On Sat, December 11, 2010 2:19 pm, Blake Richardson wrote:
I've been watching the HBO show Boardwalk Empire lately, which is set in
1920s Prohibition-era Atlantic City, and they've had several scenes set in a
dance hall with a band in a reverse orchestra pit (in a balcony up near the
rafters
Blake Richardson wrote:
I've been watching the HBO show Boardwalk Empire lately, which is set in
1920s Prohibition-era Atlantic City, and they've had several scenes set in a dance hall
with a band in a reverse orchestra pit (in a balcony up near the rafters as opposed to
below the stage). One
is this it?
http://strohviolin.com/index.php?act=viewProdproductId=35
Bob Morabito
On Dec 11, 2010, at 2:19 PM, Blake Richardson wrote:
I've been watching the HBO show Boardwalk Empire lately, which is
set in 1920s Prohibition-era Atlantic City, and they've had several
scenes set in a
Hi all,
Definitely Stroh violins. I heard the Boardwalk Empire MD talk about them on
WNYC.
Terry Riley's Transylvanian Horn Courtship for Kronos calls for custom-built
Stroh instruments (not just violins but Stroh viola and Stroh cello) built for
them Walter Kitundu, and tuned a full fifth
Darcy,
That's cool info about the Kronos instruments. I haven't been following them
in recent years, so I'd like to hear that one.
As for loud, yeah, this is the guy in Bruges, and he was loud:
http://maltedmedia.com/photos/stroh.jpg
I build a cello with a resonator bowl rather than a horn; it
At 2:19 PM -0500 12/11/10, Blake Richardson wrote:
I've been watching the HBO show Boardwalk Empire lately, which is
set in 1920s Prohibition-era Atlantic City, and they've had several
scenes set in a dance hall with a band in a reverse orchestra pit
(in a balcony up near the rafters as
On 11 Dec 2010 at 15:37, Darcy James Argue wrote:
Terry Riley's Transylvanian Horn Courtship for Kronos calls for
custom-built Stroh instruments (not just violins but Stroh viola and
Stroh cello) built for them Walter Kitundu, and tuned a full fifth
lower than the standard instruments. You
On 11/21/2010 1:43 PM, John Howell wrote:
At 7:24 AM -0500 11/21/10, David H. Bailey wrote:
I understand the use of clefs to transpose from concert pitch music to
the differently keyed transposing instruments, but is there a chart
somewhere which does things in reverse?
So that looking at a
At 6:46 AM -0500 11/22/10, David H. Bailey wrote:
What I meant by in reverse is that if I'm looking at a written F
in an F horn part, I can use the mezzo-soprano clef to get the
concert pitch note (Bb). But what if I'm looking at a concert pitch
score, how do I figure out what note the F
- Original Message -
From: John Howell john.how...@vt.edu
Date: Monday, November 22, 2010 1:17 pm
Subject: Re: {Spam} Re: [Finale] OT: historical use of C clefs for voice parts
To: David H. Bailey dhbai...@davidbaileymusicstudio.com, finale@shsu.edu
At 6:46 AM -0500 11/22/10, David H. Bailey wrote
with the other clefs that it would slow me down
immeasurably. I have nothing but respect for those among you who read them
easily!
christopher
- Original Message -
From: John Howell john.how...@vt.edu
Date: Monday, November 22, 2010 1:17 pm
Subject: Re: {Spam} Re: [Finale] OT: historical use
- Original Message -
From: Ryan ry.squa...@gmail.com
Date: Monday, November 22, 2010 2:56 pm
Subject: Re: {Spam} Re: [Finale] OT: historical use of C clefs for voice parts
To: finale@shsu.edu
What method do you use if the horn part doesn't have a key signature?
On Mon, Nov 22, 2010 at 11:01 AM
No, it doesn't assault the user with ads. When you select doPDF as the
printer driver, the program does its thing and presents you with a
dialog box asking where you would like the pdf file saved. In this box
is a single ad for another of their products. The only annoying thing I
find with
I understand the use of clefs to transpose from concert pitch music to
the differently keyed transposing instruments, but is there a chart
somewhere which does things in reverse?
So that looking at a part for F horn, for example, which is printed in
the treble clef, what clef would one use to
...@davidbaileymusicstudio.com
Subject: {Spam} Re: [Finale] OT: historical use of C clefs for voice parts
To: finale@shsu.edu
Date: Sunday, November 21, 2010, 1:24 PM
I understand the use of clefs to
transpose from concert pitch music to
the differently keyed transposing instruments
or something the like). Or it equals horn in Bb basso (ad 2 flats).
Klaus, who will rather transpose than read C clefs
--- On Sun, 11/21/10, David H. Baileydhbai...@davidbaileymusicstudio.com
wrote:
From: David H. Baileydhbai...@davidbaileymusicstudio.com
Subject: {Spam} Re: [Finale] OT: historical
And?
ProTools is pretty much the standard in a studio
Sent from my iSomething
On Nov 21, 2010, at 7:53 AM, Richard Huggins huggin...@yahoo.com wrote:
I had an arrangement recorded by a group that laid down tracks prior to the
session where I was present. I noticed that the engineer was
Richard Huggins wrote:
I had an arrangement recorded by a group that laid down tracks prior to the
session where I was present. I noticed that the engineer was using PT.
And then what happened?
-Randolph Peters
___
Finale mailing list
For those of you not familiar with the newspaper, The Globe and Mail
is Canada's **national Toronto** paper.
interesting but somehow appropriate geographical-political comment...
if you ask torontonians.
___
Finale mailing list
Finale@shsu.edu
Perhaps some on the list would enjoy this video of the
Secret Society, On Canvas
http://video.whyy.org/video/1383585488/
tim
On Nov 21, 2010, at 6:26 PM, Randolph Peters wrote:
There is a nice article (and video) of Finale List member Darcy
Argue in Saturday's Globe and Mail.
At 7:24 AM -0500 11/21/10, David H. Bailey wrote:
I understand the use of clefs to transpose from concert pitch music
to the differently keyed transposing instruments, but is there a
chart somewhere which does things in reverse?
So that looking at a part for F horn, for example, which is
Hey David--
Looks cool. Does it assault you with ads like PDF 995 did?
I may start recommending this to friends and clients.
Allen
Sent from my iDon'tKnowWhat
On 5 Nov, 2010, at 5:26 PM, David H. Bailey wrote:
On 11/5/2010 5:41 PM, David W. Fenton wrote:
On 5 Nov 2010 at 14:03, Ryan wrote:
My trumpet teacher at Ohio State in the early 1990's insisted that all his
students learn clefs in order to transpose on sight. Drives all my friends
nuts... :)
Allen
On 6 Nov, 2010, at 1:22 PM, John Howell wrote:
As a bonus, once you have learned to use the entire system of movable clefs,
Slutning means ending. I don’t know the music, so I don’t know whether Coda
will be right here.
English movies used to end with the text: The End.
The Danish equivalent is Slut.
Some foreigners took offense from that.
Klaus
--- On Tue, 11/16/10, Ryan ry.squa...@gmail.com wrote:
From: Ryan
Florence + Michael wrote:
I recently received the conductor's score of Gounod's Faust (Henschelverlag
Berlin, 1972). I was surprised to find C-clefs used for the voice parts in a
score this recent
I'm not surprised to see them in a conductors score, as I've run across
others, while
At 10:14 AM +0100 11/6/10, Florence + Michael wrote:
I recently received the conductor's score of
Gounod's Faust (Henschelverlag Berlin, 1972). I
was surprised to find C-clefs used for the voice
parts in a score this recent: all female voices
are written in soprano clef and the tenors in
On 6 Nov 2010 at 10:14, Florence + Michael wrote:
I recently received the conductor's score of Gounod's Faust
(Henschelverlag Berlin, 1972). I was surprised to find C-clefs used
for the voice parts in a score this recent: all female voices are
written in soprano clef and the tenors in tenor
On 6 Nov 2010, at 19:22, John Howell wrote:
Gounod is hardly what I'd call a recent composer, since he died in 1910.
And that score is undoubtedly a reprint of a much earlier edition.
Of course Gounod isn't a recent composer, but that edition is recent and
certainly not a reprint of an
At 10:06 PM +0100 11/6/10, Florence + Michael wrote:
Of course Gounod isn't a recent composer, but
that edition is recent and certainly not a
reprint of an earlier edition. It was completely
new in 1972, edited by Fritz Oeser who put back
passages that Gounod had cut before the
premiere.
On 5 Nov 2010 at 14:03, Ryan wrote:
What's the best way to create a PDF file on a PC? Trying to help a
friend, but I'm a Mac user. Looks like he'll have to get a 3rd party
program but I'm hoping someone can recommend a good share- or freeware
option.
The answer depends on the source from
On 11/5/2010 5:41 PM, David W. Fenton wrote:
On 5 Nov 2010 at 14:03, Ryan wrote:
What's the best way to create a PDF file on a PC? Trying to help a
friend, but I'm a Mac user. Looks like he'll have to get a 3rd party
program but I'm hoping someone can recommend a good share- or freeware
Sorry, should have clarified. He wants to create a PDF of a Finale 2011
document. I don't have 2011, so I can't open the file and convert it for
him.
On Fri, Nov 5, 2010 at 2:41 PM, David W. Fenton lists.fin...@dfenton.comwrote:
On 5 Nov 2010 at 14:03, Ryan wrote:
What's the best way to
On 5 Nov 2010 at 14:54, Ryan wrote:
Sorry, should have clarified. He wants to create a PDF of a Finale
2011 document. I don't have 2011, so I can't open the file and convert
it for him.
I don't see why you think my answer doesn't apply. PDF995 and
PDFCreator are still options for Finale. I
I like Bullzip a lot.
http://www.bullzip.com/products/pdf/info.php
Richard Yates
-Original Message-
From: finale-boun...@shsu.edu
[mailto:finale-boun...@shsu.edu] On Behalf Of Ryan
Sent: Friday, November 05, 2010 2:04 PM
To: finale@shsu.edu
Subject: [Finale] OT: Converting to
Thanks for your help. He figured it out.
On Fri, Nov 5, 2010 at 2:21 PM, Richard Yates rich...@yatesguitar.comwrote:
I like Bullzip a lot.
http://www.bullzip.com/products/pdf/info.php
Richard Yates
-Original Message-
From: finale-boun...@shsu.edu
, 9/27/10, John Howell john.how...@vt.edu wrote:
From: John Howell john.how...@vt.edu
Subject: Re: [Finale] OT: Behind Bars and a question on organ notation
To: finale@shsu.edu
Date: Monday, September 27, 2010, 7:16 PM
At 2:57 AM -0700 9/27/10, Klaus
Smedegaard Bjerre wrote:
Visually I
reading problems or confusion. The same
would go for frequent shifts between treble and bass clefs.
What to do?
Klaus
--- On Fri, 9/24/10, Matthew Hindson (gmail) mhindson2...@gmail.com wrote:
From: Matthew Hindson (gmail) mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
At 2:57 AM -0700 9/27/10, Klaus Smedegaard Bjerre wrote:
Visually I could improve the writing by using alto clef, tenor clef,
or treble clef octave down, but that would create reading problems
or confusion. The same would go for frequent shifts between treble
and bass clefs.
What to do?
to do?
Klaus
--- On Fri, 9/24/10, Matthew Hindson (gmail) mhindson2...@gmail.com wrote:
From: Matthew Hindson (gmail) mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
To: finale@shsu.edu
Date: Friday, September 24, 2010, 2:21 AM
If you have the full version of
Acrobat
Thanks for this insight Matthew. I'm always looking for more notation books.
I eagerly checked out the sample PDFs
( http://www.behindbarsnotation.co.uk/contents/ ) and was disappointed to
see inconsistency. Look at the time signatures images in Size and placing
and then look at Placing
On 2010-09-24 17:01, Fiskum, Steve wrote:
I eagerly checked out the sample PDFs
( http://www.behindbarsnotation.co.uk/contents/ ) and was disappointed to
see inconsistency. Look at the time signatures images in Size and placing
and then look at Placing time-signature changes on the same page
9/24/10 10:41 AM, Jari Williamsson jari.williams...@mailbox.swipnet.se
wrote:
It's the left example of the Size and placing that isn't correct,
isn't it? The numbers don't fully fill the vertical space.
No, those on the left are preferred and the word not between the right
and left examples
On 2010-09-24 18:53, Fiskum, Steve wrote:
9/24/10 10:41 AM, Jari Williamssonjari.williams...@mailbox.swipnet.se
wrote:
It's the left example of the Size and placing that isn't correct,
isn't it? The numbers don't fully fill the vertical space.
No, those on the left are preferred and the word
On 24.09.2010 17:01, Fiskum, Steve wrote:
I eagerly checked out the sample PDFs
( http://www.behindbarsnotation.co.uk/contents/ ) and was disappointed to
see inconsistency. Look at the time signatures images in Size and placing
and then look at Placing time-signature changes on the same page
On 9/24/2010 2:42 PM, Howard Weiner wrote:
On 24.09.2010 17:01, Fiskum, Steve wrote:
I eagerly checked out the sample PDFs
( http://www.behindbarsnotation.co.uk/contents/ ) and was disappointed to
see inconsistency. Look at the time signatures images in Size and
placing
and then look at
9/24/10 2:52 PM, Williams, Jim jwilli...@franklincollege.edu wrote:
I also like the large amount of cross-referencing in the body of the text
to related topics elsewhere in the text.
I agree Jim. I really like the cross-referencing. Looks like a nice book to
have on the shelves.
On Behalf Of
Looks good. I'd be interested to see it compared with Gardner read. Is it
more comprehensive? How?
David McKay
On 23 September 2010 18:25, Bob Morabito bobmorab...@optonline.net wrote:
Any thoughts on this?
http://www.behindbarsnotation.co.uk/
Behind Bars is the indispensable reference
I have seen this book, both when it was being written, and on a recent
trip to the UK. (Faber, who publish this book, are my publishers).
Elaine Gould is a super, super fussy editor, which is exactly what is
required of course from such a position. This is her labour of love
covering about
Thanks Matthew
David McKay
On 23 September 2010 19:19, Matthew Hindson (gmail)
mhindson2...@gmail.comwrote:
I have seen this book, both when it was being written, and on a recent trip
to the UK. (Faber, who publish this book, are my publishers).
Elaine Gould is a super, super fussy editor,
Hindson (gmail) mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
To: finale@shsu.edu
Date: Thursday, September 23, 2010, 11:19 AM
I have seen this book, both when it
was being written, and on a recent trip to the UK.
(Faber, who publish this book, are my publishers).
Elaine
for immediate delivery if ordered now? (Shipping
to Denmark from the UK isn’t much of a delay).
Klaus
--- On Thu, 9/23/10, Matthew Hindson (gmail)
mhindson2...@gmail.com wrote:
From: Matthew Hindson (gmail) mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
To: finale@shsu.edu
Date
looks like a good reference for the foundations of notation. 14pp
extract available:
http://www.behindbarsnotation.co.uk/contents/
By far the best layout is one five-line stave, even if this entails
placing notes on one or two ledger lines to create sufficient lines
for the required
There's a pre-publication offer through 31 December 2010:
http://www.behindbarsnotation.co.uk/buying/
Wade Kotter
On 9/23/2010 at 6:58 AM, in message
f3a21784-686d-44ec-a7d3-6372c167a...@optonline.net, Bob Morabito
bobmorab...@optonline.net wrote:
Behind Bars: The Definitive Guide to Music
Heard back from Faber - the price is a pre-release price, sadly. So it
won't be delivered until Jan.
Matthew
On 23/09/10 7:38 PM, Klaus Smedegaard Bjerre wrote:
One matter didn’t occur clearly to me when reading the site linked to by the OP:
Is this book ready for immediate delivery if
information to potential helpers, I
see no immediate way to place an order.
Klaus
--- On Fri, 9/24/10, Matthew Hindson (gmail) mhindson2...@gmail.com wrote:
From: Matthew Hindson (gmail) mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
To: finale@shsu.edu
Date: Friday, September 24
an order.
Klaus
--- On Fri, 9/24/10, Matthew Hindson (gmail)mhindson2...@gmail.com wrote:
From: Matthew Hindson (gmail)mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
To: finale@shsu.edu
Date: Friday, September 24, 2010, 1:41 AM
Heard back from Faber - the price is
a pre-release price
)mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
To: finale@shsu.edu
Date: Friday, September 24, 2010, 1:41 AM
Heard back from Faber - the price is
a pre-release price, sadly. So it
won't be delivered until Jan.
Matthew
On 23/09/10 7:38 PM, Klaus Smedegaard Bjerre wrote:
One matter
...@gmail.com wrote:
From: Matthew Hindson (gmail) mhindson2...@gmail.com
Subject: Re: [Finale] OT: Behind Bars
To: finale@shsu.edu
Date: Friday, September 24, 2010, 2:21 AM
If you have the full version of
Acrobat, you can run Form Field
Recognition on the PDF which allows you to type
Wow! Looks like you have it covered.
The only thing I see missing is something about talking to composers/
clients. You mentioned a few times with me about how part of your job
was education and how hard it was to tread a fine line between
pissing off the client and helping him. That is
http://www.musicengravers.com/cgi-bin/engravers.pl
http://oregonmts.com/mathew/
Phone and Fax: 503 641 6127
- Original Message -
From: Christopher Smith christopher.sm...@videotron.ca
To: finale@shsu.edu
Sent: Tuesday, September 21, 2010 6:31:43 AM
Subject: Re: [Finale] [OT] new music
://oregonmts.com/mathew/
Phone and Fax: 503 641 6127
- Original Message -
From: Christopher Smith christopher.sm...@videotron.ca
To: finale@shsu.edu
Sent: Tuesday, September 21, 2010 6:31:43 AM
Subject: Re: [Finale] [OT] new music notation seminars
Wow! Looks like you have it covered
The only thing I see missing is something about talking to
composers/clients. You mentioned a few times with me about how part
of your job was education and how hard it was to tread a fine line
between pissing off the client and helping him. That is something I
haven't mastered yet, and few
Where and when will the first of these seminars
morelia, mexico on 18 november. dates in the
future include chicago (pretty much confirmed for
spring 2011), winnipeg and montréal (in
discussion). once i get through the 1st one i'll
look at future possibilities a little more
closely.
So, I'm not getting anywhere on this that's useful.
Here's a thread on OrganForum that I started:
http://tinyurl.com/32gdbhk =
http://www.organforum.com/forums/showthread.php?14300-Creating-an-
electronic-portative-organ-for-continuo-in-small-ensembles
Does any of that clarify any of the
On 2010/07/18, at 17:43, David W. Fenton wrote:
Has anyone mucked about with using high-quality samples of pipe
organs with relatively simple keyboards?
My viol consort may need a rehearsal instrument while the pipe organ
is being rebuilt, and I was wondering if perhaps there are proper
On 20 Jul 2010 at 2:06, A-NO-NE Music wrote:
On 2010/07/18, at 17:43, David W. Fenton wrote:
Has anyone mucked about with using high-quality samples of pipe
organs with relatively simple keyboards?
My viol consort may need a rehearsal instrument while the pipe organ
is being
At 2:06 AM -0400 7/20/10, A-NO-NE Music wrote:
In fact it's a consistent problem for us who use amplification. I,
too, do EQ my rig before the show every venue, trying to sound my
flute as seamless as possible.
Yes, when one uses amplification, the amplification itself become
part of your
On 18 Jul 2010 at 23:03, Noel Stoutenburg wrote:
I don't have any specific experience with what you're looking for,
although I strongly suspect that it does, in fact exist, but that it
when you find it, it will be an expensive piece of equipment to
purchase. My best suggestions: check with
On 19 Jul 2010 at 0:20, John Howell wrote:
At 11:15 PM -0400 7/18/10, David W. Fenton wrote:
I can't quite understand the product space here. It seems that nobody
really makes anything at a professional level of quality in both
keyboard and sound output.
Perhaps around 10 years ago,
All right, it seems that 5-octave F-to-F keyboards don't exist
(people are incredibly stupid, since that gives you a far more usable
compass than 5-octave C-to-C).
Does anyone know of decent 88-key keyboards with no bells and
whistles, that I could load a Hauptwerk sample set into and that has
David:
I don't have any specific experience with what you're looking for,
although I strongly suspect that it does, in fact exist, but that it
when you find it, it will be an expensive piece of equipment to
purchase. My best suggestions: check with the local Allen or Rogers
organ dealers,
At 11:15 PM -0400 7/18/10, David W. Fenton wrote:
I can't quite understand the product space here. It seems that nobody
really makes anything at a professional level of quality in both
keyboard and sound output.
Perhaps around 10 years ago, Opera Roanoke did Monteverdi's
L'Orfeo. (A very
From: David W. Fenton lists.fin...@dfenton.com
Reply-To: finale@shsu.edu
Date: Sun, 11 Jul 2010 13:11:41 -0400
To: finale@shsu.edu
Subject: Re: [Finale] OT: Copyright and downloadable music
On 10 Jul 2010 at 5:59, dhbailey wrote:
my post was quoted by Blake Richardson, who
then went
At 7/11/2010 09:29 AM, Nigel Hanley wrote:
I receive Google alerts whenever someone searches for my blog, or my name,
which is hardly ever, but last night I got one and instead of it being from
How do you sign up for alerts?
___
Finale mailing list
Hi Phil--
http://www.google.com/alerts
Monitor the Web for interesting new content
Google Alerts are email updates of the latest relevant Google
results (web, news, etc.) based on your choice of query or topic.
Enter the topic you wish to monitor, then click preview to see the
type of
From: John Howell john.how...@vt.edu
Reply-To: finale@shsu.edu
Date: Sat, 10 Jul 2010 13:01:44 -0400
To: finale@shsu.edu
Subject: Re: [Finale] OT: Copyright and downloadable music
If there IS a single problem, it's obviously the one we've all been
aware of all the time: the progress
On 10 Jul 2010 at 5:59, dhbailey wrote:
my post was quoted by Blake Richardson, who
then went on the tirade against stupid things done in the
name of copyright protection.
No, those were done in the name of enforcing performance rights,
which is distinctly different from copyright.
On 9 Jul 2010 at 19:42, Blake Richardson wrote:
It's this sort of draconian, heavy-handed thuggish approach to
copyright that's turning off an entire generation of people from
respecting it.
Not a single one of your examples has anything at all to do with
copyright or copyright enforcement.
At 1:41 PM -0400 7/11/10, Blake Richardson wrote:
From: John Howell john.how...@vt.edu
If there IS a single problem, it's obviously the one we've all been
aware of all the time: the progress of technology has made new
crimes not only possible but really, really EASY!
Copyright
David W. Fenton wrote:
On 10 Jul 2010 at 5:59, dhbailey wrote:
my post was quoted by Blake Richardson, who
then went on the tirade against stupid things done in the
name of copyright protection.
No, those were done in the name of enforcing performance rights,
which is distinctly different
Blake Richardson wrote:
[snip] All sorts of scary stuff is happening in Europe
under the umbrella of
artists' rights. There's a proposal (don't know whether it's made it into
law yet) to give sculptors and painters the right of first refusal on sales
of their work. Under such a system, if
John Howell wrote:
At 1:41 PM -0400 7/11/10, Blake Richardson wrote:
From: John Howell john.how...@vt.edu
If there IS a single problem, it's obviously the one we've all been
aware of all the time: the progress of technology has made new
crimes not only possible but really, really EASY!
At 2:38 PM -0400 7/11/10, dhbailey wrote:
David W. Fenton wrote:
It's really crucial to maintain the distinction between the two,
seems to me, and getting all bent out of shape about the idiots
going after the Girl Scouts (ASCAP will surely lose in court if EFF
or somebody else steps up to
Indeed. There is a BIG difference between Criminal and Civil Cases. I think the
original poster needs to bone up on this..
On Jul 11, 2010, at 11:45 AM, dhbailey wrote:
O.J. was never convicted of anything -- he simply lost a lawsuit as defendant
and was forced to pay the penalty that
As far as the Nicole Simpson murder, you are correct, but of course O.J.
Simpson was convicted of armed robbery, kidnapping, and other felonies on Oct.
3, 2008, and is currently serving a minimum 9-year sentence.
http://en.wikipedia.org/wiki/O._J._Simpson
Cheers,
- DJA
-
WEB:
Darcy James Argue wrote:
As far as the Nicole Simpson murder, you are correct, but
of course O.J. Simpson was convicted of armed robbery,
kidnapping, and other felonies on Oct. 3, 2008, and is
currently serving a minimum 9-year sentence.
You're correct -- I should have been more specific that
John Howell wrote:
From: dhbailey dhbai...@davidbaileymusicstudio.com
Let's be fair about things here. Yes, there's a problem with people who
believe that just because the internet makes it easy, they're entitled to
whatever they want without paying. But you also have to take into account
the
dhbailey wrote:
John Howell wrote:
From: dhbailey dhbai...@davidbaileymusicstudio.com
Let's be fair about things here. Yes, there's a problem with people who
believe that just because the internet makes it easy, they're
entitled to
whatever they want without paying. But you also have to take
I am from an older generation, but kids these days have the attitude that the
money goes to multinational companies, with only a trickle to the composers and
performers, their heroes.
My generation bought into the arrangement and that's who passed the laws (same
with plant/gene/life ownership).
Graeme Gerrard wrote:
I am from an older generation, but kids these days have the attitude that the money goes
to multinational companies, with only a trickle to the composers and performers, their
heroes.
My generation bought into the arrangement and that's who passed the laws (same
with
David, I think that's a very accurate summation of the industry then, and also
now. I was surprised to read that most older major league rock bands continue
touring not just for the glory of it, but because, for that year, the bulk of
their income will come from the tour. The Rollingstones were
I'm not trying to pick a fight here, just understand
WHY, exactly, is it offensive in any degree that anyone can (having enough
money and a willing seller) become a holder of copyrights?
The individual artist's rights are NOT abridged just because someone may buy
their publisher's
Cecil, in many ways I agree with you. Full stop. I 'm equally not trying to
pick a fight, but am merely attempting to understand why the original owners of
such monumental works of popular music such as the Beatles' library are forced
to undergo legal proceedings to retain their work , or
At 5:59 AM -0400 7/10/10, dhbailey wrote:
You misread the quotation attributes, John. I didn't say that at
all -- my post was quoted by Blake Richardson, who then went on the
tirade against stupid things done in the name of copyright
protection.
I am most definitely arguing that 2 wrongs
Nigel Hanley wrote:
Cecil, in many ways I agree with you. Full stop. I 'm equally not trying to
pick a fight, but am merely attempting to understand why the original owners of
such monumental works of popular music such as the Beatles' library are forced
to undergo legal proceedings to
On 7/10/10 1:00 PM, finale-requ...@shsu.edu finale-requ...@shsu.edu
wrote:
From: John Howell john.how...@vt.edu
Reply-To: finale@shsu.edu
Date: Fri, 9 Jul 2010 20:26:23 -0400
To: finale@shsu.edu
Subject: Re: [Finale] OT: Copyright and downloadable music
From: Blake Richardson btr1
At 8:22 AM -0400 7/10/10, dhbailey wrote:
I have no idea if the situation has improved any
these days, but for many years that was very
true, often with performers being on the hook to
the record labels for a lot of money which was
never recouped by the record sales, due in large
part to
No, you didn't miss something Cecil. It's a difference between
considering copyrights and patents as property, which can be traded,
sold, leased, assigned, rented, or otherwise treated like any other
property, and considering them a somehow philosophically belonging to
their creators and to
Cecil Rigby wrote:
I'm not trying to pick a fight here, just understand
WHY, exactly, is it offensive in any degree that anyone can (having
enough money and a willing seller) become a holder of copyrights?
The individual artist's rights are NOT abridged just because someone may
buy
Nigel Hanley wrote:
Cecil, in many ways I agree with you. Full stop. I 'm
equally not trying to pick a fight, but am merely
attempting to understand why the original owners of such
monumental works of popular music such as the Beatles'
library are forced to undergo legal proceedings to retain
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