Through an analysis of the functioning of on-line music, that he compares to the birth of radios libres ('free radios'?), the author explores the question of whether innovations of a militant and/or passionate nature, proposed on the Web, can survive in a commercial environment. In what type of compatibility with the actors of commercial sites do they change, and with what forms of externalization of their innovative processes do they influence commercial actors? Three models can be identified, corresponding to the nature of the partner (sponsor) and the rules applied by authors' unions: integration in the firm, the mixed-income publishing site, and any form of association.