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Posts posted by Claude

  1. When this was first discussed here in the initial planning stages, someone stated they would have get it done just before the Beatles recordings reached the 50-year public domain zone. Well, here ya go!

    I think it took an awful lot of lobbying to get this through. The proposal was blocked in the EU Council (the governements) for many months. At one point, it was so close that Luxembourg (which has few votes in the Council due to it's size) had the decisive vote, and the pro-extension lobby had Bono himself make a phone call to one of our ministers. It didn't work though. But in the end, they managed to turn one blocking governement around. Maybe Elvis called :)

  2. Hans, that depends on the definition of "retroactive". The Commission calls it "partly retroactive".

    "Non-retroactive" would mean the 70 year duration only applies to works created after the entry into force of the directive (which would of course miss the objective of keeping the music from the 1960s and later under protection)

    "Fully retroactive" would mean that the directive applies the 70 year protection to everything, which means that recordings fallen into the public domain would be protected again. That would be catastrophic for the CD commerce, as thousands of public domain CDs would have to be sold quickly until the deadline or be destroyed.

    "Partly retroactive" means the longer duration is applied to all recordings which are still protected. That's a much smoother solution, and the one that was chosen.

    It's explained on page 56 of the impact assessment document: http://ec.europa.eu/internal_market/copyright/term-protection/term-protection_en.htm

    The text of the directive says

    "5. Article 3 (1) and (2) in their version as amended by Directive [// insert: Nr. of the amending directive] shall continue to apply only to fixations of performances and phonograms in regard of which the performer and the phonogram producer are still protected, by virtue of these provisions, on [insert date before which Member States are to transpose the amending directive, as mentioned in Article 2 below]."
  3. I'm rather indifferent to the decision, because I think the debate is foremost ideological. I'm personally not interested in public domain reissues, because of their often questionable quality, and because they are overpriced (strangely often more expensive than the official midprice reissues)

    With the current solution, the public domain labels can continue with their business but their reissue horizon will be limited to 1963 for the next 20 years. Maybe they can benefit from the "use it or lose it"-clause in the directive, which allows them to reissue material that is not being kept available (on disc or as downloads) by the rightholders.

  4. The copyright term extension will NOT be retroactive.

    The text will extend to 70 years the protection of the recordings which are still protected at the date at which the EU countries must have transposed the directive, which is 2 years from the entry into force.

    So if the directive is now quickly approved and enters into force this year, the extension will apply to all recordings made after 1963.

  5. The main reason why most music downloads are still only in MP3 quality is because it's the most compatible format, which can be played in computers (of course), on all portable players, and most newer generation car radios and DVD players. The hardware that supports FLAC is still quite rare, especially with portable players.

    The initial reason for MP3 - limited internet bandwith, limited storage capacity - is hardly relevant anymore.

    So I think that as soon as the major electronics companies support the same lossless compression codec, the market for lossless downloads will explode.

    Buying a rare OOP CD for $40 on Ebay or paying $10 for a lossless download of the same CD, my decision is easily made.

  6. According to Bedi, Davidson entered his Mount Kisco store in August 2004 with a computer virus and was worried about the content stored in his hard drive, including decades of musical compositions, “massive amounts” of pornography and, most importantly, e-mails between Davidson’s family and lawyers addressing their effort to transfer a portion of the family’s wealth to the United States from Lichtenstein, where they were evading taxes from the United States, France and other countries.

    All this on one laptop hard drive, and no backup. :rolleyes:

    Probably not the last version of the story.

  7. I agree that in print status should not be a condition for the inclusion in such a catalogue.

    In the late 80's, early 90's, when the jazz reissue wave started and I got into jazz, I mainly based my selection of albums to investigate on the Rolling Stone Jazz Record Guide from 1985, which included only LPs, although I had no record player and only listend to CDs. Of course many albums were not readily available on CD back then, but many were on japanese import CDs I could rent in the huge public library in Brussels (where I lived as a student), or they were reissued over here some time later. So a guide of domestically available CDs would have been too limited.

    The beauty of these guides like the Rolling Stone or the former Penguin Guide is that they include many little known albums, whereas most jazz guides and now also the new Penguin Guide focus on the most important albums, which we already know.

  8. Whenever you visit the Paypal page through a link (at a store, Ebay, etc), check the address displayed in your browser address bar before entering your login data, to make sure you are on https://www.paypal.com , and not some fake page (which could have an cleverly made address to mistake the user, like


    In this case, phishingsite. net is the domain, not paypal.com

  9. Had the chance to see it on the big screen with a live Orchestra playing a new score, quite an experience.

    With so many existing scores for this movie, the only thing missing is a jazz edition :)

    1975 - The BBC version of Metropolis features an electronic score, composed by William Fitzwater and Hugh Davies.

    1984 – Giorgio Moroder restored and produced the 80-minute 1984 re-release, which had a pop soundtrack written by Moroder and performed by Moroder, Pat Benatar, Bonnie Tyler, Jon Anderson, Adam Ant, Cycle V, Loverboy, Billy Squier, and Freddie Mercury.

    1991 – The Alloy Orchestra formed to create a new original score to Giorgio Moroder's version of Metropolis.

    1994 – Rambo Amadeus, Serbia-based Montenegrin composer. Music was played by Belgrade Philharmonic. The material was released as Metropolis B (Tour de Force).

    1995 - Martin Matalon composed a score for 16 instruments and electronics, commissioned and produced by IRCAM. Premiered at Théâtre du Châtelet 30 and 31 May. Over 30 performances worldwide since then.

    1998 – Peter Osborne. Synth orchestral / electronic. For JEF/Eureka 139-minute B&W DVD version, released only in UK.[citation needed]

    2001 – Jeff Mills. Electronic artist released a new techno score.

    2001 – Bernd Schultheis and Sofia's Radio Orchestra. Accompaniment for film festivals in 2001 and shown on German television.[citation needed]

    2002 - Art Zoyd, a French avant-garde/electronic band released a new score on CD.

    2004 – Abel Korzeniowski - released a 40-minute preview of a new score he composed.

    2005 – The New Pollutants (Benjamin Speed and Tyson Hopprich) released Metropolis Rescore. Performed live for festivals since 2005.

    2008 - Avant-garde music project Sinfonia Electronique released Music from the Big Machines as an alternate soundtrack to the film.[citation needed]

    2009 - London electronic group Serum Electronique. Performing in various south London venues.[citation needed]

    2010 - Canadian silent film composer Gabriel Thibaudeau composed a score for a screening of the film at Fantasia Film Festival.[34]


  10. To make it easier, here are the dates and artists of the main program:

    November 6-14

    06.11. Masters of Acoustic Guitar

    Paco de Lucía & Band

    Al Di Meola New World Sinfonia

    Joe Robinson

    07.11. The Queen of Fado


    Carmen Souza

    Jessica Gall

    08.11. Masters of Blues Guitar

    Johnny Winter & Band

    Eric Sardinas and Big Motor

    09.11. Masters of Electric Guitar

    Steve Lukather & Band

    Allan Holdsworth

    John Scofield Trio

    Joscho Stephan Trio

    10.11. Meeting Point

    Wolfgang Niedecken & WDR Big Band

    Music Maker Relief Foundation Blues Revue

    11.11. Drum World

    Billy Cobham & Band

    Omar Hakim & Band

    Manu Katché Third Round

    12.11. Voices of Africa

    Salif Keita & Band

    Lokua Kanza & Band

    13.11. Giants meet Future Sounds 18

    Victor Bailey Group

    Aziza Mustafa-Zadeh Trio

    3 Peas

    Piotr Wylezol Group

  11. I see your point, but if you have SACD playback equipment, these really do sound awesome.

    If there is anything in audio playback that can come close to good vinyl playback, it's SACD, given the original recording was well done.

    And SACD has a bonus vinyl can't offer. Many of these Living Stereo productions were 3-track recordings. The SACD reissues contain both the 3-track mix (on the right/center/left channels of the multichannel layer) and the stereo downmix (on the stereo layer).

  12. Very recently, a german table tennis player was tested positive on clenbuterol too after having played in China. That sport hardly benefits from muscle building.

    Banned drug ‘Clenbuterol’ puts two players in hot waters.

    The german table tennis player Dimitrij Ovtcharov has now been cleared of doping, as meat contamination was thought to be the most plausible reason for clenbuterol to be found.


    Contador's case is different of course, but he could use the Ovtcharov decision for his defense.

    Edit: I see that the article Brownie has linked already discusses this

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