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A sound recording has a separate copyright that is distinct from that of the underlying work (usually a musical work, expressible in musical notation and written lyrics), if any. The sound recording copyright notice extends to a copyright for just the sound itself and will not apply to any other rendition or version, even if performed by the ...
The performance right for sound recordings under the DPRA is limited to transmissions over a digital transmission, so it is not as expansive as the performance right for other types of copyrighted works. [3]
Sound recording and reproduction is the electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording .
The Sound Recording Amendment of 1971 extended federal copyright to recordings fixed on or after February 15, 1972, and declared that recordings fixed before that date would remain subject to state or common law copyright. Subsequent amendments had extended this latter provision until 2067. [50]
Interested copyright parties, a heretofore unknown category in copyright law, is defined by the act as featured artists receive 40%, and the owners of the right to reproduce sound recordings (an individual or company, mostly the record label, who owns the master sound recording) receive 60%.
Thus, the composer of a musical work or the author of a literary work can continue to maintain copyright in their works despite licensing the same to the producer for the creation of a ‘sound-recording’. The same stands true for a ‘sound recording’ that is incorporated into a cinematograph film.