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-- Endre
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Fun reading this, I think the money approach is wrong by any means. Besides there are very little professions you can make a lot of money with, basicly you'd have to operate your own business with as few people as possible.
I think the rules are way different over there. I have never heard of any club owners in the states paying for licensing. They probably should, but, as far as I know, they don't. Nell is definitely right though, even if licensing gets paid, you aren't gonna make much on a produced track, unless it gets huge (Alice Deejay, Darude, more shit). Most djs that produce do it to build their dj career and as a natural progression musically. I am just starting to tinker with Reason, but I can see myself making some decent tracks with it. After a while I need to hook up my Karma Korg and learn how to use it. I got one as collateral from a former roommate that owes me money, but I don't have the manual and can't understand it too well. One of these days I will get my shit together production wise.
I find it amusing that Endre thinks his track is shit. I haven't heard it, but it must be alright to get signed.
I kind of like reason, but I hear a lot of negative talk about it. Anyone have any insight to add on the validity of Reason or Cubase as production software?
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| Originally posted by Nell example, person A writes and produces a track. person B writes a track with the exact saem melody 1 week later (even though they have never heard person A's track). Who has the copywright? in fairness, person A would be more in favour, but both A&B obviously both have the copywright to their own track. However, they also need to prove it (i.e. have orginal files etc etc etc) and an official body who has a dated copy of the track etc will be able to testify this in a court. technically, as WRONG as it may be, whoever has the earliest date in this case will PROBABLY claim the right to the melody. they have to meet a few pieces of criteria aswell.. 1) they have to qualify for protection in that particulat country by being native to the country or a resident (differs country to country) 2) work is saved on any form of permanent disk or whatever 3) the work has to be original. And for those that don't know, ignorance in saying "i'd never heard the other person's work before" is not a valid excuse in music law, regardless if it's true or not. A blatent obvious example of melody stealing that's been brough up a million times before is mauro's take on armins "blue fear", "like this, like that". It's so obvious it's almost stupid to be honest. copied key for key. |
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| Originally posted by Nite-Mer I think the rules are way different over there. I have never heard of any club owners in the states paying for licensing. They probably should, but, as far as I know, they don't. Nell is definitely right though, even if licensing gets paid, you aren't gonna make much on a produced track, unless it gets huge (Alice Deejay, Darude, more shit). Most djs that produce do it to build their dj career and as a natural progression musically. I am just starting to tinker with Reason, but I can see myself making some decent tracks with it. After a while I need to hook up my Karma Korg and learn how to use it. I got one as collateral from a former roommate that owes me money, but I don't have the manual and can't understand it too well. One of these days I will get my shit together production wise. I find it amusing that Endre thinks his track is shit. I haven't heard it, but it must be alright to get signed. I kind of like reason, but I hear a lot of negative talk about it. Anyone have any insight to add on the validity of Reason or Cubase as production software? |
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| Originally posted by Nite-Mer How about Micro - Penetrate? What a Liquid Chile - Diving Faces rip off! I couldn't pin it down at first, but the track sounded so familiar. Or what about all of the rip offs of Josh Wink - Higher State of Conciousness. Voodoo and Serano - Blood is pumpin' is the same mid line, almost exact. Even if it's altered a bit and made legal, it is still a blatant rip off. |
Good shit! I definitely think Reason can generate some great loops given some tweaking and a few good sound banks. A friend of mine that produces locally is way more a Cubase fan than Reason, but, I guess, using both is the best way to go. I really need to get a midi adapter for my synth and start using it. I am clueless about that machine though. Trying to take it one step at a time.
Which plug-ins for Reason do you guys like best? My friends have been getting some new plug-ins that are supposed to be pretty awesome, with multiple sound ranges playing at once. I played with them for a few minutes, but haven't loaded them yet.
i managed to dig it up and find it, its a guide on i-vibes to copywright. It's a bit sketchy and looks basically right..
looks very UK rules orientated, so things might be different in other countries.. in fact they will!
http://www.ivibes.nu/index.php?article=2558
On that track, there wouldn't be a way to prosecute, because the song is still different. It just seems to be mapped out based on using some of Wink's sounds. Even Micro's track is a different tone on the melody, but is an obvious rip of the melody line. I just find it funny, even though they probably wouldn't be held liable.
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| Originally posted by Nite-Mer Which plug-ins for Reason do you guys like best? My friends have been getting some new plug-ins that are supposed to be pretty awesome, with multiple sound ranges playing at once. I played with them for a few minutes, but haven't loaded them yet. |
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| Originally posted by Nell Mr Mystery (forgive me nik i can't remem if/who you've released stuff with, but your prodcutions are the dogs bollocks anyway) |
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| Good shit! I definitely think Reason can generate some great loops given some tweaking and a few good sound banks. A friend of mine that produces locally is way more a Cubase fan than Reason, but, I guess, using both is the best way to go. I really need to get a midi adapter for my synth and start using it. I am clueless about that machine though. Trying to take it one step at a time. |
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| Which plug-ins for Reason do you guys like best? My friends have been getting some new plug-ins that are supposed to be pretty awesome, with multiple sound ranges playing at once. I played with them for a few minutes, but haven't loaded them yet. |
Ok. Devices. Which synths, etc. And I know I make the track, but I use Reason to facilitate that. I guess I will have to be more precise.
Just do a search man, it's all been covered, and there's stickies in the production forum with tons of advice to get you started. If you have little money, get Reason, if you get Cubase you will have to buy the vst's to get some funk going, and they are not inexpensive, thought there are some free ones available.
I'll check it out. I already have Reason and think I'm getting close to having a track or two done, but I won't know til I hear the complete sequence. I will probably be able to get a fairly full version of Cubase soon. I have a basic version, but my friend in Kuwait is coming back soon and has Cubase with a shit ton of plug-ins. They are referred to as plug-ins for Cubase, right?
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| Originally posted by Nell ok i'll explain again. if YOUR track appears on compilations, is used in an advert or something in a similar form, YOU will as the producer be entitle to a share of profits made from sales etc. normally only a small % BUT if the Cd comp sells well or you get on several CD comps it adds up to a half decent amount! Also remember, when your track is signed by a label, it might not a be a one off fee, they might have something in the contract which says you will recieve a % of the sales (this is a royalty) so if the single continues to sell (even over a 5 year perdio) you will still keep getting money. The overall point being that you can obtain more money overall from these little extra's than from the small lump sum of cash you get for the initial signing of the track. Radio plays are tracked (national radio stations at least, not shitty internet streams) and artists will recieve money if theyre track is played etc etc. BUT if you track is played in a club, you are entitle to nothing!!! why? because the club owner is paying for a specific music license that allows them to play the stuff. These licesnces also extended to radio stations. Radio 1 hold a (i forget name right now) license which enables them to play FULL RELEASES, WHITELABELS, BOOTLEGS on air. Not every station has this right. And no, there are no specific licenses to particular labels. so EDM gets jackshit overall. |
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