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Remaster matter: Does digital remastering create

new Copyrights (viewed in the eyes of the U.S.

Copyrights law)

Weena Anantasomboon*

Sirisit Anantasomboon**

Just recently, a social media spat between pop princess Taylor Swift

and entertainment mogul Scooter Braun has shone a spotlight on the
complicated intersection between music and copyright. Braunûs Ithaca

Holdings announced it was acquiring Big Machine Label Group, the label that

released all of Swiftûs studio albums up until 2017ûs Reputation. Big Machine
also owned the pop starûs master rights for her back catalogue (master rights

are granted to whoever financed a recording and usually lie with the record

(1)
label if not the artist). As the songwriter (or co-writer) of most of her works,
Swift maintains a publishing interest in the writerûs share of her compositions

and, by extension, an economic interest and consent right. Consequently,
downloads, physical sales and digital streams benefit both Braun and Swift.

** Judge in the Research Justice Division of the Supreme Court, LL.B Thammasat University,
LL.M Thammasat University, MiniLL.M Chicago-Kent college of Law.
** Judge of the office of the president of the supreme court, LL.B Chiangmai University, Mini
LL.M Chicago-Kent college of Law.
(1)
https://www.smh.com.au/entertainment/music/taylor-swift-v-scooter-braun-when-copyright-gets-
personal-20190701-p52309.html.

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