Music Business Articles
The No.1 Website for Pro Audio
Articles - Music Business Articles
author 23rd April 2009 10:20 AM
BT blocks off Pirate Bay | News | PC Pro

<strong>Exclusive</strong>: BT and other mobile broadband providers block access to notorious BitTorrent site
This is getting better every day!

PC Pro: News: BT blocks off Pirate Bay
Deleted User 23rd April 2009 09:29 AM

I found this interesting interview with Toby Marks. It breaks down the costs and percentages at each level of the production stage of getting a CD to a customer.

It seems that the biggest misconception about profits in record companies arise from where the percentages are taken. The record company's percentage is taken from the sale price to the distributor. The artist gets their percentage from the published price to the dealer. The PPD is a much higher figure than the cost to the distributor so, in this breakdown, the record company makes just over 6% of retail price whereas the artist gets nearly 9% of retail price.

Out of this, the record company has to pay for mastering, artwork and wages to freelancers - I guess the artist pays for the recording.

I'm sure these figures can vary case to case, but if this is even a ballpark figure, then the 'record companies keep 85%' argument is dead in the water. Just because the artist only gets 15 percent doesn't mean the record company gets the rest. It would seem from this example that the artist takes a bigger cut than the record company.

If the artist also happens to be the writer, then they get an extra 3 - 4.5% of retail on top of that.

What if the major labels are also the distributors? If that's the case then the figures are a little different. The distributor gets just over 13% of retail, added to the 6% makes a total to the record company of 19% of retail, from which they have to pay several to many times the costs of getting a CD to market than the artist.

These figures add up to a theoretical maximum to the artist of 18.5% and a theoretical maximum to the record company of 19% of retail price.

Y'know. If these figures stand up, it all sounds perfectly fair to me. Infact, I'd go as far as to say the artist gets a pretty good deal considering the amount of work they do. But that last bit's just my opinion.
chrisso 23rd April 2009 08:25 AM
Pirate Party plans election raid

Sweden's Pirate Party believes it can get into the European Parliament on the back of strong anti-corporate feeling.
BBC NEWS | World | Europe | Pirate Party plans election raid

It'll be interesting to see if the Pirate hype translates into actual support.
slaves666 23rd April 2009 05:09 AM
BT Blocks Pirate Bay, P2P Sites Shut |

U.K. telco BT and other mobile providers have blocked access to P2P BitTorrent trackers including the Pirate Bay.
BT Blocks Pirate Bay, P2P Sites Shut
April 22, 2009 - Global | Digital and Mobile | Legal and Management

By Andre Paine, London

U.K. telco BT and other mobile providers have blocked access to P2P BitTorrent trackers including the Pirate Bay.

However, the move is a result of the content that such sites link to, rather than the issue of copyright infringement or the April 17 court verdict against the Pirate Bay in Sweden.

"BT and the other U.K. mobile operators have agreed and implemented a voluntary code of practise for mobile content that restricts access to content unsuitable for customers under the age of 18," said a BT statement. "The list of sites and content that is restricted is compiled by individual operators themselves. The warning that BT provides links to the Internet Watch Foundation (IWF) website for information on the code only."

BT customers who wish to have access to particular sites reactivated can do so by calling 150 in the U.K.

Meanwhile, the Pirate Bay verdict has had a knock-on effect on other P2P services. Another Swedish site, NordicBits, posted a message on the day of the verdict stating that it had closed and "the biggest reason is the Pirate Bay."

Other sites including PowerBits, PirateBits, MP3nerds and Wolfbits also appear to have shut. "The Swedish anti-piracy agency has triumphed over us," reads an administrator message on the Wolfbits forum.

BT Blocks Pirate Bay, P2P Sites Shut

If it is that easy........why do ISP feel the need to allow access to the sites?

Do they think people will switch ISP's????

This might the beginning of better things.....
Sound Chaser 23rd April 2009 02:33 AM
Canada deems P2P downloading legal - CNET News

Downloading copyrighted music from peer-to-peer networks is legal but uploading files isn't, say Canadian copyright regulators, who also impose a $25 fee on some MP3 players. A CNET article by John Borland, Staff Writer, CNET News. Published on December 12, 2003 2:20 PM PST.
It seems downloading for personal use is legal in Canada.
Canada deems P2P downloading legal - CNET News
The record companies are fighting this but, a Supreme court verdict in April of 2004 declared personal use as legal.
dalshim 22nd April 2009 10:48 PM

Hi folks,

I did some homework for you. I hope that, this time, some pips will be interested.

Advert: if you ever read one of my 50 previous posts, you already know how bad my english is. So, if you see some non-senses or hazy sentences be sure it come from me. The original text is very smooth and accurate.


By Philippe Axel

Why does the blanket fee so frighten?

Government have decided to present the hadopi text again the april 29th.Mrs Alabanel, minister of culture, even envisaged its resignation in case of defeat.

Despite (of) a call to real demonstration on Saturday, April 25th, the opposition of the Internet users and the political opposition, which seems henceforth ready to use this subject of campaign for the European elections, it is apparently not enough to make the president of the republic, very upset after this humilation, change his mind.

But our main problem, when we propose a solution like a "creative contribution, isp's tax or Global/blanket fee/license" is that even the opponents of the repressives solutions have difficulty in realizing this logic.

Because they quickly think at a collectivist system. Here are some answers to the main arguments of those who, often with sincerity, are worried about what they consider in twists as a complete change of paradigm which would question in a too rough way the current balance of the sectors of music and cinema.
And who seem to ignore that, unless eliminating Internet, this new support of communication is going to upset many other sectors although no detailed economic studies measured the calculated incidences, at this time.

In the confusions and the doubt which arouses the digital economy, we have a theoretical certainty which should be logically the base of the reflection of the strategic and economic studies on the subject: the digital file is a "non-rival" good (ndt: duplication is NOT the production, it's not the cd, but the music) And it is enough to understand the natural tendency
of the unity sale towards the stream and the free access. It began with the photography, the video game, the music, then the information, and tomorrow the cinema, the television, the software, the comic strip, the literary edition etc.
All this is going to stretch out towards free on-line, that we want it or not, unless forbidding e-mails with attached files, USB keys, Wifi, the bluetooth, the cables of connection, the engravers and hard disks.
As well as start-up enterprises …

Is the global fee a collectivist concept?

Not more than the general principle of the (ndt: french) copyright, which is the one of the implementation of indirect transfers of resources towards the creation, resulting from lucrative manners which take advantage of the artistic works. Not more thus than the private copy tax organized by Jack Lang (ndt: and in many others countries as well) or decrees Tasca allowing
to finance for half the French cinema today. These measures, actually, supported and fed the market in our country rather than opposed to it. I have still read nobody to propose that the state salarie the artists as the civil servants of the Ministry of Culture. There is thus there an inequitable distrust.
A direct resource assigned to the authors could even feed their activity in the form of auto-entrepreneur, a very interesting status.

Would the global license precipitate the fall of the sales of CD and DVD and cinema entries?

Yes, no doubt for me for CD and DVD, if they are not worked again in depth in their added values, compared to what we can find free of charge on the web. But this fall has already begun for years, simply because these supports are obsolete at the time of the internet. We cannot force the consumer to buy what he does not want to buy any more. We are far from the drying up of
the innovation in the domains of the cultural by-products. There will be consumers attached to objects. And thus physical, well rival objects, to sell for whom will know how to create them and sell them.

For show or cinema entrances, it is to be estimated yet, but the first tendencies are far from being negative.
For the live performance, we know that it is rather positive, even if it is true that the musical CD was upstream to the shows.
Thus, what I call new rites of selections of the artists will have to be born on the web, to bring to the foreground those who among them will motivate the spectators to pay to see them in concert.
For cinema entrances, it will depend on the price of tickets and on the quality of the services
proposed by the exploitant, which will have to be more attractive than the home cinema which risks hardly to still develop in a impressive way next years, in particular by the exploitant, which will have to be more attractive than the home cinema which risks hardly to still develop in a impressive way next years, in particular by new systems of projection or immersifs viewings at home.

Will it be necessary to pay a 30 or 50-€ fee a month to finance everything as Pascal Nègre says it everywhere (ndt: the boss of Universal in france)?

The music and the cinema it is approximately 131 billion a year in the world.
There are 5,3 billion subscribers with Internet ( 1,3 ) + mobile (4 ).
3€ of participation a month only on each of these subscriptions to finance the contents would already report 191 billion by the years, it is more than the total CA of these two combined industries.

It is a quick calculation but I remind that Philippe Aigrain made his in a very precise way in his proposition of Creative Contribution .
I thus insite so that all the professionals of these sectors read his book without preconceived idea, study which we can download free of charge.
According to him, the French Internet users should settle a sum from 5 to 7 € in their isp's subscription to help in the technological transformation of the music, but also the cinema.

But once again, it is not about replacing a global recipe by another one by a strict effect of communicating vessels. Because nothing would prevent the record industry from finding the other products to be sold and the cinematographic industry to continue to sell cinema entrances for example. Nothing would prevent them either from continuing to perceive fees of use on the
lucrative manners for the digital radio or the television. Thus a global license would have no vocation to be the unique source of the creators of contents.

On the other hand, it seems necessary to me, and I already underlined it in the propositions at the end of my book in 2007, to study right now an extension of this principle in the other domains which will need transfers of resources by the free access to the non profit exchanges on the web. Not by global compensantion, but once again, by support.

How to redistribute a global fee in a fair way?

ask this question for the web, it's settle it in the same way for the current fees paid by radios and televisions and thus for the SACEM (ndt: association of composers and music publishers to protect copyright and royalties) for example.
For web there are said, not intrusive processes, (watermarking or "tattoos"), which will allow,
not only to redistribute according to the true manners, but in a much finer way and on a plate much wider than today for the radio and the TV. It mean that many artists will be paid. A not intrusive process being a method of drawing of the contents which does not require to establish a file making the link between a content and a private individual, as it will be the case of the files of Hadopi (ndt: french repressive law). Because even if we speak to us of taking in only the IP addresses, within the framework of Hadopi, the IP address will had inevitably to be converted in name and address at one time or another in the process of control and saving of the data in a file after the first warning. Thus, the global fee is much simpler to set up technically than Hadopi, and less problematic in the surveillance. (ndt: P. Axel speak about only one way for file watching.
There are some other)

More to come if I see some interest:

Why not let the market do it by itself?

Why to charge everybody while only 37 % of the Internet users download on the P2P?

Why not let a market of the subscriptions be set up? (uuuhhhrgh, an interesting one)

Why not to count simply on the advertising market which quickly develops on the web?

jihadjoe75 22nd April 2009 10:22 PM
Quote: - View Single Post - I steal music.

Post 4124580 - Forum for professional and amateur recording engineers to share techniques and advice.
Work is slow right now and I feel like ranting...

I'm a college student who makes $8 an hour for my campuses IT support dept and quite frankly, I cannot afford to pay $10-$20 for a CD. Yep, I'm a pirate and I have been for a very long time. Although I do buy music on occasion. This last month, I've bought two CD's. One being Frontier Ruckus's new album and Cursive's new album, both absolutely worth my $14.

If music is free and I'm short on cash, I'm absolutely going to download it. Even if all of a sudden the main stream music industry started putting out genuinely quality work, I would still not buy it -nor would 98% of the other people my age. Hell, I can personally say that I do not know a single person my age that does not steal music.

Morally, there is little difference from stealing a CD in a store that stealing it online. It's just that when your sitting in your bedroom clicking through TPB or Demonoid it simply does not feel like stealing, especially since you know that your chances of getting caught are very, very low.

It's been said a million times, but the days are changing and the recording industry is not. It's unfortunate considering the amount of people that feed their families through this industry, but maybe in the end of all this people will start focusing on their art, rather than money. If piracy continues, maybe more really great art could come out of it. Art obviously doesn't necessarily feed a family though, but was it ever supposed to?

Now, dear recording industry, if you can give me an unlimited library with lossless songs... hell, I'd probably pay twenty-sum bucks a month for that. Unfortunately, I'm assuming the other %90 of the population that can't recognize the difference between a lossless file and one of those bull**** 128kbps songs you can pay a dollar for on itunes. So yea, in regards to making money with music, we musicians are mostly just effed. I'd start promoting your concerts more and make a few nice t-shirts, cause that's usually what people my age spend money on when they support a band.

In the mean time, I will personally be giving my music away for free, because it is, quite frankly, not worth $10 for an album. I just like it when people listen and enjoy my songs.

Thanks for listening to my rant. It's been a long day.

With love,
Joe Hertler


I've read tons of your messages so far and I would first like to say thank you very much for commenting on my rant. I know it came off as inconsiderate and arrogant and I apologize for that. If you'd like, I wrote a response to all of this on page four. It's a bit long, but I'd ask you to read the whole thing if you get the chance. I didn't mean to offend anyone and I hold great admiration for those on this forum who have taken the plunge into professional music and succeeded.

You can read my response by clicking here.
Sophic 22nd April 2009 07:37 PM
Study Finds Pirates Buy 10x More Music Online than Non-Pirates -

A study from the BI Norwegian School of Management has found that those who download free music from services like BitTorrent are also the biggest legitimate…
Didn't see it posted...what do you think? this was posted on another forum i post at.

Study Finds Pirates Buy 10x More Music Online than Non-Pirates - : IF IT'S HOT IT'S HERE!

A study from the BI Norwegian School of Management has found that those who download free music from services like BitTorrent are also the biggest legitimate consumers of downloadable music.

In fact, among all 1,901 study participants (all of whom were over the age of 15), it was found that those who downloaded "free" music were 10x more likely to download pay music. In other words, music pirates are the music industry's largest online consumers.

Note: "Free" music obviously implies pirated music, but it also encompasses legitimate free music download services.

The findings also included that, in the 15-20 age range, 50% of participants had bought a CD in the last six months. So that trusty format isn't dead quite yet.

rack gear 22nd April 2009 05:12 PM
RIAA drops lawsuits; ISPs to battle file sharing | Internet & Media - CNET News


The recording industry has decided to stop suing customers and has instead decided to make deals with ISPs to help thwart file sharing. Read this blog post by Greg Sandoval on Internet & Media.

Copy of RIAA's new enforcement notice to ISPs

The recording industry dropped some big news Friday, announcing that it will no longer take a broad approach to litigating against alleged filed sharers. The Recording Industry Association of America has enlisted the help of internet service providers to act as a sentry and help discourage customers from pirating music.

Below is a copy of the form letter the RIAA will send to ISPs to inform them one of their customers is accused of file sharing. The notification is similar to those the group has sent to college campuses for years and shows very clearly that the group retains the right to sue people for copyright violations.


Sir or Madam:
I am contacting you on behalf of the Recording Industry Association of America, Inc. (RIAA) and its member music companies. The RIAA is a trade association whose member companies create, manufacture, and distribute approximately ninety (90) percent of all legitimate music sold in the United States.

We believe a user on your network is offering an infringing sound recording for download through a peer to peer application. We have attached below the details of the infringing activity.

We have a good faith belief that this activity is not authorized by the copyright owner, its agent, or the law. We are asking for your immediate assistance in stopping this illegal activity. Specifically, we respectfully request that you remove or disable access to the unauthorized music.

We believe it is in everyone's interest for music consumers to be better educated about the copyright law and ways to legally enjoy music online. The major record companies have actively licensed their music to dozens of innovative services where fans can go to listen to and/or purchase their favorite songs. A list of many of these services is available at

It should be made clear by this letter that downloading and distributing copyrighted songs via peer to peer networks is not an anonymous activity. Not only is distributing copyrighted works on a peer to peer network a public activity visible by other users on that network, an historic 2005 U.S. Supreme Court decision affirmed the unmistakable unlawfulness of uploading and downloading copyrighted works. The website contains valuable information about what is legal and what is not when it comes to copying music. In addition to taking steps to notify the network user at issue about the illegal nature of his/her activity, we strongly encourage you to refer him/her to this helpful site.

Please bear in mind that this letter serves as an official notice to you that this network user may be liable for the illegal activity occurring on your network. This letter does not constitute a waiver of our members' rights to recover or claim relief for damages incurred by this illegal activity, nor does it waive the right to bring legal action against the user at issue for engaging in music theft. We assert that the information in this notice is accurate, based upon the data available to us. Under penalty of perjury, we submit that the RIAA is authorized to act on behalf of its member companies in matters involving the infringement of their sound recordings, including enforcing their copyrights and common law rights on the Internet.

Thank you in advance for your prompt assistance in this matter. If you have any questions, please feel free to contact me via e-mail at [email protected], via telephone at *Phone Number*, or via mail at RIAA, 1025 F Street, NW, 10th Floor, Washington, D.C., 20004. Please reference *Case ID* in any response or communication regarding this matter.



List of infringing content
*Infringing Content*
Infringing Work : XXXXXX
Filename : XXXXXX
First found (UTC): XXXXXX
Last found (UTC): XXXXXX
Filesize : XXXXXX
Network: XXXXXX
Protocol: XXXXXX
spaceman 22nd April 2009 02:32 PM
BitTorrent Trackers Close En Masse After Pirate Bay Verdict | TorrentFreak

Several private BitTorrent trackers including Nordicbits, Powerbits, Piratebits, MP3nerds and Wolfbits, have closed down after the Pirate Bay verdict came in last Friday. Other trackers are set to follow this example in what could be the greatest voluntary tracker collapse ever.
BitTorrent Trackers Close En Masse After Pirate Bay Verdict | TorrentFreak

Several private BitTorrent trackers including Nordicbits, Powerbits, Piratebits, MP3nerds and Wolfbits, have closed down after the Pirate Bay verdict came in last Friday. Other trackers are set to follow this example in what could be the greatest voluntary tracker collapse ever.
So it seems that it's working even better than we thought !
Soulbrother 21st April 2009 03:51 PM
A nice summation of the whole Pirate Bay debate, and piracy in general:

The Sick Bag

Any thoughts?
XHipHop 21st April 2009 09:36 AM

Off-topic, but relevant...

Digital Millennium Copyright Act - Wikipedia, the free encyclopedia

Time for a re-write. It's insane that it still exists as it was first written.
Daedalus77 21st April 2009 04:16 AM
I believe in property, especially intellectual property. And I agree this is a contentious issue. But I also believe that this debate is not a simply dichotomy between those believing in property rights and "pirates" who do not.

I'd propose checking out the work of Stanford law professor Lawrence Lessig, who has written eloquently on this issue in several books and is the founder of Creative Commons, an organization (and concept) that offers a particularly compelling "alternative" to a simplistic understanding of intellectual property rights in the digital age.

Check out his site:

And take a look at his publications, especially Free Culture (2004) and Remix (2008).

Worthwhile reading on this subject.
lhm1138 20th April 2009 07:38 PM
More asshattery from the ButtPirateBay:

> Dear Frederik,

It's spelled "Fredrik".

> We would refer you to our notification of yesterday's date regarding
> the above, the contents of which are self-explanatory (hereinafter
> referred to as the "Notification"), to which we have yet to receive
> the courtesy of a response.

We would like to refer you to our Legal Threats section, on which we,
while having much fun, ridicule people like you.
Thank you for your contribution.



Sorry, but I can't remove search.php - our users would get upset if TPB
suddenly lacked a search function.
The problem here seems to be that the material is unreleased? If that is
the case, you can easily fix the problem by releasing it. We'll be more
than glad to help you distribute it - free of charge! - to our users.
>To whom it may concern:

>I am writing to you as the legal representative of Rabbit Valley
>Comics®. Rabbit Valley® owns the copyright of all the published works
>under the Another Rabco Disaster® trademark. I hereby notify you that
>you are hosting material (published via a bittorrent tracker) which
>infringes on our copyrights.

>The address of the website is

Dear Mr Rabbitt, (Why the extra T? Afraid of furry-jokes when paying
with your credit card? Or does the rabbit suit give you away?)

Even though we deeply respect and acknowledge your "intellectual"
property, we fail to see how an interpretation of the said directives
makes them applicable in this case.
NONE of the copyrighted data in question is published or ever stored on
our servers. Nor is any of the copyrighted data relayed through our
servers. The tracker merely provides .torrent files.
As to this day this activity is not prohibited by Swedish law and it's
our assessment that not even a wide interpretation of the E-commerce
directives makes them applicable to torrent trackers. Out activities
will therefore continue until this fact changes or Hell freezes over.

Lots more here:

The Pirate Bay - The world's largest BitTorrent tracker

Witness the sheer disdain for people simply trying to protect their IP and the manner in which it's distributed.
qtuner 20th April 2009 07:24 PM

Gizmodo - Study Finds Pirates Buy 10x More Music Online than Non-Pirates - Music piracy

the article:

A study from the BI Norwegian School of Management has found that those who download free music from services like BitTorrent are also the biggest legitimate consumers of downloadable music.

In fact, among all 1,901 (global?) study participants (all of whom were over the age of 15), it was found that those who downloaded "free" music were 10x more likely to download pay music. In other words, music pirates are the music industry's largest online consumers.

Note: "Free" music obviously implies pirated music, but it also encompasses legitimate free music download services.

The findings also included that, in the 15-20 age range, 50% of participants had bought a CD in the last six months. So that trusty format isn't dead quite yet.

Since we relied on Google's translation from the original Norwegian, anyone who speaks the language is encouraged to glean for more specifics and post them in the comments. [Survey and pThanks Jon!]

If this true, the people are calling for jail time for their biggest deamographic. What a pickle this puts you guys in assuming it is true.
XHipHop 19th April 2009 08:54 AM
Support Online Piracy | Adbusters Culturejammer Headquarters

Thoughts? Lots of interesting comments in response to this. READ THE COMMENTS!

Savernake 27th March 2009 04:17 PM
Quote: struggles for streaming, international revenue | Ars Technica is struggling to generate revenue in some parts of the world, so a …
From struggles for streaming, international revenue - Ars Technica

Music streaming community has made some important changes to its services with the intention of generating revenue. The struggling ad market has forced the CBS subsidiary to require subscriptions in many international markets, and streaming to third-party apps is now being restricted to subscribers. The honeymoon of "free" streaming music appears to be ending.

As announced on's blog, the company will soon require most international users to purchase a monthly subscription to use Radio. Users in the US, UK, and Germany are excluded, but all others will need to begin paying €3.00 per month on Monday, March 30 if they hope to keep rocking out. boasts a global user base of 30 million monthly users (double what it was just a year ago) and, as you might guess, many of them have already expressed dissatisfaction over no longer having free access to the company's seven million tracks. used its forums to let users know that the company is also changing the rules for third-party streaming apps. First, only subscribers will be able to stream music via these apps unless developers negotiate something directly with The obvious justification for this rule is that the company "need[s] to get the money to cover royalties," the forum post reads.

The second new rule for third-party apps is that they will not be able to stream to mobile phones or, perhaps more accurately in this 21st-century gadget landscape, over cellular networks. blames this on limitations in its licensing agreements, though it may be able to "make an exception" if developers plead their case. But, unless those developers act fast, unofficial apps for Windows Mobile, Symbian, and BlackBerry will stop working next week.'s official clients for iPhone and Android will reportedly continue to work without requiring a subscription.

Third-party apps that allow users to "scrobble" (or share, in mundane English) information with about music played in various media players will "always be free," and this is no surprise. Collecting information about community and user behavior is a business model in and of itself for companies like

Naturally, all manner of complaints have been lodged in the comment threads, with many saying that has sold out and willingly destroyed "thousands of free development hours." On the road to generating revenue out of a "free" service, though, these bridges sometimes need to get burned. Since CBS acquired for $280 million in 2007, it has been looking for a way to boost the music streaming community's profitability. In December, 20 percent of's staff was let go. While the company does not elaborate how its users are distributed, its US and UK operations are presumably still generating enough revenue (via ads and optional subscriptions) to avoid imposing this requirement—at least for now.

Licensing seven million tracks is no small financial feat. Even Pandora, a streaming music competitor, took a page from traditional radio's book in January this year and introduced ads that run in between songs. All things considered, it may simply be time for costly Web services to start exploring other business models more aggressively.

audiovisceral 16th March 2009 03:49 PM
French anti-P2P law toughest in the world | Ars Technica

France's long talked-out law to kick repeat copyright infringers off the …
French anti-P2P law toughest in the world - Ars Technica

I 'm really liking the sound of this. 1984 conspiracy types be damned, I think this type of regulation would do wonders for legal downloading sales.

The French attempt to pass the world's toughest "graduated response" law against P2P file-sharers has been en ****** for months. But the negotiations are finally over, the "Création et Internet" bill has been drafted, and today it finally came up before the National Assembly for debate. Despite furious opposition, the bill could well pass soon, laying down severe penalties for "not securing one's Internet connection" and forcing public WiFi operators to allow access only to a "white list" of acceptable sites. And all this for one industry.
[h3]Liberté, égalité, fraternité... HADOPI?[/h3]
The French law goes by many names. Officially called "Création et Internet," it is also known as the "Loi Olivennes" after Denis Olivennes, the head of French electronics giant FNAC. Olivennes headed the group that came up with the plan, which will be implemented by a new group called HADOPI—which is why the bill is also known as HADOPI.

But whatever one calls it, the principles remain the same. When ISPs are notified about alleged file-sharing, they first send an e-mail to the customer involved. The second time, the customer gets a registered letter. The third time, the customer gets booted off the 'Net for three months to a year. (A HADOPI blacklist will apparently keep blocked users from simply switching ISPs.)

In return, French DVDs will appear a couple of months closer to their theatrical release date and music and movie groups will have to drop much of their DRM.

Global music trade group IFPI thinks this is a wonderful trade-off. CEO John Kennedy, last seen testifying at The Pirate Bay trial in Sweden, said today that "our future, like that of the film industry and other media depends on whether we can sustain a legitimate business in an environment that has been swamped by unauthorised free music. Over the last two years the French government has led the way in addressing this critical challenge. It has recognised that involving ISPs in addressing the massive flow of infringing content on their networks is not only essential to protect the rights of creators and producers, but can provide a sensible and proportionate solution that will work effectively in practice."

Critics aren't convinced. Those critics include the European Parliament, which last year twice expressed its displeasure with such schemes on the ground that the punishment was grossly disproportionate to the crime and that only judges should be allowed to order such disconnections. That has not dissuaded the Sarkozy government, which has continued to push the idea hard.
The toughest in tout le monde

It wouldn't be too much to say that the world is watching. Although Agence-France Presse said today in an article that "the new law would make France the fourth country, after the United States, Ireland and Italy, to cut off web access for illegal downloaders," the reality is that no countries currently have such a national policy in place. In the US, only "discussions" have been announced, and those are voluntary; in Ireland, a single ISP has voluntarily agreed to adopt graduated response principles; and Italy's parliament has simply agreed to follow the French model at some point in the future.

The UK, which is considering graduated response legislation, has already taken "Internet disconnection" off the table as a potential penalty. New Zealand, which has actually passed a law requiring ISPs to boot repeat copyright infringers off the 'Net, has delayed implementation after a public outcry.

But even if the New Zealand law does go into effect before the French, the French law is much stricter. For instance, "Création et Internet" requires home Internet users to install certain approved security software and to secure their networks. The old "I had an open WiFi network and someone across the hall probably logged on and downloaded all those episodes of The Office" won't work; while that may be what happened, the law tries to avoid such controversies by simply making each Internet subscriber responsible for what happens on their connection.

One obvious retort is that people will simply slip down the boulevard to the café for a cup of overpriced espresso, a waiter with bad case of ennui, and an afternoon of torrenting. But the Law will not be mocked so easily. When French Minister of Culture Christine Albanel answered some parliamentary questions about public WiFi networks, she said that the solution was simple: such hotspots would offer only a "white list" of approved websites.

This sort of "plug every hole in the dike, the consequences be damned!" strategy shows just how far the government is willing to go in order to protect the copyright industries; not even rank censorship is a bridge too far. And the logic of this approach suggests that the current practice of scanning BitTorrent swarms for IP addresses will have to give way to deep packet inspection of Web content as users shift to streaming media, direct download links, and darknets.

"This return to a centralized, state-controlled network is as scary as inapplicable," said Jérémie Zimmermann, co-founder of La Quadrature du Net, a lobby group that works for an open Internet. "Yet, this is emblematic of how a government legislates with the same ignorance and archaism as the entertainment industries that promote the 'graduated response.' They are, like this law, doomed to fail."

Consumer group UFC Que Choisir compared the entire project to France's ill-fated Maginot Line, examples of World War I thinking that were famously bypassed early in World War II by blitzkrieging German panzer units.

Instead, UFC Que Choisir calls for new thinking—in this case, a license fee paid for total access to movies and music. Such a solution is backed by some French artistic groups "et même... par le groupe Warner aux Etats-Unis" (an apparent reference to Warner's Choruss project). The implication is clear: even the music labels can see the future, and this law is straight out of the past.

True or not, however, the bill appears to have a good chance of passing into law, and the European Commission has so far (under French pressure) resisted the European Parliament's efforts to block France from implementing it.

fabricaudio 26th February 2009 05:03 PM

FabricAudio is a post production, recording studio and record label in Athens, Greece
Hello everybody

I started this thread since i don't think there is something similar in the forum (i hope!!!). Anyway i hope i posted in the right place

A little background: I am Nikolas Pamouktsoglou and co-owner with my brother Jordan of Fabricaudio. (fabric audio)

My expertise is Acoustical Engineer and at the moment i am doing a PhD in Sound and Vibration and i am teaching assistant at the University of Southampton in UK.

The design of the acoustics of our studio is a result of a three-persons team (myself, Symeon Delikaris Manias and Dave Rife, as also stated in the website in the team section)

I want some feedback in my idea

Since I am not a sound engineer i am going to look for one but my main idea is not having just one, the control room will be equipped so it can accommodate any sound engineer and it will offer tracking, mixing, mastering and Dolby approved post production on films and trailers.

From what i am aware so far there is big debate if sound engineer schools worth their money and how you can find job after. As many people stated correct, practice is an issue, the more the better.

So in the main course!!!

My idea is to create some kind sound engineer seminars in my studio, probably i will not give a certification with stamps and credentials like the schools.

''The idea of the courses is not just some sound engineer i know and tell him to find young kids and rip them off with private lessons and me getting a percentage of that because he is renting the place from me''

I want to try to keep the cost at low levels (i.e a fee for the sound engineer and and a fee for the studio the hours it is accomodated). This is why i beleve small groups will work better so they can share the cost between them. (i was a teacher in a private school and i know how classes work)

Since the studio i will have professional equipment i am thinking why not use it to spread the word to people who want to learn and become better and maybe in the future i can collaborate with them if they become good.

In terms of engineers, i believe one is not enough, everyone is different and has his own style, opinion and taste. So the more the better at the bottom of the line there will be more knowledge for the students. I am even thinking to bring engineers from abroad for short courses.

I am asking for opinions, probably it is something it is already done from other people, i want to do the same in Greece. I am bored when things are not organised and people take advantage of students (i am still a student...)

p.s: I hope you didnt got bored after reading all this story and you will give me some feedback

Clonkified 18th February 2009 04:34 PM


I was wondering if anybody had used these professional song critiquing services such as Songwriting with Jason Blume - You CAN Write Hit Songs by Jason Blume or John Braheny (

If so, are they worth it? Do they provide insightful feedback?

Are there similar services for production and mixing?

drumzealot 11th February 2009 07:51 PM

Here's an interesting article about a local band that solicited donations from their fans to fund their latest recording. >> Yeas & Nays - Local band goes guerrilla, raises $35k

More movement to the direct-to-fan model.
skopje 6th February 2009 08:44 PM
Keep 120 Minutes on MTV2 Petition

Petition: We, the undersigned, call on MTV to urgently reconsider the cancelling of 120 Minutes from the MTV2...
MTVs 120 minutes taken off air!!!
MTVs 120 minutes taken off air!!!

I have been watching 120 minutes on and off for 20 years. I have found over 50% of my record collection directly or indirectly from watching it.

I can remember seeing the first portishead video when it was first shown. Sonic youth, dead can dance, cocteaus, the knife, jenny wilson,feist, f** buttons, pixies, throwing muses, kristin hersh, crystal castles, gus gus, aphex twin,mazzy star beirut,my bloody valentine and skylarkin.

I could go on but you get the point. This program took huge creative chances and was bever mundane.

It has been the most consistant music programme i have ever discovered. Also totally eclectic, a rap track next to a folk track. 120 minutes sometimes dished me up artists that i felt indifferent towards and slowly revealed their brilliance. In a way the program has shaped my musical pallette

I have never got into radio, i just can't handle the amount of poor tracks you have to listen to to get to one okay song, and also the banality of DJ bantar.

Where do i go to find new music now? I find a lot at gigs, and off peoples blogs, but i need to replace 120 minutes with something. But what?

Also what happens to alternative artists and lables tring to get their videos shown? Where are they going to get their music heard?

What is the impact going to be on alternative music as whole?

When i heard that the show had gone under, my heart sunk. I know its a TV show and not a person, but it had a physical effect on me. Kind of like when one of your favourite musicians passes away.

I've signed up to this petition, but god knows if it will do any good..

Keep 120 Minutes on MTV2 Petition


SKOPJE on MySpace Music - Free Streaming MP3s, Pictures & Music Videos
Micgiver 24th January 2009 05:23 AM
David Abshire | Free Music, Tour Dates, Photos, Videos

David Abshire's official profile including the latest music, albums, songs, music videos and more updates.
Just came across this myspace page.. Im a huge floyd fan and a friend told me to check it out... It so happens that Bill Schnee mixed it and doug sax mastered.

They just dont make music like this anymore :(

the production is amazing and it sounds fantastic. major props to these guys for coming up with a great album....

has anyone else heard this? or know any info about it? where it was tracked and such...

here is the link

David Abshire on MySpace Music - Free Streaming MP3s, Pictures & Music Videos

and his main page where you can listen to the whole album free all th way through
Andrew_Chart 19th January 2009 04:15 PM
Sounding the wrong note?

Music in the workplace may make the day pass quicker but it's a benefit that can come with a hefty price tag, as some small business owners are starting to find out.
BBC NEWS | Magazine | Sounding the wrong note?

Just thought this may be worthy of some discussion.

On the one hand, the tone of the article seems to me to reinforce the view that consumers of music don't place value on it like they do other similar commodities (TV licence for example?). It also paints the PRS as the big bad evil corporation.

On the other it's never been obvious to me the rules regarding this. I've heard things to the effect of "anywhere that plays live or recorded music to the public requires a PRS licence to do so". I suspect that this is not made clear to many businesses - especially those who are not providing a service centrally based on playing music.

Is there a way the requirements could be made clearer, or would that be seen as overly bureaucratic and pernickety and work against the PRS?

Perhaps there is another way to fund the PRS without concerning the businesses to take action directly? (Tax? shoot me down! )

I would have thought most people involved in creating music commercially would be in support of the PRS? Is the article likely to damage the income of PRS members? Even improve it? Or is it just another trivial pagefiller?

Would appreciate your thoughts
MotifStudios 7th January 2009 03:00 PM
Motif Studios | Free Music, Tour Dates, Photos, Videos

Motif Studios's official profile including the latest music, albums, songs, music videos and more updates.
Hi, I had a search on the forum and couldn't find an answer to this question. I want to no how I can get my music to the bigger artists in the States.

I am living in London at the moment, and have produced in the Indian Bhangra Industry with my own album, but this is a very small niche and has no opportunity to excel into greater industries.

I have a link here to my music: - Motif Studios - Slough, UK - Hip Hop / R&B / Electro -

What can I do? Is there only the networking portion of being able to get to the top, or can a producer do something else? Right now I don't have any contacts what so ever, so I am literally just a walking producer. There must be millions of producers in the world that are not being recognized that could be better than the big time producers.

Any help is appreciated, thanks everyone.

Motif Studios - Motif Studios - Slough, UK - Hip Hop / R&B / Electro -
Cellotron 2nd January 2009 06:44 PM
Music album sales tumble further in 2008 | Reuters

LOS ANGELES (Reuters) - U.S. album sales slid for a seventh time in eight years in 2008 as growth in the digital arena, one of the few bright spots in the ailing music industry, slowed, according to data
From 7O20090101 ->

Music album sales tumble further in 2008
Wed Dec 31, 2008 8:02pm EST

By Dean Goodman

LOS ANGELES (Reuters) - U.S. album sales slid for a seventh time in eight years in 2008 as growth in the digital arena, one of the few bright spots in the ailing music industry, slowed, according to data issued on Wednesday.

Total album sales fell 14 percent to 428.4 million units during the 52-week period ended December 28, according to retail data collected by tracking firm Nielsen SoundScan.

This follows a 15 percent drop in 2007, and sets a new low since the firm began monitoring sales in 1991. Sales have plummeted 45 percent from the industry's high-water mark of 785.1 million units in 2000, due largely to Internet piracy and competition from other forms of entertainment such as video games.

This year, the industry also faced an economic recession.

Digital downloads, through online retailers such as Apple Inc's iTunes store, have taken on greater importance to the industry, but the impressive growth of recent years is waning. Digital track sales rose 27 percent to a record 1.07 billion units, but the growth was slower than the 45 percent jump in 2007. Digital album sales rose 32 percent to 65.8 million units, after a 53 percent jump in 2007.

Ringtones are also a major new focus. But purchases of the top 100 mastertone ringers slid 33 percent to 43.8 million units. Only one mastertone broke the 2 million mark -- rapper Lil Wayne's "Lollipop." Last year, three did.

Lil Wayne also took honors for this year's top-selling album, moving 2.9 million copies of "Tha Carter III." Last year's No. 1 album was pop vocalist Josh Groban's "Noel" with 3.7 million copies.

Only three other albums sold more than 2 million copies this year: English rock band Coldplay's "Viva la Vida" and country singer Taylor Swift's "Fearless" each with about 2.1 million, and rocker Kid Rock's 2007 release "Rock'N'Roll Jesus" with 2 million. Last year, eight albums sold more than 2 million copies.

Swift, 19, was the biggest artist of 2008, selling 4 million copies, mostly of "Fearless" and her 2006 self-titled debut. Anglo-Australian rock band AC/DC followed with 3.4 million copies, selling almost as many of their old albums as they did of their first release in more than eight years, "Black Ice," which was No. 5 with 1.9 million copies.

Overall music sales, including albums, singles, music video and digital tracks, rose 10.5 percent to 1.5 billion units, after 14 percent growth in 2007 and a 19 percent jump in 2006.

(Editing by Mohammad Zargham)
Was expecting numbers like this - but if 15% decline rate continues then that means sales will be half of the current levels in only 5 years!

Best regards,
Steve Berson
CDS 10th December 2008 01:35 PM
Yahoo! Search - Web Search

The search engine that helps you find exactly what you're looking for. Find the most relevant information, video, images, and answers from all across the Web.
This is a great story I ran across while reading my morning web:

Old college buddies offered record contract after viral video
Good Morning Yahoo!
Eddie T. Ellis 3rd December 2008 11:18 PM

Hey everyone!

The Official Eddie T. Ellis myspace is launched! Let me know what you think and any changes needed.

Eddie - Eddie T. Ellis - Detroit, Michigan - Rock / Pop / Blues -
General Forum 22nd November 2008 03:09 PM
Quote: - Free music downloads, radio, lyrics, songs, and playlists

Free mp3 downloads. Download songs and play radio; with lyrics, news, bios, photos, music videos, and playlists.
MP3 Music Downloads - Buy MP3 Music Online - Digital Music DownloadsMP3 Music Downloads - offers links to legal digital music downloads from a wide variety of services. Buy MP3 music online from your favorite artists ...MP3 Music Downloads - Buy MP3 Music Online - Digital Music Downloads
DreamSound 29th September 2008 11:34 PM
Hi guys,

I've been producing a few artists lately and I think our projects are coming along very well. I started a website to promote them and while working on it I've been visiting other websites alike that promote independent artists. On this other sites (like I've only found lots and lots of low quality music and now I'm afraid my artists won't be able to breakthrough that cloud.

If you have a chance go to our new website: Independent Era and give us some comments on what we could do to set ourselves apart from the rest.

Also, let me know if there are any websites out there with quality independent music that we can go visit. Maybe I'm just looking at the wrong sites.
Clueless 13th September 2008 01:36 PM
Peter Gabriel | Gabriel Considers Studio Show For Fans | Contactmusic

Gabriel Considers Studio Show For Fans | Peter Gabriel Is Considering Turning An Upcoming Recording Session At His Real World Studios Into An Intimate Gig After The Incredible String Band Did Just That To Cover The Costs Of A Recent | Contactmusic
According to this source, Peter Gabriel said:
“The Incredible String Band wrote to their fans on their website and sold admission to their recordings… and that gave them the budget to purchase the studio time. They created a mini-economy based on 120 people.”
I have been writing about this very economic model as the one I plan to use in my studio, so am happy to see the likes of Peter Gabriel trying it out. More on my blog...

How many of you think this is a practical model for your work? Are you most constrained by:
  • Lack of bands that can actually play?
  • Lack of space for both bands and fans at the same time?
  • Lack of fans that can afford $100-$500 each for an experience?
  • Lack of reputation as strong as PG/Real World?
  • Other?
  • None of the above--I'm doing it now, or gonna do it soon!

audiovisceral 28th August 2008 02:01 AM
More Artists Steer Clear of iTunes -

A growing number of record companies are starting to think Apple's iTunes service is crimping overall sales.
WSJ just put out a potentially very interesting article. Apparently, among other things, a lot of the companies want Apple to charge more than 99 cents per song. Unfortunately, WSJ doesn't sell individual articles so you need an $85 annual subscription to see it. Anyone?

Free Preview -

Record Labels Skip Apple's iTunes

By Ethan Smith and Nick Wingfield

Word Count: 1,527 | Companies Featured in This Article: Apple, Warner Music Group, Wal-Mart Stores, Yahoo,

ITunes has been the runaway hit of the music business, selling more than five billion song downloads since it started five years ago. But a growing number of record companies are trying to steer clear of Apple Inc.'s behemoth music store, because they think that in some cases it's crimping overall music sales.

Kid Rock's "Rock 'n Roll Jesus" album was kept off iTunes' virtual shelves. It has nonetheless sold 1.6 million copies in the U.S. since its release last year -- a sizable number for the depressed music industry. Sales of the album have increased in 19 of the ...
Just found the story's being picked up elsewhere:

Music Labels Rethink iTunes, Again; Same Old Gripe of Album vs Singles

By Rafat Ali - Wed 27 Aug 2008 05:07 PM PST

This has become the equivalent of first snowfall stories that local TV news stations do every year: this gripe against Apple (NSDQ: AAPL) iTunes has been trotted out every year for the last five years or so, and now WSJ spends tons of words to rehash it again, though with some new twists. This time, like before, the argument is that labels would like to sell the albums as a unit instead of singles, and the new part is that some of them are beginning to bypass the iTunes behemoth distribution machine. Apple insists that labels can’t sell the whole album as a unit, and has also stuck, for the most part, to its 99 cent-per-song philosophy, which labels have fought against. Another gripe: Apple often asks for exclusive sales rights for songs in exchange for prominent placement on its home page.

Now, a new example has emerged that runs counter to the Apple monopoly: Kid Rock’s Rock ‘n Roll Jesus album was kept off iTunes, but managed to sell 1.6 million copies in the U.S. since its release last year, a sizable number in these times for the record industry. Seeing that example, his label Atlantic Records (owned by Warner Music) last week yanked an album by R&B singer Estelle from the iTunes Store, four months after it went on sale there. Warner’s rationale? It called the removal part of a broad range of digital-release strategies “uniquely tailored to each artist and their fan base in an effort to optimize revenues and promote long-term artist development,” the WSJ story quotes.

But this is risky—first, by dissing Apple, and secondly by keeping songs off the biggest music service, users may go off looking for illegal downloads instead. Then there’s the little matter of consumer preference: the majority have shown preference for buying singles than albums.

In any case, trying to develop alternatives to monopoly distribution is always admirable, and indeed, desirable in the long run, but the more pertinent question is: if not iTunes, then what? Wal-Mart (NYSE: WMT) is not feasible for every artist or label, and retail sales is on a declining curve. Amazon+Rhapsody+Napster can maybe have the reach, someday, but not the awareness or promotional value. On the mobile side, operators and Nokia (NYSE: NOK) can put up their hands, but the reality is it is not happening on any scale in U.S., yet. The only other alternative left is working through scaled social networks like MySpace. Maybe MySpace Music, when it launches next month, will be able to become that other big alternative the music industry wants…
Music Labels Rethink iTunes, Again; Same Old Gripe of Album vs Singles |
willerichey 8th August 2008 06:57 PM
Warner Music: Music Video Games Must Pay More | News @ Ultimate-Guitar.Com

Warner Music Group Corp said that video game makers will need to pay more to license songs for music-based video games.
Warner Music: Music Video Games Must Pay More | News @ Ultimate-Guitar.Com

Not sure if I took this comment the right way, but it kind of annoyed me.

Isn't the bottomline mentality what got the music industry into this mess?
Deleted bd1be4f 2nd August 2008 01:23 AM
Oh, What a Mangled Web We Leave | Cover Story | Nashville Scene

After flirting with fame and fortune, Nashville's most decadent local rockers The Pink Spiders lost a major-label deal and two of the three founding members—so now what?
Read and enjoy the music industry clichés...

Oh, What a Mangled Web We Leave, page 1 - News - Nashville Scene
travisbrown 29th July 2008 06:05 PM
Lyle Lovett sells millions, earns nothing | Reuters

DETROIT (Billboard) - Lyle Lovett says he has never made a dime from album sales during his two-decade career, and hopes to rectify that situation when his contract expires.The eclectic country singer
I've always wondered how Lyle Lovett made money off his albums since I figured his roster and production costs must be astronomical.

I saw him the other night here in Vancouver. 22 people on stage (23 when Shawn Colvin came out to do a couple duets). Few really heavy hitters like Russ Kunkel on drums, Viktor Krauss on bass, and Sweet Pea Atkinson/Harry Bowens/Willie Greene Jr. on BGs (oh, and the 8 piece gospel ensemble). The pianist's name slips my mind (not Matt Rolling), but was a world-class player. Makes me wonder how he makes money on tour either. Payroll must be huge.

For all those complaining about not making enough money off album sales:

Lyle Lovett sells millions, earns nothing | Entertainment | Reuters

Lyle Lovett: My Label Must Embrace Technology | Listening Post from

But, I'm glad there is someone with talent out there who puts his love for making great music and playing with musicians and friends he obviously admires beyond merely making money. He did infer a couple times during the show that touring is when he gets to reconnect with friends and that he's glad that he's able to do what he loves most. A most humble but exacting artist.
moi 9th July 2008 11:22 PM

I recorded an instrumental cover on famous LZ song. I’d like to distribute it as digital download only in the US (I live in Russia). Publisher (Warner/Chapel) said ok on getting license through Harry Fox agency. But as contacted them a problem occurred since I’m not the US resident. Check below the reply from HFA:

HFA can only issue licenses for recordings made and distributed in the U.S., or for recordings imported into the U.S. If you are manufacturing your CDs in another country, we suggest you contact the mechanical rights society in that country: [insert correct society and email here].
If you are importing recordings into the U.S., and you have a U.S. address, you will need to obtain an Import Mechanical License. Applications are available on our website at Licensee Digital Import. If you do not live in the U.S., you cannot obtain the import license from HFA. Again, you may wish to affiliate with a U.S. distributor who can license on your behalf.

Note: You can find out the country's mechanical rights association and website at Mechanical Rights Organizations.

Does mentioned above concern only actual CDs, cassettes, etc or mp3 downloads as well? Or I’m considered in my situation as “mp3 importer”?

I have a friend in the US, what if I apply his address for HFA. What problems can that cause? US taxes? Anything else?

Any other advise? Should I emphasize to HFA that I’m not importing anything “physical”, but mp3 downloads?
gsilbers 27th June 2008 06:01 AM
i hope the bill passes fast!

Senate Committee Approving AM-FM Royalty Bill | Threat Level from

and finally the RIAA is doing something...

their next move should be charge the tech companies for the money thier getting by
using our content (via piracy or else) for thier hardware products.
ClaySchmitt 17th June 2008 10:41 PM

I am looking to move to NYC(sound familiar) and pick up a good assistant job. I have one commercial pop rock album under my belt that I am quite proud of. I acted as producer, recording engineer, mixer and mastering engineer. I also have experience with commercial work, including writing, performing, recording, mixing, mastering, sound design, for a 2 week long, international spot for Mountain Dew.

I figured I would throw up a thread here asking two questions:

1.) Do you work at top studio in NYC that would be able to utilize a very motivated guy holding a degree in sound design?


2.) What studios should I be checking out for pop and rock music in the NYC area?

I am very confident in the training and developement of my ears thus far and think that I have a lot to offer. I would love the opportunity to work under master engineers, and I am willing to brew up a mean cup of coffee if I have to. Though I am concerned with being able to earn enough money for a 1 bedroom studio, I am more interested in the experience I would gain at this point.

One thing I will offer is: Because I am not currently in NYC, if you are interested and would like to send me a list of questions I will answer them in a short video and place in on youtube. Ask anything from why do you want this job? to if you were an animal. I don't mind.

Here is a link to my resume. Please ask if you would like to hear the album I just finished or any other samples of my work. I have excellent references as well.

RapidShare: Easy Filehosting

Clay Schmitt
[email protected]
Crandak 24th May 2008 09:40 PM
Encryption Chip Will End Piracy, Says Atari F - Video Game News, Videos and File Downloads for PC and Console Games at

At yesterday's Wedbush Morgan Securities conference, Atari founder Nolan Bushnell claimed that a stealth encryption chip will "absolutely stop...
This looks promising although he said that music and movie piracy will continue unabated. Hopefully it's a first step to an integrated chip that will stop music and movie piracy.
theGeek 19th May 2008 02:53 AM
so i've been recording with a Line 6 TonePort UX8 since it came out and I've really been pleased. But now I'm interested in a control surface and i've stumbles across the following:
TASCAM FW1884 FireWire Audio/MIDI Interface and DAW Control Surface and more Sound and Recording Cards / Audio Interfaces at

or the:
M-AUDIO - ProjectMix I/O - Control Surface with Motorized Faders and 18 x 14 Audio Interface

I'm not hell-bent on making the switch. I'm just curious if anyone has used this product or one like it.

Also, do you recommend keeping my recording interface and controller separate or is an "all in one" system like this good idea.
noiseflaw 15th May 2008 01:19 PM
Piracy growing as fewer fans buy downloads | Technology | The Guardian

Record labels are losing the battle against digital piracy as the number of people who download songs legally falls back. By Owen Gibson
Piracy growing as fewer fans buy downloads | Technology | The Guardian


Originally Posted by The Byre View Post
I suggest some of you read this report, before commenting -

Apple, Tesco 'most to blame' for music biz crisis | The Register

Sui_City 5th May 2008 10:12 AM
Here we go again. [download]- the slip
Gatorgabe 18th April 2008 04:20 PM
Rick Rubin’s Favorite Albums of All-Time

Official Gibson site: The favorite albums of Rick Rubin. The Beatles White Album, Neil Young: After the Gold Rush, Black Sabbath: Black Sabbath, AC/DC: Highway to Hell, Run-D.M.C: Run-D.M.C., Gang of Four: Entertainment, The Ramones: Ramones
If you've ever wondered what production God Rick Rubin like album wise, then wonder no more ... I was surfing the net and found this article where he talks about his 10 favorite albums of all time ... I think people will be surprised at his favorites ... check it out ...

Rick Rubin’s Favorite Albums of All-Time
TheRealRoach 28th March 2008 11:47 PM
Radiohead | Free Music, Tour Dates, Photos, Videos

Radiohead's official profile including the latest music, albums, songs, music videos and more updates.
Radiohead's newest single "Bodysnatchers" is all over the local alternative rock station in Toronto. After listening to it a few times I noticed a wild similarity between that tune and Pearl Jam's similar offerings such as "Do the Evolution".

Eddie could easily be heard singing Bodysnatchers, and likewise, Tom could pull off Do the Evolution.

I'm a fan of both bands but I never thought i'd find myself comparing the two.
SeanBlack 6th March 2008 05:48 AM
Canadian Music Week 2013

Celebrating 31 years, Canadian Music Week is Canada’s leading annual entertainment event dedicated to the expression and growth of the country’s music, media and entertainment industries. Combining four information-intensive conferences; a trade exposition; a film festival; a comedy festival; four awards shows and the nation’s largest New Music Festival – Canadian Music Fest – CMW spans a five-day period from March 20 to March 24, 2013 at the Fairmont Royal York Hotel and over 60 various downtown Toronto venues, attracting participants from across the globe.
Wednesday, Mar 05, 2008
Executives at Canadian Music Week discuss new business landscape

Cassandra Szklarski, THE CANADIAN PRESS

TORONTO - The CD is on death's door. New bands are doomed. So say some industry insiders as the country's new music festival, Canadian Music Week, launches Wednesday with some 500 bands in search of stardom, or at least a steady paycheque.

With record sales declining and unauthorized downloads the norm, making it big isn't what it used to be, says uber-manager Bruce Allen, whose superstar roster includes Michael Buble, Anne Murray and Bryan Adams.
"I would hate to be a young band today, battling," says Allen, who admits he measures success by securing arena-selling tours. "They'll make a living. If that's your goal, to make a living, then good for you. But that ain't my goal."

The days of monster tours could well be over in a couple of decades, he suggests, struggling to come up with a list of contemporary acts that could one day match the ticket sales of the Police, Elton John, the Eagles or Bruce Springsteen.

Allen, who will be presented with an achievement award Wednesday by the Music Managers Forum of Canada, says his biggest struggle has been to wrap his head around the technological changes that have overhauled the music business.

"If somebody had a video camera (at a concert) we used to go out there, take the video camera off him and smash it," he notes.

"Now you can sit there and everybody's got a mobile phone and they're taping the show and this and that and we just let it go now. The biggest thing I think now is content, content, content. It used to be: 'No mystique, big mistake.' I have to try to embrace these carriers and get to a point where I'm not going to freak anymore if the music's out there and I didn't get paid for it."

That means things like getting a professionally shot video to post on the Web, participating in online-only concerts, or releasing special remixes online.

"The record side's tough now," he says.

"Michael Buble's selling five million records in this era. He probably would have been selling 15 million if it was in the '70s and '80s, in the heyday. My style hasn't changed much but my ability to adjust to the new technology and understand it is difficult and I'm really learning all the time."

Nettwerk honcho Terry McBride is often regarded as one of the few music executives at the forefront of the digital wave, most notably by opposing the major label battle to litigate unauthorized music downloads.

The secret to coping with declining CD sales is a little imagination, says McBride, boasting that 60 per cent of Nettwerk's record sales came from digital revenue last year.

"Most of the business is focused upon protecting, to the best of their abilities, old ways of doing things," says McBride, who will be inducted into the Canadian Music Industry Hall of Fame on Thursday as part of the CMW festivities.

"(For us), it sometimes means that we release an album digitally three or four months ahead of releasing it physically and let the music grow enough that when we do release it physically, it actually has a standing chance."
McBride, whose management roster includes such heavyweights as Avril Lavigne, Sarah McLachlan and Barenaked Ladies, says he "absolutely" sees the possibility of one day not even releasing a physical CD at all.

Nettwerk's folk-pop band the Weepies saw 80 per cent of their music sales come through digital sales, he says. The CD sold roughly 25,000 copies.
"At one point don't you release a CD to the statistical regional market and just have it be a sort of mail-order or a sort of print-on-demand situation?" he says.

"We're going to see a major shift within inside the video business where you're not going to have Blockbuster having 50,000 titles. They're going to have a million titles and as you want to buy it or rent it, it'll be custom-burnt right at the front desk."

Little labels are struggling with the changing landscape too, says Sloan guitarist Jay Ferguson, who runs the murderecords with his three bandmates.

The rock band, whose poppy hits "Underwhelmed," "The Good in Everyone," "Money City Maniacs," earned them both college and mainstream followings, started the label in the '90s with releases by acts including the Inbreds, Local Rabbits, Superfriendz and Thrush Hermit.

"Back in the '90s we would send the records to college radio, make some posters and they would go on tour. And back then we would make videos as well, too, which was when MuchMusic still played a lot more videos in rotation," says Ferguson.

Today, one of their main promotional outlets has been small, indie music blogs.

"I literally would just write them and say, 'Hey man, I like your blog.' And sometimes they would write back and say, 'Hey are you Sloan?"' he says laughing. "And I would go, 'Yeah, do you want to hear....?"

But despite all the new avenues for breaking an act, it still comes down to the music, says Ferguson, who hosts a murderecords showcase with his bandmates on Thursday.

"There's still nothing better than seeing a band play live. I think that's the best promotion you can do."

Big-name guests set to take part in CMW shows and seminars this weekend include Bob Lefsetz, Alanis Morissette, Moby, Lowest of the Low, RZA and KRS-One.
On the Net: Rogers MusicStore CMW 2008
Joram 3rd March 2008 11:05 PM

I'm not really fond of the idols-formula but nevertheless, this finalist deserves a little attention. She is singing a song which will be released sang by the winner, (which she isn't by the way)
YouTube - Nathalie - Hello World - Idols 2008 Finale
Sui_City 3rd March 2008 10:54 PM
I'm suprised there's no thread on this yet.

Ghosts - Splash

So, another new album. Instrumental. 36 Tracks. 4 Parts. First nine songs are officially available through torrents.

So, what now?

I kind of feel like: "Who cares?"

It's like Trent is devaluing his music by releasing so much of it so often. It feels like the rest of the market with just so much stuff available, and the question for me is: How much of it is any good?

Obviously the answer to that is personal.

I don't know. Whatever.

Jules, move this if it needs to be moved.
duvalle 29th February 2008 05:58 PM
With a simple fiddle you can top the charts - Technology -

Former music industry insider reveals how simple it is for Australian record companies to manipulate digital music download charts. - The Sydney Morning Herald
A former music industry insider and academic has shown how simple it is for Australian record companies to manipulate charts of top-selling digital music downloads without being caught.

With a simple fiddle you can top the charts - Technology -

Search Articles

Article Forum v1.9 Copyright by BananaLive