I think the issue here is you're conflating a whole bunch of other genres as "electronic dance music" but which are not. Film and computer game music, early goa, etc. None of that is part of the underground clubbing scene. So yeah, the points you're making are correct but you're arguing a different point to the one I was.
Take Posford for example. Discords says he is a composer and record producer. This suggests that Simon has released other creative works outside of dance music; and given Goa's roots I'd say that was more likely than your argument that they're both listed as synonyms. The fact that Discogs also describes him as a sound engineer further illustrates that it's a list of his achievements rather than a thesaurus of related terms.
> 5. You're ignoring the most fundamental fact: if we take the sum total of modern music, the amount of it which is composed of definitely copyrightable samples is extremely small relative to the amount of synthesis and traditional composition.
I agree but I also never once said "the sum total of modern music". I was talking specifically about the evolution of electronic dance music. I said:
"Electronic music wouldn't exist if it wasn't for ignoring copyright laws. The entire scene is built off the back of sampling and mix tapes."
Quite why you decided to bring film scores into the equation and then blame me for moving the goal posts I don't know.
Lastly I'm not denying fair use exists. I'm saying selling records doesn't fall under fair use. There are a thousand other ways to use samples outside of that and some of those will constitute as fair use.
Take Posford for example. Discords says he is a composer and record producer. This suggests that Simon has released other creative works outside of dance music; and given Goa's roots I'd say that was more likely than your argument that they're both listed as synonyms. The fact that Discogs also describes him as a sound engineer further illustrates that it's a list of his achievements rather than a thesaurus of related terms.
> 5. You're ignoring the most fundamental fact: if we take the sum total of modern music, the amount of it which is composed of definitely copyrightable samples is extremely small relative to the amount of synthesis and traditional composition.
I agree but I also never once said "the sum total of modern music". I was talking specifically about the evolution of electronic dance music. I said:
"Electronic music wouldn't exist if it wasn't for ignoring copyright laws. The entire scene is built off the back of sampling and mix tapes."
Quite why you decided to bring film scores into the equation and then blame me for moving the goal posts I don't know.
Lastly I'm not denying fair use exists. I'm saying selling records doesn't fall under fair use. There are a thousand other ways to use samples outside of that and some of those will constitute as fair use.