In order to properly produce the works, I have done throughout trimester 3 certain precautions would need to take place in order to assume that no legal action would take place.
Remix Project
For the remix project if I were to reproduce my own work for commercial or financial gain I would need to take the following steps:
Contact Caleb (the original songwriter) to clear copyright in the composition
Also, I would need to clear things with Jan, Hayden and Caleb, the copyright holders of the original recording
As a result of creating the remix, I would own the copyright for the composition of the musical elements (except the guitar and piano that occurs throughout, use of these would be at the discrepancy of the original copyright holders) but the lyrics would remain under the copyright of Caleb. A new copyright would be established as a result of a new recording and production being made, ideally, before production began we would arrange who the copyright holders would be at the end of the production.
If I were to reproduce my remix onto vinyl/CD or streaming services I would need to contact AMCOS to gain a mechanical license, and have the rights to reproduce Caleb, Jan and Hayden’s work.
Sound-A-Like
Domino Record company owns the rights to the original recording of “Do I Wanna Know”, Arctic Monkeys hold the copyright to the composition of the music.
A mechanical license would need to be obtained from the governing body in the country in which the recording was originally created, this would be the USA.
As this was a case where we attempted to replicate the exact sonics of the original record there was no original creation on our part. This means that depending on how similar Domino Record co. deemed our recording to be we would only withhold certain rights over our recording.
Jingles & Film
The jingles that we have created would need to be registered with APRA to receive financial gain where my work was reproduced.
The musical component in our Dicks Sporting Goods trailer would belong solely to Daniel as he wrote and recorded all the musical elements in this piece. The copyright to the foley would belong to all group members as we worked on it together. The sound effects added were sourced from “free” sources such as freesound.org. If we were to release this commercial permission would need to be sought from the original producers, if it were protected under an Attribution License then we would need to contact the original recordists and ask how they would like to be credited for their work.
As the music created for the film is original work we would have to register the pieces with APRA and claim revenue each time our work was played.
Some generally good copyright ideas here but some of the details are a little off track. Usually with a remix the songwriting/composition copyright remains with the original writer, unless you negotiate otherwise in lieu of a remixing fee. You would then negotiate ownership of the new sound recording.
For a mechanical license you wouldn't contact anyone in the US. You would only need to deal with AMCOS and they will handle the contact with overseas rights-holders.
Make sure you do proper research to check copyright details as this can be a complicated area to navigate.