Posts Tagged ‘sony’


The Evolution of Social Music

February 17, 2009


Lots of inovations have taken place to take forward music from being something that we encoutered to owning, being a personnal ownership, Walkmans, MinidisciPods. All these devices make music a very personnal experience. The latest format music is taking is that of a socail persuasion

In Todd Rundgren‘s presentation, Time for the Music Industry to Evolve, he notes that with the introduction of the Sony Walkman Tape Player to the marketplace in 1979, it was the first personalized listening experience that people had.  Previous to that if you wanted a personalized listening experience you had to do it in your own home.  This enabled you to take the music with you and it began to adapt to people’s lifestyles. Their listening habits began to change and essentially the music became the background to their lives.  Mix tapes grew highly popular and became a common exchange between ‘star-crossed lovers’ and the like.  This made their music experience active, but mix tapes were still quite tedious to make and your access to music was limited to the people that you knew…


Officially called the ‘Discman’, the first CD based Walkman was initially launched in 1984.  The progression from the Tape Player to the CD Player gave users an increased sense of control over their personalized music experience and would enable them to skip, digitally rewind or fast forward, shuffle, repeat, and loop.  With this heightened sense of control, music was brought to the foreground of people’s lives and began to transform their lifestyles in a way that seemed to more heavily reflect the culture they consumed.  Although traveling with a player and CD case wasn’t as clumsy as tapes, its drawback, pending on the size of your collection, was the bulky, book like case.  This shift in format temporarily took users towards a passive music experience.

The CD-R specification was first published in 1988 by Philips and Sony in the ‘Orange Book’.  In the late 1990’s, high-speed CD burners began to appear in home and office computers.  Its common problem was buffer under run.  For a variety of reasons, the computers at the time could not muster the I/O performance needed to keep the data stream to the burner steadily fed.  If it ran short, the burner would be forced to halt the writing process, leaving a truncated track that usually rendered the disc useless.  Typically, depending on the quality of your computer, it was in your best interest to stop using it during the process to prevent lost time and discs from being wrecked.

During this time period, the cassette-based Walkman was generally passed over in favor of the emerging digital technologies of CD.  Furthermore, with the emergence of the MP3 CD Player and the burnt mix, it was the first time people could, most effortlessly, place the songs they wanted to hear in a ‘maximized order.’  The music would become a part of people’s lifestyles, their listening habits would evolve, and essentially the music became the soundtrack to their lives.  Although this was not the first time that a personalized music experience allowed users to be more actively involved and become ‘curators’ of their music collection, it was only for ‘one work’ at a time.’  Soon, as CD-R Burners became standard on computers, these mixes were widely democratized and accessible to almost everyone.  The ease of mixing progressed heavily, but it relied on external technology.  For many, the introduction of Napster in 1998 meant that their music collection was no longer limited to their social ties, but rather to the Internet connection that enabled them to easily get songs from other people’s computers.

Apple iPods

Once the iPod was introduced on October 23, 2001, it increased people’s ability to maximize their music experience quicker, navigate it more smoothly, and have optimum control over the music they listened to.  Instead of adapting to people’s lifestyles like the Walkman Tape Player, it was now integrating itself into almost everything they did.  The music they listened to was no longer a fixed soundtrack to their lives, but an ongoing experience where they could create song maps in advance or on the go.  Song mapping, encouraged people to ‘take the wheel of the iPod and steer’ themselves in the direction of the optimum music experience that they desired.  They became the ‘curator’ of their entire music collection. Song_mapping This is where the concepts of Experience Maximization and Song Mapping are most prevalent, because people are trying to optimize and excerpt control over music experiences that haven’t yet occurred to avoid future frustrations.  As well as plot out maps of songs that are intended to maximize the level of satisfaction they expect to derive from activities like running by itself.

This personalized, maximized, and fully controlled experience could be taken with you wherever you go and be plugged into docking stations that created a home like listening venue where you choose to set up.  In this case, ‘home is where you make it,’ allowing you to bring a certain degree of familiarity and comfort into foreign surroundings.  Although your office may not sound as good as your home music system, in a sense, it could at least feel like it.  Over the last thirty years, what we’ve seen is a shift from the personal ‘home music experience’ to the personalized ‘feels like home music experience.’  In this personalized realm, music progressed from the background to the foreground of our lives.  It went onto become the soundtrack and then transformed into a song map.  This ‘Evolution of Social Music’ reveals bits and pieces about how the way people interact with music has changed and opens a window into the very diverse and complex listening habits that we have developed.

Watch full talk here


Ireland’s biggest ISP agrees to a 3 strikes disconnection

February 4, 2009


The great copyright debate contiues with a move forward from Ireland.

Eircom, Ireland’s biggest internet service provider (ISP), has agreed to disconnect users that record companies identify as copyright infringers. The agreement was reached eight days into an Irish High Court trial.

The former state monopoly ISP, which is now privately owned, has agreed to give two warnings to subscribers before cutting them off.

Record industry group the International Federation of the Phonographic Industries (IFPI) said that it would be taking action against other ISPs to ensure they did the same.

“The record companies will supply Eircom with the IP addresses of all persons who they detect illegally uploading or downloading copyrighted works on a P2P [peer to peer] basis,” said a statement from the IFPI.

“Eircom has agreed that it will from now on implement a graduated process,” it said. “The record companies have agreed that they will take all necessary steps to put similar agreements in place with all other ISPs in Ireland.”

The case involved the four major labels EMI, Universal, Warner and Sony.

Eircom said that when it received the labels’ list of people they suspected of engaging in illegal file-sharing, it would tell its customers that infringement had been detected.

If the activity continues Eircom will warn the subscriber that they will be cut off if there is no change in behaviour. If the file sharing continues the customer will be disconnected.

EMI Ireland managing director Willie Kavanagh is also the head of the Irish Recorded Music Association (IRMA), which is affiliated to the IFPI.

“[This is] something we’ve had to work together to make sure this got to a stage where we can deal with what is an enormous difficulty within the Irish and worldwide record business,” he told broadcaster RTE.

The ‘three strikes and you’re out’ policy is a popular one with rights holders, who are lobbying Governments across Europe to force ISPs to implement it.

The UK Government stopped short of including such a demand in its Digital Britain report last month. It said that it plans to force ISPs to pass details of subscriber activity to rights holders but did not demand that they disconnect users.


Your New Creative Partner: ACID Pro 7

January 23, 2009

ACID Pro 7 software is a DAW powerhouse that combines full multitrack recording and mixing, MIDI sequencing, and legendary ACID looping functionality for a seamless music-creation and post-production environment.

More creative partner than production tool, ACID Pro 7 software inspires you like nothing else. With its Transparent Technology™ design, ACID Pro 7 software removes typical barriers to the creative workflow so you can effortlessly transform ideas into real results.

Professional Multitrack Recording
For uncompromising 24-bit, 192 kHz sound quality production live or in studio, ACID Pro 7 software has an expanded set of features for maximum audio performance. Whether you’re recording your band or creating MIDI-based studio sequences, ACID Pro 7 software is the optimal platform for reliable multitrack recording and production: on-the-fly punch in/out, unlimited tracks for audio and MIDI, control surface support, powerful plug-in processing, and 5.1 surround mixing.

Innovative Loop-Based Music Creation
ACID Pro software has been the leader in loop-based music creation for nearly ten years. Version 7 has all of the core ACID Pro features: automatic pitch and tempo matching, real-time loop previewing, unlimited tracks, and our signature pick/paint/play interface. ACID Pro 7 software also includes over 3,000 Sony Sound Series loops and 1,000 MIDI files so you can start creating music right out of the box.

Comprehensive MIDI Support
Experience unparalleled MIDI sequencing in ACID Pro 7 software, with real time MIDI processing and precise control over MIDI events. All note and controller data can be recorded and edited on the timeline as easily as audio tracks. Use track envelopes to automate and modify modulation, expression, or other types of MIDI controller data over time. Other features let you record multiple tracks of MIDI, apply real time MIDI quantization, perform filtering and processing, create and edit drum patterns, and step record. ACID Pro 7 also includes over 1,000 free MIDI files for music creation. MIDI

Superior Mixing and Editing
ACID Pro 7 software has a dedicated mixing console for a flexible and efficient recording environment. Specify routing, assign audio effects, and use external effects processors with tracks and busses. ACID Pro 7 software also supports control surface automation and channel tracking for devices such as the Mackie Control and Frontier Design TranzPort. Its unique Beatmapper tool makes remixing easy, and the Chopper tool helps you create impressive drum fills, stutters, and DJ-style effects. Mixing and Editing

Professional Effects and Soft Synth Support
Expand your sound palette with native support for VST instruments, as well as VST and DirectX audio plug-ins. Create resonant sweeps, dramatic fades, EQ changes and add effects with parameter automation. ReWire and ASIO support help you smoothly integrate ACID Pro 7 software with your existing studio. Audio Control
Exclusive Quantization Tools
Transform loops and MIDI tracks into fresh, new sounds with our exclusive Groove Mapping and Groove Cloning quantization tools. Change the groove of a track, apply different grooves to the same track, extract a groove from one file and apply it to another, or even create custom grooves. Quantization Tools

Professional Workflow Features
Maximize efficiency with folder tracks and cluster editing to drag, pitch-shift, cut, copy, and paste sections of loops. Use the Clip Pool to choose and arrange events to use in your compositions. Create dramatic or subtle tempo changes using new tempo curves. Deliver projects in nearly any format without leaving the ACID Pro 7 environment. Import and Export Support

Interactive Tutorials New!
ACID Pro 7 software now includes built-in interactive tutorials for step-by-step help. Work along with the tutorials from within your project so you can learn and create at the same time.

Included with ACID Pro 7 software New!
ACID Pro 7 includes software for professional music production and editing, including ACID Pro Effects Rack, powered by iZotope, Garritan Aria for ACID Pro Player, Submersible Music KitCore, and Native Instruments Guitar Combos. Included with ACID Pro 7
Free Loops and Samples
Add to your content library with 8packs. Available as a free download each week, an 8pack is eight loops arranged into a song. ACID Pro registered users can also download free exclusive content using Get Media. Click Get Media on the ACID Pro 7 toolbar for instant access to folders full of royalty-free loops. Get Media