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Peter Campbell/ I Remember ( Reason Mix)
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| Peter Campbell |
Hi I did a remix of this track which I made 1.5 years ago and I just got the copyright back in the mail today, so I'm going to post it for you.
its only about 80% finished I ran out of tracks and a few other things cause my PCs not fast enough with Reason:o
I made a poll to give me a better ider of what you think
Its called I Remember
Click HERE
User:daveb
pass:remix
:) |
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| patticus |
hm.... im impressed that you could do this w/ reason only.. has a lot of real nice parts, i like your strings.. the part i think you need to fix tho is the claps, those are quite annoying and reason-sounding in the beginning especially... also maybe don't put them on the 1-beat... sounds... annoying with the resonance...
the synths and the classical instruments are really nice, bassline is good.. kick drum good.. i think its just the claps.. maybe the break is a little long.. and after, the song doesn't really go anywhere? i mean, it doesn't exactly bang your ass out on the dance floor, even tho the harmonies are nice. maybe its your "top" or lead? synth after the break..
i dont mean to be harsh, just looking at this from a pro standpoint cuz if you can do this w/ reason, damn, you're like... there..
the part which is absolutely fine is that intro/outro thing, like 9:00-end etc.
(just the claps, heh)
hope it helps a lil' bit:toothless |
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| Peter Campbell |
Thanks Patticus its the first track I have produced in Reason after getting it 3 weeks ago.
the thing I don't like about Reason is the Reverb it just don't sound real, I used heaps of reverb on the clap to give it some Atmosphere.
The track is missing a heap of things, even tho I used 26 tracks it should have finished up with like 35-40.
anyway I'm just going to have to wait till I get some hardware
:) |
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| mantisnl |
I gave it an 8, coz there are still some things unfinished.. but i think that if u finish it right.. its worth a 9 :D
greetz,
DJ Mantis |
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| dbl |
| sounds good, but i'm with the other's |
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| Trancevision |
Hello Peter Campbell !
A good reason track, but I think that your track needs a ing fat lead sound.
It reminds me a little at "Energy 52 - Cafe del mar" the long break and the kind of melody.
By the way, I am interested in copyrighting my own tracks before I post them. Could you tell me how to copyright my tracks ?
Trancevision |
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| Peter Campbell |
| quote: | Originally posted by Trancevision
By the way, I am interested in copyrighting my own tracks before I post them. Could you tell me how to copyright my tracks ?
Trancevision |
thanks for your import Trancevision, just post your work to your self
in the mail.
heres an email that was sent to me about copyright your own work
(APRA) stands for "Australasian Performing Right Association"
so just look of the same thing, but just with your country.
it might be "German Performing Right Association" or sumthing like that.
heres the email.
What is copyright?
Copyright is a number of different rights which the law grants exclusively to owners of copyright works. Basically, if you are a composer of original music or a songwriter of lyrics, the Australian Copyright Act (1968) gives you, and only you, the right to:
reproduce your work in material form: that is, record your music onto a CD, in a film soundtrack, or onto a computer disk
publish your work: make it available to the public
perform your work in public, for example in pubs, clubs or at festivals
broadcast your work on radio or television
transmit a work by cable to subscribers, for example, on pay TV
make an adaptation of the work, for example, by translating the lyrics.
As the copyright owner of your original music and lyrics, these are your exclusive rights. Nobody else can use your work in these ways without getting your permission first, and, if necessary, paying you a royalty for this use.
Am I always the copyright owner of work I’ve created?
As the composer or author of a work, yes. You are the first copyright owner of your music or lyrics.
However, if you created the music or lyrics as part of your employment, then your employer is usually regarded as the legal copyright owner.
If someone commissions you to write some music or lyrics, they do not automatically own the copyright in the work, unless you assign that copyright to them. They will, however, have the right to use the work for the purpose for which it was created.
How do I apply for copyright?
You don’t. Copyright protection happens automatically in Australia. The minute you write down your lyrics or music (chord progression) or tape it onto a CD, tape or computer disk, your work is covered.
How will others know that I’m the copyright owner in my work?
You can let others know that your work is copyright protected by marking all your copies (print and tapes, CDs etc) with a copyright notice.
We recommend including a copyright symbol (), your name (and the names of any other co-creators) and the year in which the work was created.
For example:
2000 MY Sun & OD Rain
It helps if you keep one copy of the manuscript and tape marked with this copyright notice and if you have this copy signed and dated by a reliable independent witness such as a Justice of the Peace.
Keep a diary as evidence
You should also keep a diary of your works and any events that affect their development.
You can use this information as evidence to prove that you are the right copyright owner if there is ever a copyright dispute over the work.
What APRA has to do with copyright
It’s not possible or feasible for composers and songwriters to be everywhere, all the time, monitoring every use of their work or negotiating royalty payments for this use with each user.
That’s why APRA exists. We provide a central point of contact for all music copyright owners and for users of music. With your permission, we can administer some of your copyrights for you. If you join APRA, you appoint us to negotiate with music users such as television and radio stations, we monitor the use of your work, collect your royalties from licensed users and pay these royalties to you. APRA provides these services free to all APRA members.
APRA can administer the following groups of rights for you:
your performing right: the right to broadcast your work, perform it in public and transmit it by cable
your synchronisation right: the right to use your music on a film or video soundtrack
your mechanical right: the right to record a song onto record, cassette or CD.
We administer the last two rights through our association with AMCOS (the Australasian Mechanical Copyright Owners Society).
What about overseas royalties?
There are societies similar to APRA in most countries around the world. APRA has reciprocal agreements with these societies. This means that your APRA membership automatically represents you worldwide.
So wherever in the world they’re playing your song there’s a good chance that someone’s tracking that performance, collecting royalties for it and paying them to APRA for you.
How can I appoint APRA to administer my copyright?
You can appoint APRA to administer your performing rights by applying for APRA membership. When you apply for APRA membership, you will be asked to:
assign your performing right to APRA
register your existing and any new works with APRA
keep us informed about your live performances
Assigning your performing right
When you join APRA you have to assign your performing right to APRA. That is, you give us the authority to administer this right on your behalf.
Most songwriters usually keep their synchronisation and mechanical rights or assign them to their music publisher to administer. APRA can also administer these rights for you through AMCOS, if you complete an Executive Agency Agreement with us.
Registering your works
You need to tell us the titles of the works you have created, the names of any
co-writers who created these works with you and their percentage share in the royalties for the work.
Registering a work does not mean applying for copyright protection - that happens automatically when you create the work. Registering your work is simply an administrative process. It tells us which works you own and allows us to manage your copyrights and collect royalties for you.
If we don’t know what you’ve created, it’s harder for us to track when your works are used. So it’s important for you to tell us about any new works you create
SONGWRITING TOGETHER -WHO OWNS THE RIGHTS?
Article by JOANNE COURT - (Tress, Cocks & Maddox Solicitors) 1998
So you think that you own rights in your band’s songs because a couple of riffs you suggested during a jam are included in the songs or you had some ideas for some lyrics and titles?
GENERALLY a person who writes music is the owner of the rights in the music and he/she is entitled to the money from the sale or licensing of those rights. But what is the legal effect of co-writing a song? How is copyright ownership determined when more that one person participates in the writing of the music? When considering these questions, it is necessary to distinguish the situation where one person writes the lyrics to a song and another person writes the music, from a situation where, for example, you and your fellow band members write either the music, the lyrics, or both the music and the lyrics together. The first situation is not a case of joint ownership, as joint ownership is understood under copyright law.
MUSIC and lyrics are protected by copyright separately. The writer of lyrics owns the copyright in the lyrics, and the composer of music owns the copyright in the music. This means that the rights in the music and the rights in the lyrics to the same song may be sold or licensed separately, and a person who wishes to use or record the song must seek the permission of both owners.
IF their song is performed, the lyricist and the composer are both entitled to a share of public performance royalties from APRA and the split of proceeds will generally be agreed between the lyricist and the composer before notifying APRA of their song. Generally the composer and lyricist will share income and ownership of their song on a 50/50 basis although they may agree on a different split. Often a lyricist and composer will sell or licence their copyright to the same music company and their split of income will be determined at this time.
IN the situation where everyone in your band has written a song, all band members may own the copyright in the song jointly. The Copyright Act says that a piece of music is jointly owned if it has been produced by the collaboration of two or more writers and the contribution of each writer is not separate from the contribution of the other writers, meaning that the co-writers must have worked together in writing the song.
SOMETIMES it is difficult to determine who are the owners of rights when a group of people have participated in the writing of a song. At band rehearsal you may have suggested a melody, a musical phase or a rhythm and other members of the band will have made suggestions to you which are then incorporated into the final version of the song. In this situation it is sometimes difficult to determine if your fellow band members are writers and thus part owners of the song or whether they have merely contributed ideas. You don’t own rights in a song simply because you had an idea for a song or you made minor suggestions to someone else while they are writing a song. To own rights as a co-writer you must have contributed to the actual expression of the idea for the song, whether in writing the lyrics or the score, or by being responsible for the making of a sound recording of the song, such as a demo tape.
IT is important that the question of copyright ownership be discussed by a band, particularly a t the time when a band is writing material. If anyone in a band is going to make money, it is going to be those members that own copyright in the songs. Ownership of the copyright means that you have something to sell to music companies other than your performing skills and if songs are successful the copyright owner or owners will receive public performance royalties paid by APRA.
IN the case of joint ownership, if no formal agreement has been entered into between co-writers, it will be presumed that each of the joint owners owns copyright equally and no co-writer will be able to license or sell the rights in the song without the consent of all the others.
BECAUSE of the practical difficulties and importance of determining who owns rights in a song, it is sensible for all people involved in the writing of the song to make an agreement amongst themselves as to who owns the copyright. The agreement should also provide how any income from the use of the song is to be divided and may also specify who will be authorised to make decisions regarding the sale of rights, or how such decisions are to be made. |
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| Fatboy |
I gave it an 8. But when it's finished I could definitely see myself rank it higher.
I really love the intro and outro. Atmospheric and suiting what to come:) I agree that the claps could be lowered a bit on the volume and the reverb, but not to much. I really like reverbed claps. The lead sound vould be a bit more powerful, but with subtractor and a human cpu (not those ibm supercomputers) that's difficult. For being your first tune in reason this is great:D Not long 'til my first reason tune is finished also..
Peace |
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| eieregooie |
Nice tune!
I think the buildup is great, just kinda missin a climax... Great job though :O) Keep it up!
Grtz! |
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| breakaholic |
First, this sure is one of the top tracks posted here.
Okay, my view:
Pretty gloomy intro, fits in background of some science fiction movie but most important thing is that it works. This Intro could actually be even longer, maybe use that effect( hits first time in 0.49) somewhere between and then add some "spice", a dark male vocal sample fould be great. But question is where to get some of those.
So we are gettin' to 1.strophe. Like others, I don't find those claps that annoying but lower the volume a bit anyway. Best part is when smooth pad begins, brings needed element before the break.
Now, it's a long time since I've heard this beatiful break. This almost brings tears to my eyes and reminds me of some of my early XM works. People always said back then my tunes are sad, yea emotional and melancholic trance is my thing. Pad is warm sounding and when the melody is this good you don't need anything else. 4.48 begins excellent lead. It fits just perfectly, very smooth and "elegant" I would say. But then the whole illusion falls to pieces, snareroll is enough to destroy it but something happens to lead and it doesn't sound that good together with the beat and hi-hats. Those hi-hats are just too agressive and overlays the beauty of this song. 6.30 you bring a nice piano and extra pad, some extra reverb & maybe delay and piano would sound even better but reverg plug-ins in softwares aren't good enough, unfortunately I also have experience with this.
So, you already mentioned that you will do some rework and I expect you to fix the part after 5mins. Good song, will definitely stay to my HD. |
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| Peter Campbell |
thanks to everyone that replied in this thread,
I'm going to do a new mix of this track, its going to sound more like my newer work that I'm doing, which is more clasical and I'm not using Reason this time, just Cubase and the MicroWave XT.
and breakaholic if you liked this track for the emotions,
you should hear my newer ones, there rich with emotional melodic harmonies, thats the only style I produce. |
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