RECORDING PROCEDURE informal conversation All participants engaged in the informal part of the recordings before the formal part. As such, there was a transition from a kind of small talk in the beginning to formal communication in the end. This coincides with Xxxxx’x description of the natural development of interaction during ELF business encounters (2009). Following Xxxxxxxx et al. (2010), we tried to make the Spanish participants think that the confederate in the informal part of the recording was just another regular participant. By doing so, we created a speech situation in which the Spanish participant and the Dutch confederate were peers. Approximately ten minutes before the Spanish participant was expected to arrive, the Dutch confed- erate of the corresponding sex (henceforth Confederate 1) also went to the meeting point and waited for HK, as did the Spanish participant. At the agreed time, HK went out to meet the Spanish participant and Confederate 1. XX introduced himself to both and introduced them to each other. XX then asked them to wait outside while he made some final preparations. Confederate 1 was instructed to use this time to start up a conversation in order to try and break the ice. HK started the audio and video recordings before returning to get the interlocutors. When entering the recording booth, Confederate 1 always took the same seat, leaving the chair at the head of the table for the Spanish participant. Both interlocutors were asked to put on their microphones and then HK told them that he would leave to get the task they were going to perform, and that it would be good for the project if, in the meantime, they got to know each other. HK did not explicitly mention the recordings, so that the Spanish participant would remain in doubt about whether they would start immediately or only after the speakers had received their task. For this initial part of the informal conversation, Confederate 1 had been instructed to discretely let the Spanish participant speak most of the time. Moreover, in order to diminish the Spanish participants’ potential reluctance about speaking English, Confederate 1 was instructed to make the Spanish participants feel at ease and compliment them on their English if they expressed doubts about their proficiencies. Most conversations started with the interlocutors continuing to introduce themselves: they spoke about their education and daily lives. Quite quickly the conversations turned to other topics, such as the city of Ma...
RECORDING PROCEDURE. 4.01. You will conduct recording sessions only after first obtaining Universal's written approval of the individual producer, the places of recording, the Compositions to be recorded and the Authorized Budget. You will request such approvals at least fourteen (14) days prior to the proposed first date of recording, and Universal will not unreasonably withhold any such approval. If Universal disapproves any of the foregoing, you will promptly submit alternative proposals, but in all instances you will allow Universal a reasonable period of review prior to the proposed first date of recording. Universal will approve any first-class recording studio provided (i) its use would not be inconsistent with any of Universal's union agreements, (ii) its use would not cause labor difficulties for other reasons, (iii) the studio takes appropriate measures (as determined by Universal in its sole discretion) to secure any material recorded on its premises, and (iv) Universal does not anticipate that its use will require expenditures inconsistent with the Authorized Budget. You and Artist acknowledge the importance of securing all Recordings made hereunder and of preventing “leaks” of Recordings, and you and Artist will cooperate with Universal in taking measures to insure that Artist’s Recordings are not made available to any Person other than Universal without prior written authorization from Universal. The scheduling and booking of all studio time will be done by Universal.
RECORDING PROCEDURE. Article IX
RECORDING PROCEDURE. 16 Any recording of a meeting grievance procedure shall be with the full knowledge of all the 17 parties involved with the meeting. The party recording the meeting shall make available, 18 upon request, copies of the recording to the other parties. 19 20 22 23 ARTICLE IX 24 25 26 27 NEGOTIATIONS PROCEDURE 28 29
RECORDING PROCEDURE. 5.1 The selection of musical compositions to be recorded the engagement of producers and other creative personnel and the terms of such engagement the studios the method and manner of recording, the choice of artwork for the initial release of Records embodying the Minimum Recording Commitment and the choice of Singles shall be mutually agreed between Company and the Artist both acting in good faith.
RECORDING PROCEDURE. 4.1 All matters .concerning the recording procedure of Masters herein shall be determined by Company, including, without limitation; (1) selection of producer(s); (2) selection of material. including the number of Compositions to be recorded; and (3) the specification of dates of recording and studios where recording is to take place, including the cost of recording herein.
RECORDING PROCEDURE. Producer shall deliver to Client upon completion, a fully mixed, edited, and equalized Master in a format to be mutually agreed to by the parties, commercially satisfactory to Client for use on a record (“Record”), and all original and duplicate Masters of the music and all other material recorded. Producer shall act diligently in completion of the Master. All songs recorded hereunder are as follows: Title (beat name below) Owner of Music “ ” Xxxxx Xxxxxxxx (100%) Producer
RECORDING PROCEDURE. (a) In connection with Master Recordings to be made hereunder, the following matters shall be selected or designated by Company: (1) the producer(s); (2) the arrangers, musicians, background vocalists, copyists, contractors, engineers, and other technical personnel; (3) the studio where the recording is to take place; (4) the scheduling and booking of all studio time; (5) the dates of the recording; (6) the recording budget therefore; (7) material to be recorded; (8) the number of Compositions to be recorded; (9) the number of Compositions to be contained on all records hereunder; (10) the Compositions to be contained on all Phonograph Records hereunder; (11) all artwork used in advertising materials, promotional materials, record sleeves, and record jackets; and (12) all other elements to be utilized or embodied in recording activity conducted hereunder and/or to promote the records derived from the Masters. Artist shall be consulted with regard to the above matters but the decision of the Company shall control. (b) Each time Company notifies Artist that it requires Artist to record Master Recordings hereunder, Artist will make himself available to commence recording in accordance with Company's instructions. Company's notices shall be issued reasonably in advance of the scheduled recording session. (c) Each Master Recording made hereunder shall be subject to Company's approval as commercially and technically satisfactory for the manufacture and sale of records. Artist agrees to re-record each Composition until Company is satisfied, in its sole discretion, that a Master has been produced, which is commercially and technically satisfactory for the manufacture and sale of records. In the event that Company is not able to obtain clearances for the samples used on a Master at a reasonable rate in Company's sole discretion, the Master shall be determined to be unsatisfactory. Artist shall not be deemed to have completed his services in respect to any Master until Company has acknowledged in writing that a Master has been so produced. In the event that any Master delivered by Artist is deemed unsatisfactory by Company, Company shall notify Artist within sixty (60) days thereafter of its rejection of said recorded Master and Artist shall have thirty (30) days to deliver a replacement Master. (d) No Master Recording made hereunder fixing the performance shall apply in reduction of the Recording Commitment to Company if it is a "Live Performance", if it is a Compo...
RECORDING PROCEDURE. (a) (i) In connection with Masters to be made hereunder, the following matters shall be determined by Company: (1) selection of the producer; (2) the number of Compositions to be recorded; (3) selection of the
RECORDING PROCEDURE. 4.1 We shall be responsible for the engagement of producers and other creative personnel and the terms of such engagement, the studios the method and manner of recording, the choice of artwork for the initial release of Records embodying the Minimum Recording Commitment and the choice of Singles. However we shall consult you in good faith concerning each of these decisions.
