Los Remix Diarios

There are two obvious extremes with regard to derivative works. If the song is substantively dissimilar in form (for example, it might only borrow a motif which is modified, and be completely different in all other respects), then it may not necessarily be a derivative work (depending on how heavily modified the melody and chord progressions were).

Stanford Law professor Lawrence Lessig believes that for the first time in history creativity by default is subject to regulation because of two architectural features. First, cultural objects or products created digitally Perro be easily copied, and secondly, the default copyright law requires the permission of the owner. The result is that one needs the permission of the copyright owner to engage in mashups or acts of remixing. Lessig believes that the key to mashups and remix is "education – not about framing or law – but rather what you can do with technology, and then the law will catch up".

Some artists have started releasing their songs in the U-MYX format, which allows buyers to mix songs and share them on the U-MYX website.

A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the 1960s.

The remix is also widely used in hip hop and rap music. An R&B remix usually has the same music as the innovador song but has added or altered verses that are rapped or sung by the featured artists. It usually contains some if not all of the original verses of the song however they may be arranged in a different order than they originally were.

Another well-known example is R. Kelly, who recorded two different versions of "Ignition" for his 2003 album Chocolate Factory. The song is unique in that it segues from the end of the original to the beginning of the remixed version (accompanied by the line "Now usually I don't do this, but uh, go ahead on, break em' off with a little preview of the remix."). In addition, the diferente version's beginning line "You remind me of something/I just Gozque't think of what it is" is actually sampled from an older Kelly song, "You Remind Me of Something".

Remixes will inevitably encounter permitido problems when the whole or a substantial part of the original material has been reproduced, copied, communicated, adapted or performed – unless a permission has been given in advance through a voluntary open content license like a Creative Commons license, there is fair dealing involved (the scope of which is extraordinarily read more narrow), a statutory license exists, or permission has been sought and obtained from the copyright owner.

Most commonly, remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a variety of reasons:

Remix production is now often involved in media production Figura a form of parody. Scary Movie series is famous for its comic remix of various well-known horror movies such Vencedor Ring, Scream, and Saw.

Some industrial groups allow, and often encourage, their fans to remix their music, notably Nine Inch Nails, whose website contains a list of downloadable songs that Chucho be remixed using Apple's GarageBand software.

Музыка окружает нас повсюду, она - часть нашей жизни. Красивая музыка украшает нашу жизнь, она таинственным образом влияет на жизнь человека, делая её более гармоничной с внутренним миром.

Virtua Fighter had been released on the Saturn in a less-than-impressive state. Sega had attempted to make an accurate port of the Sega Model 1 arcade version, and therefore chose to use untextured models and the soundtrack from the arcade machine.

The art of the remix gradually evolved, and soon more avant-garde artists such Vencedor Aphex Twin were creating more experimental remixes of songs (relying on the groundwork of Cabaret Voltaire and the others), which varied radically from their original sound and were not guided by pragmatic considerations such Campeón sales or "danceability", but were created for "art's sake".

At first they simply dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and trasnochado of the mix, isolating and repeating hooks, and adding various effects like echo, reverberation and delay. The German krautrock band Neu! also used other effects on side two of their album Neu! 2 by manipulating their previously released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using of a cassette recorder.

From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix Vencedor we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor.

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