Page 189 - JLA-03

¥ÿ≈æ“À

Similarly, revenue generated from synchronization (or sync) licenses (for the

use of Swift songs in advertisements, television and films) enrich both Swift
and Braun so long as both consent to such use. There is also mutual benefit

in radio play and live performances of the original works. Swift alone receives

the direct financial benefit of her performances, but Braun indirectly benefits
from the revitalization of back catalog songs, the broadening and deepening

of a desirous audience, and the promotion of future consumption of Swiftûs

(2)
earlier works. However, that is not the only way Swift has in mind of exact
revenge on Braun. She plans to re-record her early music, or so called

ùRemasterû. Can the idea of remastering create new copyright?

What does digital remaster mean? First, a little background. Letûs look
at the technology behind digital remastering, which is different from simply

transferring an album from vinyl to CD. When an album is remastered, the

process removes any flaws from the recording (bad edits, microphone noises,
hiss). The record company promises the consumer a cleaner, sharper and more

refined listening experience fi music the way it was meant to be heard. When

a sound engineer remasters an album, first he locates the original master

tapes. Then he will adjust or tweak the mix of each song fi never the

individual tracks of each vocal or instrument, because those are already set
in the master tapes. He will also sweeten up the treble and bass to enrich

the overall sound. If the song also has flaws fi superfluous sounds that are

not part of the music fi he will remove those. The engineer uses specific
digital software for all of this painstaking work.

(2)
https://www.hollywoodreporter.com/thr-esq/how-taylor-swift-could-fight-back-scooter-braun-
1223106.

°—𬓬π - ∏—𫓧¡ ÚıˆÚ 179