I certainly would be willing to operate a recorder at
any workshop I attend. Perhaps volunteers to cover
the recording can be solicited at check-in.
I also would would be willing to help in other ways
if I can. I would not do the transfer and mastering,
not having appropriate software currently. I think
someone from among the people who have produced their own
cd's might take that on. Also would be willing to
burn and ship cd's to anyone who buys them.
Concerning copyright clearance - performers should
know if they are using copyright material (since they
are liable for royalty payments) so should be the
primary source of that info. Again, I would undertake
correspondence with anyone who has approved the
issuance of their workshop appearances to make such
determinations.
My view of this is to avoid grandiose expectations -
this process should create a document of significant
workshops presented to be archived, with a simple
reference copy available for purchase by festival
attendees, possibly to others.
The contract process should include permissions
for recording and accept or decline publication
rights, with release approval.
Feedback forms should request feedback indicating
which workshops the attendee wishes to purchase.
The first step in all this is putting in place
the process to assure all workshops are
recorded.