In this article, the author discusses the commodification of music, and other related issues such as copyright, ownership, broadcasting and distribution. In particular, he takes a stance against the commodification that occurs when a soundscape composer places their stamp of ownership on a work upon its completion and it becomes a 'pay to hear' product. His argument is that where there is little processing and reinterpretation of the original environmental source material, no one individual has the right to own the soundscape. He further suggests that soundscape composition should be at the forefront of the reinvention of a distribution model for music, rather than applying existing commodity principals to it.