If you have permission from the label who owns the attached sound recording, you don’t need the permission of the artist to use the composition. While equally important for a song as a whole, in the eyes of copyright law nobody gives a crap. Basically the thing the musician created in their head. Those files of the recordings don’t technically belong to him.)Ĭompositions are the words, notes, rhythm, and melody of the musical work. (Fun fact: this is why Ultra Music can pull all of Kaskade’s own music from Soundcloud. This means anyone who wants to use that recording, even the person who recorded it, has to get permission directly from the record label. Record contracts almost universally mandate that any sound recordings made with the label are owned by the label. Sound recordings are the big mama, the actual recorded version of the musical work. Both of these items receive separate protections under the law. In legal terms, something made of intellectual property (the stuff that comes out of your head) is called a “work.” A musical work is made of two parts: a sound recording, and a composition. As such, we’re going to take a moment and share some of that hidden information with you, in hopes you can make informed decisions when deciding on a record label.Īspiring producers, DJs, vocalists, and songwriters- this is for you! 1. Specifically how the game is rigged to favor major labels (most of the time), and take artists for a ride. One thing we do know about though is record contracts. No one should unless they’re holding an intellectual property law degree. The article says the Garrix is alleging he was given “false and misleading information” about his record contract and was coerced into resigning ownership of his songs. The reports stem from an article in Dutch newspaper De Telegraaf. Klemme Technology Corp.The EDM blogosphere has been in a frenzy today reporting that Spinnin’ Records and management firm MusicAllStars is being sued by Martin Garrix. Additional nominees may be added and will be announced via daily updates as they are confirmed on the CAS website. *Please note that every effort is being made to determine the correct names of all our nominees. “2013 Rock and Roll Hall of Fame Induction Ceremony”ĭialogue and Music Mixer - Michael Minkler, CAS
TELEVISION NON-FICTION, VARIETY or MUSIC SERIES or SPECIALS Production Mixer - Steven Michael Morantz, CAS Re-recording Mixer - Edward Charles Carr III, CAS “Californication: I’ll Lay My Monsters Down” “Game of Thrones: The Rains of Castamere” Re-recording Mixer - Robert Edmondson, CAS “American Horror Story: Coven – ‘The Replacements'” Original Dialogue Mixer - Chris Navarro, CAS Re-recording Mixer - Michael Semanick, CAS Original Dialogue Mixer - Charleen Richards Re-recording Mixer - Michael Prestwood Smith Re-recording Mixer - Christopher Benstead Re-recording Mixer –- Michael Prestwood Smith NOMINATIONS FOR THE 50TH CAS AWARDS FOR OUTSTANDING ACHIEVEMENT IN SOUND MIXING FOR 2013 The 50th annual CAS Awards will be presented at the Crystal Ballroom of The Millennium Biltmore Hotel on February 22, 2014.Ī complete list of nominations follows below: The Red Wedding), “Homeland: ‘Good Night'” and “The Walking Dead: ‘Home.'”
“ Breaking Bad” is also back in an awards race, nommed for the episode “Felina.” The hourlong TV category pits it against “Boardwalk Empire: ‘Erlkönig,'” “Game of Thrones: ‘The Rains of Castamere'” (a.k.a.
The TV races will give “ Behind the Candelabra,” yet another chance at a statuette, in the movie & minis category, where it’ll face competish from “American Horror Story: Coven – ‘The Replacements,'” “Battlestar Galactica: Blood and Chrome,” the second night of “Bonnie and Clyde” and “Phil Spector.”