Rus Articles Journal

How the figure ruined a copyright? Part 3. Internet of

of Demonbaby, “Death of Oink and short history of suicide of the sound recording industry“: “Time of large labels ended with

.... You burn down completely, and we will dance around this fire. And you are guilty of it. Undoubtedly, somewhere at heart you knew that this day will come, the truth? All your industry is based on dishonest business - models - you own art which was not created, in exchange for the services provided by you. Everything is arranged therefore you always win - even if the musician not bad earns, you earn ten times more. And this model could exist only because you controlled distribution, but now everything returned to hands of people, you dropped a ball, and could evolve“.
In the beginning, apparently, nothing portended to

trouble. Capacity of the Internet was weak, and a MP3 - files which users exchanged, were the small sizes and, respectively, poor quality. Therefore drawing up a MP3 - collections how many initial acquaintance - a peculiar demo - listening was the purpose of an exchange not so much. License CDs were extremely expensive (about $20) to poor students to buy them “blindly“ or to rely on one hit untwisted by music channels. If the listened in the MP3 format, musical material pleased, the listener usually went to shop and got a necessary compact - a disk.

However the similar situation lasted not for long. Possibilities of the World wide web grew, quality of a MP3 improved, and a compact - disks remained same unfairly expensive. Plus to everything the MP3 format allowed to store a huge record library directly on the hard drive of the computer winchester that relieved the user of tiresome change of disks. Soon the Internet was filled with the websites on which by music lovers - the astronomical quantity of a MP3 - music on the most different and most whimsical taste was uploaded enthusiasts. At first the requested music was spread only on temporary pages which later time disappeared. Still! - greedy eyes of owners already began to monitor distribution of a MP3.

And then in 1999 the American young man by the name of Sean Fanning creates the so-called file exchange Napster network. Cunning was that the Napster server in itself did not contain any musical production. But, thanks to it, all registered users could exchange easily a MP3 - the files which are stored on the computers. That is, Napster provided only services of the intermediary and the informant about what musical collection at whom.

It is no wonder that popularity of a file hosting service grew as a snowball. Feeling already real danger, audiomagnates in 2000 attacked on Napster, having called to the aid of RIAA (The American association of record companies asserting their rights). To crown it all claims to a file hosting service put forward METALLICA group and the rapper of Dr. Dre. After long drudgeries - in February, 2001 - the court passed the decision to close Napster. The server replaced owners and turned into the usual Internet - shop selling license a MP3.

By the way, creation the Internet - shops was though reasonable, but overdue attempt of audiomagnates to take in hand control over distribution of music on the Internet. That bought a MP3 did not compete to license compacts, various tricks were applied. Files spread with the underestimated bitrate, on them protection against copying was put, and sometimes they even ceased to play later the allowed time. All this helped poorly. On any protection by enthusiasts programs them bypassing were right there created. Besides the Internet - shops were designed, first of all, for people with laziness. Those for whom money was more important than time could find easily the required reference on free (and often with higher quality) a MP3. Of course, the websites where free music is stored openly, nowadays remained a little. But there was a set of cunning and hardly perceptible systems of storage and downloading - different file hosting services, “donkeys“ (eDonkey) and torrents dominating now.

Having absolutely flown into a rage, audiomagnates began to enter rigid repressions in the relation not only distributors illegal a MP3, but also (unprecedented precedent!) consumers. Let`s say you can be condemned already for the fact that your child downloaded where - nibud counterfeit a MP3. It was already the act of powerlessness. It is clear that to check all Internet users it is unreal, but to embitter very easily.

In fact, audiomagnates elementary greed ruined. You should not forget that the rights for records belong not to musicians at all, and to sound recording labels. Only copyright, and also (if there is an arrangement) assignments from sales are reserved for musicians. Anyway the main cream of profit from sales of CD is skimmed off not by authors, and the audioindustry.

Greed and inertness of “sellers“ of music led to the fact that sales volumes a compact - disks promptly fall. If in 2000 the companies sold 2,5 billion CDs, then in 2006 - is twice less.

All these processes call into question effectiveness of the old relations in the sphere of copyright and the audioindustry.

Demonbaby, “Death of Oink and short history of suicide of the sound recording industry“:

“... I do not know what will be future model. I believe that all existing details of this mosaic will remain, but their order and rules will exchange. Perhaps, the writing-down companies of the future will exist to operate costs of record, and to advance actors, but they will not own music. Perhaps, music will be free, and musicians will earn from concerts and the accompanying goods and if they need to write down an album, then the writing-down company will draw interest from profit from concerts and sales of goods. Perhaps, completely digital writing-down companies will give to groups of means which will allow them to sell music directly to the admirers, and will only take small percent for the provided services. Anyway, performers will own music“.

New technologies influenced not only musical business. Also our relation to music changed. The listener appeared face to face with such sea of musical information of which could not dream earlier. And if earlier the available collection of disks (anyway limited) was a face of the music lover, then now it is, first of all, selection of music. The musical collection became extremely individual.