Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » 2018 » May » 11

FCC Opens Rulemaking Proceedings on the Processing of Interference Complaints for FM Translators and Eliminating the Posting of Licenses at Broadcast Control Points

Delivered... David Oxenford | Scene | Fri 11 May 2018 4:42 pm

At yesterday’s FCC open meeting, the Commission commenced two proceedings of interest to broadcasters. The first deals with the processing of complaints of interference caused by new FM translators. The second proposes to eliminate the need for the posting of station licenses and other FCC authorizations at the control points of broadcast stations. Comments dates in each proceeding will be computed from the publication of these orders in the Federal Register, which will occur at some point in the future.

In each case, the FCC essentially adopted without significant revision the draft notices that were released several weeks ago. The Notice of Proposed Rulemaking (available here) on translator interference standards sets out proposals for the minimum number of listeners who would have to complain before an interference complaint would be processed, and suggests limiting complaints of interference to those that arise within the 54 dbu contour of the primary station complaining about the interference. We wrote in more detail about the FCC’s proposals in our summary of the draft notice, here.

The Notice of Proposed Rulemaking on eliminating the posting of FCC authorizations (available here) suggests that posting the FCC authorizations at a station’s control point serves no real public interest purpose, as members of the public are unlikely to have access to that location, and as all the information in those authorizations are available on the FCC’s website. The FCC also proposed to eliminate the requirement that FM translators post information about the licensee of the translator at the transmitter site for the station. Our article about this proposal when the draft was released of this action being taken as part of the FCC’s Modernization of Media Regulation Initiative is available here.

Comments on each proposal will be due 30 days after that proposal is published in the Federal Register. Reply comments on the translator interference proposals will be due 60 days after Federal Register publication. Only 15 days will be provided for reply comments on the posting of licenses – making those comments due 45 days after Federal Register publication.


Senate to Hold Hearing on May 15 on Music Modernization Act

Delivered... David Oxenford | Scene | Fri 11 May 2018 4:38 pm

The week before last, we summarized the provisions of the Music Modernization Act as passed by the House of Representatives. The Senate is now poised to take up this legislation in a hearing scheduled by the Senate Judiciary Committee for next Tuesday, May 15. The legislation proposes, among other things, to set up a SoundExchange-like collective for the collection and payment of mechanical royalties due under Section 115 of the Copyright Act and to create a digital public performance right in pre-1972 sound recordings (ending some of the litigation that has arisen in recent years on that issue). Our summary provides more details on these issues and highlights some of the other issues addressed by this bill.

The consideration of the bill by the Judiciary Committee is the next step to the bill becoming a law. The hearing will feature representatives of several groups directly affected by the legislation – including David Israelite, the CEO of the National Music Publishers Association (NMPA represents publishing companies that usually hold the copyrights to musical compositions); Chris Harrison, the CEO of the Digital Media Association (DiMA represents digital music services like Spotify, Pandora and Apple Music); and Mitch Glazier, the President of the Recording Industry Association of America (RIAA represents the major record labels who usually own the copyrights to the sound recordings – the compositions as recorded by particular performers). Members of DiMA and the RIAA pay mechanical royalties. Members of NMPA collect those royalties. Thus, these groups are directly affected by the Music Modernization Act. Songwriters and performers, including Motown legend Smokey Robinson, will also testify at the hearing. A full list of the participants can be found on the Judiciary Committee’s website, where video of the hearing will also be available next week.

After the hearing, the Judiciary Committee will likely hold a “mark-up” session to consider the bill and any amendments that may be proposed by Committee members. If the Committee adopts the bill without changes from the House version, it would need to be adopted by the Senate before the end of this legislative term (by January when the new Congress is sworn in) and signed by the President, or both the House and Senate will need to start over from scratch. Watch for more developments next week and in the upcoming months.

Yamaha just bought amp and pedal maker Ampeg

Delivered... Peter Kirn | Scene | Fri 11 May 2018 2:48 pm

Yamaha’s guitar group is growing. Alongside products on their own brand and Line 6, they now will own one of the most legendary brands of all time: Ampeg.

That guitar group itself is nicely trans-Pacific, with co-presidents Marcus Ryle, formerly of Line 6, and Shoji Mita.

And Ampeg is quite the acquisition. The company originates in 1940s New Jersey, and includes a heritage of products like the SVT amp. They’re best known for bass amps, but they’ve long had a portfolio of respected guitar amps and a history of instruments. Lately, that has rebooted some classic monikers for amps, alongside pedals.

The deal also means that LOUD Technologies Inc. – the company formerly known as Mackie Designs (as in the mixers) – will unload Ampeg, which it has owned since its 2005 purchase of Saint Louis Music.

Basically, you should expect to see Ampex’s amps (and presumably pedals, too) slotted in alongside Yamaha’s bass guitars and the full fleet of Line 6 modeled amp and effects products. Maybe down the road we’ll see an Ampex with built-in modeled Line 6 stuff. That’d have a nice historical precedent, as Ampex was the first company ever to add reverb to an amp internally, back in the 60s.

Now, we just have to wait to find out whatever the heck is happening over at Gibson.



The post Yamaha just bought amp and pedal maker Ampeg appeared first on CDM Create Digital Music.

War in the Mix by Bernard Clarke

Delivered... norient | Scene | Fri 11 May 2018 1:39 pm

War is the biggest and most horrible drama of human kind. Yet the noises of war — everything from swords clanging to modern machine guns and bombs — have fascinated musicians and composers for centuries. For his mix for the section «war» from the Norient exhibition Seismographic Sounds the Irish radio journalist Bernard Clarke combined radio news samples with musically deconstructed war sounds.

War (Introduction from Seismographic Sounds)

War is the biggest and most horrible drama of human kind. Yet the noises of war — everything from swords clanging to modern machine guns and bombs — have fascinated musicians and composers for centuries. War games become bestsellers and images of child soldiers circulate around the world within seconds. How can musicians oppose this? Songs against violence? Subcultural noise against omnipresent propaganda? Parodies on dictators and warlords? Every artistic counter-position is quickly accused of «naïve activism,» «opportunism» or of «making profit of someone else’s blood.». This chapter leads us to the British electronica artist Matthew Herbert and Irish radio journalist Bernard Clarke who remix sounds from warfare into challenging audio pieces – and happy dance music. A main focus lies on underground artists from Israel who are opposing Israeli politics. Musicians in Egypt, the Ukraine and Lebanon discuss experiences with revolution and conflict. And we learn: gunshots can unite people, and it’s better to work with real blood than fake blood in video clips.

The mixtape was presented at the exhibition Seismographic Sounds.

> Read More on War on Norient

More Mixes from Seismographic Sounds

> Greg Feldwick: «Belonging in the Mix by Greg Feldwick (Slugabed)»
> Johannes Kreidler: «Money in the Mix by Johannes Kreidler»
> Lucia Udvardyova: «Strcprstskrzkrk»

TunePlus Wordpress Theme