Copyright laws are different in every country.
However, the general rule is once you have created a work
in some tangible form then you have copyright in that work
In the UK owners of a copyright have the following rights -
pay attention - this is important:
1) the right to copy the work
2) to issue copies of the work to the public
3) to perform show or play the work in public
4) to broadcast the work or include it in a cable programme service
5) to make an adaptation of the work ot to do any of the above in
relation to an adapttation.
The act does not confer a positive right in the copyright owner
to do these acts, because he himself may find that his work is
derivative and has infringed somebody elses copyright. Rather, it
gives the copyright owner the right to stop others infringing his copyright.
Not all categories of copyright works carry the same exclusive rights,
ie sound recordings, dramatic works, literary works, films etc.
For a simple explanation of UK copyright law -
check
http://www.bbc.co.uk/radio1/onemusic - when you get to
this site look into the Business Section - everything you
need to know to release a record in the UK and protect yourself
under copyright law is there.
By the way, if you want to get a good idea of how distribution
and anything else works in the UK - the ONE MUSIC site has it all.
In the UK you can do the mail yourself the work recorded delivery
and it would be considered proof in an infringement case.
In the US, under the Copyright Act, there is a registration
procedure you need to follow and file with the copyright office.
Stick US Copyright Law into google and you will find more than
you need to know.
I'm not a law drop out - I have a law degree from USF, I went
to The Berkman Center for Internet Law at Harvard last summer
and spent eight weeks intensively studying copyright law in
relation to the internet. I also teach this one afternoon a
week to music and technology students at a UK university.
Do you all know what a "derivative work" is?
That means you sampled someone elses work and put it into your
work - no matter how much you twisted the drum loops from someone
else work - you still used their work.
If you are making mulitple demos and sending them around to places
its a good idea to put (c) Your Name, and the year on everything.
Of course, it wont stop people from uploading your work onto
file sharing sites, or even sampling your work without permission
but at least it will put people on notice that you have some under
standing that the work is yours.
And although I dont work for Donald Passman or have any vested
interest in helping him sell his books because he's already very
well off - its absolutely imperative for anyone whose in the
music business to get and read his book Everything You Need to Know
About The Music Business - there is a UK edition which compares
UK and US law. You can pick this up at amazon.
CAVEAT Passmans book hasnt been updated since 2000 and barely
covers the internet -
If you want to pick up a more recent book with lots of ins and
outs of the American Music Business - I urge you to get
Peter M Thall's book "WHAT THEY'LL NEVER TELL YOU ABOUT THE MUSIC
BUSINESS".... This is naturally written from a musicians lawyers
point of view but there are excellent tips for start ups and worth
the $20.
At 1:57 pm -0400 24/4/03, EggyToast wrote:
quoted 94 lines Only in a "your word against theirs" case.
>Only in a "your word against theirs" case.
>
>Generally, it's only a good option if something comes up prior to
>getting a chance to apply for a registered copyright. A postmark is
>evidence, but it's not tamper proof. But when faced with no other
>choice, it's better than nothing at all (especially if you end up in court
>against someone with nothing at all).
>
>dave_dunstan said:
>>
>> I've heard if you snail mail yourself a copy of the music written to a
>> cd or tape and just keep the envelope sealed up, stash it away
>> somewhere, that works too ...
> >
>> dave
>>
>>
>> On Thu, 24 Apr 2003, David Dow wrote:
>>
>>> Hello All,
>>>
>>> I have about 15-20 tracks that I am starting to
>>> circulate and I need to get them
>>> copywritten...copywrited? Anyhew, I also would like to
>>> find someone who knows what they're doing to convert
>>> these tracks to whatever format so that I can put them
>>> up at my web site which is under construction.
>>>
>>> Thanks!!!
>>>
>>>
>>> Dave
>>> --- Jesse Farmer <renku@fuse.net> wrote:
>>> > Like everyone else it seems, I'm trying to start a
>>> > minuscule label. I was
>>> > wondering if any of the more business-savvy list
>>> > members might have any
>>> > advice on how to approach distributors? Which ones
>>> > are good to
>>> > contact? Which ones are distributing IDM labels?
>>> >
>>> > I know some of the players (Watts, Unique,
>>> > Majestic). I've looked at the
>>> > Dance Music Business Resource regarding
>>> > distribution, but it doesn't say
>>> > too much about how to approach distributors, or what
>>> > they are looking
>>> > for. Vinyl or CD releases? How many releases
>>> > should a label expect to
>>> > have in its immediate catalogue? Or is it even
>>> > worth approaching a
>>> > distributor; should small labels look to sell
>>> > direct?
>>> >
>>> > I'd really appreciate any advice from some of you
>>> > who've done
>>> > this. Thanks! -Jesse
>>> >
>>> >
>>> >
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>--
>eggytoast.com - eggtastic.com
>------
>it's in your grocer's freezer
>
>
>
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