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Indian E-music – The right mix of Indian Vibes… » 2018 » March » 13


SynthScaper update brings the neural networking designer tool to iPhone users

Delivered... Ashley Elsdon | Scene | Tue 13 Mar 2018 11:00 pm

SynthScaper is one of 3 experimental music apps from iMusicAlbum, the other two being FieldScaper and SoundScaper (both worth checking out by the way). In version 1.3 of SynthScaper, the developer added a new tool, Designer, which was for iPad only initially. Designer is intended to automatically generate and tweak new presets and scenes. Using a neural network the Designer generates new presets based on already existing presets by adding some random variations and checking the result so that the new preset remains similar to the selected pattern.

This update (version 1.4) adds the Designer tool to iPhone version.

Also in this update:

  • Added new scenes and presets.
  • Added a lot of new samples in the built-in library.
  • The Designer tool now available for iPhone version.
  • Improved the option autotune for samples.
  • Optimization for use on iPhone X.
  • Audiobus SDK updated.
  • Several minor bugs were fixed.

SynthScaper is available on the app store and costs $14.99

The post SynthScaper update brings the neural networking designer tool to iPhone users appeared first on CDM Create Digital Music.

Roli updates their Noise app and makes it easier to use and easier to learn

Delivered... Ashley Elsdon | Scene | Tue 13 Mar 2018 10:33 pm

Since Roli launched their Noise app back in December 2015 they’ve consistently brought updates to it. They now refer to it as an instrument and a studio all in one, and I guess that it is. You can use Noise all by itself as a stand alone app for making music, and if you have a device with 3D Touch then you’ll get even more out it. If you have any of Roli’s Blocks units then the app is even more useful.

In this latest release Roli have added:

  • New Tutorial Videos located in the new Learn tab in Discover where you can get tips and tricks suggest as how to play and record loops
  • New Extended Tool Tips Roli have now added these throughout the app so if you ever get stuck, all you need to do is to just tap the ‘?’ icon to learn what’s what

Plus they’ve added a few other improvements and fixes include:

  • Updated accounts settings page to show which account you are logged in with
  • Fixed pitch range issue with drum sounds
  • Fixed issue with undo during overdubbing
  • Various other small bug fixes

Roli’s Noise app is free on the app store with an in app store for content packs

The post Roli updates their Noise app and makes it easier to use and easier to learn appeared first on CDM Create Digital Music.

Solve for “X”:  NFL is to Super Bowl® as USOC is to Olympics® as NCAA is to X® (There Is More Than One Correct Answer!) – Trademarks and March Madness

Delivered... Mitchell Stabbe | Scene | Tue 13 Mar 2018 9:17 am

It was almost exactly one year ago that we reported that the National Collegiate Athletic Association filed a trademark infringement action in federal court against a company that ran online sports-themed promotions and sweepstakes under the marks “April Madness” and “Final 3.”  The NCAA prevailed because the defendant entered into an agreement not to use the marks, but failed to file an answer to the complaint.  A default judgment was entered.  On February 23, 2018, the NCAA filed a motion requesting an an award of attorneys’ fees against the defendant in the amount of $242,213.55.

The amount of attorneys’ fees incurred in a case that was resolved with relatively little resistance illustrates the level of importance that the NCAA places on taking action against activities that “play off” the NCAA Collegiate Basketball Playoffs.  Clearly, such activities continue to carry great risks.  Accordingly, following is an updated version of last year’s blog post on this subject.

With the NCAA Basketball Tournament about to begin, broadcasters, publishers and other businesses need to be wary about potential claims arising from their use terms and logos associated with the tournament, including March Madness®, The Big Dance®, Final Four® or Elite Eight,® each of which is a federally registered trademark.

The NCAA Aggressively Polices the Use of its Trademarks

The NCAA states that $821.4M of its annual revenues derives from the Division I Men’s Basketball Tournament.  Moreover, its returns from the tournament have historically grown each year.  Most of this income comes from broadcast licensing fees.  It also has a substantial amount of revenue from licensing March Madness® and its other marks for use by advertisers.  As part of those licenses, the NCAA agrees to stop non-authorized parties from using any of the marks.  Indeed, if the NCAA did not actively police the use of its marks by unauthorized companies, advertisers might not feel the need to get a license or, at least, to pay as much as they do for the license.  Thus, the NCAA has a strong incentive to put on a full court press to prevent non-licensees from associating their goods and services with the NCAA tournament through unauthorized use of its trademarks.

Activities that May Result in a Whistle

The NCAA acknowledges that media entities can sell advertising that accompanies the entity’s coverage of the NCAA championships.  Even so, as discussed in greater deal in our earlier discussions of the “Do’s and Don’ts” of Super Bowl– and Olympics-related promotions, unless authorized by the NCAA, any of the following activities may result in a cease and desist demand:

  • accepting advertising that refers to the NCAA, the NCAA Basketball Tournament, March Madness, The Big Dance, Final Four, Elite Eight or any other NCAA trademark or logo (The NCAA has posted a list of its trademarks here.)
    • Example: An ad from a retailer with the headline, “Buy A New Big Screen TV in Time to Watch March Madness.”
  • local programming that uses any NCAA trademark as part of its name
    • Example: A locally produced program previewing the tournament called “The Big Dance:  Pick a Winning Bracket.”
  • selling the right to sponsor the overall coverage by a broadcaster, website or print publication of the tournament
    • Example: During the sports segment of the local news, introducing the section of the report on tournament developments as “March Madness, brought to you by [name of advertiser].”
  • sweepstakes or giveaways that include any NCAA trademark in its name
    • Example: “The Final Four Giveaway.”
  • sweepstakes or giveaways that offer tickets to a tournament game as a prize
    • Example: the sweepstakes name may not be a problem, but including game tickets as a prize will raise an objection by the NCAA.
  • events or parties that use any NCAA trademark to attract attendees
    • Example: a radio station sponsors a happy hour where fans can watch a tournament game and prominently places any of the NCAA marks on signage.
  • advertising that wishes or congratulates a team, or its coach or players, on success in the tournament
    • Example: “[Advertiser name] wishes [Name of Coach] and the 2018 [Name of Team] success in the NCAA tournament!”

There is one more common pitfall that is unique to the NCAA Basketball:  tournament brackets used in office pools where participants predict the winners of each game in advance of the tournament.  The NCAA’s view is that the unauthorized placement of advertising within an NCAA bracket or corporate sponsorship of a tournament bracket is misleading and constitutes an infringement of its intellectual property rights.  Accordingly, it says that any advertising should be outside of the bracket space and should clearly indicate that the advertiser or its goods or services are not sponsored by, approved by or otherwise associated with the NCAA or its championship tournament.

Note that none of these restrictions prevents media companies from using any of the marks in providing customary news coverage of or commentary on the tournament.  Just be sure that they are just used to identify the tournament and its stages, and don’t in any way imply that there is an association between the station itself or any sponsor who does not have the rights to claim such association and the NCAA.  The NCAA’s Advertising and Promotional Guidelines are available for review online.

A Surprising History of “March Madness”

The NCAA was not the first to use “March Madness” as a trademark in connection with basketball tournaments.  In fact, beginning in the 1940’s, the Illinois High School Association (IHSA) used it in connection with the Illinois state high school basketball championship playoffs.

The NCAA also may not have been the first to license the use of “March Madness.”  Beginning in the early 1990’s, the IHSA licensed it for use by other state high school basketball tournaments and by corporations.

Moreover, the NCAA did not originate the use of “March Madness” to promote its collegiate basketball tournament.  Rather, CBS broadcaster is credited with first using “March Madness” in 1982 to describe the tournament.  As CBS was licensed by the NCAA to air the tournament, the NCAA apparently claims that as its date of first use.

Finally, the NCAA was not the first to register “March Madness” as a trademark.  That honor went to a company called Intersport, Inc., which used the mark for sports programs it produced and registered the mark in 1989.

So, how did the NCAA get to claim ownership of the March Madness® trademark?  The short answer is through litigation and negotiations over a period of many years.  Although it has also been able to obtain federal registrations for Final Four® and Elite Eight,® it was late to the gate and was unable to snag “Sweet Sixteen” or “Sweet 16,” which are registered to the Kentucky High School Athletic Association (KHSAA).  (The NCAA, however, has the KHSAA’s consent to register “NCAA Sweet Sixteen” and “NCAA Sweet 16.”)

The Final Score

Having invested so much in its trademarks, the NCAA takes policing its trademark rights very seriously.  Even so, although the NCAA may send a cease-and-desist letter over the types of activities discussed above, some claims may not be a slam-dunk as there can be arguments to be made on both sides of these issues.  If you plan to accept advertising incorporating an NCAA trademark or logo or plan to use an NCAA trademark or logo other than in the context of reporting on the tournament, you should consult with an experienced trademark attorney so you can make an informed decision about the level of risk that you may be taking on.

Wahnsinn oder Wirklichkeit?

Delivered... norient | Scene | Tue 13 Mar 2018 7:00 am

Im Video zum Stahlberger-Song «Du verwachsch wieder nume i dinere Wonig» verwischt Regisseur Jovica Radisavljevic die Grenzen von Realität und Wahn. Hier erzählt er, wie es dazu kam und was es heißt, mit Minimal-Budget maximal kreativ zu sein. Aus dem Norient Buch Seismographic Sounds (hier bestellbar).

Still aus Stahlberger (Musik), Jovica Radisavljevic (Video): «Du verwachsch wieder nume i dinere Wonig» (Schweiz 2014)

Die Anfrage von Stahlberger, ein Musikvideo zu «Du verwachsch wieder nume i dinere Wonig» zu drehen, hat mich während einer zweimonatigen Asienreise erreicht. Ich habe sofort zugesagt und bin mit dem Song im Gepäck weitergereist. Immer wieder habe ich den Song angehört und mich gefragt, wie diese Geschichte einer Flucht aus Alltag und Realität in ein Musikvideo umgesetzt werden könnte: Mir war von Anfang an klar, dass das Video furztrocken sein musste. Das passt zu Stahlberger und ihrem einzigartigen Humor. Ich hatte das Bild eines «geistig angeschlagenen» Protagonisten im Kopf, alleine in einem kargen Raum. In welchen Kontext setzen wir diese Person? In ein Gefängnis? Zu übertrieben! In ein Treffen der Anonymen Alkoholiker? Schauspielerisch zu anspruchsvoll! Die Flucht eines Schizophrenen im Auto? Zu teuer!

Zurück in der Schweiz habe ich die Ideen mit dem Kameramann Aron Marty diskutiert, der mit mir dann auch die Crew bildete. Gemeinsam sind wir auf die Idee mit dem Psychologen gekommen. Denn wo verarbeitet man eine Situation, wenn man mit der Gesellschaft oder dem Alltag nicht mehr klar kommt? Ein Setting, das ideal zum Song passt. Dass Manuel Stahlberger als Kopf der Band den Patienten spielen musste, lag auf der Hand. Die Rolle des Therapeuten haben wir dem Bassisten Marcel Gschwend alias Bit-Tuner zugeteilt, der auch innerhalb der Band immer mal wieder den Band-Papa gibt. Und die übrigen Bandmitglieder? Einerseits haben wir sie in den Warteraum der Praxis gesetzt und andererseits mit ihnen diese abgespacten Refrain-Teile inszeniert, die die trockenen Strophen der Realität mit einem schrillen Traum kontrastieren. Das ist ein Grundthema von Video und Song. Man ist sich nie sicher: Ist das jetzt schon Wahnsinn oder immer noch Wirklichkeit? Die Grenzen verwischen, etwa wenn sich ein Käfer aus der Tapete löst und quer über die Wand krabbelt.

Material und Requisiten haben wir an unserem Drehort – eine leerstehende Fabrikhalle –, in umliegenden Brockenstuben und Einrichtungshäusern zusammengesucht, drei Räume bildeten die Szenerie: ein Wartezimmer, ein Behandlungsraum und ein Greenscreen. Der Drehtag hat schliesslich fast 15 Stunden gedauert, und trotzdem war die Stimmung stets heiter. Immer wieder sind Leute vor die Linse gesprungen und man musste die Einstellung wiederholen. Oder wir haben unter dem Vorwand, dass der Take noch immer nicht gut sei, Marcel so lange genötigt, Magnesium zu schnupfen, bis er nicht mehr konnte.

Wir haben viel diskutiert: Warum machst du das jetzt so und nicht anders? Wie sollte der Gesichtsausdruck sein? Was schreibst du in dein Notizbuch? Vieles entstand spontan und ohne Drehbuch. Die Band hat vor dem Dreh von uns nur eine grobe Kurzbeschreibung des Videos bekommen, verbunden mit der Aufforderung, einen Koffer mit allen möglichen Kostümen und Kleidern mitzunehmen. Damit haben wir dann experimentiert. Anderes, wie etwa die Tanzeinlagen des Refrains, entstanden aus der Müdigkeit. Selbst in der Postproduktion habe ich vieles spontan entschieden: Bei der Ästhetik der Refrain-Teile habe ich mich etwa vom wunderbaren Musikvideo «My People» von The Presets inspirieren lassen. Verdienen lässt sich an so einem Projekt übrigens kaum etwas. Uns ist es auch nie ums Geld gegangen. Vielmehr darum, etwas zu tun, was man komplett, von A bis Z, selbst auf die Beine stellt. Die Band hat uns da völlig freien Spielraum gelassen.

Dieser Text wurde erstmals publiziert im zweiten Norient Buch «Seismographic Sounds». Klicke auf das Bild, um mehr zu erfahren.

Mehr zum Thema auf Norient

> Benedikt Sartorius: «Das Musikvideo auf der Couch»
> Christoph Fellmann: «Gefangen in der Schweiz»
> Christoph Fellmann: «Melancholie, zu der man tanzen kann»

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