Federal High Court Dismisses Copyright Claim Against Sinach Over “Way Maker” The Federal High Court, Lagos Judicial Division, has dismissed a copyright suit filed against award-winning gospel minister Sinach over her globally acclaimed worship anthem, “Way Maker.” In its judgment, the Court ruled that the plaintiff failed to prove claims of co-authorship or co-ownership of the song. The Court found that “Way Maker” had already been written and performed by Sinach before the plaintiff was engaged in 2015 to provide mixing and mastering services for the album release. Justice A. Lewis-Allagoa reaffirmed that copyright authorship belongs to the individual who creates the original expressive content of a musical work, adding that technical contributions such as production, engineering, or mixing do not confer authorship unless they involve creating original musical expression. The Court dismissed the entire suit and reaffirmed Sinach’s sole authorship and ownership of “Way Maker.” Sinach and her management also expressed appreciation to their legal team for securing the favourable judgment. #Sinach #WayMaker #GospelMusic #ChristianMusic #GospelNews

Advice for MDs & Producers * If the drums and bass ain’t happening, nothing is happening. * Keep the main thing the main thing. Choose between melody, groove, or vibe. * Contrast is an arrangement layer. every note is arrangement real estate - Use intentionally. (Austin: read that again please) * Look for tuttis (or deliberately destroy them). * Dynamic range is cheap, but most people forget to buy it. * Do custom charts matching notation to the musician and the situation. Conductors scores, SATB, Lead sheets, Nashville numbers, chord charts are all great, and all fail if given to the wrong performer. * Fast songs take more prep, more rehearsal, more charting, more coordination. Plan accordingly. * Number charts are brilliant right up until they aren’t. * You can never have enough capo chart versions (think CAGED). Don’t waste rehearsal/session time thinking in 3 keys at once—- also communicate to capo or transposed instrument players in their shape or instrument key, not concert (unless they ask you not to). * Take the time to habitually update the charts permanently; you never know when you will need a last-minute sub… * Pros live in keyboard shortcuts, templates, and scripts. Ain’t nobody got time for mousing and doing the same things over and over. * Your rig and your data NEED BACKUPS. Plan for failure at the wrong moment. An important file doesn’t exist unless it lives in 3 places. Ask me about details here… * Be intentional with sending scratch audio and PDFs ahead of time - weeks for complex arrangements; day of is besto for instinctive in-the-moment inspiration. Don't default to autopilot. * Pace the room carefully. Plan sessions/rehearsals to balance the emotional and physical energy of the performers with the material. * Manage the vocal clock. Structure your schedule around their stamina, not your convenience. * Leave room for performers to contribute—until you can’t. * Silence or encouragement in the talkback is better than micromanagement. Half the time, good musicians fix it themselves on the second pass. (Austin: read that again, please)

https://a.co/d/0d3oQcy6

So he put Suno BGV on the songs. Some parts sound distorted. Is there something that can be done to fix that? He uses Pro Tools. Second question is pops in my vocal stems. I think it might be his mic. I could bring my own mic which is Sure SM 57. He tried to edit some pops yesterday. I had written down 3:14, and I’m hearing that same pop still. He edited 4 pops per song yesterday in front of me, and there’s still 4 pops per song. Only on the tracks with my vocals. I don’t hear pops in the accompaniment tracks w/BGV, so I know it’s the vocal stems. ???