# data[].attributes.body
Clipchamp
https://clipchamp.com/en/video-editor/
Clipchamp has all of the essentials needed to make outstanding films, and most importantly, no prior expertise is necessary.

Wevideo
https://www.wevideo.com/
Wevideo is Easy, fast & flexible. Additionally, we can make  videos on any device, including Chromebook, Windows, Mac, and mobile.

Biteable
https://biteable.com/tools/
Turn your image into a video in just a few clicks. Add effects and text.
Kawping
https://www.google.com.hk/url?
sa=t&rct=j&q=&esrc=s&source=web&cd=&ved=2ahUKEwiM_7TwyLj2AhVNGaYKHcLjB7QQFnoECBsQAQ&url=https%3A%2F%2Fwww.kapwing.com%2Fvideo-editor&usg=AOvVaw10d-LuWmdWu20abCoPwoub
Kapwing supports a powerful video editing

Fastreel
https://www.fastreel.com/video-maker.html
It is super convenient since no download s required.

# data[].attributes.attachment_link.readable_text
Make amazing videos with our easy drag-and-drop video editor in your browser - no downloads required.

How Clipchamp works

1. Upload media, record video or choose a template

2. Trim or crop video

3. Add text, transitions and effects

4. Add logo and subtitles

5. Resize and save in 1080p HD

Bring your video ideas to life

Enhance and elevate your video

Video editing for everyone

Easy and accessible editing

Clipchamp has been empowering anyone to tell stories through video since 2014-from creators to educators and businesses to gamers. Now we're making video creation easier, more accessible and fun for our users as a part of Microsoft.

Awesome stock and templates

We've got thoughtfully designed templates for all your video needs-from YouTube or TikTok videos, sales and marketing ads, and even gaming essentials. Simply customize any template with your preferred videos and music.

Time saving shortcuts

Intelligent and assistive features and shortcuts can help you save precious time, like separating your audio from video in one click, and clever keyboard shortcuts. We also enable video grouping to keep all your video assets in place.

Learn video editing like a pro

Watch the latest tutorials

Learn how to take your videos to the next level with Clipchamp on our YouTube channel.

Frequently asked questions

Can I save a video in 1080p HD?

Yes, you can export your video in the resolution that's best for your project, including 1080p HD for free in Clipchamp.

Can I save a video in 4K?

To save your video in 4K resolution, consider subscribing to the Premium plans.

Which browsers does Clipchamp work in?

Clipchamp works in Microsoft Edge based on Chromium and Google Chrome. Make sure to update your browser to the latest version before using Clipchamp.

Do Clipchamp videos have a watermark?

Good news, there is no watermark on exported videos if you use your own media assets, free or premium assets from the Clipchamp stock library.

Please note that if you add premium stock media files to your project or use a feature that is not included in the plan that your Clipchamp account is on, you will not be able to export and save your video until you upgrade to the plan that includes the premium option.

Is Clipchamp safe and private?

Record and edit your videos with your privacy guaranteed in Clipchamp. Clipchamp never has access to your videos, unlike other providers.

Start creating with Clipchamp

Clipchamp is created worldwide, but we're headquartered in Brisbane/Meanjin, Australia, on the traditional lands of the Turrbal and Yuggera Peoples.

We acknowledge the traditional custodians of country, and pay our respects to Elders past, present and emerging.

# data[].attributes.attachment_link.title
Free Online Video Editor | Clipchamp - Fast & Easy

# data[].attributes.attachment_link.description
Create amazing videos with an easy video editor with pro features and designer video templates. No downloads required. Trim and crop any video, add video effects and enjoy AI-powered shortcuts to make videos quickly.

# data[].attributes.body
1. https://blog.sheetmusicplus.com/2021/02/12/how-to-make-your-own-virtual-choir/
how to make our own performances
2.https://jameshawkinsmusic.com/how-to-make-the-best-virtual-choir-recording/
This shows how we can do better virtually online Choir performance .
3.https://blog.chorusconnection.com/6-tips-for-getting-that-perfect-virtual-choir-take
It shows tips for making better virtual choir take
4.https://www.alfred.com/blog/how-create-virtual-choir-performance-video/
It teaches us how to make a onlin choir video
5.https://choralnet.org/2020/09/cyber-solutions-for-quarantined-choirs-a-guide-to-virtual-rehearsals-performances/
Guide for Online performances for Choir

# data[].attributes.attachment_link.readable_text
With schools being closed, social distancing, and live productions being cancelled, how do you put together an online performance? What does it look like?
Read on for an overview of Lindsay Price's video on How to Do an Online Performance of a Play, which can be found at the end of this blog.
It's a different world right now, but if theatre teaches us anything it's how to be flexible, resilient, and to think on your feet. A Zoom performance encompasses all of these things.

is an online tool that allows for video conferencing. Many teachers have been using Zoom to hold online live classes and synchronous class activities. Whether you're using Zoom or another online platform, these tips will help you and your students gather online together where everyone can see and hear each other.

This will not take the place of an in-person live production. It's not the same at all. And it's not just plays. I can't imagine a musical in this context, either. If you've had success, hats off to you. My family tried to sing Happy Birthday on Zoom and the lag was intense. So keep that in mind when you choose a play to attempt in this format. Unison speaking will not work on Zoom. It'll just frustrate you.

Tip #1: Students will not show up. You will need a procedure in place to deal with this situation.

You have likely been dealing with students who are not engaging in online live classes, for whatever reason. It may not necessarily be that they don't care. It could be because all the computers in their house are taken. It could be depression. It could be that they cannot engage in drama class in this way and don't know how else to respond. So don't be surprised if you're planning a performance and three actors aren't there. Have a plan for when that happens. Talk to your students about stepping up and being ready to take on additional roles. Maybe even have students practice taking on other parts so that it's comfortable for them.

Theatre requires flexibility and this is an excellent opportunity to discuss the "show must go on" mindset. This is also an opportunity to talk about ensemble, being there for your fellow actors and classmates, and how theatre is a team effort. These are things that you have likely been talking about since day one of your drama classes and now they are more relevant than ever.

Tip #2: There is a place for tech. It's different, but don't push tech to the side.

If you can, have a stage manager who gives silent gesture cues (e.g., thumbs up means 'go'). Have someone who runs sound. Have your stage manager lead sessions for actors to practice mic and camera procedures. Have a costume design student talk to each actor about what they have in their home that they can wear. (Note: They may have nothing.) But let your tech students have the conversations, and encourage them to be flexible, to problem solve, and to get creative. Now more than ever, your students can put their critical thinking and creative thinking skills to the test.

Tip #3: Have mic and camera procedures.

Practice having everyone mute themselves and turn off their camera if they're not in the scene or when they exit the scene, and then turn them both back on right before they enter. It takes timing, just as entrances and exits do in live performances. Connect the actions students do in this online performance to their live performances. Then practice them, just as you would practice entrances and exits in a live performance.

Tip #4: Technology is not your friend.

This might sound weird since that's all this is, but here's what I mean. Zoom can be inconsistent. Sometimes there's an echo. Sometimes someone will freeze, or get kicked out of the call. Things will not be perfect. But just like live theatre, you can encourage students to think on their feet. You can also prepare for these situations.

For example, have an emergency person who follows the script and steps in to say any lines if there's a gap (because someone didn't show up and a part isn't accounted for, the new person forgot, they've been kicked off the call, etc.) It's all about keeping the flow of dialogue going. This might be a good job for an assistant stage manager.

Another reason technology is not your friend is that there will be varying degrees of quality in picture and mics from your students. The show will not be perfect. It's just the way it is.

What else?

Short scenes will likely work best when you're first testing out an online platform, rather than longer and more involved text. Students will just get frustrated. Start small, practice, establish procedures, try, fail, try again, and then dive into more complicated scenes.

Again, it's not what we're used to, but there are plenty of skills that your students can maintain and develop during this time. Memorization. Annunciation. Character development. Character physicalization. A small space or a small screen does not limit character development.

We hope these tips will help as you explore online platforms, such as Zoom, with your students. These are uncertain times, but theatre is resilient and theatre people know how to problem solve. So all the best, take care, and stay safe.
*Watch the full video of Lindsay discussing these online performance tips below:
Want to find out more about our newest plays, resources and giveaways?
Get on our list!

# data[].attributes.attachment_link.description
With schools being closed, social distancing, and live productions being cancelled, how do you put together an online performance? What does it look like? Read on for an overview of Lindsay Price's video on How to Do an Online Performance of a Play, which can be found at the end of this blog.

# data[].attributes.body
1. Online Theatre and Performance: Making social-distancing live theatre and performance during the COVID-19 lockdown

https://culture.research.southwales.ac.uk/news-and-events/news/online-theatre-covid-19/
It talks about how during COVID theatres perform online on streaming apps such as zoom, or social media, or just play on live a pre-recorded show.
Due to internet problems, I think it’s probably best to record a video and play it for the audience.
2. 7 Tips for a Successful Live Concert Stream https://online.berklee.edu/takenote/7-tips-for-a-successful-live-concert-stream/#:~:text=7%20Tips%20for%20a%20Successful%20Live%20Concert%20Stream,sure%20to%20extend%20the%20same%20streaming%20etiquette%20
It lists 7 tips such as check technology beforehand, advertise on social media, etc.
I think the part that can be applied to choir is to know when will people have time to be online and watch their devices if we’re going live.
3. Livestream: performance tips and ideas https://myafton.com/help/livestream-performance-tips-ideas/
It also lists stuff like the previous one. I think the most important one is to engage with audience like ask them after a performance how well they think we did and how we could make it better.(Since we have multiple concerts)
4. 7 tips for a quality livestream performance https://madindiemedia.com/7-tips-for-a-quality-livestream-performance/
Although this discusses livestream, I think it has some points choir can use even if we are going to record videos. We should probably test after we record/ if we go on live, to make sure the sound quality is good, the pictures aren’t ppt-ish, etc.
5. The benefits of visual special effects for videos https://www.thedvigroup.com/video-production-blog/2016/07/the-benefits-of-visual-special-effects-for-videos/
This talks about how special effects grab audience’s attention and interest in videos. However choir people will unlikely be able to do special effects, but maybe we can use visuals such as a background/holding objects that’s according to the theme. Possibly we can also shoot videos where we do actions instead of just standing and singing.

# data[].attributes.attachment_link.readable_text
What are theatres doing online?
With more than a fifth of the world's population been under lockdown, theatre makers and educators, either by choice or force, have turned towards the internet to communicate with their audiences and students. Although the main norm seems to be streaming pre-recorded performances via the Internet, with goliaths of UK and European theatre closing the one after the other their physical buildings and opening their online performance archives for free to the public (a norm that has been met with criticism by theatre circles questioning what such a movement holds for the future of theatre), there is still a huge interest in real-time performance by individual artists, educators and students.

' The Show Must Go Online' (2020), for instance, presents on YouTube Live weekly readings of the complete plays of Shakespeare by a global cast via Zoom videoconferencing application in response to the global COVID-19 pandemic. Geographically distributed performers collaborate, rehearse and perform live on Zoom, while audiences watch the performance on YouTube Live interacting with one-another via a chat-box. Additionally, Robert Myles leads interval and post-show discussions with performers and audiences, where the latter type their comments and questions on the chat-box.

The National Theatre of Scotland has announced an alternative theatrical online programme to support the Scottish theatre sector and creatives during the current critical situation. Scenes for Survival will present short digital artworks in a series of online platforms and channels over the next few months. The season of works will also act as a platform to raise money for a new hardship fund for artists and those in the theatre industry who have been hardest hit financially.

In principle, I disagree with conservative opinions seeing pre-recorded performances' streaming as 'enemies', fearing that they will replace or damage theatre and its audiences. It will probably create and attract new types of audiences similarly to NTLive's broadcasts in cinemas, but it won't replace theatre, as we know it. However, I agree in practice. Online theatre and performance is not just about streaming theatre online. Online theatre is about building a sense of co-presence and co-existence in real time for remote audiences: 'the notion of liveness in cyberformance is directly connected to the interactive and participative character of the Internet, as without real-time engagement the notion of co-presence is weak and, thus, liveness is meaningless' ( Papagiannouli, 2016:10).
How can we make theatre online?
So, how can we make social-distancing live theatre and performance online during the COVID-19 lockdown? There are four types of online platforms for real-time online collaboration, which can serve as both a tool and a space for theatre and performance practices:
(1) Virtual Worlds (i.e. Second Life)
SL Shakespeare Company (Second Life) was a professional theatre company that performed Shakespeare plays with avatars in a historically accurate full-size virtual replica of Shakespeare's Globe Theatre on Second Life.
(2) Streaming Media (i.e. Skype and Zoom)
Since 1997, Adriene Jenik and Lisa Brenneis experimented with chat and game spaces to create live, immersive and often unexpected live performances. Their first Desktop Theater (Palace) production was an adaptation and performance of Samuel Beckett's "Waiting for Godot" in the Palace virtual chat environment. Waitingforgodot.com is known as possibly 'the only performance of Beckett's Waiting for Godot where Godot has actually arrived' ( Jamieson 2008: 26) when a chat room participant changed his/her avatar's name to Godot and announced that he had arrived [see Papagiannouli, 2018].

You are Invited (Imploding Fictions, 2011) is an example of remote collaboration via Skype. In 2010, Paul Osuch, founder and artistic director of the Anywhere Theatre Festival, invited the Imploding Fictions, a Norway- based theatre company founded by Philip Thorne and Øystein Ulsberg Brager, to participate in the festival in Brisbane, Australia (Brager, 2012). However, owing to a lack of funds, the company decided to collaborate with colleagues spread across the globe and devise a performance using Skype as a theatrical stage. You Are Invited consisted of five mini-shows performed from five different countries/places: Norway, United States (Texas), Spain, Germany and England for one-to-one online audience. [see Papagiannouli, 2016:55]

Biologist and performance artist Annie Abrahams collaborated with up to 24 women of different nationalities, whom she met through the Internet, without any personal or direct connection, and whose work was related to contemporary art practices and computer-based performances, for her Angry Women (Annie Abrahams, 2011-) webcam performance. All artists sat in front of their own computer in their own country during the performance. They were asked to talk about their anger in their mother tongue. The aim of the project was to reveal moments that human beings cannot control them- selves and to perform those (emotional) moments that people usually prefer not to show. [see Papagiannouli, 2016:33-34]

The internationally known theatre company Rimini Protokoll used existing established technology that had made India 'become the back office of the western world' ( Haug, 2012) for their Call Cutta in a Box (Rimini Protokoll, 2008-13) production. The Internet featured here as a vital tool for socio- political criticism and for arousing audience sensitivity on the topic of call centres are intercultural communication hubs. Call Cutta in a Box discussed the notion of distance and proximity in such types of sound communications, by creating the opportunity to see/meet the person behind the voice at either end of the line. [see Papagiannouli, 2016:32-33]

For the production of Life Streaming (Dries Verhoeven, 2010), Dries Verhoeven installed antennas in Sri Lanka - the country has no 'fast' Internet as the Western world is used to - to connect distant people to share experiences. The project, performed as part of the 2010 LIFT, was a one-to-one, online performance experience. Each member of the audience in London 'chatted' with a member of the troupe located on a beach 8,000 kilometres away, through an application similar to Skype. Breaking geographical, technical and cultural barriers, Life Streaming commented on the media presentation of individuals as passive victims, focusing on the case of the 2004 tsunami in Indonesia. [see Papagiannouli, 2016:30-31]

In Phone Home (Upstart Theatre, 2015), three theatre companies in three European cities (Athens, Munich, London) created a theatre performance, produced simultaneously on three theatre stages, with the audience in each city watching a part of each story. The stories were then completed with the scenes interconnecting live and the actors on each stage communicating via the internet (Skype).
(3) Social Media (i.e. Twitter, Facebook and Instagram)
An example of cyber-street theatre is 'Mertonian Chatroulette' ( Merton and Ben Folds, 2010). Merton is an improvisation piano player who gained media attention during 2010 for his YouTube videos of music interactions with random people he met on Chatroulette. His solo performances surprised the random interlocutors, who became audience members for his one-to-one live improvisations and performers for his recorded videos on YouTube. Ben Folds, in turn, developed Merton's technique on stage, with offline audiences observing and actively reacting in the live composition of Folds' improvisational songs. A combination of indoor and outdoor theatre was created, where offline audience members became performers for online ones and online participants performed for offline audiences. [see Papagiannouli, 2016:57-58]

During the 2013 SPILL Festival of Performance, Forced Entertainment webcasted live for free their sold-out 24-hour version of their Quizoola! production from the Barbican Centre. Quizoola! 24 (Forced Entertainment, 2013) reached 4,541 online views between 11:59 p.m. on 12 April and 11:59 p.m. on 13 April on three different websites: Barbican, SPILL Festival and Forced Entertainment. In addition, the webcast links allowed the audience to follow the tweets of other audience members, enriching the live experience of the online audience, who could read posts of offline and online spectators and communicate with each other. Even though the performers did not interact with the audience in real time, the online audience felt extremely engaged with the show because of the sense of audience co-presence on Twitter. [see Papagiannouli, 2016:12]
(4) Purpose-built platforms (i.e. UpStage)
The Royal Shakespeare Company has started experimenting with digital technology since 2010 with the Twitter adaptation of Romeo and Juliet, Such Tweet Sorrow (RSC, 2010). Six actors, coached and directed by Roxana Silbert, improvised the dialogue of the central characters for Such Tweet Sorrow, following the framework of an overall scripted grid that plotted the action of each character. Bethan Marlow and Tim Wright wrote daily missions for each actor, who could then 'act' from wherever they could get online. The missions were delivered each morning, telling the actors how the story would evolve that day, and the actors had to improvise and decide what to say by posting tweets of up to 140 characters. Nearly 6,000 people followed Juliet, and an average of 4,000 audience members followed and interacted with the other characters through real-time hypertext updates and tweets, including videos, pictures, web pages and text logs. [see Papagiannouli, 2016:37]
Key lessons learned
In 2014, artist Amalia Ulman created an online persona on Instagram by posting selfies to ask questions about gender as part of her Excellences & Perfections (Amalia Ulman, 2014)online project. Instagram's format allows users to build personas and stories with images and videos, providing a helpful tool for performance exploration, documentation and staging. [see Crews & Papagiannouli, 2019:201]

Based on a diary kept by Eva Heyman in 1944, Eva.stories (Maya & Mati Kochavi, 2019-20) is a Holocaust story for the Social Media Generation on Instagram. Although the project was created as an Instagram movie, it is a good example of how a social media platform can serve as a stage for digital storytelling and character building purposes.

In make-shift (2010-12) networked performance and discussion about recycling, the audience invited Helen Varley Jamieson and Paula Crutchlow' in their ordinary houses to perform for on-site and online audiences. Jamieson and Crutchlow, situated in the respective houses, led the performance for the on-site audience, connected through a specially designed online interface on UpStage platform, a cyberformance stage software produced for the Avatar Body Collision cyberformance group. This gave the online audience the opportunity to follow the events in both houses and enter the private spaces of the on-site audience; concomitantly, it allowed the on-site audience to follow both the online audience discussion through a chat box and the on-site audience in the second location by using a projector [see Papagiannouli, 2016:38]. Cyberformance is the genre of digital performance that uses the internet as a performance stage. Helen Varley Jamieson coined the term in 2000 in an attempt to find a more appropriate and useful word to describe her experimental work in collaboration with Desktop Theater.

These are just few examples of how we can make theatre online. In principle, any online platform that allows real-time interaction and participation can serve as a virtual stage for online theatre and performance; 'their theatrical uses share a common raison d'être: direct, real-time communication between theatre and its remote, geographically distant audience' ( Papagiannouli, 2016:3).

In 2011, I directed ' Cyberian Chalk Circle', my first cyberformance as part of the Etheatre Project (2010-14), a practice-based PhD on directing political online theatre. Cyberian Chalk Circle, performed on 14 May and 11 November 2011 on UpStage and on 3 November 2012 on Waterwheel Tap by Evi Stamatiou (with the contribution of Prodromos Tsinikoris), was an online, interactive, chat-based adaptation of Brecht's The Caucasian Chalk Circle (1944). Ten years later, and with COVID-19 'infecting' our lives and theatre, here are the two key lessons I learned from my experience with online performance:

(1) Co-create 'with' the online platform, by exploring its features. Online platforms, apart from providing virtual stages, they also offer a range of tools, including streaming options, chat-boxes, screen sharing, emoticons, background changes, as well as linking different accounts and capturing audiences reactions. On Instagram, for instance, you can live stream and invite your followers to join the stream and have a conversation.

(2) Be playful and open to audience interactions and offers. Often online performance is more fun for the people creating it than for its audiences. Embrace the audience in the making and staging of online theatre, by allowing them to interact, communicate, challenge and creatively disturb the performance.

# data[].attributes.attachment_link.title
Online Theatre and Performance: Making social-distancing live theatre and performance during the COVID-19 lockdown

# data[].attributes.attachment_link.description
What are theatres doing online? With more than a fifth of the world's population been under lockdown, theatre makers and educators, either by choice or force, have turned towards the internet to communicate with their audiences and students.

# data[].attributes.body
Sound trap: music making, audio editing, beat making
https://www.soundtrap.com/
Clipchamp:make stunning videos with titles and transitions, and features such as cut, flip, rotate, crop and more.
https://clipchamp.com/en/video-editor/
Animoto: create and customize videos in minutes
https://animoto.com/features
Magisto: Turn your photos and video clips into video stories
https://www.magisto.com/
open shot: free and open-source video editor for Linux, Mac, and Windows. Create videos with exciting video effects, titles, audio tracks, ...
https://www.openshot.org/

# data[].attributes.body
https://iriun.com/ - Use your phone's camera as a wireless webcam in your PC or Mac.

If people’s camera would close automatically when they switch screen, but they still want to have the meeting in the current device, they can connect the camera with their phone so they can stay on camera

https://play.google.com/store/apps/details?id=com.dev47apps.droidcam&hl=en_GB - The app works with a PC client that connects the computer with your phone. Windows and Linux clients are available. ( Android )

This also connects camera on phone but this one is fore android users

YouTube - for live

This could be used for the live performance platform

https://streamyard.com/ - a web for live performance

This one is just used if our choir cannot do live on YouTube - due to age restrictions, we can use this to live

https://castr.io/ - Media player - *IF* you don’t go the YouTube Live, Twitch, FB live route

This could be used as a platform for choir since this has special adjustment with the sound quality - which helps clear delivery for songs

# data[].attributes.attachment_link.readable_text
Introduction

This End User License Agreement (the "Agreement") is a binding Agreement between you ("End User," "you" or "your") and Music Tribe Innovation DK/AS ("Company," "we," "us" or "our"). This Agreement governs the relationship between you and us, and your use of the Company's Software. Throughout this Agreement, End User and Company may each be referred to as a "Party" or collectively, the "Parties."

If you are using the Software on behalf of your employer or another entity (an "Organization") for whose benefit you utilize the software or who owns or otherwise controls the means through which you utilize or access, then the terms "End User," "you," and "your" shall apply collectively to you as an individual and to the Organization. If you use or purchase a license or to or on behalf of an Organization, you hereby acknowledge, warrant, and covenant that you have the authority to 1) purchase a license on behalf of the Organization; 2) bind the Organization to the terms of this Agreement.

By downloading, installing, accessing or using, you: (a) affirm that you have all of the necessary permissions and authorizations to access and use; (b) if you are using the Software pursuant to a license purchased by an organization, that you are authorized by that organization to access and use; (c) acknowledge that you have read and that you understand this Agreement; (D) represent that you are of sound mind and of legal age (18 years of age or older) to enter into a binding Agreement; and (e) accept and agree to be legally bound by the terms and conditions of this Agreement.

If you do not agree to these terms, do not download, install, access, or use the software. If you have already downloaded the software, delete it from your computing device.

The Software is licensed, not sold, to you by Music Tribe for use strictly in accordance with the terms of this Agreement.

License

Subject to the terms of this Agreement and, if applicable, those terms provided in the License Agreement, Music Tribe grants you a limited, non-exclusive, perpetual, revocable and non-transferable license to download, install and use the Software a that you own or control.

Restrictions

You agree not to, and you will not permit others to:

License, sell, rent, lease, assign, distribute, transmit, host, outsource, disclose, or otherwise commercially exploit the Software or make the Software available to any third party

Modify, make derivative works of disassemble, decrypt, reverse compile, or reverse engineer any part of the Software

Remove, alter, or obscure any proprietary notice (including any notice of copyright or trademark) of Music Tribe or its affiliates, partners, supplier, or the licensors of the Software

Intellectual Property

All intellectual property rights, including copyrights, patents, patent disclosures and inventions (whether patentable or not), trademarks service marks, trade secrets, know-how and other confidential information, trade dress, trade names, logos, corporate names and domain names, together with all of the goodwill associated therewith, derivative works and all other rights (collectively, "Intellectual Property Rights") that are part of the Software that are otherwise owned by Music Tribe shall always remain the exclusive property of Music Tribe (or of its suppliers or licensors, if and when applicable). Nothing in this Agreement grants you (or any Organization) a license to Music Tribe's Intellectual Property Rights.

You agree that this Agreement conveys a limited license to use Music Tribe's Intellectual Property Rights, solely as part of the Software (and not independently of it), and only for the effective Term of the license granted to you hereunder. Accordingly, your use of any of Music Tribe's Intellectual Property Rights independently of the Software or outside the scope of this Agreement shall be considered an infringement of Music Tribe's Intellectual Property Rights. This shall not limit; however, any claim Music Tribe may have of a breach of contract in the event you breach a term or condition of this Agreement. You shall use the highest standard of care to safeguard all Software (including all copies thereof) form infringement, misappropriation, theft, misuse, or unauthorized access. Except as expressly granted in this Agreement, Music Tribe reserves and shall retain all rights, title, and interest in the Software, including all copyrights and copyrightable subject matter, trademarks and trademark able subject matter, patents and patentable subject matter, trade secrets, and other intellectual property rights, registered, unregistered, granted, applied-for, or both now in existence and that may be created, relating thereto.

You (or the Organization, if and as applicable) shall retain ownership of all Intellectual Property Rights in and to the work products that you create through or with the assistance of the Software.

Your Suggestions

Any feedback, comments, ideas, improvements, or suggestions (collectively, "Suggestions") provided by you to Music Tribe with respect to the Software shall remain the sole and exclusive property of Music Tribe.

Music Tribe shall be free to use, copy, modify, publish, or redistribute the Suggestions for any purpose and in any way without any credit or any compensation to you.

Modifications to Software

Music Tribe reserves the right to modify, suspend or discontinue, temporarily or permanently, the Software or any service to which it connects, with or without notice and without liability to you.

Updates to Software

Music Tribe may from time to time provide enhancements or improvements to the features/functionality of the Software, which may include patches, bug fixes, updates, upgrades, and other modifications ("Updates").

Updates may modify or delete certain features and/or functionalities of the Software. You agree that Music Tribe has no obligation to (i) provide any Updates, or (ii) continue to provide or enable any features and/or functionalities of the Software to you.

Third-Party Software

Third party software and data ("Third-Party Software") may be attached to the Software. You acknowledge and agree that, if you wish to obtain Third-Party Software on other terms, you should acquire this Third-Party Software directly from its suppliers.

In no event shall such separate license agreements or additional terms and conditions between You and the supplier be binding on Company or impose any additional obligations, or obligations inconsistent with the terms of this Agreement, upon Company whatsoever.

The party providing the Third-Party Software is responsible for any warranty or liability related arising from the Third-Party Software. MG-IP is not responsible in any way for the Third-Party Software or your use thereof.

Term and Termination

This Agreement shall remain in effect until terminated by you or Music Tribe.

Music Tribe may, in its sole discretion, at any time and for any or no reason, suspend or terminate this Agreement with or without prior notice.

This Agreement will terminate immediately, without prior notice from Music Tribe, if you fail to comply with any provision of this Agreement. You may also terminate this Agreement by deleting the Software and all copies thereof from your computer.

Upon termination of this Agreement, you shall cease all use of the Software and delete all copies of the Software from your computer.

Termination of this Agreement will not limit any of Music Tribe's rights or remedies at law or in equity in case of breach by you (during the term of this Agreement) of any of your obligations under the present Agreement.

Indemnification

You agree to indemnify, defend and hold harmless, Music Tribe and its officers, directors, employees, agents, affiliates, successors, and assigns from and against any and all losses, damages, liabilities, deficiencies, claims, actions, judgments, settlements, interest, awards, penalties, fines, costs or expenses of whatever kind, including reasonable attorney's fees, arising from or relating to : (i) your use or misuse of the Software; (ii) your failure to comply with any applicable law, regulation or government directive; (iii) your breach of this Agreement; or (iv) your Agreement or relationship with an Organization (if applicable) or any third party. Furthermore, you agree that Music Tribe assumes no responsibility for the information or content you submit or make available through this Software or the content that is made available to you by third parties.

No Warranties

The Software is provided to you "As is" and "As available" and with all faults and defects without warranty of any kind. To the maximum extent permitted under applicable law, Music Tribe, on its own behalf and on behalf of its affiliates and its and their respective licensors and service providers, expressly disclaims all warranties, whether express, implied, statutory or otherwise, with respect to the Software, including all implied warranties of merchantability, fitness for a particular purpose, title and non-infringement, and warranties that may arise out of course of dealing, course of performance, usage or trade practice. Without limitation to the foregoing, Music Tribe provides no warranty or undertaking, and makes no representation of any kind that the Software will meet your requirements, achieve any intended results, be compatible or work with any other software, systems, or services, operate without interruption, meet any performance or reliability standards or be error free or that any errors or defects can or will be corrected.

Without limiting the foregoing, neither Music Tribe nor any of Music Tribe's provider makes any representation or warranty of any kind, express or implied: (i) as to the operation or availability of the Software, or the information, content, and materials or products included thereon; (ii) that the Software will be uninterrupted or error-free; (iii) as to the accuracy ,reliability, or currency of any information or content provided through the Software; or (iv) that the Software, its servers, the content, or emails sent from or on behalf of Music Tribe are free of viruses, scripts, trojan horses, worms, malware, time bombs or other harmful components.

Some jurisdictions do not allow the exclusion of or limitations on implied warranties or the limitations on the applicable statutory rights of a consumer, so some or all of the above exclusions and limitations may not apply to you.

Limitation of Liability

Notwithstanding any damages that you might incur, the entire liability of Music Tribe and any of its suppliers under any provision of this Agreement and your exclusive remedy for all the foregoing shall be limited to the amount actually paid by you for the Software.

To the maximum extent permitted by applicable law, in no event shall Music Tribe or its suppliers be liable for any special, incidental, indirect, or consequential damages whatsoever (including, but not limited to, damages for loss of profits, for loss of data or other information, for business interruption, for personal injury, for loss of privacy arising out of or in any way related to the use of or inability to use the Software, third-party software and/or third-party hardware used with the Software, or otherwise in connection with any provision of this Agreement), even if Music Tribe or any supplier has been advised of the possibility of such damages and even if the remedy fails of its essential purpose.

Some states/jurisdictions do not allow the exclusion or limitation of incidental or consequential damages, so the above limitation or exclusion may not apply to you.

Severability

If any provision of this Agreement is held to be unenforceable or invalid, such provision will be changed and interpreted to accomplish the objectives of such provision to the greatest extent possible under the applicable law and the remaining provisions will continue in full force and effect.

No failure to exercise, and no delay in exercising, on the part of either party, any right or any power under this Agreement shall operate as a waiver of that right or power. Nor shall any single or partial exercise of any right or power under this Agreement preclude further exercise of that or any other right granted herein. In the event of a conflict between this Agreement and any applicable purchase or other terms, the terms of this Agreement shall govern.

Amendments to this Agreement

Music Tribe reserves the right, at its sole discretion, to modify or replace this Agreement at any time. If a revision is material, we will provide at least 30 days' notice prior to any new terms taking effect. What constitutes material change will be determined at our sole discretion.

By continuing to access or use our Software after any revisions become effective, you agree to be bound by the revised terms. If you do not agree to the new terms, you are no longer authorized to use the Software.

Governing Law

The Laws of the jurisdiction where you are a resident, excluding its conflicts of law rules shall govern any dispute arising out of or in connection with this Eula. The Applicability of the Uniform Commercial Code (UCC) and any other laws that direct the application of the laws of any other jurisdictions are expressly excluded.

Changes to this Agreement

We reserve the exclusive right to make changes to this Agreement from time to time. Your continued access to and use of the software constitutes your Agreement to be bound by, and your acceptance of, the terms and conditions posted at such time. You acknowledge and agree that you accept this Agreement (and any amendments thereto) each time you load, access, or use the software.

Therefore, we encourage you to review this Agreement regularly.

If, within thirty (30) days of posting changes or amendments to this Agreement, you decide that you do not agree to the updated terms, you may withdraw your acceptance to the amended terms by providing us with a written notice of your withdrawal.

No Employment or Agency Relationship

No provision of this Agreement, or any part of relationship between you and Music Tribe is intended to create, nor shall they be deemed or construed, to create any relationship between you and Music Tribe other than that of an end user of the software and services provided.

Equitable Relief

You acknowledge and agree that your breach of this Agreement would cause Music Tribe irreparable harm for which money damages alone would be inadequate. In addition to damages, and any other remedies to which Music Tribe may be entitled, you acknowledge and agree that we may seek injunctive relief to prevent the actual, threatened, or continued breach of this Agreement.

Limitation of Time to File Claims

Any cause of action or claim you may have arising out of or relating to this Agreement must be commenced within one (1) year after the cause of action accrues, otherwise, such cause of action or claim is permanently barred.

Entire Agreement

The Agreement constitutes the entire Agreement between you and Music Tribe regarding your use of the Software and supersedes all prior and contemporaneous written or oral arguments between you and Music Tribe.

You may be subject to additional terms and conditions that apply when you use or purchase other Music Tribe's services, which Music Tribe will provide to you at the time of such use or purchase.

Contact Us

Do not hesitate to contact us at [email protected] if you have any questions about this Agreement.

# data[].attributes.attachment_link.description
Introduction This End User License Agreement (the "Agreement") is a binding Agreement between you ("End User," "you" or "your") and Music Tribe Innovation DK/AS ("Company," "we," "us" or "our"). This Agreement governs the relationship between you and us, and your use of the Company's Software.