I Give You The Flame Thrower Trombone!
It’s Saturday…therefore I present for your perusal the Trombone Flame Thrower. (I wonder is this no longer requires a spit valve?)
Pat Metheny And His High Tech One-Man Band, Orchestrion
Orchestrion…it sounds like some kind of evil genius robot on Futurama. In this case, it’s an ambitious project to create a large interconnected music performance machine, the brain child of jazz guitarist Pat Metheny.
Pat Metheny and his Orchestrion were featured on CBS Sunday Morning this past weekend. On the show, he gave correspondent Russ Mitchell a behind-the-scenes look at the Orchestrion, which is featured on his latest Nonesuch release, also titled Orchestrion, and explained the inner workings of the cutting-edge instruments and performance methods he used on the album and subsequent world tour. Metheny also discussed his personal inspiration for the project the Guardian called his “most ambitious experiment” yet.
Ladies And Gentleman…I Give You Beavie Wonder!
I have nothing of real value to say as of yet today, so I give you…BEAVIE WONDER!
Beavie Wonder
The Making of the Fart Expansion Pack For Trigger
Here a behind the scenes look at the making of one of the most challenging sound libraries ever, the Fart Expansion Pack for Steven Slate’s Trigger drum replacement plugin.
The video features Steven Slate, Chris Kantrowitz (CEO of Gobbler), and legendary, Grammy-winning producer/engineer Ed Cherney (Iggy Pop, Bob Seger, Bette Midler, Bonnie Raitt, Wynonna, Eric Clapton, Jann Arden, Jackson Browne, Keb’ Mo, Bob Dylan, Rolling Stones).
Using a screen reader? Click here for the video
Contains more than 2.3 GB of high-quality 24 bit samples compressed using TRIGGER loss-less sample compression (6 GB uncompressed).
Slate Digital Trigger Platinum Drum Replacer Plugin
Public Domain vs. Copyrighted Works – Mechanical Licensing For Cover Songs
This post first appeared on Limelight’s blog.
Some people want to fill the world with silly love songs … and what’s wrong with that? If you’re planning to use a previously written composition in your efforts, though, you may want to ask: "What constitutes a public domain composition?"
The U.S. Copyright Office defines public domain as: "A work of authorship is in the "public domain" if it is no longer under copyright protection or if it failed to meet the requirements for copyright protection." In the United States, music written before 1923 is generally considered to be public domain.
Many artists and labels who follow the "Golden Rule of Licensing" – if you don’t own or control it, you need a license to use it – know that public domain compositions are one of the few exceptions since tracks within the public domain don’t require a mechanical license or royalty payments made to music publishers.
One important point to consider: even though a song may be found in the public domain, a copyrighted arrangement of that song may exist, which does require a license – so check first. An excellent rule of thumb is, if you used sheet music to learn it, you can often find the copyright information there.
The songs listed below are just a small sample of love songs that are in the public domain.
"I Love You Truly" (Carrie Jacobs Bond)
"Let Me Call You Sweetheart" (Leo Friedman, Beth Slater Whitson)
"I Can’t Tell Why I Love You, But I Do" (Will Cobb, Gus Edwards)
"For Me and My Gal" (George W. Meyer, Edgar Leslie, and E. Ray Goetz
"You Made Me Love You" (James Monaco, Joseph McCarthy)
"Sweet Adeline" (Harry Armstrong, Richard Gerard)
Also numerous classical works, including: "Gymnopedie" (Erik Satie) and "Clair de Lune" (Claude Debussy) are in the public domain.
But, many classic love songs that are presumed to be in the public domain are in fact copyrighted, so make sure to double-check your sources before deciding a track is public domain. PD Info Online is an excellent starting point if the liner notes and copyright information are unavailable. In addition, a simple Google search with "written by" and "published" or "copyright date" alongside the song title often presents information related to the song’s initial copyright date. This is by no means an exhaustive method for determining public domain, but can be helpful.
Here are just a few classic love songs that would require a mechanical license:
"At Last" (Mack Gordon, Harry Warren)
"Can’t Help Falling In Love" (George David Weiss, Hugo Peretti, Luigi Creatore)
"My Funny Valentine" (Richard Rodgers, Lorenz Hart)
"Embraceable You" (George Gershwin, Ira Gershwin)
"Night and Day" (Cole Porter)
"The Way You Make Me Feel" (Michael Jackson)
"You Are So Beautiful" (Billy Preston and Bruce Fisher)
"I Will Always Love You" (Dolly Parton)
"I’ve Got You Under My Skin" (Cole Porter)
"True Love Ways" (Buddy Holly)
Securing a mechanical license can be a difficult task, but Limelight helps artists, school groups, choirs, record labels, and more in clearing the appropriate rights and paying songwriters and publishers.
If you have any questions about Limelight, don’t hesitate to reach out – their support staff is always willing to help! Email or call (646) 863-6375.
Limelight also has a fairly robust FAQ page
Also check out their “Ask Alex” video FAQ page
This post first appeared on Limelight’s blog.
