It’s always been a problem, French copywrite law being what it is. but ironic tonight, looking at Crosby’s catalog. he spent a lot of time on Twitter railing about artists getting paid, and unauthorized releases. they’re everywhere on Qobuz (Tidal does not have the same problem).
I love the service, and it’s jazz and classical catalogs, but this is a problem that needs fixing.
You made your point here, but did you contact Qobuz for an official statement?
It’s a fair point though, the bootlegs add lots of discovery noise, and generally little as far as quality goes. The only cold comfort is I assume the bootleggers aren’t adequately compensated for their efforts, this been a streaming service.
I thought Roon was supposed to filter out stuff like this or is that the out of copyright filler stuff?
What’s that please?
Qobuz is full of unofficial releases of stuff mainly out of copyright it affects lots of Jazz so get tons of poor quality compilations and dodgy unofficial rereleases. Roon tries to filter them out as best it can. Pops up when people search via Qobuz app but can’t find it via Roon. You add it via Qobuz it will turn up in Roon but initially it filters them out.
I got that, but “out of copyright”? If copyright has lapsed, that shouldn’t be a (legal) problem and it’s actually a good thing, eventually
Edit: I guess not if poor filler stuff is overwhelming. But it also makes works of love possible
Not when you see all the gash comps there are and they are poor quality masters. Mrs Gipsy happened to buy one of Songs for Swinging Lovers once it was terrible and sounded like it was recorded off the radio.
Yeah true. Hopefully there’s a filter that does not just trigger on out of copyright alone
one problem is the difference in copyright laws in France, vs the USA or elsewhere. many of these releases are legal in France, where Qobuz is based, even if the sources are often dubious. you see this in the vinyl market as well.
and as @CrystalGipsy has noted, the sound quality of often very dodgy. the opera section of Qobuz is particularly suspect.
What are the relevant differences apart from 70 years after death in France vs 70 years after death or 95 after publication (the “Mickey Mouse Protection Act”) in the US, which is at most a temporary problem/difference?
There is certainly a danger of polluting everything with sub-par releases for a making a few cents, so a filter is probably required, ideally optionally (or smart enough not to filter the odd good release made possible by works in the public domain), but how is the difference in laws responsible for that, except for a few years’ difference when they appear?
I won’t live to see it, but it would be great, for example, if the whole extensive live bootleg catalogs of some of my favorite bands (namely Sonic Youth and Giant Sand, both of which have helped fans to assemble and curate such catalogs, though not generally waived rights, which is fine) became easily available on streaming in the future, for the benefit of pop music historians and aficionados. And SQ would matter zero in this case (though that are plenty that were recorded on the live mixing desk). I imagine that researchers of certain jazz or classical instrumentalists would also appreciate such catalogs to be available regardless of SQ.
There could be an additional section in the Discography in addition to “main albums” , EPs and singles", “Appearances”, etc.