Recording - October 2010 - 41
more situations of this sort, and has a better idea of what the market will bear. In the January 2008 issue of Recording, I authored the Fade Out column “Resolution Matters”. In it, I espoused that even though the trend in current playback systems is for pathetically low fidelity (how do you spell MP3?), there’s still a case for high resolution. Case in point—if a Hollywood film producer calls you up and says he wants to license one of your tracks for use in a film, and the music supervisor requests your multitrack master so the mixer can evolve your production into one of the surround formats, chances are excellent that they’ll be working in a format other than 16-bit/44.1 kHz (CD sample rate/bit depth). The indigenous sample rate for video playback has historically been 16-bit/48 kHz. As tools improve, at this high end of the business, higher sample rates are always appreciated. Print Income This is a royalty paid to you on sales of printed sheet music. Printed music is sold as single-song sheet music or as part of a folio, which is a book containing a collection of songs by one or more songwriters. Once the primary source of income for songwriters, today print income represents the smallest source of income. In addition to traditional print publishers such as Hal Leonard and Alfred Music Publishing, there are online stores such as Music Notes (www.musicnotes.com) and Sheet Music Direct (www.sheetmusicdirect .com). These companies permit the download of a single song or a collection of songs in what is usually called a gfolio h (e.g., gBest of Bluegrass h). In next month’s chapter we’ll look at how your songs generate income from digital distribution. Todd Gascon (gascon@recordingmag.com) is a technology and entertainment attorney at ZentLaw in Sunnyvale, California. Mr. Gascon’s practice is focused in the areas of intellectual property law, including copyrights and trademarks, with a particular emphasis on digital media, music, motion pictures, visual arts and all entertainment issues relative to the Internet. For more information on Todd and ZentLaw, visit www.zentlaw.com. Bruce Kaphan (kaphan@recordingmag.com) is a producer/engineer/musician/composer who currently lives in the San Francisco Bay Area. For a discography and more information on Bruce, visit www.brucekaphan.com.
RECORDING OCTOBER 2010
41
http://www.cloudmicrophones.com
http://www.cloudmicrophones.com
http://www.musicnotes.com
http://www.sheetmusicdirect.com
http://www.sheetmusicdirect.com
http://www.zentlaw.com
http://www.glyphtech.com
http://www.glyphtech.com
Recording - October 2010
Table of Contents for the Digital Edition of Recording - October 2010
Recording - October 2010
Fade In
Contents
Talkback
Fast Forward
Cakewalk V-Studio 20
Abbey Road Sessions—Good Reasons To Be Prepared
AKG Perception 820 Tube Microphone
A Basement Conversion—The Borla/Mouse Basement Studio
DAW Details
SM Pro Audio P-Control, DiDock, and CT-3
Green Glue
Alesis PalmTrack
It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Reviewed and Revisited
Plug-In Outlet
Do It Yourself: Rack Panels For Under Four Dollars
Cockos REAPER—A Walking Tour
Recording’s Showcase of Sounds
Readers' Tapes
Advertiser Index
Fade Out
Recording - October 2010 - Recording - October 2010
Recording - October 2010 - Cover2
Recording - October 2010 - 1
Recording - October 2010 - Fade In
Recording - October 2010 - 3
Recording - October 2010 - Contents
Recording - October 2010 - 5
Recording - October 2010 - Talkback
Recording - October 2010 - 7
Recording - October 2010 - Fast Forward
Recording - October 2010 - 9
Recording - October 2010 - Cakewalk V-Studio 20
Recording - October 2010 - 11
Recording - October 2010 - 12
Recording - October 2010 - 13
Recording - October 2010 - Abbey Road Sessions—Good Reasons To Be Prepared
Recording - October 2010 - 15
Recording - October 2010 - 16
Recording - October 2010 - 17
Recording - October 2010 - 18
Recording - October 2010 - 19
Recording - October 2010 - 20
Recording - October 2010 - 21
Recording - October 2010 - AKG Perception 820 Tube Microphone
Recording - October 2010 - 23
Recording - October 2010 - A Basement Conversion—The Borla/Mouse Basement Studio
Recording - October 2010 - 25
Recording - October 2010 - 26
Recording - October 2010 - 27
Recording - October 2010 - DAW Details
Recording - October 2010 - 29
Recording - October 2010 - 30
Recording - October 2010 - 31
Recording - October 2010 - SM Pro Audio P-Control, DiDock, and CT-3
Recording - October 2010 - 33
Recording - October 2010 - Green Glue
Recording - October 2010 - 35
Recording - October 2010 - Alesis PalmTrack
Recording - October 2010 - 37
Recording - October 2010 - It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Recording - October 2010 - 39
Recording - October 2010 - 40
Recording - October 2010 - 41
Recording - October 2010 - Reviewed and Revisited
Recording - October 2010 - 43
Recording - October 2010 - Plug-In Outlet
Recording - October 2010 - 45
Recording - October 2010 - 46
Recording - October 2010 - 47
Recording - October 2010 - Do It Yourself: Rack Panels For Under Four Dollars
Recording - October 2010 - 49
Recording - October 2010 - 50
Recording - October 2010 - 51
Recording - October 2010 - 52
Recording - October 2010 - 53
Recording - October 2010 - 54
Recording - October 2010 - 55
Recording - October 2010 - Cockos REAPER—A Walking Tour
Recording - October 2010 - 57
Recording - October 2010 - 58
Recording - October 2010 - 59
Recording - October 2010 - 60
Recording - October 2010 - 61
Recording - October 2010 - Recording’s Showcase of Sounds
Recording - October 2010 - 63
Recording - October 2010 - Readers' Tapes
Recording - October 2010 - Advertiser Index
Recording - October 2010 - 66
Recording - October 2010 - 67
Recording - October 2010 - 68
Recording - October 2010 - 69
Recording - October 2010 - 70
Recording - October 2010 - 71
Recording - October 2010 - Fade Out
Recording - October 2010 - Cover3
Recording - October 2010 - Cover4
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