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 Copyrights (Songwriters) |
What is a Copyright? As a songwriter do I need one?
COPYRIGHT 1) n. the exclusive right of the author or creator of a literary or artistic property (such as a book, movie, or musical composition) to print, copy, sell, license, distribute, transform to another medium, translate, record or perform or otherwise use (or not use) and to give it to another by will. As soon as a work is created and is in a tangible form (such as writing or taping) the work automatically has federal copyright protection. On any distributed and/or published work a notice should be affixed stating the word copyright, or copy or "c" in a circle, with the name of the creator, and the date of copyright (which is the year of first publication). The notice should be on the title page or the page immediately following, and for graphic arts on a clearly visible or accessible place. A work should be registered with the U. S. Copyright Office by submitting a registration form and two copies of the work with a fee which a) establishes proof of earliest creation and publication, b) is required to file a lawsuit for infringement of copyright, c) if filed within three months of publcation, established a right to attorneys' fees in an infringment suit. Copyrights cover the following: literary, musical and dramatic works, periodicals, maps, works of art (including models), art reproductions, sculptural works, technical drawings, photographs, prints (including labels), movies and other audiovisial works, computer programs, compilations of works and derivative works, and architectural drawings. Not subject to copyright are short phrases, titles, extemporaneous speeches or live unrecorded performances, common information, government publications, mere ideas, and seditious, obscene, libelous and fraudulent work. For any work created from 1978 to date a copyright is good for the author's life, plus 50 years, with a few exceptions such as work "for hire" which is owned by the one commissioning the work for a period of 75 years from publication. After that it falls into the public domain. Many, but not all, countries recognize international copyrights under the "Universal Copyright Convention," to which the United States is a party.
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WANT A HOTTER MIX? |
If you are sincere about getting the best possible mix out of your productions, then you'll be certain to read the following unknown EQ mixing secrets below:
1) Know what to boost & where to boost - Too many amateur mixers think just because they've discovered a low frequency EQ knob, and know how to turn it up, that they've suddenly become an expert on Equalization. The truth is there isn't a quicker way to ruin a mix than EQing your tracks using the same global EQ boosts. A professional mixer quickly understands that while boosting the same low frequency on a bass guitar as that on a kick drum may sound great when listened separate from each other, when combined the cumulative EQ creates an overall loss of output volume for the entire mix due to lows controlling the mix level.
2) Give each track it's own timbre - A professional mixer understands to avoid using the same frequencies when EQing each track in a mix. In fact, by making sure each track has it's own proper & unique EQ settings, you're overall mix will sound more professional, balanced, and louder. To take it a step further, clearing out frequency ranges with low pass and high pass filters on tracks that don't fill the entire frequency spectrum grants you more control over boosting & cutting EQ where it is needed. For example, opening up the low end of the spectrum with high pass filtering so kick drums and bass can fill in with more definition, as well as, opening up the highs with low pass filtering where cymbals and hi-hats can be heard more clearly.
3) Compensate: Where you boost, you must cut - A professional mixer understands that where he/she boosts, he/she must cut. For example, if your kick drum needs more lows, then give it a 4db boost around 60hz. But...be certain to compensate this boost with a corresponding cut by subtracting the same 60hz from your bass guitar track. Furthermore, before creating unwanted cumulative EQ effects by boosting lower mids on your congas or toms, clear out the EQ path by high passing tracks that don't use natural low mids such as strings, hi hats, and background vocals. By boosting where you cut & cutting where you boost, you keep the overall EQ spectrum balanced. The results will astonish you. Your overall mix will be more balanced, smoother, and best of all - Hotter!
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