quote:

Originally posted by Nell ^what he said UNLESS the track is not copywrighted!!! So amateur artists, be alert, copywright your music before someone steals the melody and gets it copywrighted themselves!

Um... as soon as you write a melody it's automatically copyrighted to you. Of course you need to be able to prove it's yours but...

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yes you're dead right! but you should leave it with an official body, like a lawyer, personal solicitor, a goverment body even- for help as proof. sticking the (C) sign on your work DOES entitle you to be the copywright holder (unless you sign that over to a label or whatever)

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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Last edited by Nell on Aug-17-2004 at 16:10

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.

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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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Old Norsk Sessions every 4th Monday from 4-6pm EST on Digitally Imported Radio (Progressive Station), and 7pm CET on Trance.fm every 1st Saturday

quote:

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.

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.

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Old Norsk Sessions every 4th Monday from 4-6pm EST on Digitally Imported Radio (Progressive Station), and 7pm CET on Trance.fm every 1st Saturday

quote:

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?

I wouldn't have a clue about the states rules, but i bet the clubs have some form of licensing, they must, or anyoen could play anything, royalties wouldnt exists etc etc. hmmm i really don't know.

as for reason, there's plenty of software made tracks that are decent enough. You only need to look at the talent on this board / even in this very thred to see some quality prodcuers who are getting stuff released on major labels... Rob Nickson (Armada + sublabels), Endre (anjuna, lost lanugae), Haak (Armada sublabels), Mr Mystery (forgive me nik i can't remem if/who you've released stuff with, but your prodcutions are the dogs bollocks anyway) are all dam fine producers and as far as i'm aware (please correct me if i'm wrong) are very software orientated, and i think all of them use reason!?

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quote:

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.

i haven't heard the 'rip-off' versions, but if they were released then i'm guessing they almost definately seeked permission to use the samples / copy melodies etc. Blood Is Pumpin' was releaed on Xtravaganza in the UK (XTRAHARD) which is a sub=label of SONY, there's no way they would let something illegal go out that sounded so alike (unless they're ignorant/stupid) so i imagine they would of cleared it with the writer, composer, record label, publisher and everybody else involved.

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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.

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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Old Norsk Sessions every 4th Monday from 4-6pm EST on Digitally Imported Radio (Progressive Station), and 7pm CET on Trance.fm every 1st Saturday

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

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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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Old Norsk Sessions every 4th Monday from 4-6pm EST on Digitally Imported Radio (Progressive Station), and 7pm CET on Trance.fm every 1st Saturday

quote:

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.

check out the production forum here on TA, lots of stuff in there that's intersting / good advice!

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