Copyright Your Music

Copyright Your Music

You’ve spent many hours on the new song, honing the lyrics and polishing the melody; now, how do you copyright it? Any artistic expression is protected by copyright law at the moment of its creation… but how can you prove ownership? The option (for U.S. musicians) is registration with the United States Copyright Office. (For copyright information in non-US countries, see Mechanical Copyright Protection Society (UK), and The Australasian Performing Right Association Limited.)

The copyright law of the United States (title 17 of the United States Code) provides for copyright in “musical works, including any accompanying words,” which are fixed in some tangible medium of expression. Musical works include both original compositions and original arrangements or other new versions of earlier compositions to which new copyrightable authorship has been added. The Copyright Office registers claims to copyrights and issues certificates of registration, but does not “grant” or “issue” copyrights. Under the present statute, copyright protection begins at the time a work is created in a fixed form such as a writing or recording. Original musical works may be registered in published or unpublished form. For unpublished works and works published on or after January 1, 1978, registration in the Copyright Office is not a condition of protection; however, there are certain advantages.

The copyright law of the United States (title 17, U.S.C.) provides for copyright protection in sound recordings. Sound recordings are defined in the law as “works that result from the fixation of a series of musical, spoken, or other sounds, but not including the sounds accompanying a motion picture or other audiovisual work.” Common examples include recordings of music, drama, or lectures. Copyright in a sound recording protects the particular series of sounds “fixed” (embodied) in the recording against unauthorized reproduction and revision and against the unauthorized distribution of phonorecords containing those sounds. Generally, copyright protection extends to two elements in a sound recording: (1) the contribution of the performer(s) whose performance is captured, and (2) the contribution of the person or persons responsible for capturing and processing the sounds to make the final recording.

Copyright forms in PDF form are available from the United States Copyright Office at the Library of Congress located at http://lcweb.loc.gov/copyright/forms/. The forms require the free Adobe Acrobat Reader to view and print.

If you choose to register a claim in your work by mail, send the following material in the same envelope or package to:

Register of Copyrights
Copyright Office
Library of Congress
Washington, D.C. 20559

1. A properly completed application form;
2. A nonreturnable deposit of the work to be registered; and
3. A nonrefundable filing fee of $30 with each application.

For more information see the Audio Home Recording Act of 1992 for all the legal mumbo jumbo about copyright infringement and more.

Related Links:

ASCAP
BMI.com
SESAC
Copyright Resource Center
Copyright Clearance Center
National Music Publishers’ Association, Inc.
Musicians’ Intellectual Law & Resources Links
NPSAI Songwriter and Music Copyright Resources
The Copyright Website

Tech Tip – Unsung Studio Accessories

Tech Tip – Unsung Studio Accessories
By Dennis Kambury

Everybody knows the basic components of the project studio: mics, recorders, mixers, monitors, compression, and effects. This week, we’ll take a look a couple of unsung heroes of the studio that belong on every engineer’s must-have list – DI boxes and cables.

Direct Boxes
Without the flashing LEDs or plethora of knobs common to most studio processors, the humble and unassuming DI (Direct Injection) box just sits on the floor doing its job. And that job is to match impedances and change unbalanced inputs to mixer-friendly balanced outputs.

One of the most common uses of the DI box is to record bass guitars without mics or amps, though it can also be useful for synths, guitars, and other unbalanced, hi-impedance sources. They range from simple, unpowered lo-Z in/hi-Z out to powered DIs with effectsand multichannel. I keep a couple of super-inexpensive Whirlwind IMPs around for general purposes and an Aguilar D900 tube DI for the good stuff.

Cables
Unless you’re into recording the sound of nothingness, there is nothing more critical to studio operations than the ubiquitous cable. Yet it’s often the last piece of gear added to the list and usually given short shrift in the budget. You may have noticed the wide range of prices and wondered what makes a $50 cable better than a $5 cable, and if there’s an improvement in the sound that’s worth the difference in price?

I could write an entire article on cables alone, but the differences generally come down to a matter of materials, construction, and connectors. And yes, expensive cables do sound better than cheap ones – perhaps because they are better shielded, use premium conductors, or use all-metal connectors instead of metalized plastic. However, there’s no need to go overboard. If you’re buying a $99 four-track recorder, you don’t need to use a $500 cable. On the other hand, hooking up $5,000 studio monitors with 22-gauge lamp cord… well, there oughta be a law against it!

My own rule of thumb is to buy the best cable I can afford. That usually hovers around 25% of my overall gear budget. I often use Hosa for line-level gear because it offers a lot of bang for the buck. For balanced-output gear I’ll go with Pro Co cables and snakes, and use Monster Cables for my high-end stuff.

林志英和Zhong Minjie 的新CD


林志英 “壹”

在深圳大聲展收到他們的CD,接過手很高興看到他的新作品面世,雖然是cdr 版但設計精美花了心思.林志英的”壹”很具象和電子原音,喜歡這風格的朋友可不要放過這張CD,可向Jiother Records查詢 [email protected]


Zhong Minjie – probe works CDR002


Zhong Minjie – for those times without sound CDR003

Zhong的兩張不同時期專集風格很不一樣,04年的”for those times without sound” 跟”壹”同一路子,而02-03年的作品集”probe works”是那种很”電腦” clicks and noise 的作品,相對來說04年新作比較成熟,這三張CD大家都應該大找來聽一下,可向 [email protected] 杳詢.

Maja+DjDee+GDMDC live in GZ

现代舞“跨界” 五月激荡(图)


這是限量49張Maja live cdr 封面

演出图片


picture

Amyrock 的 blog
他们来自外太空

感冒、上火、工作一整天,没有吃饭,状态不好的时候,撑着去看演出,有这样的决心让我自己都佩服自己。草草的和小甘吃了新疆拌面出了门,刮了一整天的风,到晚上丝毫没有停息的迹象。我纳闷,风刮了一天不累吗,我坐在电脑前一整天都已经软棉棉了。

去年的SONAR,一场科技博览会把我吸引到了广州(张海律同志原话)。第二次按着记忆,到了广东现代舞团小剧场时已是八点。满座。买了票。入场,呆呆地站在楼梯边一会,不知道往哪走。坐到楼梯上时,邱大立和我说你才来啊,我说是啊,他说这次交学费了吧。我笑笑。

灯灭。DICKSON开始捣弄着他的苹果。一如既往的低沉,一如既往的细碎。舞蹈开始。他们那优美而充满神经质的动作一下击破了我对生活中关于人的身体的理解。惊讶人的身体居然有如此大的可能性,可以舒展开来,可以抽搐,可以在一瞬间划破黑夜。我不禁怀疑,他们是否来自外太空?是外——星——人么?

从这个人到那个人,有些胆颤心惊的从幕布伸出头来,有些在原地兀自伸出双手在空气中扑腾,有些偏执狂般的与音箱搏斗,有些如蝎子般翘起屁股从这头爬到那头……爱与争吵,封闭与沟通,孤独与成双成对,救与被救,我仿佛从他们的舞蹈中看到了自己,居然就死命流泪。但我一直以为,在公众场合流泪是非常不合时宜的,甚至是多余的丢脸的,所以我用双手撑着脸颊,唯恐被人看到。

我记住了那个长头发的男人,我把他定义为被人当作疯子的诗人;我记住了那个个子娇小全身黑衣的女人,我把她定义为在黑暗中爬行的动物,敏感多疑的猫。这所有的神经质让我想起之前看到的日本记录片《水蜈日记》,那些被化学物品感染的贫苦小孩,痉挛抽搐有点惨不忍睹。

他们的演出无疑是精彩的,虽然我有些朋友觉得很搞笑。但我却真的喜欢他们的演出。DICKSON晦暗的实验音乐与现代舞,一次成功的CROSSOVER。因为在第一PART太过于动容,到主角挪威M小姐上场的时候,我就开始走神。只记得她在之前做的音乐中现场加入人声,加入录音带卷带效果……她坐在那里,扭动着按扭,用人声表演出很多我未曾听过的声音。也许是稍厌倦了那些具体的声音,更喜欢这样富有想象力的声音艺术,他们不会说这是A,而是让你自己去感觉究竟是A TO Z或是甲骨文、象形文。

剧场里,背心棉裤抵挡不住冷气,我只好蜷缩着身体。恍惚的,有点像睡着。剧场中明显不耐烦的人多了起来,上WC的人前赴后继,WC的门里偏偏又亮着巨大的灯。到第三PART,是DICKSON+M小姐+现代舞团。总感觉这个演出,音乐退到了其次,得到掌声更多的是现代舞团。我想大约是因为我们这些听音乐的家伙看现代舞表演比较少,像我这样大惊小怪的人也许不在少数。
by:Amy

[本地声音记事] 漂浮在声音颗粒中的流动雕塑
http://www.donews.net/catic/services/trackbacks/358096.aspx

其实之前基本上没看有关介绍,只知道是个挪威的女性Vocal同时玩live electronic,在Rune Grammofon发过片。后来又听说她是POING一个成员的GF,所以这次一起来了广州。连广州现代舞团也要登台偶都没注意到。结果昨晚,在一顿乱糟糟无聊郁闷的晚饭后,在犹豫再三后,偶还是在演出开始后从天河城冲到了水荫路。事后,我真是庆幸自己做出了这样的一个决定!

一进门,垫场的演出已经开始了,李劲松玩着一些相当IDM的东西。这时我才发现原来还同时有舞蹈的配合。 感觉效果相当的不错。这一次李的音乐相当入耳,而那些舞蹈则着实让我耳目一新!不过很快这段就结束了,轮到主角Maja Ratkje登场。她一个人的solo,一开始就对自己现场发出的声音延长、打碎、重复、迭加、调变。加上一些准备好的节奏与采样。10分钟之后开始放长音,十分舒服好听,有些段落听起来简直如同Sigur Ros 遇到Karkowski ! 25分钟后附加的效果大多都停掉,声音开始变得十分低限,而她自己的呢喃则清晰、沉缓。35分钟后,“演奏回复到开场时的感觉。40分钟后,她的solo结束。

其实音乐元素并不新奇,但感觉拿捏十分到位,对听者的影响十分positive。而且有着相当的现场感。听起来十分迷人,十分intriguing。其实实验电子/电脑音乐做出来不难,但要想做出恰当的现场感,尤其在现场演出的时候能具有这样的live ingredient就要看概念,和对概念的实施与掌握。也许这个并不是对这种音乐最重要的东西,但至少对我来说,这却是区分其好坏的重要标准,上一次广州声纳,国内外音乐人同台献艺,作品功力高下立见,分野明显,在我看也就是区别在这上面。其实这样的live ingredient的方式玩起来也并非那么高深,只可惜,国内搞这类东西的人里还是缺少哪些让人眼前发亮,有着哪怕那么一点现场张力的作品。

Ratkje的solo结束,灯亮,break10分钟,才发现vicent老大居然就坐在我旁边~~`哈
下面的表演是Ratkje+李劲松+广州现代舞团,经过了开场那一段的声音和舞蹈我的兴趣马上被提了起来。果然,这一个跨界JAM没有让我失望!开始Ratkje左在一把椅子上吟唱,李劲松在另一册操控Laptop,几名舞者缓慢的挪动着身体随着声音的不断变化,不断加速,所有人都开始“抽搐”,快速的变换着身体每一个可以移动的部位Ratkje也站了起来贴到了身后的音箱上。随后,她留下手中类似Radio的一个小盒子在台前,走到另一侧的Dickson身边开始也开始搬弄Mixer,Recorder。全场又回复了平静,灯光熄灭,舞者驻足,只有她留下的那个小盒子在台前孤独的发出类似模糊的电台广播一样的声音。此情此景让人几乎窒息,又是十足的质朴诱人。之后的演出则慢慢进入了狂迷,Ratkje和Dickson一次用Laptop,Mixer等一堆东西弄出的东西越来越的迷乱。而舞者的动作就越发的疯狂,甚至他们两个在忙着手里的东西时也忍不住回头看着那些跳动的灵魂,想看看在他们自己雕刻的声音颗粒中那些舞动的雕塑是个什么样子。

不知道,是舞蹈看得少,还是眼睛比较疲劳,在这些疯狂诡异的声音刺激下,在眼前这些快速扭曲变换的身体的带领下,我感到一种莫名的兴奋!竟然几乎都要哭了出来!(真他妈的见鬼!)不管怎么说,这真是一种从未有过的,惊喜的,奇妙的,激烈的感受!演出结束,所有参与舞蹈的十二名舞者和Ratkje、Dickson列队向观众致谢,所有人长时间的鼓掌。他们不得不连着鞠躬几次才算完。看来大部分人的有着相当满意的感受。

其实就音乐本身来说Ratkje和Dickson玩的东西并没有太多新意。(演出买了Ratkje一次现场的CD,听后就相当的失望……)单纯的这种声音实验,不论是手法还是概念目前都不太容易有巨大的突破,但是在形式上,则还有着广泛的空间。这次和舞蹈的结合就非常的成功!其实这种跨界合作在技术上对双方都没有什么挑战,但是最终的效果却是出人意料的精彩。不敢说这种东西再继续看上几次也会是这样的感受。但有这么一次,也就足够了这一段在那些细碎无常的声音里流动着的肢体雕塑,绝对在这个城市发生的无数大小事件中最让人难忘的之一!

Closure PODEWIL + New start TESLA

我在Podewil演出過兩次,那是一個很捧的多媒體藝術中心,很可惜關門了.

Closure PODEWIL + New start TESLA
of art program in the Klosterstrasse

On December 31, 2004 the art program of the Podewil was closed down.A new crew will take over the programming under the name “tesla” in the Podewils’ Palais on April 29, 2005.

Podewil 1992-2004

The Podewil – Center for Contemporary Arts says good bye to its audience.
12 years of art programming bear testimony to the Podewil’s effort, to
anchor the art of tomorrow – in political, aesthetical as well as technological terms – in the current art scene of Berlin and outside. Via a national and international network of cooperating partners, the Podewil initiated and supported newest developments in the field of music (curator: Elke Moltrecht), theatre and performance art (curator: Aenne Quinones, dance (Ulrike Becker/André Theriault) and media art (Andreas Broeckmann).The artistic contributions of around 2500 individual artists and groups guided the Podewil in becoming a venue for progressive and experimental projects. The spatial structure as well as the technical possibilities of the building in the Klosterstrasse facilitated this development: as it had a club, a foyer, a multifunctional hall, a small performance space, a dance studio, several rehearsal rooms and artists’ studios. More than 40 artists worked in the studios during their stay as artists-in-residence at the Podewil. Xavier Le Roy (1996-2001), zeitkratzer (2000-2002) and Gob Squad (2000-2002) are just three of those young and in thosedays not yet established artists who were provided professional work conditions by the Podewil for the first time in their careers. This initial support helped them to achieve good public reception and international reputation since then. The Podewil was a competent partner of the artists in searching for and finding new and adequate production formats and development methods. Manifold festivals, program series and projects in a lot of different forms, which evolved during the years, are evidence of the unorthodox methods and the vivid exchange that characterised this venue. To mention just a few: MontagsMusik, thematic music festivals (“Intonations -In selten guter Stimmung”, “off-ICMC”, “x-tract CHICAGO”, “x-tract Sculpture Musicale” etc.), “reich & berühmt”, “KÖRPERSTIMMEN – Tanz und Performance International” and the open-air summer program. Some of the festivals and program series that were formerly hosted by the Podewil have moved to other sites: The “transmediale – international media art festival berlin” (1993 to 2001 in the Podewil) has taken place at the Haus der Kulturen der Welt since 2002. The “Literarischer Salon Britta Gansebohm” has been presented since the beginning of this year at the BKA Theatre.
However, for the festival “Tanz im August – Internationales Tanzfest”
(since 1992 in the Podewil) the building in the Klosterstrasse will remain
a permanent venue also in the future.

We would like to thank to all artists, the critical and open-minded audiences, our partners, friends, supporters and our competitors. We are
confident that the Podewil will have left its marks in the cultural landscape of the city and far beyond.

Background information on the close-down of the Podewil

The closure of the Podewil was decided by the supervisory board of the
Berliner Kulturveranstaltungs-GmbH (BKV), the company that has been running the Podewil since its opening in 1992. The supervisory board headed by the Senator for Cultural Affairs, Thomas Flierl, initiated a public invitation to tender for the artistic programming of the venue in the Klosterstrasse in 2004. Beforehand the contract of Wilhelm Grossmann, managing director of the BKV since 1995 and program director of the Podewil since 1998, had been terminated.

The public tender made an end to the long lasting struggle to keep the
Podewil with its program profile as a platform for the whole variety of
contemporary art production. Back in 2002 the Podewil was for the first
time threatened by cuts of 750.000 € by the Senate of Berlin. This would
have meant the immediate closure. As a result of massive protests in the
art scene here in Germany and abroad the cuts were partially withdrawn. The reduction of financial support by the city were still substantial in the
years 2002 and 2003, which made extremely difficult to maintain the
programming at the acknowledged high level. Finally in 2004 the repeated
cuts resulted in a break down of program continuity. Established series
like “KÖRPERSTIMMEN” were confronted with a project budget reduced by 50 percent, highlights like thematic music festivals and the popular
“Sommerfest” had to be cancelled. On the top of that, the more unclear the
future of the venue became the more difficult it was to raise funds for
projects that depended on external funding like the performance festival
“reich & berühmt” for example did.

Among ten applications in the public tender a concept by Carsten Seiffarth,
Detlev Schneider and Andreas Broeckmann was chosen to be realised from 2005 on.

We wish good luck to the new crew and we hope that the art will have a good
place to stay in the Klosterstrasse in the long term

the former Podewil team

I would personally like to thank all artists, collaborators and friends who
have contributed to creating the profile of Podewil’s music program.
Even if the Podewil don’t exist furthermore in it’s previous shape, I would
like to inform you, that I’am still employed by the Berliner Kulturveranstaltung, GmbH.

Elke Moltrecht
Music Curator
Berliner Kulturveranstaltungs-GmbH

幻想打在后脑勺上—记11.26日根据地WPD Trio音乐会

哈!想指正一下我沒有做過師,雖然它是我往的職業,我PNF的一位隊友的確是一位中菜大他叫阿全,現是5星酒店的大.偉(I666,)是法菜大,可能因這為這樣而誤傳我也是師吧!我是讀設計和畫畫的.

幻想打在后脑勺上—记11.26日根据地WPD Trio音乐会

站在“根据地”门口的时候我不停的在演出海报前观望,深圳的冬季微带凉意,马路上的噪音声响凝成一股强劲的声浪把我罩在城市的喧嚣和夜色里,我像个崇拜偶像的小屁孩儿那样一遍一遍地浏览着一会儿就将给我视听输送新奇的那三个人的音乐履历,巴望着能从上面找到一些关于实验音乐的线索,因为我对这类音乐的聆听经验差不多为零,甚至可以套用中国著名乐评人郝舫的一本书名来讲就是“比零还少”。

正在看的那本书《法斯宾德论电影》里德国电影大师法斯宾德向我传达了他独特的“声音恐怖主义概念”,他说当今有什么东西会比来自电视、收音机、街上疲劳轰炸的声响、噪音、尖叫更为典型呢?作为被动地被卷入进步洪流的现代人,来自电视黑屏时的吱吱声、来自电冰箱暗夜启动时的嗡嗡声,楼下巧克力工厂的轰鸣都已经使我习以为常,这个充斥着噪音的世界像一袭巨大的尸衣那样覆盖在城市的星空上。

即兴噪音的概念使我联想起朋友王凡在沈阳的那次现场,那些来自台下的咒骂与疑惑使那个人为制造出的声场变得令人沮丧,而王凡的想象力也同样未能尽情释放。

李劲松是中国各类摇滚杂志经常提及的人物,其非凡的采样拼贴能力曾得到前卫音乐大师JOHN ZORN的击节赞赏,并赐其名曰“DJ DEE”;我是未闻其声,也未见其人,所以根本无法猜测他的音乐厨房里煲得是哪种味道的音乐靓汤。看介绍两个维也纳的老外来头都不小,曾与PET SHOP BOYS、LAMB这样的大牌电子艺人合作过,这次远赴中国来与李劲松合作,推广人的巡演名称也是煽动性很强“维也纳VS香港”,有点像游戏机里的对打互搏;不管怎么样,在这个夜晚里,我将品尝这锅标签为“即兴电子噪音”的前卫音乐之汤,滋味如何,还很难说。

当维也纳老头儿WERNER在那把横放在军鼓上的吉他上面敲响第一个声音的时候似乎没有几个观众是奔着音乐而来的,只有十几只照相机在闪闪烁烁地工作,间断的声音不时从扩音器里传来,这样的开始似乎我很少经历过,不会有人问:“你们准备好了吗?”也不会有那种口号式的呐喊:大家一起跳什么的。台上的人一丝不苟地在为声音、为未知的声场而工作。那把棕色的电吉他充当了独特的打击乐器,军鼓的共振使这种轻盈的敲击演变成随时空消逝的颤动。在十分钟之后,PATRICK的机器适时切入,给间歇的单调注射纷乱的质感,我有一种魔幻现实主义的感觉,似乎根据地酒吧昏暗的空间正在像“爱丽丝漫游仙境”里被连根拔起的房子一样,在深紫色的天空下缓慢的移动。噪声的昆虫扑扇着翅膀,正在分泌出的性质不明的元素。那架插满了插头及电源线的机器随着PATRICK的双手不息地变换着音源,而他的侧影落在我随灯光昏暗的视野里,我觉得他很像U2乐队的Bono。

李劲松的出场收获了稀稀落落的掌声,他长得就像香港电视剧里经常出现的典型的小资产阶级,框架眼镜,肚腩突出,面对那一大堆打碟机和苹果电脑以及其它叫不上名堂里的周边设备时其认真态度不亚于他在厨房里摆弄调料(据说其原职业为厨师,音乐原本是业余爱好,没想到玩着玩着就行驶上了轨道)。混成一团的音效出现了节奏,射向李劲松的灯光是暧昧的深褐色,转动着的不仅是灯光,还有DJ工作台上的黑胶唱片。WERNER终于像个吉他手那样抱起了吉他,画龙点睛一般地寻觅着节奏的空隙,然后把不成曲调的单音音符镶嵌进去,在左边的蓝色灯光下他那张日尔曼人特有的写满坚毅的脸显得分外肃穆。难以取悦世界大众的实验音乐原本需要一种持续的敬业态度和孤芳自赏的自傲去坚持和把握。

在声浪的汹涌当中我有一种想冲到台上去表演肢体语言的冲动,我想把身体打开成钟摆的形状去切割空气,或者在缓慢移动的冥想中让这集束而成的实验之声变成一把工具,把我的结构复杂的大脑抛开,把我的思维肢解在这不停摆动的噪音之海。

这时PATRCK那台机器播出了熟悉的苏格兰民歌“一路平安”的主旋律,吱吱嘎嘎地像一段谋杀前的破败序曲,破坏中的建设令人惊异。

在结束的一刻后面喝酒的哥们儿用破锣嗓子大声唱着:“神啊,救救我吧!”我笑了,我的幻想走到了终点,我要快点出去呼吸带着凉意的夜间空气。

外面不少CD摊在桌上卖,是李劲松和俩老外厂牌的出品,香港制造的最少也要卖五十块,奥地利来的是一百,真正的做到了价格上的曲高和寡,看来这种音乐最适合的消费群体是中产阶级。

我突然有了个奇怪的想法,如果有人问起演出怎么样,我会神秘地告诉他:我的幻想打在了后脑勺上。

——阿白—— 2004-12-1