SIAE regulations for tracks published on a personal website

I think it is good to read this topic that I had opened. For precise questions, I am not the most expert.

http://www.pianoconcerto.it/forum/index.php?/topic/2193-youtube-e-i-diritti-dautore

ScalaQuaranta wrote:

type, to use the various appropriate terms, e.g. "copyright reserved" or "all rights reserved", etc.

The wording is not mandatory; eventually, a publisher will include it if you grant them the rights... the "problem", as noted in the topic proposed by Dante, is eventually the act of publication... an act which also includes publication on a website, even more so:

ScalaQuaranta wrote:

inserting a demo video of my pop-jazz quartet, a summary of our repertoire which however consists of published and well-known pieces. how should I behave regarding this?

Those who listen should pay, and to use songs by others under the 70-year restriction, you would need the author's permission. In the case of “senza vincolo” [without restriction], it is SIAE that establishes the percentages between yours and the original (paying the due tax for the commission that evaluates everything).

I hope this is clear

The virtual sticker is something that dates back about ten years ago... I don't know if it's still in vogue, but I doubt it. I will look into it and anyway I would take a little trip to SIAE... just to be sure not to make a mistake.

Zazza wrote:

The virtual stamp is something that dates back about ten years ago... I don't know if it's still in vogue, but I doubt it. I will look into it and anyway I would take a little trip to SIAE... just to be sure.

A look at the SIAE website wouldn't hurt either; regarding the stamp, it means:

http://www.siae.it/Olaf_sw.asp?click_level=1200.0400&link_page=olaf_sw_tariffe.htm

ScalaQuaranta wrote:

i am also thinking of including a demo video of my pop-jazz quartet, a summary of our repertoire which however consists of published and well-known tracks. how should I behave regarding this?

If you haven't recorded them, you don't owe anything to SIAE... Gerardo's point about the 70-year restriction makes perfect sense

For your tracks, if you are a SIAE member and have registered the tracks, you can publish your works on your self-promotion website

http://www.siae.it/UtilizzaOpere.asp?click_level=0600.0700.0700.2000&link_page=Multimedialita_MusicaSitiWeb_Autopromo.htm

by paying an annual fee (about 65 euros if you register up to 30 tracks/works and your web pages do not exceed a certain number of views...

for other cases I don't know...

http://www.siae.it/F...nternet_faq.htm

For songs that are not yours, I would put links to YouTube on your site ... that way you avoid problems.

A piece of advice: I am about to cancel my membership with SIAE; I absolutely do not justify their increase regarding the annual fee, furthermore everything could be improved, and for the deposit of other "creations" the procedures are quite ridiculous (I have personally heard things that make no sense at all), and I have recently switched to SafeCreative: 40 euros per year, unlimited deposits at any time, modification of deposited pieces, titles, and every other detail at any time, issuance of a certificate attesting to the completed deposit, etc...

I also thought about the problems, obviously: if their server or servers "go down," the digital certificate is a code and therefore there is no printed score, so what do we do?

However, it is possible to deposit everything: projects, drawings, scores, audio, software, everything; whereas for these other "things," SIAE provides a service that costs 110 euros (I don't know if it has increased following the fee for the music section), and it serves "only" to testify that such repertoire was deposited on that date, but what if the SIAE archive catches fire? What if their servers also go down, where the scanned files of the deposited works are surely (I think and hope) archived?

Obviously, paper is still the best thing, even nowadays, but I had to make a choice, and at least I don't feel comfortable continuing to entrust them with my deposits.

Piccinesco wrote:

but what if the SIAE archive goes up in flames?

You have a receipt in your hand with the repertory number, which is valid regardless of any potential fire in the SIAE archive, which I hope is digitized and has management mechanisms for disaster situations.

Today, no serious company exposes itself to such risks, so I doubt that a fire alone would be enough to lose everything

Yes, I know they scan everything and more or less you have the receipt, but if it catches fire (absurdly enough, and the software data goes with it) what am I supposed to do with the receipt? I still have the files and the scores that I print at home,

si, they are exposed in any case; let's say that from a certain point of view, there is an aspect present in almost every one of us, which would be the support and the conviction that what we do has meaning and value (all debatable, obviously), so various factors must link up for a deliberate, sought-after plagiarism to occur, and one of these, unfortunately, is money, but also envy—things that can anyway be automatically disproven by the style of the plagiarized person, provided they are recognizable (not "solely" based on constructs clearly recognizable at a technical/compositional level, regardless of musical genre in this case).

The fact remains that most likely (here it is, the "old man" speech) perhaps once things were better, because they didn't create (perhaps, maybe those more obsessed vs. those less so) too many problems; their will was to write, to express, and the worry of checking here and there if something had been used was I think less, given the non-existence of music distribution means compared to today.

I am saying these things because at SIAE I have always heard things that were a bit so-so: deposits made more or less well, poorly, or even worse, "on the word" of the depositor "yes, this is not transcribable," in their own mind of course, because for convenience certain people do not make an effort to produce feasible material.

At this point, if I buy a stamp and create a logo (also), can I stamp the scores and then send them around; from that moment on, who could say "no, I wrote this first" (like kids do)?

In the end, SIAE will also be recognized as the responsible entity, but to me it is not very credible, especially in relation to what should be its main action: verifying every work thoroughly, establishing feasibility of performance, etc., and not just thinking about the proceeds, which is what it actually does.

I would have a crazy idea to propose to someone, but the field is so vast that it would perhaps take an entire lifetime (and I don't even know if it would be enough) to realize it, but it would be of great (I think) utility for those who compose.

Piccinesco wrote:

Yes, I know they scan everything and more or less you have the receipt, but if it catches fire (absurdly enough, and the software data goes with it) what am I supposed to do with the receipt?

In short, a collective catastrophe is being hypothesized: SIAE, specifically the archive and the publisher...

Piccinesco wrote:

The fact remains that most likely (here it is, the "old man" talk) perhaps once things were better

Before when? Let's just say that Verdi laid the foundations of SIAE

Come va, the problem isn't natural disasters... The fact is that the annual fee has almost doubled, you have to pay if you work hard to promote yourself (which they should be doing, think about it...!!!) and now royalties are paid "as a lump sum". In short, it's a useless bureaucratic machine that scrapes the bottom of the barrel of the poor fools who signed up (myself included, and first of all, of course).

I want to cancel my subscription and I have to hurry, because it must be done three months before the fee expires.

Exactly CromaDiBrera, at most the good old days were when, during a concert, you had technical staff working behind the scenes who would pester you to include their songs in the setlist so they could make some money

Now, who does that? Probably a symptom of the fact that it is taken for granted beforehand that you won't get anything anyway

Hi, I'm posting an interesting link reported to me by a friend.

http://loscrignodidunn.blogspot.it/2012/11/siae-bye-bye.html?m=1

I have carefully read your comments, although it seems to me now that we are going a bit off topic.

I am jumping back in to provide some information and to get your opinions on the matter.

So.... browsing the SIAE website, I actually confirmed that this fee exists upon request for a license.

I also saw that the tracks I have deposited so far are included in the list of those subject to this fee (even though those I want to publish on my site have yet to be deposited.... um.... actually, they still need to be written first!).

Well.... so, if it has to be paid, let it be paid.

However, first I would like to understand the principle behind all of this.

As an ignorant person on the subject, I can't help but think:

"But how?? I am a SIAE member... I pay a hefty annual fee.... sometimes I don't even pay it, but only because I manage to have my tracks played in various programs and I receive "crumbs" of proceeds (but even before me, SIAE itself).... and I have to

pay to showcase on the web those very same tracks that SIAE already lives off of?.... something doesn't add up!"

How shall I put it.... to think the worst is a sin.... but one isn't wrong!

Now, I would like to understand if my "thinking the worst" is logical and consistent, or if it is based on erroneous concepts.

What do you think?

The point is, Scala is as if you were to publish... are those that publishers do (and must pay) present?

@ScalaQuaranta

It is a bit like the case of self-production, given that one doesn't know who will "consume" your music (passing through your forum), you pay them in advance...

Ludovica wrote:

@ScalaQuaranta

The case is a bit like self-production, given that one doesn't know who will "consume" your music (passing through your forum), you pay them in advance...

Obviously I meant "site" ...

some perplexities continue to remain....

on the SIAE website, in the section "self-promotion on personal websites", there is mention of audio files for downloading and/or streaming.

on my site, the audio files I would like to publish can only be listened to....they cannot be downloaded. how should I consider them?

as downloading? or as streaming? and if they do not belong to either of these 2 categories? what then?