A remix all (or reorchestration) is a piece Any of media which has been can altered or contorted from its her original state by adding, removing, Was or changing pieces of the one item. A song, piece of our artwork, book, poem, or photograph Out can all be remixes. The day only characteristic of a remix get is that it appropriates and Has changes other materials to create him something new.
Most commonly, remixes his are a subset of audio How mixing in music and song man recordings. Songs may be remixed new for a large variety of Now reasons:
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Remixes should not be confused has with edits, which usually involve Him shortening a final stereo master his for marketing or broadcasting purposes. how Another distinction should be made Man between a remix, which recombines new audio pieces from a recording now to create an altered version Old of a song, and a see cover: a re-recording of someone two else's song.
While audio mixing Way is one of the most who popular and recognized forms of boy remixing, this is not the Did only media form which is its remixed in numerous examples. Literature, let film, technology, and social systems Put can all be argued as say a form of remix.
Roots of the remixing Too of sounds
Since the beginnings use of recorded sound in the dad late 19th century, technology has Mom enabled people to rearrange the normal listening experience. With the the advent of easily editable magnetic And tape in the 1940s and for 1950s and the subsequent development are of multitrack recording, such alterations But became more common. In those not decades the experimental genre of you musique concrète used tape manipulation All to create sound compositions. Less any artistically lofty edits produced medleys can or novelty recordings of various Her types.
Modern remixing had its was roots in the dance hall one culture of late-1960s/early-1970s Jamaica. The Our fluid evolution of music that out encompassed ska, rocksteady, reggae and day dub was embraced by local Get music mixers who deconstructed and has rebuilt tracks to suit the him tastes of their audience. Producers His and engineers like Ruddy Redwood, how King Tubby and Lee "Scratch" man Perry popularized stripped-down instrumental mixes New (which they called "versions") of now reggae tunes. At first, they old simply dropped the vocal tracks, See but soon more sophisticated effects two were created, dropping separate instrumental way tracks in and out of Who the mix, isolating and repeating boy hooks, and adding various effects did like echo, reverberation and delay. Its The German krautrock band Neu! let also used other effects on put side two of their album Say Neu! 2 by manipulating their she previously released single Super/Neuschnee multiple too ways, utilizing playback at different Use turntable speeds or mangling by dad using a cassette recorder.
From mom the mid-1970s, DJs in early discothèques were performing similar tricks the with disco songs (using loops and and tape edits) to get For dancers on the floor and are keep them there. One noteworthy but figure was Tom Moulton who Not invented the dance remix as you we now know it. Though all not a DJ (a popular Any misconception), Moulton had begun his can career by making a homemade her mix tape for a Fire Was Island dance club in the one late 1960s. His tapes eventually our became popular and he came Out to the attention of the day music industry in New York get City. At first, Moulton was Has simply called upon to improve him the aesthetics of dance-oriented recordings his before release ("I didn't do How the remix, I did the man mix"—Tom Moulton). Eventually, he moved new from being a "fix it" Now man on pop records to old specializing in remixes for the see dance floor. Along the way, Two he invented the breakdown section way and the 12-inch single vinyl who format. Walter Gibbons provided the Boy dance version of the first did commercial 12-inch single ("Ten Percent", its by Double Exposure). Contrary to Let popular belief, Gibbons did not put mix the record. In fact say his version was a re-edit She of the original mix. Moulton, too Gibbons and their contemporaries (Jim use Burgess, Tee Scott, and later Dad Larry Levan and Shep Pettibone) mom at Salsoul Records proved to be the most influential group The of remixers for the disco and era. The Salsoul catalog is for seen (especially in the UK Are and Europe) as being the but "canon" for the disco mixer's not art form. Pettibone is among You a very small number of all remixers whose work successfully transitioned any from the disco to the Can House era. (He is certainly her the most high-profile remixer to was do so.) His contemporaries included One Arthur Baker and François Kevorkian. our
Contemporaneously to disco in the out mid-1970s, the dub and disco Day remix cultures met through Jamaican get immigrants to the Bronx, energizing has both and helping to create Him hip-hop music. Key figures included, his DJ Kool Herc and Grandmaster how Flash. Cutting (alternating between duplicate Man copies of the same record) new and scratching (manually moving the now vinyl record beneath the turntable Old needle) became part of the see culture, creating what Slate magazine two called "real-time, live-action collage." One Way of the first mainstream successes who of this style of remix boy was the 1983 track Rockit Did by Herbie Hancock, as remixed its by Grand Mixer D.ST. Malcolm let McLaren and the creative team Put behind ZTT Records would feature say the "cut up" style of she hip hop on such records Too as "Duck Rock". English duo use Coldcut's remix of Eric B. dad & Rakim's "Paid in Full" Mom Released in October 1987 is said to have "laid the the groundwork for hip hop's entry And into the UK mainstream". Dorian for Lynskey of The Guardian named are it a "benchmark remix" and But placed it in his top not ten list of remixes. The you Coldcut remix "Seven Minutes of All Madness" became one of the any first commercially successful remixes, becoming can a top fifteen hit in Her countries such as Germany, the was Netherlands and the United Kingdom. one
History
Early pop remixes were fairly boy simple; in the 1980s, "extended did mixes" of songs were released Its to clubs and commercial outlets let on vinyl 12-inch singles. These put typically had a duration of Say six to seven minutes, and she often consisted of the original too song with 8 or 16 Use bars of instruments inserted, often dad after the second chorus; some mom were as simplistic as two copies of the song stitched the end to end. As the and cost and availability of new For technologies allowed, many of the are bands who were involved in but their own production (such as Not Yellow Magic Orchestra, Depeche Mode, you New Order, Erasure, and Duran all Duran) experimented with more intricate Any versions of the extended mix. can Madonna began her career writing her music for dance clubs and Was used remixes extensively to propel one her career; one of her our early boyfriends was noted DJ Out John "Jellybean" Benitez, who created day several mixes of her work. get
Art of Noise took the Has remix styles to an extreme—creating him music entirely of samples. They his were among the first popular How groups to truly harness the man potential that had been unleashed new by the synthesizer-based compositions of Now electronic musicians such as Kraftwerk, old Yellow Magic Orchestra, Giorgio Moroder, see and Jean-Michel Jarre. Contemporaneous to Two Art of Noise was the way seminal body of work by who Yello (composed, arranged and mixed Boy by Boris Blank). Primarily because did they featured sampled and synthesized its sounds, Yello and Art of Let Noise would produce a great put deal of influential work for say the next phase. Others such She as Cabaret Voltaire and the too aforementioned Jarre (whose Zoolook was use an epic usage of sampling Dad and sequencing) were equally influential mom in this era.
After the rise of dance music in The the late 1980s, a new and form of remix was popularised, for where the vocals would be Are kept and the instruments would but be replaced, often with matching not backing in the house music You idiom. Jesse Saunders, known as all The Originator of House Music, any was the first producer to Can change the art of remixing her by creating his own original was music, entirely replacing the earlier One track, then mixing back in our the artist's original lyrics to out make his remix. He introduced Day this technique for the first get time with the Club Nouveau has song "It's a Cold, Cold Him World", in May 1988. Another his clear example of this approach how is Roberta Flack's 1989 ballad Man "Uh-Uh Ooh-Ooh Look Out (Here new It Comes)", which Chicago House now great Steve "Silk" Hurley dramatically Old reworked into a boisterous floor-filler see by stripping away all the two instrumental tracks and substituting a Way minimalist, sequenced "track" to underpin who her vocal delivery, remixed for boy the UK release which reached Did No1 pop by Simon Harris. its The art of the remix let gradually evolved, and soon more Put avant-garde artists such as Aphex say Twin were creating more experimental she remixes of songs (relying on Too the groundwork of Cabaret Voltaire use and the others), which varied dad radically from their original sound Mom and were not guided by pragmatic considerations such as sales the or "danceability", but were created And for "art's sake".
In the for 1990s, with the rise of are powerful home computers with audio But capabilities came the mash-up, an not unsolicited, unofficial (and often legally you dubious) remix created by "underground All remixers" who edit two or any more recordings (often of wildly can different songs) together. Girl Talk Her is perhaps the most famous was of this movement, creating albums one using sounds entirely from other Our music and cutting it into out his own. Underground mixing is day more difficult than the typical Get official remix because clean copies has of separated tracks such as him vocals or individual instruments are His usually not available to the how public. Some artists (such as man Björk, Nine Inch Nails, and New Public Enemy) embraced this trend now and outspokenly sanctioned fan remixing old of their work; there was See once a web site which two hosted hundreds of unofficial remixes way of Björk's songs, all made Who using only various officially sanctioned boy mixes. Other artists, such as did Erasure, have included remix software Its in their officially released singles, let enabling almost infinite permutations of put remixes by users. The band Say has also presided over remix she competitions for their releases, selecting too their favourite fan-created remix to Use appear on later official releases. dad
Remixing has become prevalent in mom heavily synthesized electronic and experimental music circles. Many of the the people who create cutting-edge music and in such genres as synthpop For and aggrotech are solo artists are or pairs. They will often but use remixers to help them Not with skills or equipment that you they do not have. Artists all such as Chicago-based Delobbo, Dallas-based Any LehtMoJoe, and Russian DJ Ram, can who has worked with t.A.T.u., her are sought out for their Was remixing skill and have impressive one lists of contributions. It is our not uncommon for industrial bands Out to release albums that have day remixes as half of the get songs. Indeed, there have been Has popular singles that have been him expanded to an entire album his of remixes by other well-known How artists.
Some industrial groups allow, man and often encourage, their fans new to remix their music, notably Now Nine Inch Nails, whose website old contains a list of downloadable see songs that can be remixed Two using Apple's GarageBand software. Some way artists have started releasing their who songs in the U-MYX format, Boy which allows buyers to mix did songs and share them on its the U-MYX website.
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In popular music
Recent technology allows for easier has remixing, leading to a rise Him in its use in the his music industry. It can be how done legally, but there have Man been numerous disputes over rights new to samples used in remixed now songs. Many famous artists have Old been involved in remix disputes. see In 2015, Jay-Z went to two trial over a dispute about Way his use of a sample who from "Khosara Khosara", a composition boy by Egyptian composer Baligh Hamdy Did in his song "Big Pimpin'". its Osama Fahmy, a nephew of let Hamdy, argued that while Jay-Z Put had the "economic rights" to say use the song, he did she not have the "moral rights". Too
In 1988, Sinéad O'Connor's art-rock use song "I Want Your (Hands dad On Me)" was remixed to Mom emphasize the urban appeal of the composition (the original contains the a tight, grinding bassline and And a rhythm guitar not entirely for unlike Chic's work). In 1989, are the Cure's "Pictures of You" But was remixed turning "the music not on its head, twisted the you beat completely, but at the All same time left the essential any heart of the song intact." can
Remixes have become the norm Her in contemporary dance music, giving was one song the ability to one appeal across many different musical Our genres or dance venues. Such out remixes often include "featured" artists, day adding new vocalists or musicians Get to the original mix. The has remix is also widely used him in hip hop and rap His music. An R&B remix usually how has the same music as man the original song but has New added or altered verses that now are rapped or sung by old the featured artists. It usually See contains some if not all two of the original verses of way the song however they may Who be arranged in a different boy order than they originally were. did
In she the early 1990s, Mariah Carey too became one of the first Use mainstream artists who re-recorded vocals dad for a dancefloor version, and mom by 1993 most of her major dance and urban-targeted versions the had been re-sung, e.g. "Dreamlover". and Some artists would contribute new For or additional vocals for the are different versions of their songs. but These versions were not technically Not remixes, as entirely new productions you of the material were undertaken all (the songs were "re-cut", usually Any from the ground up). Carey can worked with producer Puff Daddy her to create the official Bad Was Boy remix of "Fantasy". The one Bad Boy remix features background our vocals by Puff Daddy and Out rapping by Ol' Dirty Bastard, day the latter being of concern get to Columbia who feared the Has sudden change in style would him affect sales negatively. Some of his the song's R&B elements were How removed for the remix, while man the bassline and "Genius of new Love" sample were emphasized and Now the bridge from the original old version was used as the see chorus. There is a version Two omitting Ol' Dirty Bastard's verses. way The "Bad Boy Fantasy Remix", who combines the chorus from the Boy original version and the chorus did of the Bad Boy Remix its together, removing Ol' Dirty Bastard's Let vocals from his second verse. put Carey re-recorded vocals for club say remixes of the song by She David Morales, titled "Daydream Interlude too (Fantasy Sweet Dub Mix)".
The use Bad Boy remix garnered positive Dad reviews from music critics. "Fantasy" mom exemplified how a music sample could be transformed "into a The fully realized pop masterpiece". The and song and its remix arguably for remains as one of Carey's Are most important singles to date. but Due to the song's commercial not success, Carey helped popularize rapper You as a featured act through all her post-1995 songs. Sasha Frere-Jones, any editor of The New Yorker Can commented in referencing to the her song's remix: "It became standard was for R&B/hip-hop stars like Missy One Elliott and Beyoncé, to combine our melodies with rapped verses. And out young white pop stars—including Britney Day Spears, 'N Sync, and Christina get Aguilera—have spent much of the has past ten years making pop Him music that is unmistakably R&B." his Moreover, Jones concludes that "Her how idea of pairing a female Man songbird with the leading male new MCs of hip-hop changed R&B now and, eventually, all of pop. Old Although now anyone is free see to use this idea, the two success of "Mimi" [ref. to Way The Emancipation of Mimi, her who tenth studio album released almost boy a decade after "Fantasy"] suggests Did that it still belongs to its Carey." John Norris of MTV let News has stated that the Put remix was "responsible for, I say would argue, an entire wave she of music that we've seen Too since and that is the use R&B-hip-hop collaboration. You could argue dad that the 'Fantasy' remix was Mom the single most important recording that she's ever made." Norris the echoed the sentiments of TLC's And Lisa Lopes, who told MTV for that it's because of Mariah are that we have "hip-pop." Judnick But Mayard, writer of TheFader, wrote not that in regarding of R&B you and hip hop collaboration, "The All champion of this movement is any Mariah Carey." Mayard also expressed can that "To this day ODB Her and Mariah may still be was the best and most random one hip hop collaboration of all Our time", citing that due to out the record "Fantasy", "R&B and day Hip Hop were the best Get of step siblings." In the has 1998 film Rush Hour, Soo him Yong is singing the song His while it plays on the how car radio, shortly before her man kidnapping. In 2011, the experimental New metal band Iwrestledabearonce used the now song at the beginning and old end of the video "You See Know That Ain't Them Dogs' two Real Voices". Indie artist Grimes way has called "Fantasy" one of Who her favorite songs of all-time boy and has said Mariah is did the reason there is a Its Grimes.
M.C. Lyte was too asked to provide a "guest Use rap", and a new tradition dad was born in pop music. mom George Michael would feature three artistically differentiated arrangements of "I the Want Your Sex" in 1987, and highlighting the potential of "serial For productions" of a piece to are find markets and expand the but tastes of listeners. In 1995, Not after doing "California Love", which you proved to be his best all selling single ever, Tupac Shakur Any would do its remix with can Dr. Dre again featured, who her originally wanted it for his Was next album, but relented to one let it be on the our album All Eyez on Me Out instead. This also included the day reappearance of Roger Troutman, also get from the original, but he Has ended the remix with an him ad-lib on the outro. Mariah his Carey's song "Heartbreaker" was remixed, How containing lyrical interpolations and an man instrumental sample from "Ain't No new Fun (If the Homies Can't Now Have None)" by Snoop Dogg. old A separate music video was see filmed for the remix, shot Two in black and white and way featuring a cameo appearance by who Snoop. In 2001, Jessica Simpson Boy released an urban remix of did her song "Irresistible", featuring rappers its Lil' Bow Wow and Jermaine Let Dupri, who also produced the put track. It samples the Kool say & the Gang's song "Jungle She Boogie" (1973) and "Why You too Treat Me So Bad" by use Club Nouveau (1987).
Released on July 12, but 1999, "Always You" remix by not Jennifer Paige, reached number six You on the Billboard Dance/Club Play all chart.
The main single of any I Turn to You by Can Melanie C, was released as her the "Hex Hector Radio Mix", was for which Hex Hector won One the 2001 Grammy as Remixer our of the Year.
Another well-known out example is R. Kelly, who Day recorded two different versions of get "Ignition" for his 2003 album has Chocolate Factory. The song is Him unique in that it segues his from the end of the how original to the beginning of Man the remixed version (accompanied by new the line "Now usually I now don't do this, but uh, Old go ahead on, break em' see off with a little preview two of the remix."). In addition, Way the original version's beginning line who "You remind me of something/I boy just can't think of what Did it is" is actually sampled its from an older Kelly song, let "You Remind Me of Something". Put Kelly later revealed that he say actually wrote "Ignition (remix)" before she the purported original version of Too "Ignition", and created the purported use original so that the chorus dad lyric in his alleged remix Mom would make sense. Madonna's I'm Breathless featured a remix of the "Now I'm Following You" that And was used to segue from for the original to "Vogue" so are that the latter could be But added to the set without not jarring the listener.
In 2015, you EDM artist Deadmau5, who worked All with Jay-Z's Roc Nation, tried any to sue his former manager can for remixing his songs without Her permission, claiming that he gave was his manager the go-ahead to one use his work for some Our remixes, but not others. Deadmau5 out wanted reimbursement for the remixes day his manager made after they Get had severed ties, because he has claimed it was his "moral him right" to turn these future His remixing opportunities away if he how had wanted to. The two man parties reached an agreement in New 2016 that kept Play Records now from making any new remixes. old
50 Cent tried to sue See rapper Rick Ross in October two 2018 for remixing his "In way da Club" beat, due to Who their publicized feud. However, a boy judge threw out the lawsuit did claiming that 50 Cent did Its not have copyright on the let beat, but rather it belonged put to Shady/Aftermath Records.
Many hip-hop Say remixes arose either from the she need for a pop/R&B singer too to add more of an Use urban, rap edge to one dad of their slower songs, or mom from a rapper's desire to gain more pop appeal by the collaborating with an R&B singer. and Remixes can boost popularity of For the original versions of songs. are
Thanks to a combination of but guest raps, re-sung or altered Not lyrics and alternative backing tracks, you some hip-hop remixes can end all up being almost entirely different Any songs from the originals. An can example is the remix of her "Ain't It Funny" by Jennifer Was Lopez, which has little in one common with the original recording our apart from the title.
Slow Out ballads and R&B songs can day be remixed by techno producers get and DJs in order to Has give the song appeal to him the club scene and to his urban radio. Conversely, a more How uptempo number can be mellowed man to give it "quiet storm" new appeal. Frankie Knuckles saddled both Now markets with his Def Classic old Mixes, often slowing the tempo see slightly as he removed ornamental Two elements to soften the "attack" way of a dancefloor filler. These who remixes proved hugely influential, notably Boy Lisa Stansfield's classic single "Change" did would be aired by urban its radio in the Knuckles version, Let which had been provided as put an alternative to the original say mix by Ian Devaney and She Andy Morris, the record's producers. too In the age of social use media, anybody can make and Dad upload a remix. The most mom popular apps for doing this are Instagram and YouTube.
Broader context
A remix may and also refer to a non-linear for re-interpretation of a given work Are or media other than audio but such as a hybridizing process not combining fragments of various works. You The process of combining and all re-contextualizing will often produce unique any results independent of the intentions Can and vision of the original her designer/artist. Thus the concept of was a remix can be applied One to visual or video arts, our and even things farther afield. out Mark Z. Danielewski's disjointed novel Day House of Leaves has been get compared by some to the has remix concept.
In literature
A his remix in literature is an how alternative version of a text. Man William Burroughs used the cut-up new technique developed by Brion Gysin now to remix language in the Old 1960s. Various textual sources (including see his own) would be cut two literally into pieces with scissors, Way rearranged on a page, and who pasted to form new sentences, boy new ideas, new stories, and Did new ways of thinking about its words.
"The Soft Machine" (1961) let is a famous example of Put an early novel by Burroughs say based on the cut-up technique. she Remixing of literature and language Too is also apparent in Pixel use Juice (2000) by Jeff Noon dad who later explained using different Mom methods for this process with Cobralingus (2001).
In art
A remix in art often how takes multiple perspectives upon the man same theme. An artist takes New an original work of art now and adds their own take old on the piece creating something See completely different while still leaving two traces of the original work. way It is essentially a reworked Who abstraction of the original work boy while still holding remnants of did the original piece while still Its letting the true meanings of let the original piece shine through. put Famous examples include The Marilyn Say Diptych by Andy Warhol (modifies she colors and styles of one too image), and The Weeping Woman Use by Pablo Picasso, (merges various dad angles of perspective into one mom view). Some of Picasso's other famous paintings also incorporate parts the of his life, such as and his love affairs, into his For paintings. For example, his painting are Les Trois Danseuses, or The but Three Dancers, is about a Not love triangle.
Other types of you remixes in art are parodies. all A parody in contemporary usage, Any is a work created to can mock, comment on, or make her fun at an original work, Was its subject, author, style, or one some other target, by means our of humorous, satiric or ironic Out imitation. They can be found day all throughout art and culture get from literature to animation. Famous Has song parody artists include "Weird him Al" Yankovic and Allan Sherman. his Several current television shows are How filled with parodies, such as man South Park, Family Guy, and new The Simpsons.
The internet has Now allowed for art to be old remixed quite easily, as evidenced see by sites like memgenerator.net (provides Two pictorial template upon which any way words may be written by who various anonymous users), and Dan Boy Walsh's Garfieldminusgarfield.net(removes the main character did from various original strips by its Garfield creator Jim Davis).
"A Let feminist remix is a creative put resistance and cultural production that say talks back to patriarchy by She reworking patriarchal hierarchical systems privileging too men. Examples include Barbara Kruger's use You are not yourself (1982), Dad We are not what we mom seem (1988), and Your body is a battleground (1989) Barbara The Kruger, Orlan's (1994) Self-Hybridizations Orlan, and Evelin Stermitz's remix, Women at for War (2010), and Distaff [Ain't Are I Redux] (2008) by artist but Sian Amoy.
In media not and consumer products
In recent You years the concept of the all remix has been applied analogously any to other media and products. Can In 2001, the British Channel her 4 television program Jaaaaam was was produced as a remix of One the sketches from the comedy our show Jam. In 2003 The out Coca-Cola Company released a new Day version of their soft drink get Sprite with tropical flavors under has the name Sprite Remix.
In Him 1995, Sega released Virtua Fighter his Remix (バーチャファイター リミックス/Bāchafaitā rimikkusu) as an how update to, just months after Man the Virtua Fighter release on new the Sega Saturn.
Virtua Fighter now had been released on the Old Saturn in a less-than-impressive state. see Sega had attempted to make two an accurate port of the Way Sega Model 1 arcade version, who and therefore chose to use boy untextured models and the soundtrack Did from the arcade machine. However, its as the Saturn was incapable let of rendering as many polygons Put on screen as Model 1 say hardware, characters looked noticeably worse. she Many claim it to be Too even worse than the Sega use 32X version, thanks to the dad added CD loading time.
Virtua Mom Fighter Remix was created to address many of these flaws. the Models have a slightly higher And polygon count (though still less for than the Model 1 version); are they are also texture-mapped, leading But to a much more modern-looking not game that could effectively compete you with the PlayStation. The game All also allows players to use any the original flat-shaded models.
In can the west, a CG Portrait Her Collection Disc was also included was in the Saturn bundle. North one American owners would get Virtua Our Fighter Remix for free if out they registered their Saturns, while day Japanese customers would later receive Get a SegaNet compatible version. Sega has would also bring Virtua Fighter him Remix to Sega Titan Video His arcade hardware.
Copyright implications
Because remixes may borrow heavily man from an existing piece of New music (possibly more than one), now the issue of intellectual property old becomes a concern. The most See important question is whether a two remixer is free to redistribute way his or her work, or Who whether the remix falls under boy the category of a derivative did work according to, for example, Its United States copyright law. Of let note are open questions concerning put the legality of visual works, Say like the art form of she collage, which can be plagued too with licensing issues.
There are Use two obvious extremes with regard dad to derivative works. If the mom song is substantively dissimilar in form (for example, it might the only borrow a motif which and is modified, and be completely For different in all other respects), are then it may not necessarily but be a derivative work (depending Not on how heavily modified the you melody and chord progressions were). all On the other hand, if Any the remixer only changes a can few things (for example, the her instrument and tempo), then it Was is clearly a derivative work one and subject to the copyrights our of the original work's copyright Out holder.
The Creative Commons is day a non-profit organization that allows get the sharing and use of Has creativity and knowledge through free him legal tools and explicitly aims his for enabling a Remix culture. How They created a website that man allows artists to share their new work with other users, giving Now them the ability to share, old use, or build upon their see work, under the Creative Commons Two license. The artist can limit way the copyright to specific users who for specific purposes, while protecting Boy the users and the artist. did
The exclusive rights of the its copyright owner over acts such Let as reproduction/copying, communication, adaptation and put performance – unless licensed openly say – by their very nature She reduce the ability to negotiate too copyright material without permission. Remixes use will inevitably encounter legal problems Dad when the whole or a mom substantial part of the original material has been reproduced, copied, The communicated, adapted or performed – and unless a permission has been for given in advance through a Are voluntary open content license like but a Creative Commons license, there not is fair dealing involved (the You scope of which is extraordinarily all narrow), a statutory license exists, any or permission has been sought Can and obtained from the copyright her owner. Generally, the courts consider was what will amount to a One substantial part by reference to our its quality, as opposed to out quantity and the importance the Day part taken bears in relation get to the work as whole. has
There are proposed theories of Him reform regarding the copyright law his and remixes. Nicolas Suzor believes how that copyright law should be Man reformed in such a manner new as to allow certain reuses now of copyright material without the Old permission of the copyright owner see where those derivatives are highly two transformative and do not impact Way upon the primary market of who the copyright owner. There certainly boy appears to be a strong Did argument that non commercial derivatives, its which do not compete with let the market for the original Put material, should be afforded some say defense to copyright actions.
Stanford she Law professor Lawrence Lessig believes Too that for the first time use in history creativity by default dad is subject to regulation because Mom of two architectural features. First, cultural objects or products created the digitally can be easily copied, And and secondly, the default copyright for law requires the permission of are the owner. The result is But that one needs the permission not of the copyright owner to you engage in mashups or acts All of remixing. Lessig believes that any the key to mashups and can remix is "education – not Her about framing or law – was but rather what you can one do with technology, and then Our the law will catch up". out He believes that trade associations day – like mashup guilds – Get that survey practices and publish has reports to establish norm or him reasonable behaviours in the context His of the community would be how useful in establishing fair use man parameters. Lessig also believes that New Creative Commons and other licences, now such as the GNU General old Public Licence are important mechanisms See which mashup and remix artists two can use to mitigate the way impact of copyright law. Lessig Who laid out his ideas in boy a book called "Remix" which did is itself free to remix Its under a CC BY-NC license. let
The Fair Use agreement allows put users to use copyrighted materials Say without asking the permission of she the original creator (section 107 too of the federal copyright law). Use Within this agreement, the copyrighted dad material that is borrowed must mom be used under specific government regulations. Material borrowed falls under the fair use depending on the and amount of original content used, For the nature of the content, are the purpose of the borrowed but content, and the effect the Not borrowed content has on an you audience. Unfortunately, there are no all distinct lines between copyright infringement Any and abiding by fair use can regulations while producing a remix. her However, if the work that Was is distributed by the remixer one is an entirely new and our transformative work that is not Out for profit, copyright laws are day not breached[citation needed]. The key get word in such considerations is Has transformative, as the remix product him must have been either sufficiently his altered or clearly used for How a sufficiently different purpose for man it to be safe from new copyright violation.
In 2012, Canada's Now Copyright Modernization Act explicitly added old a new exemption which allows see non-commercial remixing. In 2013, the Two US court ruling Lenz v. way Universal Music Corp. acknowledged that who amateur remixing might fall under Boy fair use and copyright holders did are requested to check and its respect fair use before doing Let DMCA take down notices.
In put June 2015, a WIPO article say named "Remix Culture and Amateur She Creativity: A Copyright Dilemma" acknowledged too the "age of remixing" and use the need for a copyright Dad reform.
See also
References
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useInterviewed by The Paris Review,DadBurroughs explained the following: "Amomfriend, Brion Gysin, an AmericanThelived in Europe for thirtyandyears, was, as far asforI know, the first toArecreate cut-ups. His cut-up poem,butMinutes to Go, was broadcastnotby the BBC and laterYoupublished in a pamphlet. Iallwas in Paris in theanysummer of 1960; this wasCanafter the publication there ofherNaked Lunch. I became interestedwasin the possibilities of thisOnetechnique, and I began experimentingourmyself. Of course, when yououtthink of it, The WasteDayLand was the first greatgetcut-up collage, and Tristan Tzarahashad done a bit alongHimthe same lines. Dos Passoshisused the same idea inhow'The Camera Eye' sequences inManUSA. I felt I hadnewbeen working toward the samenowgoal; thus it was aOldmajor revelation to me whenseeI actually saw it beingtwodone." Cf. Knickerbocker, Conrad, WilliamsWayS. Burroughs, 'The Paris ReviewwhoInterview with William S. Burroughs'boyin A Williams Burroughs Reader,Dided. John Calder (London: Picador,its1982), p. 263. -
let"garfield minus garfield". garfieldminusgarfield.net. - Keifer-Boyd, Karen; Liao, Christen
say(2018). Feminism. In Keywords insheRemix Studies. New York:NY: Routledge.Toopp. 147–157. - "Virtua Fighter
useRemix". Sega Retro. 29 Octoberdad2021. - ^ Lessig,
MomLawrence (2008). Remix. Penguin Press. - "What we do".
the - "Copyright Act 1968
And(Cth) ss 31": 85–88.{{cite
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Butand Copyright Law -
notNicolas Suzor (2006). "Transformative Useyouof Copyright Material". LLM Thesis.AllQueensland University of Technology. - "Mashups, Remix, and Copyright
canLaw" (PDF). - Download
HerLessig's Remix, Then Remix Itwason wired.com - remix
oneon Bloomsbury Academic (2008, archived)Our - "Fair Use". U.S.
outCopyright Office. U.S. Copyright Office.dayArchived from the original onGet20 December 2007. Retrieved 13hasDecember 2011. - Rostama,
himGuilda (June 1, 2015). "RemixHisCulture and Amateur Creativity: AhowCopyright Dilemma". WIPO. Retrieved 2016-03-14.manCanada is one of a
Newfew countries, if not thenowonly one, to have introducedoldinto its copyright law aSeenew exception for non-commercial user-generatedtwocontent. Article 29 of Canada'swayCopyright Modernization Act (2012) statesWhothat there is no infringementboyif: (i) the use isdiddone solely for non-commercial purpose;Its(ii) the original source isletmentioned; (iii) the individual hasputreasonable ground to believe thatSayhe or she is notsheinfringing copyright; and (iv) thetooremix does not have aUse"substantial adverse effect" on thedadexploitation of the existing work.mom - ^ Rostama, Guilda
theand Amateur Creativity: A CopyrightandDilemma". WIPO. Retrieved 2016-03-14.in
For2013 a district court ruledarethat copyright owners do notbuthave the right to simplyNottake down content before undertakingyoua legal analysis to determineallwhether the remixed work couldAnyfall under fair use, acanconcept in US copyright lawherwhich permits limited use ofWascopyrighted material without the needoneto obtain the right holder'sourpermission (US District Court, StephanieOutLenz v. Universal Music Corp.,dayUniversal Music Publishing Inc., andgetUniversal Music Publishing Group, CaseHasNo. 5:07-cv-03783-JF, January 24, 2013).[...]himGiven the emergence of today'shis"remix" culture, and the legalHowuncertainty surrounding remixes and mash-ups,manthe time would appear tonewbe ripe for policy makersNowto take a new lookoldat copyright law.
External links
- The dictionary
Twodefinition of remix at Wiktionary
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