Performance evaluation of MPEG-4 video streaming over UMTS networks using an integrated tool environment

Universal Mobile Telecommunications System (UMTS) is a third-generation mobile communications system that supports wireless wideband multimedia applications. This paper investigates the video quality attained in streaming MPEG-4 video over UMTS networks using an integrated tool environment, which comprises an MPEG-4 encoder/decoder, a network simulator and video quality evaluation tools. The benefit of such an integrated tool environment is that it allows the evaluation of real video sources compressed using an MPEG-4 encoder. Simulation results show that UMTS Radio Link Control (RLC) outperforms the unacknowledged mode. The latter mode provides timely delivery but no error recovery. The acknowledged mode can deliver excellent perceived video quality for RLC block error rates up to 30% utilizing a playback buffer at the streaming client. Based on the analysis of the performance results, a self-adaptive RLC acknowledged mode protocol is proposed

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

The Convergence Review and the future of Australian content regulation

This article examines the place of Australian and local content regulation in the new media policy framework proposed by the Convergence Review. It outlines the history of Australian content regulation and the existing policy framework, before going on to detail some of the debates around Australian content during the Review. The final section analyses the relevant recommendations in the Convergence Review Final Report, and highlights some issues and problems that may arise in the new framework

Money for Something: Music Licensing in the 21st Century

[Excerpt] The laws that determine who pays whom in the digital world were written, by and large, at a time when music was primarily performed via radio broadcasts or distributed through physical media (such as sheet music and phonograph records), and when each of these forms of music delivery represented a distinct channel with unique characteristics. With the emergence of the Internet, Congress updated some copyright laws in the 1990s. It applied one set of legal provisions to digital services it viewed as akin to radio broadcasts and another set to digital services it viewed as akin to physical media. Since that time consumers have increasingly been consuming music via digital services that incorporate attributes of both radio and physical media. However, companies that compete in enabling consumers to access music may face very different costs to license music, depending on the technology they use and the features they offer. These differences in technology and features also affect the amount of money received by songwriters, performers, music publishers, and record companies. U.S. copyright law allows performers and record labels to collectively designate an agent to receive payments and to negotiate the licensing fees that certain types of digital music services must pay to stream music to their customers. Groups representing public radio and educational stations reached voluntary agreements with the agent, SoundExchange, in 2015. Rates paid by parties that do not reach voluntary agreements with SoundExchange during a limited negotiation period are instead set by the Copyright Royalty Board (CRB), a panel of three judges appointed by the Librarian of Congress. On December 16, 2015, the CRB set rates for online music streaming services for the period 2016 through 2020. For nonsubscription services, the CRB reduced the per-stream rate it had set in the previous rate proceeding, but the costs paid by several “small” music streaming services are likely to increase. Advocates of the small streaming services have launched a petition asking Congress to either allow their previous agreements to continue indefinitely or discontinue the requirement that small streaming services pay royalties to performers and record labels. SoundExchange has objected that the rates set by the CRB do not provide adequate compensation to performers and record labels. Members have introduced several bills in the 114th Congress that would change the amounts various participants in the music industry pay or receive in royalties. These bills are controversial, as they could alter the cost structures and revenues of broadcast radio stations, songwriters, performers, and others at a time when the music industry’s overall revenues are not growing. At the same time, the U.S. Department of Justice (DOJ) is continuing a review of consent decrees it entered into with music publishers in the 1940s. The outcome could affect the extent to which songwriters can control the use of their works

Internet Radio: A New Engine for Content Diversity?

While traditional radio stations are subject to extensive government regulations, Internet radio stations remain largely unregulated. As Internet radio usage has increased certain stakeholders have begun to argue that these Internet radio broadcasters are providing significant and diverse programming to American audiences and that government regulation of spectrum-using radio station ownership may be further relaxed. One of the primary justifications for regulation of ownership has been to protect diversity in broadcasting. This study hypothesizes that Internet radio broadcasting does add diversity to the radio broadcasting industry and that it should be considered as relevant by regulators. This study evaluates the role of Internet radio broadcasters according to five criteria intended to gauge the level of diversity being delivered to listeners online. By measuring the levels of format, channel, ownership, location and language diversity among Internet radio stations, it is possible to draw benchmark lessons about the new medium's ability to provide Americans with diverse broadcasting options. The study finds that Internet radio broadcasters are in fact adding measurable diversity to the radio broadcasting industry. Internet broadcasters are providing audiences with access to an increasing number of stations, owners, formats, and language choices, and it is likely that technologies aiding in the mobility of access as well as broadband evolution will reinforce these findings.Comment: 29th TPRC Conference, 200

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