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Fill in the blank with the following terms.  Use each word only once.  Leave your answers as a comment.

Use Chapter 16 of your book to find the answers to the following questions.

1. When a producer signs a “buyout” contract with a sound effects library publisher, this means the producer has: (p. 341)
a. limited, noncopyright-cleared usage
b. limited, copyright-cleared usage
c. unlimited, noncopyright-cleared usage
d. unlimited, copyright-cleared usage

2. In comparing prerecorded sound effects to live recorded effects, the major advantage of the prerecorded variety is: (p. 341)
a. ambience
b. timing
c. the dynamics
d. convenience

3. There are some important precautions in making tape loops. Of the following, which is not one? (p. 344)
a. tape length no longer than a few feet
b. don’t play it too long
c. play it in the same head-to-tail relationship
d. none of the above

4. Live sound effects are recorded in three ways. Which is not one? (p. 345)
a. Foleyed
b. on set at the shoot
c. from a sound library
d. directly from the source, either during or between productions

5. Although the type of footwear would affect the sound of a footstep, the sex of the person producing the effect should not influence the sound. (p. 345)
a. true
b. false

6. Directors who prefer sonic realism over control would probably choose the Foley stage for sound effects. (p. 345)
a. true
b. false

7. The key to collecting successful live effects in the field is making sure that the recorded effect: (p. 346)
a. is authentic
b. sounds like what it is supposed to be
c. is in proper perspective relative to the picture
d. is recorded mono-compatible

8. Sampling is a process whereby digital audio data representing a sonic event is
stored on disk or into a memory. (p. 353)
a. true
b. false

9.Contextual sound emanates from and duplicates a sound as it is.: (p.337)
a. true
b. false

10. Narrative sound adds more to a scene than what is apparent.
a. true
b. false


1. What are these piracy bills about?
2. Who are your 3 congressional elected officials? (look up by zip code)
3. Who supports SOPA/PIPA?
4. Who opposes SOPA/PIPA?
5. What do the acronyms mean? (SOPA and PIPA)
6. Isn’t copyright infringement already illegal?
7. Are there alternatives to the proposed bill?
8. Do you support the media groups or the technology groups?
9. What websites would be immediately effected by the bills?
10. What websites protested on 1/18/2012?
11. Do you think the protests were effective?
12. Did the protests effect you?

1. When I finish writing a song, I have to send a special form to the Copyright Office in Washington D.C. to establish my rights to the song. (TRUE or FALSE )

2. I co-write song equally with a friend. A publisher is interested in the song and wants us to sign over 100% of all publishing rights. What percent of the song would I still own if we do that ? (a) 0% (b) 25% (c) 33% (d) 50%, (e) 66% (f)

3 A producer I’ve hired to arrange and produce my song adds several instrument and harmony lines which improve the song. Because of his creative input, which of the following am I obliged to do:

(a) add his name to the copyright of the song
(b) give him a percentage of future royalties
(c) both of the above
(d) none of the above

4. I can protect my rights to a song by sending a copy to myself by certified mail

5. Registering a song with both ASCAP and BMI will improve my chances of getting royalties from airplay and live performance. (TRUE of FALSE)

6. A song contest specifies that it want only unpublished songs submitted. If I’ve recorded a song myself and placed it myself for sale only in my online store on MySpace,. I can submit it to the song contest (TRUE of FALSE)

7. I own all the rights to a song I’ve written. I record it, release it on CD, put it on MySpace, and another artist hears it and want to record it. They can only do so if I
give permission. (TRUE or FALSE)

8. I want to record a song originally recorded by a well known artist.
I need to get permission from:

(a) The artist
(b) The songwriter
(d) The publisher
(e) All of the above
(f) None of the above

9. You just finish writing a new song. An up-and-coming Independent artist is recording a CD, hears the song, and wants to use it on her album. In order for you to let that happen, you must first :

(a) Send the copyright form under your name to the Copyright Office
(b) Get the song under contract to a publisher
(c) Register the song with ASCAP and BMI
(d) All of the above
(e) Only two of the above
(f) None of the above

10. You place a song with a publisher under a standard SGA contract. The song gets
recorded by a band and included on their self-released CD which sells about 11,000
copies. From those specific CD sales, you should expect to receive:

(a) about $500 from the band
(b) about $500 from the publisher
(c) about $1000 from the band
(d) about $1000 from the publisher
(e) about $5,500 from the publisher and $5,500 from the band
(f) about $11,000 from the band.
(g) a bill from the publisher for your share of recording and touring expenses

11. A publisher will sign your song to an exclusive deal guaranteeing you that for a 50% interest in the song, he will have your song recorded and released on CD within 2 years or you get your rights back. The only cost to you is a $1500 fee for the professional recording. This is a generous publishing offer. (TRUE or FALSE)

12. If I place a song with a publisher, there is no way to avoid giving up some percentage of the royalties which the song may generate. (TRUE or FALSE)

13. At a critique session, with many people present, my song was highly praised for having a unique concept. I sent in the copyright form for my song and after receiving the validated form back, I performed the song live at a showcase. Someone then took my same chord progression, altered the melody and words, kept the same title and concept, and recorded their own song. I have clear grounds to file a claim for infringement.

14. My song, for which I own all rights, is played on a national TV broadcast in the U.S. From the list below of all the agencies I am involved with, the agency from which I would expect to see my royalties is:

(a) AFTRA (e) SESAC (i) NSAI
(b) NARAS (f) SGA (j) Harry Fox
(c) Sound Scan (g) Sound Exchange (k) None of the above
(d) AFM (h) Wal-Mart

15. To get my Indie CD containing 20 songs into worldwide digital distribution through all major distribution channels, I should expect to pay:

(a) Less than $50
(b) $50 – $100
(c) $500-$1000
(d) more than $1000
(e) an annual per-song licensing fee

16. I wrote a song and own all the writer and publishing rights. I had an artist record it, and it’s getting extensive Internet airplay, and generating royalties. How much of the royalties collected from radio stations by Sound Exchange should go to me?

Former Death Row aritst, DR. Dre has filed a lawsuit for reportedly not receiving royalty payments from his 1992 album, The Chronic
Dre claims he hasn’t been paid a penny since he bounced out on Death Row in 1996. Since then, Death Row filed bankruptcy and was recently bought by a company called WIDEawake.
“When it came to paying artist royalties and honoring limits on Dr. Dre recordings that could be released, the “new” Death Row Records, to quote our client, ‘forgot about Dre,’” Young’s attorney Howard King said in a statement. “This lawsuit will make sure they remember.”
Dre is suing for unspecified damages of more than $75,000.
Hmmmm …Sounds like a teachable moment. Check below and lookup information on different types of royalties.

1. Music royalties:

2. Artist Royalties:

3. Mechanical Royalties:

4. Performance Royalties:

5. Synchronization Royalties:

Also find the different types of copyright licenses

1. Compulsory licensing

2. Statutory royalty rate

3. Shared copyrights

4. Sampled composition

5. Transfer of copyrights

List 4 other Artists/Bands/Musicians that have had a dispute with their record label.

Dr. Dre at Home

1. Culture Always Builds on the Past – The U.S. Registrar of Copyrights is shown the process of creating a “mash up.” Brett then introduces point one of the manifesto, showing us how music has evolved from the cotton fields to the dance floor. Do you believe there are forms of music that are not built on past works? General: Do you think you can argue your creativity when it’s based on other people’s work?

2. Asking Permission – Brett introduces the concept of music publishing and the complexities that go into legally clearing a sample. The film claims that the current system of creating sample‐based music is cumbersome and financially out of reach for the majority of musicians. What kind of system could you create that would be fair to the artist(s) being sampled and the artist doing the sampling?

3. The Past Tries to Control the Future – We are taken through the reasons why copyright laws were invented. We see how, as technology advances, laws – with the original intent to balance innovation with payment for authors – change. Copyright laws were originally intended to encourage people to create. Do you think that intention has changed in recent years?

4. Preachers, Lawyers and Criminals – Stanford professor and copyright activist, Lawrence Lessig takes a look at some of the people labeled criminals and asks if it benefits society. Brett also introduces the idea of “fair use.” If you share music illegally, do your parents know? What do you think their view on this is? Would their opinions differ if you purchased a CD or DVD and “remixed” it?

5. Lawrence Lessig states that copyright extremism “does harm” to developing nations. What do you think he means by this? What do these laws and policies affect beyond music and media?

6. Our Culture Is Becoming Less Free – Brett asks a group of teenagers being lectured by the RIAA, “How many of you, when you’re downloading music off the Internet think that you’re stealing it?” How would you answer that question and why?

7. The Recording Industry Association of America (RIAA) and the Motion Picture Association of America (MPAA), represent 90 percent of media holdings in the United States. What effect do you think this majority of power has on culture in North America or the World?

8. The MPAA gave RIP! A Remix Manifesto a rating of…
a. PG
b. NR
c. R
d. PG-13
e. NC-17

9. RIP! A Remix Manifesto came out in…
a. 2009
b. 2008
c. 2007
d. 2010
e. 2005

10. Was RIP! A Remix Manifesto given any Oscars?

a. No
b. Yes

11. Who is the main DJ featured in RIP! A Remix Manifesto?

a. DJ Q-Bert
b. DJ Babu
c. DJ Jester, The Filipino Fist
d. Girl Talk
e. Chicken George

12. What is #2 of the Remix Manifesto?

1) What is the Digital Millennium Copyright Act (DMCA)?
2) What is the Anti-Counterfeiting Trade Agreement (ACTA)?
3) What are your own thoughts on sharing files such as movies and music with friends?
4) What countries are involved in the ACTA?
5) What is the Freedom of Information Act?
6) What is the Electronic Frontier Foundation?
7) What is the  Knowledge Ecology International?
8) What is the The World Intellectual Property Organization (WIPO)?
9) What do these organizations and acts have in common?
10) What is piracy?  Is it illegal?
11) What is the Federal Communications Commission (FCC)?
12) What is a Poor Man’s Copyright?
13) What is a Trademark?
14) What is a Patent?

click HERE to answer questions


RETAIN – To Keep possesion of.

PATENT – Exclusive right granted by a government.

TRADEMARK – any name, symbol, figure, letter, word, or mark adopted and used by a manufacturer or merchant in order to designate his or her goods and to distinguish them from those manufactured or sold by others.

TANGIBLE – real or actual, rather than imaginary or visionary.  capable of being touched.

ABSTRACT – thought of apart from concrete realities, specific objects, or actual instances: an abstract idea.

Definitive Jux is an independent record label based in New York CityUnited States.  The label was initially known simply as Def Jux, but in 2001 popular hip hop label Def Jam Recordings sued Def Jux over the name similarity. This lawsuit was settled out of court and the name was officially changed to Definitive Jux.

Based on what we have discussed about Copyright Laws, Do you think the name is similar enough to be sued?

1) What is Copyright?
2) What is Attribution?
3) What Public Domain?
4) What Fair Use?
5) Can I use a photograph I found from the Smithsonian website, can I use it in my class report?

The following are either True or False.

______ 1. My students own the copyright to the original works they create in my classroom.
______ 2. My students must register their work with the U.S. Copyright Office if they want copyright
protection for something they have created in the classroom.
______ 3. Music can be downloaded in the classroom from any website since it’s only being used in school.
______ 4. “Fair use” means that teachers have the right to copy anything they like, as long as it is for
classroom use.
______ 5. If an article on a website doesn’t carry a copyright notice, it is in the public domain.
______ 6. My students must contact the U.S. Copyright Office in order to obtain permission to use
copyrighted work in their school reports.
______ 7. As a teacher, I can photocopy a set of pages from a student workbook for the class.
______ 8. It is permissible to publish a link to a list of resources from another website on my class website.
______ 9. One of my students is a talented artist who redrew several student photographs taken for the class
yearbook to use in her class project. Since it’s an intramural situation, it’s OK for her to do this
without getting permission.
______ 10. It is permissible for a student to share computer software with a classmate, as long as it will be
used only for school projects.

Fill out and Answer the questions found here.  You must read the CNN article first (link provided in form).

October 2013

RSS DMHS Counseling

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RSS Rampage

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RSS Mr. Katz

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RSS College of the Desert Radio 1620 AM

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RSS The Makeshift Musician

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