Editing Bootleg recording (section)

==Definitions==
The word ''bootleg'' originates from the practice of smuggling illicit items in the legs of tall boots, particularly the smuggling of alcohol during the [[Prohibition in the United States|American Prohibition]] era. The word, over time, has come to refer to any illegal or illicit product. This term has become an umbrella term for illicit, unofficial, or unlicensed recordings, including vinyl LPs, silver CDs, or any other commercially sold media or material.{{sfn|Heylin|1994|p=6}} The alternate term ROIO (an acronym meaning "Recording of Indeterminate/Independent Origin") or VOIO (Video...) arose among [[Pink Floyd]] collectors, to clarify that the recording source and copyright status were hard to determine.<ref>{{cite book|title=Netmusic: your complete guide to rock and more on the Internet and online services|first=Ben|last=Greenman|publisher=Random House|year=1995|page=159|isbn=978-0-679-76385-7}}</ref>

Although unofficial and unlicensed recordings had existed before the 1960s, the very first rock bootlegs came in plain sleeves with the titles [[rubber stamp]]ed on them.{{sfn|Heylin|1994|p=45}} However, they quickly developed into more sophisticated packaging, in order to distinguish the manufacturer from inferior competitors.{{sfn|Heylin|1994|p=92}} With today's packaging and desktop publishing technology, even the layman can create "official" looking CDs. With the advent of the [[Compact Cassette|cassette]] and [[CD-R]], however, some bootlegs are traded privately with no attempt to be manufactured professionally. This is even more evident with the ability to share bootlegs via the Internet.{{sfn|Heylin|2010|p=483}}

Bootlegs should not be confused with ''counterfeit'' or ''unlicensed'' recordings, which are merely unauthorised duplicates of officially released recordings, often attempting to resemble the official product as closely as possible. Some record companies have considered that ''any'' record issued outside of their control, and for which they do not receive payment, to be a counterfeit, which includes bootlegs. However, some bootleggers are keen to stress that the markets for bootleg and counterfeit recordings are different, and a typical consumer for a bootleg will have bought most or all of that artist's official releases anyway.{{sfn|Heylin|1994|p=7}}

[[File:Who's Zoo.jpg|thumb|right|250px|''Who's Zoo'' compiled early singles and B-sides by [[the Who]], which had not been commercially released in the U.S. Like several [[Trademark of Quality]] bootlegs, it featured cover artwork by [[William Stout]].]]
The most common type is the live bootleg, often an audience recording, which is created with sound recording equipment smuggled into a live concert. Many artists and live venues prohibit this form of recording, but from the 1970s onwards the increased availability of portable technology made such bootlegging easier, and the general quality of these recordings has improved over time as consumer equipment becomes sophisticated. A number of bootlegs originated with [[FM broadcasting|FM radio]] broadcasts of live or previously recorded live performances.<ref>{{cite book|title=Collectible '70s: A Price Guide to the Polyester Decade|publisher=Krause Publications|page=44|year=2011|isbn=978-1-4402-2748-6}}</ref> Other bootlegs may be [[soundboard recording]]s taken directly from a multi-track [[mixing console]] used to feed the [[public address system]] at a live performance. Artists may record their own shows for private review, but engineers may surreptitiously take a copy of this,{{efn|A bootleg of [[Bruce Springsteen]] was distributed after the band's sound engineer left a cassette in his car while it was being repaired. A bootlegger copied the cassette during the work, then returned it without arousing suspicion.{{sfn|Heylin|2010|p=278}}}} which ends up being shared. As a soundboard recording is intended to supplement the natural acoustics of a gig, a bootleg may have an inappropriate mix of instruments, unless the gig is so large that everything needs to be amplified and sent to the desk.{{sfn|Heylin|2010|p=256}}

Some bootlegs consist of private or professional studio recordings distributed without the artist's involvement, including [[demo (music)|demos]], works-in-progress or discarded material. These might be made from private recordings not meant to be widely shared, or from master recordings stolen or copied from an artist's home, a [[recording studio]] or the offices of a [[record label]], or they may be copied from promotional material issued to music publishers or radio stations, but not for commercial release.{{sfn|Heylin|1994|p=44}} A theme of early rock bootlegs was to copy [[Deletion (music industry)|deleted records]], such as old singles and B-sides, onto a single LP, as a cheaper alternative to obtaining all the original recordings. Strictly speaking, these were unlicensed recordings, but, because the work required to clear all the copyrights and publishing of every track for an official release was considered to be prohibitively expensive, the bootlegs became popular. Some bootlegs, however, did lead to official releases. The ''Who's Zoo'' bootleg, collecting early singles by the Who, inspired the official album ''[[Odds And Sods]]'', which beat the bootleggers by issuing unreleased material, while various compilations of mid-1960s bands inspired the ''[[Nuggets (series)|Nuggets]]'' series of albums.{{sfn|Heylin|1994|p=196}}