The Sound Recording Amendment Act

Copyright law, which manages much of the music business industry, tries to maintain a balance concerning the rights of the creator, and the common good in an attempt to drive society forward. In essence, the

The interviews conducted in this study provided further insights into the effects of digitization and the future of the recording industry. Both respondents measured positively in knowledgeability, credibility, impartiality, willingness to respond, and lack of outside constraints. In terms of overall reliability, the key informants interviewed were considered “good” informants overall.

This is the permission of people to make private copies of music for themselves. But realizing that people would make copies for friends and family, the government decided to try and compensate the artists. They added in a provision for the imposition of a levy on blank audio recording media. The money from this tax would go to the artists and authors of the music.

Before the 1900s, the intellectual property laws adapted with technological advancements (Demers, 2006, 21). Indeed recorded music has been distributed in a great variety of mediums (Bargfrede, Mak & Feist, 2009, 4). In the 1870s, the cylinder emerged as the first recording technology. Thomas Edison then captured the first recorded human voice in 1877 and was issued a patent for his recording technique that same year. With the proliferation of device manufacturers and music promoters, the record industry began shortly thereafter. Moreover, with the invention of wax cylinders and disks, piracy grew (Cummings, 2010). The sound recording industry felt increasingly threatened by piracy’s spread in the end of the nineteenth century (Cummings,

Copyright is the legal right, to an inventor to perform, print, publish, film, or record artistic, literary, or musical material, and to allow others to do the same. Copyright law was developed to provide the creators and inventors of any works with powerful and effective rights of exclusivity over their creations (Patterson & Lindberg, 1991). Over the past, these rights were almost unlimited. People would use existing developments as if they were their own without any regard of the creator’s exclusive rights. The need to balance and limit such rights arose, and governments established these limits for the general good of the public.

In the sixth section of the book “Blown to Bits”, the author talks about copyrights and how they can be easily stolen and copied using bits and the internet. Controlling illegal copies of copyrighted content is very hard to do without placing very hard legislation on the internet, which will result in a loss of rights that the internet is fighting so hard to retain. The RIAA, which is the Recording Industry of Association of America, has been trying very hard to protect their property by using unconventional methods to protect their property, which includes often searching and pestering people about how they obtained copies of their music. The reason this is an issue is because the record labels can no longer protect the music they produce,

A phono record is defined by the United States Copyright Act of 1976 to be a material object which embodies sounds (other than those accompanying audio-visual recordings such as movies), for example cassette tapes, CDs or albums. angel Zuniga (2018) “Phono records” are material objects in which sounds, other than those accompanying a motion picture or other audiovisual work, are fixed by any method now known or later developed, and from which the sounds can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The term “phono records” includes the material object in which the sounds are first fixed. Thomas Alva Edison in 1877 )Reverse tape effects are special effects created by recording

In 1948 the vinyl record was born when Columbia Records introduced the 12-inch microgroove LP (long-playing) recorded at 33-1/3rmp and pressed in vinyl. This important moment in history took place in the city of New York. The vinyl record thrived for generations and with the appearance of the rock-and-roll era its popularity expanded. This expansion led to a turning point within the music industry the birth of the Hi-Fi era and the industry that rose to meet its challenges.

As sound recording is intangible, it is hard to use in the same way as a tangible item such as a novel, when managing regulations and privacy concerns. There have been a variety of issues to determine who actually owns the sound that has been created. It could be the artist, producer, or a sound engineer who has worked on that particular sound. By illegally downloading or sharing a sound recording, an individual is harming the original creator. Video recordings with sound are greatly present in concerts and different musical events. This process is not regulated, however the recording may only be used for personal usage and not aimed towards creating a profit, which on the other hand is illegal. The result can be seen within Alex Cummings book titled “Democracy of Sound”. Cummings argues “Such moral convictions may help to explain the hard shift toward stronger copyright laws in America during the last four years” (Cummings 2). As mentioned earlier, personalized usage of such recordings is acceptable, but distribution of the material is not. The Canadian government has defined sound recording as “musical work” and it states, “musical work means any work of music or musical composition, with or without words, and includes any compilation thereof” (Copyright Act). “Copyright, which recognizes and protects artists’ creations as ‘intellectual property’, will be a

To start with we have to talk about R.I.A.A. R.I.A.A stands for “Recording Industry Association of America”. It is a trade organization in the United States that represents the recording industry. 85% of all legally sold recorded music in the U.S. is manufacture, created, and distributed by members of this group. It was originally formed in 1952 with the original mission of administering recording copy right fees as well as researching government regulations and the overall recording industry. The RIAA current missions include “1. To protect intellectual property rights and the first amendment rights of artists. 2. To perform research about the music

In 2000 the digital music was the next big thing in how consumers listen to music. The technological shift in music changed how the relationship is between the artists, recording companies, promoters and music stores on how they operate today. In the late 90’s and early 2000’s Peer-to-peer (P2P) networks allowed free exchange of music files with companies like Napster and Kazaa was a big step that allowed consumers to store large libraries of music. With the cost of hard drive space going down; it allowed for pocket-sized computers to store more information in a smaller space that open the door for apple to step in with the unveiling of the iPod and iTunes. These systems made it possible for storage and playback that gave consumers the

No one can deny that technology is actively changing the music industry. Production, distribution and sales of music have been affected dramatically within the last 10 years along with artists, composers, and technicians. Most of the changes have been great for consumers, but vastly negative for professionals in the music industry, however a few artists have found ways to adapt to the changing atmosphere of digitally downloaded music and use it to their advantage. We’ve seen music change form from physical, tangible products like records and CD’s to electronic single tracks stored in an invisible cloud. Two major factors in this sudden revolution are online music stores (specifically iTunes) and file sharing websites that allow music to be downloaded illegally.

A&M Records v. Napster is a landmark case in which the application of intellectual property laws has forever impacted contemporary culture with regards to digital works. The legal issues and applicable laws presented in the instant case resulted in a holding, which set forth a precedent that has influence the mode and means of digital works distribution. The outcome of Napster affects both businesses and individuals.

Introduction: Setting the trend for the future, the distribution and consumption of recorded music transformed dramatically with the launching of Apple’s iTunes in 2001. The proliferation of online music subscription services and other music sharing services exerted a great pressure on the conventional music distribution business model. Combined with this transformation, piracy of digital music had a profound impact on the whole industry. These worsening conditions in the market place for recorded music forced both established and upcoming new artists to experiment with new ways of selling their music.

Producers of musical content cannot undo the adverse effects that piracy has had on the industry. Because of the internet and the way individuals have manipulated it to obtain music, many people are unwilling to change their habits. Here lies the issue between the producer and the consumer. Acts like the Stop Online Piracy Act (SOPA) and PROTECT Intellectual Property Act (PIPA) work against the incentive of many consumers by telling them that they cannot do what maximizes their utility. Producers are thus working against the likings of the consumer. This is wrong.