Real Time Musical Events Streaming over Internet

International audienceWe present a new protocol to transmit time ordered events in real-time over Internet and to operate a correct time rendering on the receiver side. This protocol provides solutions to compensate for the network latency, to optimize the bandwidth use and to take account of the clock drift of the different stations involved in a transmission. It is particularly suitable to transmit musical events such as MIDI events. The implementation is based on the User Datagram Protocol (UDP) however, the proposed solution is independant of the underlying network layers

The digitization of music and the accessibility of the artist

©Journal of Professional Communication, ISSN: 1920-685. All rights reservedThis article uses case studies to explore two ways in which technology can impact on artist production. First, technological innovations could facilitate many things that are not new by rather making existing processes better or cheaper in ways that might alter the situation meaningfully. Second, technology can change art through the more profound revision of the role of artist and art-perceiver (Fineberg, 2006). This article examines several examples of how the music industry has been impacted by new technology: Radiohead Rainbows, slicethepie.com, Ditto Music, Music Rainbow, YouTube Orchestra, micro-chunking and LiveFi. The article examines the impact of new technologies on classical music.Peer reviewe

Entertainment in the 21st Century: Is an Independent Networked Multimedia Production and Promotion Firm a Viable Business Option in the Modern Entertainment Industry?

“Artists are being stifled by the ‘major label’ stance that exclusively demands what’s ours is ours and can only be handled by us. It should be more about creative freedom” (Monstercat Manifesto). Over the past fifteen years, we have witnessed how the internet has changed how entertainment is distributed and consumed. This has led to a change in behavior from major entertainment production firms, and has given way to the surge of independent labels and production houses. Now, entertainers can lead successful careers by reaching their audience through digital platforms, successfully decreasing production and distribution costs. Consumers can find an unlimited amount of ad-supported content that they can access for free. Understanding these change is vital in finding and solving the problems these changes have produced

The listening room, Camden Arts Centre

This version of The Listening Room is minimal, one microphone and two loudspeakers in the Reading Room of Camden Arts Centre, a relatively small space for this work. The Reading Room is the former entrance to the building, this entrance has been bricked over to create three highly reflective wall surfaces in the room. The room resonance is so pronounced that my usual placement of microphone and speakers would tend to fix on one pitch and stay there - to introduce more of the available frequencies from the space I left the Reading Room table in the space to allow an additional reflective element and used an asymmetric placement of loudspeakers, one at the side and one under the table

U.S. Radio in the 21st Century: Staying the Course in Unknown Territory

This essay examines the development of the radio industry in the United States as it makes its way into the 21st century. Issues of regulation, technology, commerce, and culture are addressed

Music 2025 : The Music Data Dilemma: issues facing the music industry in improving data management

© Crown Copyright 2019Music 2025ʼ investigates the infrastructure issues around the management of digital data in an increasingly stream driven industry. The findings are the culmination of over 50 interviews with high profile music industry representatives across the sector and reflects key issues as well as areas of consensus and contrasting views. The findings reveal whilst there are great examples of data initiatives across the value chain, there are opportunities to improve efficiency and interoperability

[Un]happy Together: Why the Supremacy Clause Preempts State Law Digital Performance Rights in Radio-Like Streaming of Pre-1972 Sound Recordings

Lovers of the music of Frank Sinatra, Elvis Presley, Etta James, and hundreds of other recording artists whose records were made before February 15, 1972, may soon have a hard time hearing these great artists on any satellite or Internet radio service. Recently, two federal district courts have found that state laws were violated when satellite radio broadcaster Sirius XM Radio included pre-1972 sound recordings in its broadcasts without the owners’ permission, but these courts did not consider-–and the parties did not argue-–how the Supremacy Clause applies to those state law claims. This article argues that state laws purporting to grant digital performance rights to pre-1972 sound recordings are necessarily preempted by the Supremacy Clause of the United States Constitution. This article contends that enforcement of those state laws would create a serious obstacle to “the accomplishment and execution of the full purposes and objectives of Congress” in enacting the Digital Performance Right in Sound Recordings Act of 1995 (“DPRA”). The DPRA reflects Congress’ careful balancing of interests and recognition of the need for an easily administrable system of licensing, which Congress established through a complex and comprehensive compulsory licensing system. The Supremacy Clause thus preempts all state laws purporting to require licenses for digital performance rights or payment of royalties for the use of such rights by Internet or satellite radio stations beyond what is expressly provided for in the compulsory licensing system established by the DPRA, because permitting countless owners of individual pre-1972 sound recordings to assert claims for royalties and other damages outside of the compulsory licensing system would frustrate Congress’ goals in establishing that system. Part I of this article provides a brief overview of the federal rights at issue and the (very) brief history of performance rights in sound recordings, noting the absence of any express state law recognition of a performance right in sound recordings throughout most of the 20th century (other than short-lived decisions in two states over seventy-five years ago that focused on notices stamped on records purporting to prohibit a purchaser’s use of sound recordings on radio rather than a true performance right). It is only in very recent cases that courts in New York and California have recognized state law performance rights. However, they did so without considering Supremacy Clause preemption or how any state law performance rights might conflict with the federal statutory compulsory license regime established by the DPRA. Part II of the article explains the relevant legislative history and provisions of the DPRA governing the comprehensive licensing system. That statutory license and rules governing it were established to provide an efficient mechanism for digital Internet and satellite radio services to operate in compliance with their legal obligations. In Part III, the article explains Supremacy Clause doctrine and distinguishes the Supreme Court’s opinion in Goldstein v. California, which rejected a Supremacy Clause challenge to a state record piracy law in 1973. It demonstrates why neither the Court’s decision in Goldstein nor the language of the Copyright Act’s express preemption clause, which exempts state laws governing pre-1972 sound recordings from statutory preemption, precludes conflict preemption under the Supremacy Clause in the context of digital radio services that are subject to the federal compulsory license. Part IV of the article acknowledges that preemption of state law protection for digital performances of pre-1972 sound recordings raises equitable concerns, as it leaves some of this nation’s most treasured musical artists uncompensated for use of their works by Internet and satellite streaming services while the authors of more current works are compensated. However, given the delicate balancing that has gone into Congress’ recognition of a limited digital performance right and creation of a compulsory statutory licensing system, any remedy for the inequity to owners of pre-1972 sound recordings must be left to Congress. Allowing individual courts in individual states to craft a patchwork of inconsistent remedies would disrupt the balance struck by Congress and interfere with the functioning of the compulsory license system for digital sound recording performances. This is a result that the Supremacy Clause does not permit