Arguably, Castle Communications (BMG now I think) owns the rights to “crap recordings of classical music”, as they own the rights to the original Portsmouth Sinfonia recordings.
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Youtube gets literally millions of takedown requests a year, you would have to make a massive effort to even be a blip on their radar.
Understood. But perhaps not if they were aimed at one recording company and a single recording. Then rinse and repeat with another one.
Still a nice idea, nevertheless.
Shouldn’t that tee say Sorry, not sorry?
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Your comment made me dig a little deeper. Deera Venkatraman (the author of the original FB post/the musician in the aforementioned “crap recording”) appears to be fully bilingual in English and Chinese, with an educational background in Kuala Lumpur. He posted the video from Stanford, California, and he seems to be living in the US these days, even if he has some of his computer’s language settings toggled to Chinese.
Anyway. I hadn’t realized that the auto-censorship here has nothing to do with YouTube! It’s Facebook censoring his video (stripping out the sound for 47 seconds of a 9 minute personal video!), apparently at Sony’s algorithmic request.
I am saying that SONY can outspend any person and gets the laws they want
Everything I’ve seen suggests that the system is very strongly weighted to the big labels. Little guys don’t have a chance.
I once recorded a cover of The Rain song that got smacked down by YouTube’s content ID. I disputed the claim, but to no avail. That song was very hard to play and I was so proud of my version. Oh well.
I once recorded my wife’s amateur choir performing the Hallelujah chorus from Messiah. It got a notice of infringement from Leonard Cohen’s publisher. (Excuse me: Händel had the title before Cohen did.) They caved the moment I disputed.
What’s uglier is publishers’ copyrights on performance editions. Let’s say that there’s a piece of copyrighted music. The only extant edition has several obvious typos, and performers correct them as a matter of course. The piece falls into the public domain, and some enterprising publisher brings out a new edition with the typos fixed. Now every musician who doesn’t perform all the incorrect material can be sued for infringing on the new derivative work. (I know that the law appears to state otherwise, that tirival editorial changes are not copyrightable, but it’s happened.)
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