Post by Bret Walker on Feb 28, 2002 15:25:59 GMT -5
The following is from the RIAA Website
The Audio Home Recording Act of 1992 (AHRA)
This 1992 legislation exempts consumers from lawsuits for copyright violations when they record music for private, noncommercial use; eases access to advanced digital audio recording technologies; provides for the payment of modest royalties to songwriters and recording artists and companies; and mandates the inclusion of serial copying management technology in all consumer digital audio recorders to limit multi-generation audio copying (i.e., making copies of copies).
In general, the AHRA covers devices that are designed or marketed for the primary purpose of making digital musical recordings. Digital audio cassette players, minidisc players, and DAT players are devices covered by the AHRA. This law will also apply to all future digital audio recording technologies, so Congress will not be forced to revisit the issue as each new product becomes available.
The AHRA provides that manufacturers (not consumers) of covered devices must: (1) register with the Copyright Office; (2) pay a statutory royalty on each device and piece of media sold; and (3) implement serial copyright management technology (such as SCMS) which prevents the production of copies of copies. In exchange for this, the manufacturers of the devices receive statutory immunity from infringement based on the use of those devices by consumers. To learn more about the administration of the royalties paid on recording devices and media, see the section on AARC.
Multipurpose devices, such as a general computer or a CD-ROM drive, are not covered by the AHRA. This means that they are not required to pay royalties or incorporate SCMS protections. It also means, however, that neither manufacturers of the devices, nor the consumers who use them, receive immunity from suit for copyright infringement.
For additional information go to www4.law.cornell.edu/uscode/17/ch10.text.html
The Digital Performance Right in Sound Recordings Act of 1995 (DPRA)
For nearly 30 years, the RIAA has been fighting to give copyright owners of sound recordings the right to authorize public performances of their work. Before the passage of the Digital Performance Right in Sound Recordings Act of 1995, sound recordings were the only U.S. copyrighted work denied the right of public performance. All that has now changed.
This law allows copyright owners of sound recordings the right to authorize certain digital transmissions of their works, including interactive digital audio transmissions, and to be compensated for others. As amended by the Digital Millennium Copyright Act in 1998, the right now covers cable and satellite digital audio services, webcasters, and future forms of digital transmission. Most non-interactive transmissions are subject to statutory licensing at rates to be negotiated or, if necessary, arbitrated. Exempt from this bill are traditional radio and television broadcasts and transmissions to business establishments.
The Audio Home Recording Act of 1992 (AHRA)
This 1992 legislation exempts consumers from lawsuits for copyright violations when they record music for private, noncommercial use; eases access to advanced digital audio recording technologies; provides for the payment of modest royalties to songwriters and recording artists and companies; and mandates the inclusion of serial copying management technology in all consumer digital audio recorders to limit multi-generation audio copying (i.e., making copies of copies).
In general, the AHRA covers devices that are designed or marketed for the primary purpose of making digital musical recordings. Digital audio cassette players, minidisc players, and DAT players are devices covered by the AHRA. This law will also apply to all future digital audio recording technologies, so Congress will not be forced to revisit the issue as each new product becomes available.
The AHRA provides that manufacturers (not consumers) of covered devices must: (1) register with the Copyright Office; (2) pay a statutory royalty on each device and piece of media sold; and (3) implement serial copyright management technology (such as SCMS) which prevents the production of copies of copies. In exchange for this, the manufacturers of the devices receive statutory immunity from infringement based on the use of those devices by consumers. To learn more about the administration of the royalties paid on recording devices and media, see the section on AARC.
Multipurpose devices, such as a general computer or a CD-ROM drive, are not covered by the AHRA. This means that they are not required to pay royalties or incorporate SCMS protections. It also means, however, that neither manufacturers of the devices, nor the consumers who use them, receive immunity from suit for copyright infringement.
For additional information go to www4.law.cornell.edu/uscode/17/ch10.text.html
The Digital Performance Right in Sound Recordings Act of 1995 (DPRA)
For nearly 30 years, the RIAA has been fighting to give copyright owners of sound recordings the right to authorize public performances of their work. Before the passage of the Digital Performance Right in Sound Recordings Act of 1995, sound recordings were the only U.S. copyrighted work denied the right of public performance. All that has now changed.
This law allows copyright owners of sound recordings the right to authorize certain digital transmissions of their works, including interactive digital audio transmissions, and to be compensated for others. As amended by the Digital Millennium Copyright Act in 1998, the right now covers cable and satellite digital audio services, webcasters, and future forms of digital transmission. Most non-interactive transmissions are subject to statutory licensing at rates to be negotiated or, if necessary, arbitrated. Exempt from this bill are traditional radio and television broadcasts and transmissions to business establishments.
