Recording - March 2010 - 35

Footnotes: 1 A phonorecord can be a vinyl LP, a compact disc, or a cassette tape. 2 Please note that this public performance right is limited to the public performance of sound recordings via digital transmission (e.g., Internet radio, satellite radio and digital cable—think Music Choice). It does not apply to the public performance of sound recordings in an analog format (e.g., traditional radio). 3 An example of a collective work would be an anthology of poems or an encyclopedia. 4 An example of a supplementary work would be an arrangement of a musical composition. 5 A compilation is broader than a collective work. A compilation is a work made by compiling a number of other works, which themselves may be copyrightable. An example of a compilation would be the Twilight soundtrack album. 6 Please note that the printing or reproduction of your work, sending copies of your work to the Copyright Office, or the public display or performance of your work does not constitute “publication”. About the Author, Todd Gascon When I began my entertainment law practice more than ten years ago, nearly all of the artists and bands I represented wanted one thing—a recording agreement with a major record label. Fortunately, I was able to assist many of these talented individuals to fulfill their dreams. However, over the past few years I’ve noticed that most of my clients are no longer looking for that recording agreement with a big advance. Instead, given the advances in technology and the Internet, many artists are looking for my advice and counsel on how to commercially release their recordings and find new outlets and opportunities for their music. They recognize their band is a business and, to that end, want to know how to formalize their business arrangement, protect the copyrights in their compositions and master recordings, and protect the trademark rights in their band’s name and/or logo. After practicing law for six years in Chicago, I moved west to San Francisco to pursue my dream of being an entertainment attorney. While many entertainment attorneys go to New York City or Los Angeles, I moved to San Francisco based, in part, on the Bay Area’s rich musical history. Through a friend, I was introduced to Alma Robinson, the executive director of California Lawyers for the Arts. Shortly after meeting Alma, I was hired as the lawyer referral coordinator for California Lawyers RECORDING MARCH 2010 for the Arts. As the lawyer referral coordinator, I assisted artists and arts organizations with their legal problems. In this position, I quickly learned what legal needs artists and arts organizations had, as I was speaking to 20 to 30 people a day on a variety of legal issues including, but not limited to, how does a band secure a trademark for its name, what rights does a former member have to the band’s compositions, recordings and name, what terms should be included in a partnership agreement between two songwriters, and what is a fair license fee for the use of a composition in a major motion picture. Through a series of fortunate events, I formed my own entertainment law practice. My practice was focused in the areas of intellectual property law and licensing, with a particular emphasis in digital media, music, motion pictures and the visual arts. After practicing on my own for more than ten years, I joined ZentLaw in Sunnyvale, California. As a member of ZentLaw, I continue to represent artists, bands, songwriters, composers, producers and independent record labels in the negotiation of distribution, licensing, production, publishing, and recording agreements, as well as the licensing of music for use in motion pictures, television, commercials, and videos.
http://WWW.UAUDIO.COM http://WWW.UAUDIO.COM

Recording - March 2010

Table of Contents for the Digital Edition of Recording - March 2010

Recording - March 2010
Fade In
Talkback
Fast Forward
Become A Recording Songwriter
When You’re The Band
Cakewalk V-Studio 100
The Evolution Of A Song
Blue Bottle Rocket Stage Two
Demoitis—An Epidemic That Affects Recording Songwriters
It’s Your Music—Know Your Rights.  Chapter 1: Copyright
For Your Bookshelf
Audio-Technica AT2035
Readers’ Tapes
Plug-in Outlet
Recording’s Guitar Column
Recording’s Vocal Column
Once Over—Reviews In Brief
Advertiser Index
Fade Out
Recording - March 2010 - Recording - March 2010
Recording - March 2010 - Cover2
Recording - March 2010 - 1
Recording - March 2010 - Fade In
Recording - March 2010 - 3
Recording - March 2010 - 4
Recording - March 2010 - 5
Recording - March 2010 - Talkback
Recording - March 2010 - 7
Recording - March 2010 - Fast Forward
Recording - March 2010 - 9
Recording - March 2010 - Become A Recording Songwriter
Recording - March 2010 - 11
Recording - March 2010 - 12
Recording - March 2010 - 13
Recording - March 2010 - 14
Recording - March 2010 - 15
Recording - March 2010 - When You’re The Band
Recording - March 2010 - 17
Recording - March 2010 - Cakewalk V-Studio 100
Recording - March 2010 - 19
Recording - March 2010 - The Evolution Of A Song
Recording - March 2010 - 21
Recording - March 2010 - 22
Recording - March 2010 - 23
Recording - March 2010 - 24
Recording - March 2010 - 25
Recording - March 2010 - Blue Bottle Rocket Stage Two
Recording - March 2010 - 27
Recording - March 2010 - 28
Recording - March 2010 - 29
Recording - March 2010 - Demoitis—An Epidemic That Affects Recording Songwriters
Recording - March 2010 - 31
Recording - March 2010 - It’s Your Music—Know Your Rights.  Chapter 1: Copyright
Recording - March 2010 - 33
Recording - March 2010 - 34
Recording - March 2010 - 35
Recording - March 2010 - For Your Bookshelf
Recording - March 2010 - 37
Recording - March 2010 - Audio-Technica AT2035
Recording - March 2010 - 39
Recording - March 2010 - Readers’ Tapes
Recording - March 2010 - 41
Recording - March 2010 - 42
Recording - March 2010 - 43
Recording - March 2010 - 44
Recording - March 2010 - 45
Recording - March 2010 - Plug-in Outlet
Recording - March 2010 - 47
Recording - March 2010 - 48
Recording - March 2010 - 49
Recording - March 2010 - Recording’s Guitar Column
Recording - March 2010 - 51
Recording - March 2010 - Recording’s Vocal Column
Recording - March 2010 - 53
Recording - March 2010 - Once Over—Reviews In Brief
Recording - March 2010 - 55
Recording - March 2010 - 56
Recording - March 2010 - Advertiser Index
Recording - March 2010 - 58
Recording - March 2010 - 59
Recording - March 2010 - 60
Recording - March 2010 - 61
Recording - March 2010 - 62
Recording - March 2010 - 63
Recording - March 2010 - Fade Out
Recording - March 2010 - Cover3
Recording - March 2010 - Cover4
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