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  1. But you are incorrect about what defines a pedophile. The criminal justice system makes no distinction between prepubescent or the onset of puberty. All US law regardin age of consent references age (Why its called AoC) and people reach puberty at different ages. hmm, I'm not sure where there is legal code defining "pedophile" - there may very well be somewhere [we'd need to see if we can pull a ref -- I don't have Westlaw/Lexis access right now - so if anyone does, maybe they can do a quickie search] , but a lot of the code is written around restricted acts (statutory rape, molestation of various sorts, corrupt of minor, etc) Though within the clinical analysis of the offender in the criminal justice system (assessing risk, classifying them for later sex offender status, etc), the term "hebephile" is used for pubescent-preferring sexuality [Ref :"The Sex Offender and the Criminal Justice system" - Holmes] [Personal Note : that was quite the unsettling course] While these things are strict liability in probably most jurisdictions, I don't know that it's universally so
  2. Originally Posted by NeverTheMachine I don't want him to not have a stake in the tune. I just don't want him to prevent the three of us from playing the song in whatever form we want, cause that wouldn't be fair. In US there is "joint authorship doctrine" which allows each author (unless the authors agreed to a different assignment) an 'undivided interest' in the whole work (basically each author enjoys the ability to act as owner even without the consent of other authors except for entering into exclusive license -- as that would abridge the rights of the other authors) On the copyright.gov site, you mention the authors of the sound recording, and then you choose who you want the rights reserved to. So what's the deal with this? Is it just on a first come first to get the complete rights to the song basis? What does it mean or what can it mean if him and I are both mentioned as authors and I am mentioned as copyright owner? i'd suggest going back and reading the basics in the thread - copyright has already been established (at the time of fixation). Filing with the copyright office is merely registration, it acts as claim and evidence, not proof of ownership. NOT listing the other guy as having ownership interest if you have belief that he is author and haven't made assignment arrangements with him in order to cut him out would be a bad faith filing...I wouldn't suggest it there's always checking with your state's "lawyers for the arts" program and getting a case-specific look at your situation.
  3. Boss uses FETs for switching, not an IC flip flop. Are you talking the audio path switching or the logic control OF the audio signal switching ? (ie what's controlling the gate of the FET doing the signal switching?) -- the flip-flop portion is going to be the logic control...not the audio signal switching itself Are they using discrete components to make a flip-flop? [iCs re common, but it doesn't have to be] I mean something's flip-flopping, if the switch logic were being controlled by a latching footswitch it wouldn't always power up in the same condition (if so, you should be able to patch the same parts of that circuit that, essentially comprises the S/R in a Flip-flop IC)
  4. hmm, I've never had a boss switching system apart, but usually these things run off a flip-flop switch (it's a type of circuit that basiclly flip-flops...changes state when triggered) these (usually you'll see them as their own IC) usually have S and R (SET and RESET) inputs -- if you drag one of them high, it will force a switching state (S forces the switch's state hi and R forces it low). So, when you want a definite "power-up state" , usually one of the S/R input will be tied to ground (so it's always logic lo) and the other will be hooked up to a little RC net off the supply so that, at power-up, you get a logic pulse that SETs or RESETs the flip-flop's state (now, if there are other times the state needs to be forced, there can be other stuff, but in this sort of app I don't think there will be anything else) If you want to change the intial state, it can just be a matter of swapping the S/R connections so that the other guy (in your case the RESET) gets the power-up pulse Being Boss, I have to imagine the switching system has been fully explored -- I'd hit up DIY type forums (fora??) to see if anyone has that already mapped out for ya in the end -- I tend to agree that it could be more hassle than it's worth...but YMMV and sometimes, eh you just want an "I'm bored" Thursday night project..so I can dig that
  5. Sadly, there are a number of problems with trying to use a wax seal as proof The wax seal method is primarily for exposing attempts by a third party at surreptitiously opening a seal (the second or first party making that determination). The "poor man's copyright" is a problem of validating that the first or second parties (the sender and receiver -- often one and the same) have not compromised the seal. If the sender, for instance, used a personal signet, that same sender could compromise the seal and use the same signet. The signet would have to be something not under the control of an interested party (much like a notary embosser or seal) The wax seal doesn't itself, contain date information one could use much the same process as mailing an envelope that is unsealed by other means - simply apply a wax seal at a later time. running a wax seal through modern mail sorting equipment could distort the seal as it is (not so funny anecdote, Once worked for a SW company where we sent out a CD mailer, well turns out the envelope size we used got sent through sorters that would bend the envelopes...oh snap...literally, about 1000 CDs got trashed before we found out abt it) There are also penetration techniques even for wax seals. The Harrison "CIA Flaps and Seals Manual" which has been avail since the 70s outlines a plaster cast method to repair compromised wax seals even without the original signet, though there could be other methods such as freezing and solvents for leaving the seal itself intact while breaking the adhesion with the envelope. There are also other flap penetration methods such as a corner "roll up" penetration for paper documents (you come in from the corner and roll the document up so the flap is never fully opened)
  6. Originally Posted by josippesut I am in a copyright agency that immediately approves the songs... You have to wait for approval? I think there may be a language barrier -- "approves" wouldn't be something that we would normally apply to copyright in USA. Could you describe in more detail what you mean by "approve" in this context?
  7. NPr had a little article on this issue maybe 2-3 weeks back - wish I could remember where, but a little search might find it archived
  8. cool - didn't mean to come off as grammar police, just wanted to make sure the concepts were clear and all given the nature of the thread
  9. If it comes down to litigation, what can get argued that a particular "riff" is a 'melodic motif' (do the riffs appear repeatedly? this will strengthen the argument that it is a thematic element) substantial enough to bear copyright protection Like in Brighton v Harrison (the George Harrison "My Sweet Lord" case) the infringement analysis pivoted on 3 motifs OTOH, in Newton V diamond (The Beastie Boys case about underlying composition in a sample) the flute riff was considered de minimis (basically, "don't sweat the small stuff") So it can get pretty interpretive during litigation and that's when sides butt heads like Bluestrat mentions you can register composition and phonorecording (that actually gets a circle P instead of a circle C -- check out a CD you own and you'll probably see a circ P on it) if your phonorecording isn't done and that's what you are trying to protect, finish it up (but if you are more worried about the composition turn that in) One thing you can do is check out "lawyers for the arts" programs in your areas, doesn't sound like you'll need a full consultation but they often do little seminars fo peple to get them familiar with stuff and answer general questions...people just don' avail themselves of the help out there I think that's one reason lawyers get a bad rep - they are like dentists, people wait til it's root canal time
  10. Originally Posted by the_offspring Another question I have 13 songs that i wrote and i am going to copyright Should i copyright the lyrics and guitar riffs too like send it in , in a cd or just the lyrics. Im still practicng the guitar riffs but they're done, its just its a fast tempo so i gota keep practing What would you advice sned in what you have, your "best version", tempo isn't going to matter (are you able to just score it?)
  11. Originally Posted by Alex_SF You don't need to register the copyright in order to be protected, but you do need to register it in order to bring a lawsuit, Quick amplification - that applies to works of US origin. There are other advantages too, like the registration is very good proof of your ownership of the work (i.e. proves you created it first, etc.) Technical note - what it shows is date of priority for a claim, not proof of originality. Now if US registration happens within 5 years of publication, the registration acts as what's known as "prima facie" evidence of copyright validity , but that's not proof of originality, just of legal claim (prima facie evidence basically clears threshold of burden for the P, so that the D must then refute the evidence or lodge an affirmative defense -- but it IS refutable) Copyright claims, unlike patents, are merely registered, not prosecuted (that's why the patent process is so much more arduous than copyright registration) You can do the "poor man's copyright" in the interim -- put a CD of the work in a sealed envelope and mail it to yourself. Leave it sealed, and the postmark is your evidence of the date of mailing. ya know to be quite honest, I can't think of any US caselaw (I think Canada and UK may actually have some, so heads up for those guys - check with your IP atty on that) that supports "poor mans" . One big problem is the CIA flaps and seals manual has been in publication for over 30 years -- you are better off having it witnessed (as it speaks to the work in question, not an envelope the work supposedly came in) NOTE : the above comments are not intended to discourage anyone from copyright registration (quite the opposite), but are to clarify certain concepts (such as "copyright" as "the right of copy") which can easily get shorthanded (such as "copyright" for "register")
  12. Originally Posted by daddymack Any tangible version is copyright-able, and yes, before you try to shop it, get the copyright. Quick distinction here - copyright exists (automatically) at the time of fixation. What we are talking about here is REGISTRATION of a copyright claim. It's not so much "get the copyright" as it is "register the copyright claim"
  13. Well, Canada is a Berne convention country so like the thread outlines you have copyright at fixation, what you don't have is registration Being a Canadian citizen (I assume the work was done in CA as well?) you might want to start with CIPO
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