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cheyenne_h on 08/15/2018 at 02:13PM

4 Reasons You Might Encounter a Content ID Match on YouTube

YouTube's sadface for copyright violators.

It happens to many of us at one time or other - a copyright claim on a video you've uploaded to YouTube!

[*dramatic music plays*]

How does this happen? Through YouTube's "Content ID" system.

Content ID relies on third-party companies that feed YouTube content to "watch" for matches. If your video is flagged, it simply means that the video or audio has matched to something in a Content ID database. Don't worry! The best approach is to reach out to the artists themselves, and I'll explain why below. You're not alone. And you may be confused about why this has happened to you, even though you may have been using correct attribution and meeting the requirements of the license. There are a few potential reasons - and that's why I'm writing this. 

1. The music you tried to upload isn't licensed for video. 

Oops! Did you read the license? If it has "ND" anywhere in it, that means it's not intended for use in video without further permission. That means that anything licensed CC BY-ND or CC BY-NC-ND is not intended for use in video. Period. YouTube is the biggest online video platform there is - so it's the first place most musicians want to protect themselves and their intellectual property when it comes to derivative uses (like videos).

If you want to use something with an ND in the license for video, you need to ask the artist for permission. The FMA cannot license music, and we cannot change licenses to suit your needs, so please don't ask. If we have contact info or leads, we can occasionally help people out with getting in touch with an artist, though. 

2. An artist wants to share their audio, but also wants to make sure you're doing it right.

Some artists on the FMA use YouTube's Content ID system to protect their intellectual property, and by registering their work with ContentID, they are able to keep tabs on how, and where, their tracks are being used. If this happens to you, don't panic - wait until you have talked to the artist about it. They may be using ContentID to ping them when someone is using their track, and to make sure it is in compliance with the license they used to share it. 

Many artists have added notes to their profiles about this very thing, and if they haven't, we recommend reaching out directly to the artist if you get a Content ID match from a video with their song included. Many artists, upon seeing that a track is properly attributed/shared, will waive the copyright claim and everybody's happy -- but it is best if you ask them about it if you get a claim on your video.

3. A troll may have registered an artist's music to Content ID without their knowledge in an attempt to monetize music they did *not* make. 

Since artists can't manage their catalogues in YouTube's Content ID system directly (third party services do this for them), some may not even realize it's being claimed (or by whom)! This isn't common, but it does happen. So, if you noticed something weird going on with a track you thought you could use, please contact the artist! You could be alerting them to abuse or misuse of their music and preventing a freeloader from making money off of art they did not make. 

4. An artist has chosen to share music on FMA, and wants to control distribution on YouTube.

Some artists use ContentID to monetize videos that contain their music. This is a tricky one, because technically, they are allowed to do so, according to the way ContentID works. It favors the rightsholders of music pieces (and things like TV and films that already exist) more than the creative work that a videographer may have put into a video. This can seem unfair to video makers, since they may not be allowed to monetize a video they created, and their video may be subject to an advertisement they didn't plan on.

This is another example of "Talk to the artist about it" -- they may agree that compromise is the best route and remove the ad. Or they may encourage you to add a different soundtrack to your video, because they are making money off of the song on other YouTube videos. Everyone is different - we have more than 20,000 artists on our site, so it varies from person to person. 

Since the FMA has had no luck when trying to contact YouTube for information about what is in their Content ID databases, we cannot predict which songs may match from our site to theirs. If we had the capacity to predict or manage this, we would love to, but we cannot do so without their cooperation. To all you cranky users who have had this happen and demand that music be removed from the archive because of it: sorry, but the Free Music Archive's collection doesn't exist solely for use in YouTube videos. Quite the contrary; we only remove music at the request of artists or rightsholders. 

If you make videos often, YouTube has a bunch of resources, including this helpful article, that you might want to bookmark! We also have a whole section of our site, Music For Video, with pre-selected songs for use in videos. And a FAQ for Filmmakers. And this article. And a License Guide. All free, all here to help you. And we hope this article was helpful, too.

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joanalsina on 08/26/2016 at 09:59AM

¿A quien pertenece la música? [spanish]

Free as a bird

Antes del humanismo del siglo XIV y del "star system" del renacimiento italiano, se podría decir que el artista era, o bien un artesano más que se ganaba la vida realizando encargos, o bien alguien talentoso que se dedicaba a expresar algo porque sí. En este segundo caso, el medio artístico más habitual era la música.

Hacer música era muy barato, bastaba tener algún instrumento y una voz. El carácter efímero de la música, que solo existía cuando se producía en directo, hizo de este arte el mejor vehículo expresivo para cualquier clase social. Cantaban los monjes, los caballeros y las damas, cantaban los escuderos, los borrachos, los campesinos, cantaban los pescadores, los niños y los abuelos, cantaban los reyes y los esclavos.

Por este motivo, es habitual que se desconozcan los autores de la mayoría de canciones populares que tengan más de cien años. Afortunadamente, siempre ha habido alguna alma caritativa que dedicara su tiempo a recoger, fijar, y incluso hacer la notación musical de cantos tradicionales. Es lo que se conoce como cancioneros, que en muchas ocasiones, en lugar de música han recopilado poesías. En cualquier caso, que el autor de una canción sea conocido o no, no ha preocupado jamás a quien la canta.

Después del siglo XV el arte comenzó a tener nombre y apellidos. Esto, claro, en los círculos de élite que contaban con el mecenazgo de la nobleza, la burguesía o la Iglesia. En las esferas sociales humildes, la creación y difusión del arte, especialmente de los cantos, siguió su sendero popular y anónimo. 

Los Románticos

Probablemente es en el siglo XIX, por la influencia del romanticismo, que el pasado toma un valor esencial para descubrir el alma de los pueblos y las naciones. ¿Y de qué está hecho este pasado?, ¿cómo lo podemos conocer? Pues a través de los vestigios que éste nos ha dejado: las ruinas, los textos, los cuadros… y las canciones!

El interés de los románticos por el “yo”, la autoafirmación del artista, mezclado con el interés por la preservación del arte (herencia del positivismo), dan lugar al inicio de los “derechos de autor”. Nadie puede, ni debe, copiar al artista, ni manipular sus obras! Cuando, en cambio, en la Edad Media, encontramos argumentos del Decameron de Boccaccio en obras de otros autores, o personajes de un autor que aparecen en la obra de otro. Y probablemente, cuando el retablo románico de una iglesia ya estaba muy deteriorado y no se apreciaba la anunciación del ángel a María, venia el artista barroco de turno al cabo de 400 años y lo volvía a repintar encima. Y, oye, aquí no ha pasado nada.

Hoy

Desde que Emile Berliner patentó el gramófono a finales del siglo XIX, que permitía grabar y reproducir sonidos en un soporte plano, la música se volvió algo fijable y durable en el tiempo. Así llegó a parecerse a la pintura, la escultura, la literatura… Dicho invento hizo de la música algo vendible, más allá de los conciertos, las veladas o las cosechas bajo el sol.

Algo que siempre había sido gratuito pasó a ser también comerciable. Hollywood y The Beatles lo petaron con el Star System y el fenómeno fan. La música dejó de ser un lujo para la aristocracia o una diversión para el pueblo y pasó a ser un negocio lucrativo sin fronteras sociales. Pero no solo el artista, sino mucha más gente comenzará a chupar del bote. Lo que sea por un único objetivo: tener éxito. 

Esta perversión de la música, como todo, tiene sus cosas buenas y sus cosas malas. Lo mejor: permite que lo bueno de un artista llegue a todo el mundo y este pueda vivir de ello. Lo peor: disminuye la gratuidad, lo gratis no genera beneficios económicos.

FMA

Internet ha abierto un mundo de intercambio nuevo. El negocio de la música se ha tenido que reinventar. Pero ahí siguen manteniendo el tinglado. Aún así, el acceso a la música ha mejorado mucho! Pero lo mejor es que hay sectores, nuevas generaciones de artistas, que saben que el éxito no son las ventas sino los shares y los likes, y estos no se compran, se consiguen.    

FMA ha puesto al alcance del mundo (que no es poco) la música libre. Libre de qué? de derechos de autor? No. Libre de mercados, multinacionales y sanguijuelas.

Los autores siguen siendo autores, y su reconocimiento sigue siendo el del público. FMA abre el espectro con licencias de uso que protegen los artistas legalmente, pero que te permiten acceder a la música gratis. GRATIS! Como siempre ha sido la música. Lo bueno, lo bello, siempre ha sido un regalo. Hacer pagar por ello es una perversidad. 

 

Gracias FMA!

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cheyenne_h on 02/26/2015 at 09:00AM

Radio Free Culture #38: Wishing You A Happy Fair Use Week with Ellen Duranceau

"Transmitters-5" by Adam Bowie. 2011. CC BY-NC-SA via flickr.

Happy Fair Use Week 2015! WFMU and the Free Music Archive are proud to bring a special episode of Radio Free Culture, a weekly podcast exploring issues at the intersection of digital culture and the arts, for this occasion. 

In this episode, Cheyenne Hohman, RFC host and current Director of the FMA, spoke with Ellen Duranceau, a librarian at the Massachusetts Institute of Technology and copyright/fair use expert. We talk about the four elements of fair use, how to determine if your use is fair, and talk about other issues around the edges of copyright, music, technology, and more. For more info, try fairuseweek.org, the Fair Use Week tumblr, or check out this Fair Use cheat sheet

Check out the podcast on WFMUPRX, or subscribe to the Radio Free Culture via iTunes, or listen here: 

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cheyenne_h on 11/27/2014 at 09:45AM

Radio Free Culture #25: WFMU's Secret Weapon with Ken Freedman

"Transmitters-5" by Adam Bowie. 2011. CC BY-NC-SA via flickr.

WFMU and the Free Music Archive are proud to present a new season of Radio Free Culture, a weekly podcast exploring issues at the intersection of digital culture and the arts. 

In this episode, Cheyenne Hohman, current Director of the FMA, spoke with Ken Freedman about WFMU, a well-known noncommercial & freeform radio station in Jersey City, NJ. WFMU created the Free Music Archive, and Ken talks about its origins, copyright laws of yore, and more. 

You can find more information about WFMU at their curator page

Check out the podcast here, or subscribe to the podcast here (via iTunes).

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cheyenne_h on 10/23/2014 at 01:45AM

Radio Free Culture: Orphan Works

"Orphanage No. 3" Moscow, Licensed under Public domain via Wikimedia Commons. Modified w/text. Unknown photographer.

WFMU and the Free Music Archive are proud to present a new season of Radio Free Culture, a weekly podcast exploring issues at the intersection of digital culture and the arts. 

For this episode we spoke with John Bergmayer from Public Knowledge about Orphan Works. An orphan work is a work for whom the copyright holder cannot be identified or contacted.

Check out the podcast here, or subscribe to the podcast here (via iTunes).

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