do you find there are restraints or legal roadblocks in setting up an alternative to what is still essentially a monopoly since in Europe you only have one collection society in each territory?

14:10 Looking at some of the companies that are making good use of Creative Commons I was quite surprised to hear that one of the artists on your panel at SXSW mentioned how the amount of usage his music was getting changed overnight when he went from free for non-commercial use to free for commercial use which really enabled him to get music licensed on a number projects – people seem to be looking for free music even in a commercial setting. But the scary part is that you could see large corporations decide to save on music and use free creative commons tracks, and does that generate enough exposure for the artist to justify the music being free. Do you see that as being a problem?

17:00 And just to clarify for artists that may be listening if you do offer your music via Creative Commons allowing that to be for commercial use as well, what is the process? Do the people that decide to use the track for commercial use have to get in touch with you anyway? I guess that’s a major concern for artists.

20:00 That’s a very important point as it makes it even more glaring how there’s the need for a society like C3S that can take care of people that are using Creative Commons to help guarantee their rights. If you’re an independent musician working alone with Creative Commons it may be very daunting to initiate any sort of litigation if someone breaches your copyright so having someone backing you like C3S would be pretty great.
Looking at the next 12 months what are your biggest challenges as an organization? Funding?

DMT 111 – Streaming Windows, Digital Groceries and Fairness

This week on Digital Music Trends I’m joined by Darren Hemmings (@mr_trick) and Sam Taylor (@saaaaaam). We talk about:

– AC/DC landing on iTunes (finally) and the parallels to hold-outs now happening in the streaming world including Rihanna’s latest album release

–  digital groceries, as UK supermarket giant Tesco plans to integrate recently acquired music streaming service We7 into its video distribution brand Blinkbox, discussing the role large-scale retailers can play in this area and whether the fact that they don’t actually need to make a profit from these services could damage stand-alone music and video distribution companies.

– the latest on the Internet Radio Fairness act including some of the numbers unveiled by songwriters in regards to royalties received by Pandora

– finally we do a quick overview of the music industry events happening in the first part of 2013 including Eurosonic, Midem, SFmusictech, SXSW and the Great Escape.

You can find the show-notes with links to all the relevant articles/sources here : http://bit.ly/DMT111notes

I hope you enjoy this week’s show, have a great one and ’till next time!

Andrea Leonelli (@digimusictrends)

http://www.digitalmusictrends.com

 

DMT 90 – Songtrust

This week on the show an interview with Justin Kalifowitz, co-founder of the start-up Songtrust. The company offers a digital rights management solution that allows songwriters to manage their publishing online. Amongst the services offered by Songtrust is the payment of royalties from international collection societies and the company also offers different membership tiers according to the songwriter’s requirements as well as an account aimed at bands.

DMT – Episode 90 – Songtrust Songtrust by digitalmusictrends

Check out:
http://www.songtrust.com
http://www.twitter.com/songtrust

Have a great week and ‘tll next time.

Andrea Leonelli
Digital Music Trends
http://www.digitalmusictrends.com
http://www.soundcloud.com/digitalmusictrends
http://www.mixcloud.com/digitalmusictrends
http://www.twitter.com/digitalmusictrends
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