Does anyone of you "know" it? Can we trust it?

Never heard of them

But they made a good impression on me

I don't "trust" the presence of writing "errors" very much, specifically some words being linked together; I don't know if they are

errors made during the writing phase and attached as a file at a later time, it would need to be verified by someone who

has already used it.

Given the prices on the home page (31 euros per deposit), SIAE costs less (150 euros this year... let's hope it disappears from the face of the earth).

In any case, it only certifies the possession of copyrights but certainly not their distribution: in practice, the piece is yours, but if someone broadcasts it on Rai1, you don't get a cent.

Zedef wrote:

Siae costs less (150 euros this year.. let's hope it disappears from the face of the earth).

It depends on the formula anyway; SIAE is also expensive and steep if it's just about protecting authorship. Let's say that if someone wanted to register a few works just to preserve their authorship, it could be considered. Being regularly enrolled and paying 150 € a year for your whole life for just one song (or a few) is really not worth it.

Since when does the annual SIAE tax cost 150 euros????

It's always been about 91 euros, since when did this story start?

Siae is not clear about certain things; I have been renewing deposits at the Olaf for years, solely because years ago they still maintained the admission "exam" for composers,

and not having a million to spend on this "procedure," perhaps risking throwing it away, I had to do it that way, but it is also true that they themselves did not inform me properly,

there is no telling how many times I asked about the difference between depositing at the Olaf and at the music section; I didn't care at all about the distributions and the money, because whatever I do, even if it is

distributed (as has already happened), will never be used, so that is not the point; what interested me was the method of protection, and they always tended to specify the issue

of rights; in the end, an employee at the Olaf counter once came out with this phrase: "Who cares, cancel the deposits you have here, you won't pay anymore and move everything to the music section",

oh yes, so in the meantime I let dozens of pieces circulate for a few years, I cancel the deposit—so truly, in that case, if someone has reused part of some piece, what am I supposed to tell them?

They certainly have practical sense, don't they.

Then another thing I didn't like was this: at the Olaf, a gentleman arrives and asks if there is perhaps already a story deposited with the same title with which

he wants to protect it, and he is answered "we cannot tell him"; I was standing there, and if I hadn't stopped myself, I would have replied "and sure, that way if the gentleman incurs a case of plagiarism, even if only for the title,

you will still get some money from the ongoing lawsuit" (which you should anyway use to support the people involved while Siae just stands by watching); it is absurd, communicating the existence of a title

is not like revealing the content of a software source code or indeed a score; these things don't add up.