Richard Hess wrote:

"But I will not be communicating with him as I tried that once to tell him
that his vocal was out of polarity on one of his most famous songs, and he
told me I was just not used to the sound of the ribbon mics he had been
using."

Well haha, the comeback is that he's just not used to the sound of wrong
polarity.

Polarity has been one of my topmost audio concerns for decades. I even
wrote a book that delves into history, the literature, professional
practice, examples etc. -- The Wood Effect: Unaccounted Contributor to
Error and Confusion in Acoustics and Audio. The reviews were all
enthusiastic. I still have a few copies left.

Anyway I'm glad to see the problem being called out, especially among the
ARSC membership.

On Fri, May 26, 2017 at 6:07 PM, Richard L. Hess <[log in to unmask]>
wrote:

> Hi, Paul,
>
> Thank you for the response!
>
> I don't think he's talking about (A) as I think he refers to other artists
> recording his composition. I think he's talking about (B), and your read on
> it is the same as mine. But I will not be communicating with him as I tried
> that once to tell him that his vocal was out of polarity on one of his most
> famous songs, and he told me I was just not used to the sound of the ribbon
> mics he had been using.
>
> Thanks!
>
> Cheers,
>
> Richard
>
>
>
>
> On 2017-05-26 5:28 PM, Paul Jackson wrote:
>
>> A. One cannot get a compulsory license for re-recording what's already
>> been recorded by another, for re-distribution/sale. One must get permission
>> and contract to do this from the rights holder(s).
>>
>> B. If a work is recorded, and one wants to _make their own recording_ of
>> the work (writing,) song, or music, a Mechanical License must be allowed
>> under the current law. https://www.copyright.gov/circs/circ73.pdf
>>
>> C. There is a law of intellectual property which may conflict with this,
>> but I don't see how.
>> Although there are some acceptations noted in Trade agreements on Patents
>> here. https://www.iatp.org/files/Intellectual_Property_Rights_and_
>> the_Use_of_Co.pdf under a trade agreement TRIPS.
>>
>> Thus; although I'm not a lawyer, I believe Timberhead of Maine (an
>> entity, in the U.S.) is in error thinking this, unless of course they are
>> referring to A. above.
>>
>> On 5/26/2017 1:09 PM, Richard L. Hess wrote:
>>
>>> Hi, Paul,
>>>
>>> Thank you for this most thorough summary. Regarding the mechanical
>>> license, I recently came across this at http://www.gordonbok.com/ :
>>>
>>> It has come to our attention that several musicians wanting to record
>>>> songs composed by Gordon Bok have received mechanical licenses from
>>>> agencies not associated with Timberhead Music LLC, the sole agency
>>>> representing him. All of Gordon’s songs are copyrighted and registered with
>>>> Timberhead Music and only Timberhead Music can legally license recordings
>>>> of them. Please be advised that any other agency claiming to have the
>>>> authority to issue mechanical licenses does not in fact have that
>>>> authority. All permission requests need to be directed to Timberhead in
>>>> order to be legal. We all want to do the right thing, so please respect
>>>> copyright procedures.
>>>>
>>>
>>> Any comments?
>>>
>>>
>>> Thanks!
>>>
>>> Cheers,
>>>
>>> Richard
>>>
>>> On 2017-05-25 12:50 AM, Paul Jackson wrote:
>>>
>>>> There is also the issue of Compulsory licensing. Use of recorded sound
>>>> for copying. This is known in the industry as a MECHANICAL LICENSE. The
>>>> Harry Fox Agency handles this. Bands and orchestras can make copies of
>>>> their public performances and sell them by paying a standard fee via HFA,
>>>> or by paying a set amount, usually $25 to each of the publishers of the
>>>> music involved in order to record their performances and sell the short
>>>> runs of discs. One can learn more at their site:
>>>> https://www.harryfox.com/license_music/what_is_mechanical_license.html
>>>>
>>>
>> --
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada                             647 479 2800
> http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.
>