John Howell wrote:
From: dhbailey
Let's be fair about things here. Yes, there's a problem with people who
believe that just because the internet makes it easy, they're entitled to
whatever they want without paying. But you also have to take into account
the almost psychopathic pursuit of every
dhbailey wrote:
John Howell wrote:
From: dhbailey
Let's be fair about things here. Yes, there's a problem with people who
believe that just because the internet makes it easy, they're
entitled to
whatever they want without paying. But you also have to take into
account
the almost psychopathi
I am from an older generation, but kids these days have the attitude that the
money goes to multinational companies, with only a trickle to the composers and
performers, their "heroes".
My generation bought into the arrangement and that's who passed the laws (same
with plant/gene/life ownership)
Graeme Gerrard wrote:
I am from an older generation, but kids these days have the attitude that the money goes
to multinational companies, with only a trickle to the composers and performers, their
"heroes".
My generation bought into the arrangement and that's who passed the laws (same
with pl
David, I think that's a very accurate summation of the industry then, and also
now. I was surprised to read that most older major league rock bands continue
touring not just for the glory of it, but because, for that year, the bulk of
their income will come from the tour. The Rollingstones were
I'm not trying to pick a fight here, just understand
WHY, exactly, is it offensive in any degree that anyone can (having enough
money and a willing seller) become a holder of copyrights?
The individual artist's rights are NOT abridged just because someone may buy
their publisher's library
Hi,
I got some excellent advice from Make Music Tech Support (Travis S.),
as I've been struggling to get this to work.
What I want is for a percussion staff (5 line) to go back and forth
between GPO4 Basic Orch Percussion and GPO4 Percussion Toys, and for
all the notes to appear on the cen
Cecil, in many ways I agree with you. Full stop. I 'm equally not trying to
pick a fight, but am merely attempting to understand why the original owners of
such monumental works of popular music such as the Beatles' library are forced
to undergo legal proceedings to retain their work , or archiv
At 5:59 AM -0400 7/10/10, dhbailey wrote:
You misread the quotation attributes, John. I didn't say that at
all -- my post was quoted by Blake Richardson, who then went on the
tirade against stupid things done in the name of copyright
protection.
I am most definitely arguing that 2 wrongs mak
Nigel Hanley wrote:
Cecil, in many ways I agree with you. Full stop. I 'm equally not trying to
pick a fight, but am merely attempting to understand why the original owners of
such monumental works of popular music such as the Beatles' library are forced
to undergo legal proceedings to retain
On 7/10/10 1:00 PM, "finale-requ...@shsu.edu"
wrote:
> From: John Howell
> Reply-To:
> Date: Fri, 9 Jul 2010 20:26:23 -0400
> To:
> Subject: Re: [Finale] OT: Copyright and downloadable music
>
>> From: Blake Richardson
>>
>> Let's be fair about things here. Yes, there's a problem with peop
Interesting article in the Times just this week that highlights how
creativity and innovation in the food / high cuisine industry is managing to
thrive despite no copyright protections.
Thought it might be of interest given the discussion going on here.
http://freakonomics.blogs.nytimes.com/2010/
At 8:22 AM -0400 7/10/10, dhbailey wrote:
I have no idea if the situation has improved any
these days, but for many years that was very
true, often with performers being on the hook to
the record labels for a lot of money which was
never recouped by the record sales, due in large
part to "c
No, you didn't miss something Cecil. It's a difference between
considering copyrights and patents as property, which can be traded,
sold, leased, assigned, rented, or otherwise treated like any other
property, and considering them a somehow philosophically belonging to
their creators and to no
Hello all,
FinWin 2008, XP Pro SP3
I have a file - actually, five of them - which won't print properly. Random syllables get left
out, random text expressions. I have tried everything I could think of; assigning a different
font, ex-/importing to/from music xml, some other things I can't remem
Warning: This message has had one or more attachments removed
Warning: (5-Ode.mus.pdf).
Warning: Please read the "VirusWarning.txt" attachment(s) for more information.
For more information about common viruses please visit
http://www.shsu.edu/~ucs_www/security/virus.html
Barbara, even if I am a
Hi,
I am mostly still using 2007, but I opened these in 2010.
It appears it's trying to print in color when printing to PDF, in monochrome
otherwise.
The resulting PDF with colors turned off in the display is then in monochrome.
I don't know what's wrong, but for now try:
Uncheck "Display Colo
Dennis B.-K. just sent me the solution privately.
TURN COLOURS OFF IN ADOBE!!! PRINT TO BLACK AND WHITE!!!
I don't know how that got switched on...
Victory!
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
Cecil Rigby wrote:
I'm not trying to pick a fight here, just understand
WHY, exactly, is it offensive in any degree that anyone can (having
enough money and a willing seller) become a holder of copyrights?
The individual artist's rights are NOT abridged just because someone may
buy their
Thank you very much for sharing this with us -- it seems
like it will make things easier for us who might be trying GPO4.
David H. Bailey
David Froom wrote:
Hi,
I got some excellent advice from Make Music Tech Support (Travis S.), as
I've been struggling to get this to work.
What I want is
Nigel Hanley wrote:
Cecil, in many ways I agree with you. Full stop. I 'm
equally not trying to pick a fight, but am merely
attempting to understand why the original owners of such
monumental works of popular music such as the Beatles'
library are forced to undergo legal proceedings to retain
the
Noel Stoutenburg wrote:
Nigel Hanley wrote:
Cecil, in many ways I agree with you. Full stop. I 'm equally not
trying to pick a fight, but am merely attempting to understand why the
original owners of such monumental works of popular music such as the
Beatles' library are forced to undergo leg
Blake Richardson wrote:
Interesting article in the Times just this week that highlights how
creativity and innovation in the food / high cuisine industry is managing to
thrive despite no copyright protections.
Thought it might be of interest given the discussion going on here.
http://freakonomi
John Howell wrote:
[snip]
The former is exactly true, as I've pointed out before. But I'm not
sure the latter really is. If you ever walked through a record company's
distribution warehouse (and I have), you realize that of all the records
that company fronted for and released, only a few ever
At 5:40 PM -0400 7/10/10, dhbailey wrote:
Interestingly, the ownership of the involved copyrights is so murky
that even the publishers have no clue anymore.
Actual story -- years ago I discovered that a then out-of-print
concert band arrangement I had just purchased (and dearly wanted to
pe
At 5:44 PM -0400 7/10/10, dhbailey wrote:
I perhaps spoke incorrectly -- it was the record company executives
which got fabulously wealthy. Of course, the labels did, too, or
the larger conglomerates wouldn't have started buying them up.
Well sure, but they don't do it through obscene profi
On 11/07/2010, at 9:49 AM, John Howell wrote:
Can I insert a little word into your statement, which will make it accurate?
> At 5:44 PM -0400 7/10/10, dhbailey wrote:
>>
>> I perhaps spoke incorrectly -- it was the record company executives which
>> got fabulously wealthy. Of course, the lab
Sure, I'll accept that addition. But my point was that while the top
executives of companies do get huge salaries, it's the percs and
extras that makes them millionaires. Surely we've seen that with the
recent financial meltdown, and the salaries and bonuses that have
been paid to executives
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