Klaus Schulze Quotes

Part of doing mash-ups is getting the legal rights to use the songs. If you're going to do a mash-up with five songs, you should probably find 10 songs, because you're only going to get half of them cleared. It's a real collaborative effort.

It's very easy for people to put out music.

I make a lot of pieces of music that I never release as CDs.

Music is everybody's possession. It's only publishers who think that people own it.

As long as you have a percentage of a song, that lasts forever. You have to study the business. Don't just be in it for money. You have to understand what you're in it for, then get your money.

Luther Campbell is the only person that has ever paid me for sampling me. I'm out for the rest of 'em, but the young man paid me.

I believe in full albums, and whatever comes out of those full albums will come.

It's important to know the ins and outs of the music business, but you can also dive too deeply into it and forget that you're really here to make music.

If music is to continue to support the livelihoods of artists, it cannot be taken without the permission of artists.

As an artist, you can't expect a producer to just bring you a record. If you walk in and say, 'I want Kanye West's 'Power,' it just doesn't work that way.

There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.

Music is not a commodity, it's a resource.

The whole industry evolves around a great song.

When we started there was this element of these experiments we were doing where we weren't really sure how the music would play out because the music was all on different players.

It's typical for video customers to often use licensed music - whether a soundtrack, background music, or sound effects - to complement their video projects.

I have always abhorred the business end of music.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

It's the big boys, the Googles of this world, that are already benefiting from piracy and not paying the artists a dime.

I would make far more money if every song were my own, but I don't write to fill up the album with my songs.

I am explicitly not opening the giant can of worms that is the ongoing current discussion of patent, copyright, and trademark reform.

This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin' it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do

If the only way a library can offer an Internet exhibit about the New Deal is to hire a lawyer to clear the rights to every image and sound, then the copyright system is burdening creativity in a way that has never been seen before

We have a massive system to regulate creativity. A massive system of lawyers regulating creativity as copyright law has expanded in unrecognizable forms, going from a regulation of publishing to a regulation of copying. Law and technology produce, together, a kind of regulation of creativity we've not seen before.

We live in a world with "free" content, and this freedom is not an imperfection. We listen to the radio without paying for the songs we hear; we hear friends humming tunes that they have not licensed. We tell jokes that reference movie plots without the permission of the directors. We read our children books, borrowed from a library, without paying the original copyright holder for the performance rights.

An intellectual property worker will take copyright protection on everything he can get.