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User Journal

Journal Journal: Stealing, Sharing and Copyright

I've had a thought. The argument goes, "you can't steal an mp3 (of a song) because no-one is deprived of the mp3 or the song...a copy has been made."

However, one could argue that the right of the copyright holder to distribute and be compensated for their work has been stolen from them. We're talking about the difference between stealing and theft here. I'm not saying this is theft, as physical property is not taking, but it is the violation of someone's rights.

Now, I'm all for the sharing of music as promotion. Hell, I'm trying to do that now with my band The Michelson-Morley Experiment. It is our right, however, to choose how that song is shared or distributed. No-one owns mp3s (of course, that notion is problematic if you've purchased and mp3 online), but someone does own the rights to the song. Rights including the following:

* to produce copies or reproductions of the work and to sell those copies (including, typically, electronic copies)
* to import or export the work
* to create derivative works (works that adapt the original work)
* to perform or display the work publicly
* to sell or assign these rights to others
* to transmit or display by radio or video

As a listener, I believe you should have the right to listen to the song, in the format of your choice, on the player of your choice, at the time and location of your choosing. That's what you are paying for. Such a purchase is an agreement between the copyright holder and the content user to just such an effect (or should be.)

The content user does not, however, have the rights reserved to the copyright holder above (unless those rights are granted by the copyright holder), including the right to import or export the work, to produce copies or reproductions of the work, or to assign such rights to others, including themselves.)

We would not (or at least should not) stand if someone's civil rights were violated, though those could be construed as defined in the United States Declaration of Independence as "unalienable Rights." That said, "the pursuit of happiness" would include the ability of an artist/copyright holder to be compensated for their work when it is used. Early judicial opinion proclaimed the following:

Among these inalienable rights, as proclaimed in that great document, is the right of men to pursue their happiness, by which is meant the right to pursue any lawful business or vocation, in any manner not inconsistent with the equal rights of others, which may increase their prosperity or develop their faculties, so as to give to them their highest enjoyment.

User Journal

Journal Journal: A Comment Regarding an Article in the L.A. Times

This article was followed by the comment below, which I felt compelled to respond to.

Our country is on the brink of economic collapse. Yet the DP seems poised to anoint as its presidential nominee a complete neophyte, a man who still smokes and admits to having used alcohol, marijuana & cocaine to avoid facing reality. We're in a huge mess, created by another man who was also an alcohol & drug user. It's clear to anyone with a functioning brain that the only candidate with the capability to help us out of this mess is Hillary, a hard-working, smart, responsible, courageous woman. Yet the rhetoric-dazed, idol-crazed media and the ill-informed voters it creates seem more concerned about appearing un-hip than sexist and stupid. Submitted by: ck 5:48 PM PST, Feb 12, 2008

Unfortunately, my response ran a little long resulting in some cuts before I posted. Here, however, is my complete rebuttal.

And it was only days ago I was reading about the fierce hatred and vitriol put forth by Obama supporters against Hillary.

I believe Hillary is a fine person and a superb politician, but she is a classic bureaucrat, and I simply have no desire to see another bureaucrat in power. The beauty of the American system is that any of us could rise to that coveted role of leadership and service, and Obama is doing just that. If he's smart he will surround himself with bright people as he's done so far in order to get the job done right.

The duty of a leader in a democracy is not to exert their will, but to inspire, motivate, and carry out the will of the people. Well done, Barak, and good luck.

User Journal

Journal Journal: A Letter from the National Music Publishers' Association

For anyone interested in intellectual property and the rights of content creators to receive fair compensation for their time, energy and work, the following is a disturbing piece of news.

From: David Israelite [mailto:press@nmpa.org]
Sent: Friday, January 25, 2008 3:20 PM
To: Jill Napier
Subject: Urgent Message from NMPA Regarding Your Rights

On Monday, January 28, the Copyright Royalty Board (CRB) begins the hearing that will determine mechanical rates for every songwriter and music publisher in America. It will be the most important rate hearing in the history of the music industry because in addition to setting rates for physical products, rates will be set for the first time ever for digital products such as digital downloads, subscription services and ring-tones.

The National Music Publishers' Association (NMPA) will be representing the interests of songwriters and music publishers and will be fighting vigorously to protect those interests to ensure that musical compositions are compensated fairly.

On the other side of this fight stands the Recording Industry Association of America (RIAA) and the Digital Music Association (DiMA). Both the RIAA and DiMA have proposed significant reductions in mechanical royalty rates that would be disastrous for songwriters and music publishers. This is literally a fight for the survival of our industry.

To give you an example of what is at stake, the current rate for physical phono-records is 9.1 cents. The NMPA is proposing an increase to 12.5 cents per song. The RIAA, however, has proposed slashing the rate to approximately 6 cents a song - a cut of more than one-third the current rate!

For permanent digital downloads, NMPA is proposing a rate of 15 cents per track because the costs involved are much less than for physical products. The RIAA has proposed the outrageous rate of approximately 5 - 5.5 cents per track, and DiMA is proposing even less.

If you find that troubling, it gets worse. For interactive streaming services, which some analysts believe will be the future of the music industry, NMPA is proposing a rate of the greater of 12.5% of revenue, 27.5% of content costs, or a micro-penny calculation based on usage. The RIAA actually proposed that songwriters and music publishers should get the equivalent of .58% of revenue. This isn't a typo - less than 1%. And DiMA is taking the shocking and offensive position that songwriters' and music publishers' mechanical rights should be zero, because DiMA does not believe we have any such rights!

The initial hearing will last four weeks, with the three permanent Copyright Royalty Judges hearing arguments Mondays through Thursdays from 9:30 am - 4:30 p.m. each day. At the conclusion of the initial hearing, there will be more discovery, followed by a rebuttal hearing in May, and a final decision expected on October 2.

The NMPA will be spending millions dollars in this proceeding to protect the interests of songwriters and music publishers against the much larger record labels and digital media companies. And although we face such an enormous fight, we have an incredible advantage - we represent songwriters, without whom the record labels and digital music services could not exist.

Please forward this to anyone who is involved in the songwriting and music publishing industry. We will be sending out regular updates as the CRB progresses to keep you informed. Through your networks, we hope to reach the vast majority of the industry. If you did not receive this directly, and would like to be added to the master NMPA communications list, please send your contact information to Jamie Marotta at jmarotta@nmpa.org.

As always, we appreciate your support of the NMPA which allows us to wage this fight on your behalf.

David M. Israelite
President & CEO
National Music Publishers' Association
www.nmpa.org
User Journal

Journal Journal: Home Recording

I think the first rule of recording outside of a studio (speaking as an audio engineer who works in a studio) is to accept that your recordings will not sound like they were made in a studio. I think the second rule is there's nothing wrong with that. Though the majority of great recordings thus far have been made in a studio environment, I am periodically surprised by recordings made in less than stellar conditions that sound fantastic. This is a subjective art. You probably won't be making Steely Dan or Alan Parsons records, but Jason Falkner, Jack White and even Bruce Springsteen have made some great sounding stuff under less than ideal recording conditions and environments.

Here's some starter ideas.

Software: REAPER = $50 (Free until you can afford to pay for it, basically)
Interface: M-Audio FastTrack USB = about $100
Microphone: Shure SM58 = about $100. If you don't have any room treatment (loosely "soundproofing") then this mic will be your friend. It sounds pretty good on most things from voice to instruments, too.
Subscription: TapeOp - Free one year subscription (trust me...you'll want this)

Don't forget a couple cables for your mic and instrument if necessary. Plug in your instrument of choice and have fun. Experiment with where you put the mic until you like the sound of it (and DON'T LET YOUR METERS GO INTO THE RED!) Pay close attention to how your choice affects the sound of the overall mix as you add tracks. Don't be afraid to experiment with software, sound or equipment. Remember, though there are good techniques, the only right techniques are the ones that sound good to you.

Also get onboard a good site like Gearslutz and read, ask and engage.

Most importantly, use your ears, pay attention, try to mimic things you like from other people's recordings and LEARN from doing it. We're all geeks, damnit. Isn't that how we learn to do everything?

That'll be 5 cents, please.

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