Walter Knapp on Friday, January 23, 2004 stated:
>Each recording is marked as to it's source. If the source is digital,
>then the copy protection might be a problem. Like if you were using a
>pre that output digital audio and recorded into a MD using the digital
>inputs. And, of course this protection would only be invoked if you are
>digitally transferring to something that recognizes the protection code.
One point on this. Most computer audio cards that accept digital inputs
ignore the SCMS bit all together. I suspect if computers had been such a
big thing when the whole copyright/copy protection issue started in the
early 80's, this might have been different. However, since they
technically aren't recording devices they fall outside the SCMS realm of
authority. What's interesting are the DAT decks that are "prosumer" such
as the Sony R300. If you pass a digital signal to it that already has had
the maximum number of digital transfers, it still records digitally and
marks the tape with the proper SCMS bit. If you pass along a first
generation master, the SCMS bit is changed to reflect that it is no
longer a master tape, but a clone and further cloning via consumer decks
is prohibited. Now, if you end up with a consumer deck that obeys the
SCMS bit, you can run a number of different SCMS bit "strippers" between
decks and get your copy. I have had to do this when a DAT I recorded
would only playback on my R300 and I needed a clone of it, so I had to
use my Sony 75ES consumer DAT deck as the recording deck. All in all SCMS
was half-backed and only half enforced, so getting around it for
legitimate uses is pretty easy.
FYI, there is a SCMS bit on audio CDs too, although most of the time they
are not used. (I think of all the commercial CDs I own, maybe 2 have it).
Wayne
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