all right kids, lets beat this fucker to death and steer the piracy thread
in the next obvious direction with a fun little excursive in self
reflection.
assuming a number of you idm contributors are, like yours-truly, a musician
of the electronic genre, lets step back from the pirated music quandary and
ask ourselves if the tools we computer musicians are using are legit copies.
it has become commonplace for musicians to approach me unashamedly - EVEN
PROUDLY at robotspeak with tech questions regarding an arsenal of pirated
warez. I understand that a music software's usefulness as a creative tool,
unlike a guitar, sousaphone or accordion, is not self-evident. and
trying-before-buying is where kracks excel. im not about to tell a newbie
musician to shell out 700 bones for a copy of logic sight unseen, and at
times i've recommended against it. BUT 2 years later when they've
comfortably reached smug logic power user status with their krack rack of
virtual synths, its not any easy thing- to settle a moral score and buy a
legit copy.
Some of the bleeding edge companies - native instruments being the poster
child - are apparently just a tick from bleeding to death because of this
krackage pestilence, which begs the chicken - egg question: are apps
expensive because software companies are money-grubbing capitalists who want
to price-out their target consumer, or are software companies forced to
raise prices on apps to keep their company running and to pay their staff of
incredibly talented, hardworking', and CREATIVE software engineers?
further, how can they claim ownership over lines of code- its all ones and
zeros, eh? ;]
------------
by the way, we are doing 2 free clinics this saturday. prop reason @ 1:00,
ableton live @ 3:00, so if you can't figure out your krack because you got
no manual, come on down and get yerself some learn'in!
;)
lots of love and chocolate covered unicorns for all,
aln
--
alan_stewart
robotspeak
alan@robotspeak.com
415_554_1977
On 3/12/03 9:34 AM, "nethed" <nethed@ninjatune.net> wrote:
quoted 48 lines In the US, look at the links I just posted.
> In the US, look at the links I just posted.
> In the UK, have a look at the MCPS/PRS website.
> There is substantial case law that has clearly defined and drawn
> the line as to what a sample is.
>
> Copyrights and Copywrongs: The Rise of Intellectual Property and how
> It Threatens Creativity
> Siva Vaidhyanathan
>
> Suggesting another book to buy before speaking without knowledge.
>
> Sorry guys, but I went to harvard last summer and studied internet law
> and spend my spare waking hours studying about these things and possible
> solutions/alternatives - i thought this list had more 'intelligent'
> people on it... perhaps they're just lurking waiting for the storm to
> die down.
>
> If anyone wants to know how Copyright and the Music Industry works in
> the UK, I suggest checking out
>
> http://www.bbc.co.uk/radio1/onemusic - go to the contracts section written
> by a lawyer. ask their experts a question and read the info on the site
> about copyright and sampling. you might learn something today.
>
> excuse if this sounds patronising and cynical -- i'll go back to lurking
>
> nH
>
>
> At 12:19 pm -0500 12/3/03, pixilated wrote:
>> You only have to pay for samples because of the existing structure of
>> copyrights. Anyway, who are you to decide what "sampling" is? All art
>> "samples." I defy you to tell me where to draw the line. The copyright
>> issue in art is about money, not creativity, as someone "sampling" your
>> work does nothing to impede your own creation of art.
>>
>> -----Original Message-----
>> From: Jeff/Ninja Tune [mailto:jeff@ninjatune.net]
>> Sent: Wednesday, March 12, 2003 12:12 PM
>> Cc: idm@hyperreal.org
>> Subject: Re: [idm] Indie Ethics
>>
>> We can debate all day on the merits of sampling, but it can start with
>> the fact that you have no idea as to what samples we've cleared/paided
>> for. It can end with the fact that sampling is an art form which
>> re-arranges pre-existing work into new context and pieces of work. It's
>> a big difference and two very different arguments.
>>
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