[Fmpro] P2P Piracy

Sun Apr 13 15:50:52 GMT 2008

Hi, I don't believe the argument is moot at all. As soon as composers  
are educated enough about the future of the music business to start  
demanding a fluid, open system, then we will see real change. In the  
below comment, you are still looking for ways to go back in time, to  
control the user, to limit the function of your product, to lock  
things down. I believe that your goal should not be getting the horse  
back in the barn (to claw back control as the failed prosecutors of  
the VCR, the cassette, the DAT or mp3s have tried to do), it's to send  
your horse out to graze in the fields (be part of a new environment,  
one many times bigger than the current music business).

Ok, enough with the horses!

Cheers
Simon

On 13 Apr 2008, at 16:12, Fernando Rivas wrote:
Well, this is one of those situations where both viewpoints have great
validity.  Chris and Simon appear to be on different sides of this  
issue but
either side of this problem can be argued successfully.  The thing is  
that
the argument itself is a moot point.  Unless the industry can come up  
with a
technology which was as foolproof as the vynl record the horse is out  
of the
barn and there’s no getting it back.  In its eagerness to please the
public’s need for instant accessibility to all entertainment the  
industry
effectively shot itself in the foot because now the role of consumer and
manufacturer is confused, the lines are blurred.  Piracy of material has
become a way of life. Most people don’t even think about it, much less
consider it a crime.  The warning labels on products are as effective  
as the
tag on a mattress.  It seems as though the entertainment industry can  
only
fight back by producing more and more junk, setting quick release and
distribution dates and jumping out of the airplane, hoping the parachute
opens and money flows in before the shit is duplicated.  Until they  
find a
way to lock product down that’s all they can do.  Unlike software  
which is a
specific set of codes that run on a computer and can be locked to that
computer (in most cases) audio and video files are gypsies that can  
morph
into any form and are thus easily transferred.  You can’t ‘play’ your
software on one computer and ‘copy’ it to another machine.  With  
software
you can only do whatever piracy you’re about to do inside the system the
software is running on.  If the industry can come up with a similar  
lock on
music and video, making it system specific to your home and car  
equipment
and no one else’s they might have a shot at bringing that horse back.   
But
that means they would also have to come up with equipment that had no  
output
cables thereby eliminating the possibility of sending the signal  
elsewhere.
I do think the technology will come around to that kind of a system,  
which
is similar to the old vynl record on a record player (before RCA cable
outputs).

On 4/12/08 7:35 PM, "chris at alpiar.com" <chris at alpiar.com> wrote:

> Simon, your car analogy is poor. When you buy a copy of Digital  
> Performer,
> they make sure you know you cant copy it and send it to 10000  
> buddies via P2P.
> And if you find a way then you had to really go out of your way to be
> malicious. Most every consumer or professional software in any genre  
> is the
> same. OK my habit and desire is that I should get all the DAWs and  
> sample
> libraries in the world that I want free and at any time. Why arent I  
> being
> accomodated? That argument is simply ridiculous.
>
> And furthermore, users of all products everywhere are restricted as  
> to what
> they can do with a product. It is very illegal if I buy a car and  
> dismantle
> and analyze every part and build 10,000 exact copies and sell them  
> or even
> give them away. I would be carted off to prison before I could say  
> power to
> the anarchists :p
>
> Just because you buy a piece of music a. does not mean you own the  
> copyright
> to it b. any right to duplicate it c. any right to redistribute it.  
> When you
> buy a CD in the store you are effectively buying a license from that  
> artist to
> listen to it, unlimitedly, for the lifetime of the product. You are  
> not buying
> a thing that is yours. People need to be woken up to realize that.
>
> Christopher Kennedy Alpiar
> Cinematic Composer
> http://www.alpiar.com/
>
> -----Original Message-----
> From: Simon Barber [mailto:simon at simonbarber.com]
> Sent: Saturday, April 12, 2008 06:03 PM
> To: fmpro at nxport.com
> Subject: Re: [Fmpro] P2P Piracy
> No, the resistance to DRM is because it restricts what the user is  
> allowed to
> do with a product they have paid for. If I am buying a new car and the
> salesman tells me I am only allowed to drive on a certain street, I  
> don't buy
> the car. To be successful, you accommodate the user's habits, you  
> don't
> enforce a mode of behaviour you would ideally like to see. Have you  
> considered
> the notion that the model you are trying to apply to digital content  
> is simply
> not the right one? From the moment digital technology allowed  
> perfect copies
> to be made, a new business model was required, but still you insist  
> on trying
> to shackle empowered users to a broken system of digital handcuffs and
> control. As one of the other readers suggested, the cat is out of  
> the bag, you
> can't go back and need to embrace new ways of generating revenue  
> from your
> content. Sorry to sound exasperated, but I am shocked at how  
> backward some of
> the thinking is on this list. All of this has been apparent to  
> digital con!
> tent creators for the past several years.
> _______________________________________________ The Film Music Pro  
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