So why have the 50 year thing? Or does that work in the case of recordings of stuff by long-dead classical composers (eg)?Pete Thomas wrote:No because you'd be sampling the composition as well as the recording. You would need permission to sample the copyright in the compostion until its public domain.RedBottom wrote: ... But if he records it, then I can sample or copy that recording or whatever when he's eighty, and there's not a thing he can do about it?
Me too, but since I've met and known more recording artists, I'm becoming whiter.Ken wrote:However, I think common sense or "mama should'a told ya" is enough for anyone to realise that file sharing is legally and morally wrong. I have on occasion not been snow white on this,...
Go to some of the American-based forums and discuss this, and you'll find contributors paranoid about it. I guess because the law there is much more stringent in these matters - they WILL prosecute, never mind 'might'.
The place I live is known as the counterfeit capital of the UK, so it's big news here every so often. Doesn't help that the city used to make stuff for some of the finest brand names in the world until the big stores began to source out to the third world for cheap labour. I won't buy stuff if I know it's counterfeit (and it's amazing how easy it is to tell), but plenty do with no compunction.Even more off the track, what about the counterfeiting of many other products. People rarely seem concerned about where there Ray Ban sunglasses or Calvin Klein underwear originates, but all of this is the same morality question and few appear to care.
Similar in UK. Any venue wishing to host live music (not sure whether it includes recorded music used as ambience music) has to apply for a performing licence. The cost and type of licence depends on the venue size and frequency of performance.I know that here in Spain the equivalent of the Performing Rights Assoc., take an annual fee from clubs/bars where music is played. Is this the same elsewhere, if so, or if not, does anyone (venue owners mostly) make an effort to pay PR
Performers are expected to tell PRS what they perform where, and when. At the two festivals I work for, bands are given a form to fill in and leave with us, usually leaving a set list with it. Even if it's an artiste's own song being performed, they're supposed to list it. The whole lot is then sent to PRS and writers' royalties calculated. I think they're paid out of the revenues that venues pay for licences.
