Virtual Remixing: Competition, Creative Commons and Copyright #crassh3c (Sam Bennett)

Peter Gabriel

Peter Gabriel

Sam Bennett (Australian National University): Virtual Remixing: Competition, Creative Commons and Copyright
In the last decade, remixing practice has changed from a niche, often concealed, highly specialised skill, into a marketing tool, promotional opportunity and point of focus for online music technology communities. This paper critically analyses examples drawn from 3 identifiable categories of online remix site:
– Creative commons sites such as ‘ccMixter’ offer users unlimited access to royalty free sample sets for remixing;
– Online remix competition hosting sites, such as ‘Indaba music’, host official remix competitions, often with prize incentives; and
– Stem remixing ‘events’ organised by individual commercial recording artists.
Yet such practice presents a dichotomy: on the one hand, remix competitions and creative commons sites allow users access into previously unheard multi track recordings, exposing both the performance and production aspects of composite parts of an original multi track recording. Prior knowledge or remixing ability is not a prerequisite and remixing events are open to anyone, anywhere, with a computer and DAW. On the other hand, commercial recording artists launching remix competitions and ‘events’ ensure full creative and copyright control by: creating instrument and vocal stems with their original effects processing in tact; limiting what the user hears either by song choice or stem formulation; ensuring only professional remix engineers are employed for commercially released remixes; and, retaining copyrights on all adaptations of the original work. Building on research published in The Oxford Handbook on Music & Virtuality, this paper evaluates the benefits and limitations of online stem remixing from the perspective of recording artist, hosting site and online remixer.

[Read more…]