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Indian E-music – The right mix of Indian Vibes… » 2020 » February » 18

SoundCloud mobile app is now an equal citizen – including enabling uploads

Delivered... Peter Kirn | Scene | Tue 18 Feb 2020 6:14 pm

SoundCloud have been gradually adding or restoring features to mobile users – and now uploading is available on iOS (and soon, Android).

I remember at some point, the fear of things like instant SoundCloud uploads was that users would dump a ton of horrible music on the service. But that really misses the point of a lot of why a lot of people presumably want this. (Well, plus, horrible music is not really something that can be avoided – let’s focus on where the good stuff goes.)


Let’s say you’re working on a project on the go, and want to send a bounce to a friend or a client. Or you’ve recorded some interviews, and you share with someone doing transcriptions. Oddly, the original purpose of SoundCloud when it launched eons ago was stuff like this – it was an escape from what was at the time using FTP and other draconian solutions.

Here’s how it works:

Uploads are now in the release of the SoundCloud app that’s out today for iOS; we’re waiting on an Android version.

But even if you don’t use that, SoundCloud have been fixing other features.

Track and profile management

January updates on iOS added other missing, oft-requested features – the ability to edit tracks, the ability to edit your profile, and the ability to change what’s in your Spotlight.

This stuff is really invaluable. I can’t count the number of times I bounced a master, sent it to someone via SoundCloud (so they had a quick player, which they don’t get if I use WeTransfer, for instance), and then needed to make an edit.

I’ve already been using this from essentially the day it came out. It’s not in the main SoundCloud app on Android yet, but was delivered at some point on SoundCloud Pulse, the creator-side app. (I just tried to check version history, but it’s fairly impossible to find. I do remember the SoundCloud app and Pulse app being frustrating when they both lacked this.)

You can’t upload from it, but Pulse does let you edit tracks, as here on Android. Sorry, real screenshot, real dumb working track title.

The same is true of managing your profile and spotlight. With so many platforms to juggle, and many of them (cough, Facebook) a total pain, the ability to quickly tweak your profile or what’s in your spotlight while you’re waiting for a bus is great.

(Note – waiting for a bus. Please don’t do this on the toilet. Gross.)

I’ve asked SoundCloud to let us know when to expect this on Android, and what the added features on the SoundCloud app itself mean for the Pulse app.

For now, Pulse remains useful for keeping tabs on interactions from other users and looking at stats.

SoundCloud hasn’t had the pace of innovation that marked its early years – nor, for that matter, would we say that I think of most of the social platforms we now use online. So I do suspect we’ll continue to hear some user gripes about the brand, particularly when we shell out money each month. On the other hand, some of that innovation was even more disruptive – like the removal of groups. I’m keen to hear more from what our neighbors in Berlin are up to, and whether it can serve what producers really want.

The post SoundCloud mobile app is now an equal citizen – including enabling uploads appeared first on CDM Create Digital Music.

Litigation Continues as Court Rejects GMR Motion to Dismiss RMLC Lawsuit – and RMLC’s Request to Dismiss GMR Claims

Delivered... David Oxenford | Scene | Tue 18 Feb 2020 5:52 pm

Global Music Rights, the relatively new performing rights organization that signed a number of composers of popular songs away from ASCAP and BMI in order to seek higher music royalties for the public performance of their works on radio stations and other media platforms (see our articles here and here), lost one round in its litigation with the Radio Music License Committee in RMLC’s attempt to bring GMR under some sort of rate review under the antitrust laws.  RMLC has alleged that GMR, by combining multiple artists in a single essentially take-it-or-leave-it package, is able to charge rates well above what any artists could receive on its own, thus violating the antitrust laws (see our articles here and here).  This is a theory like the one which lead to an arbitration with SESAC dramatically lowering royalty rates the radio industry pays to that organization (see our articles here and here).  In a decision released Friday, the Judge presiding over RMLC’s case rejected GMR’s arguments that the suit should be dismissed without a trial.   The Judge, in a short three-page opinion, said that viewed in their most favorable light to RMLC (which is the standard used in deciding on such motions), the facts alleged by RMLC were enough to support the claims it made in the lawsuit, so the case will go to trial.

But this is not necessarily a great victory, as the Judge notes that it remains to be seen whether, when the full facts are introduced at the trial and challenged by GMR, these facts will in fact be enough to sustain the claims of RMLC.  A similar finding was made in GMR’s countersuit – arguing that RMLC formed an illegal buyer’s cartel in violation of the antitrust laws by trying to negotiate royalty rates for most commercial radio operators (see our article here on that countersuit).  The Court rejected RMLC’s argument that the GMR suit should be dismissed, finding that there were enough facts raised to potentially support GMR’s claims, though also warning that it remained to be seen if, once the facts were presented and challenged at trial, whether they indeed would sustain GMR’s claims.

So the litigation continues.  As we have written before, the suit, unless settled, could take years to resolve.  Perhaps these decisions give both sides more reasons to think about a settlement as they know that they are looking at significant legal fees if the case goes to trial, with likely years of appeals after that.  Moreover, the Judge’s opinions show that both parties have significant stakes in any adverse decision – a finding that GMR’s structure violated antitrust law could be used as precedent by other music services to challenge the rates that it is imposing on them, while a finding against RMLC could undermine its negotiations on behalf of the radio industry on other music rights issues (though its position has never been found to be an issue in other cases where it has represented the commercial radio industry).  Once again, we will need to watch as this case slowly develops as trial preparation moves forward.


Delivered... Spacelab - Independent Music and Media | Scene | Tue 18 Feb 2020 4:00 pm
Pre-sale tickets are available in General Admission and VIP passes. The general on-sale starts on Feb. 21st at 10:00 AM EST.


Delivered... Spacelab - Independent Music and Media | Scene | Tue 18 Feb 2020 4:00 pm
Armin Van Buuren, Illenium, Marshmello and Martin Garrix headline! Camelphat, Ganja White Night, NGHTMRE, Malaa, Zomboy, Tiga and Boombox Cartel also top the list.


Delivered... Spacelab - Independent Music and Media | Scene | Tue 18 Feb 2020 4:00 pm
Tickets are already on sale, check back for the lineup!


Delivered... Spacelab - Independent Music and Media | Scene | Tue 18 Feb 2020 4:00 pm
BottleRock has 80+ bands on multiple stages with great sight lines. Red Hot Chili Peppers, Stevie Nicks, Dave Matthews Band and more.

Andrew Weatherall obituary

Delivered... Adam Sweeting | Scene | Tue 18 Feb 2020 2:54 pm

DJ and record producer whose work on Primal Scream’s 1991 album Screamadelica helped it win the first Mercury prize

The list of Andrew Weatherall’s achievements as DJ, musician, songwriter, producer and remixer could fill a hefty volume. His career took him from working as an acid house DJ in the late 1980s to being a celebrated remixer of tracks by Happy Mondays, New Order and Primal Scream. His production work on Primal Scream’s album Screamadelica (1991), creating a revolutionary mix of indie, hard rock, house and rave, helped the record to win the inaugural Mercury music prize the following year, and remains Weatherall’s most memorable calling card to a mainstream audience.

Then he moved on to an assortment of collaborative projects such as Blood Sugar, Two Lone Swordsmen and the Asphodells. More recently he had released a sequence of solo albums including Convenanza, Consolamentum (both 2016) and Qualia (2017).

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Andrew Weatherall: 10 of his greatest tracks

Delivered... Gabriel Szatan | Scene | Tue 18 Feb 2020 2:30 pm

From My Bloody Valentine to Saint Etienne and Ricardo Villalobos, Andrew Weatherall sprinkled magic throughout his career

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Pi’erre Bourne review – rapper-producer with an eye on Kanye’s crown

Delivered... Daniel Dylan Wray | Scene | Tue 18 Feb 2020 1:30 pm

Yes, Manchester
Known for beats for 21 Savage, Young Thug and Chance the Rapper, the South Carolinian producer dances gracefully through genres in his live show

‘When I say, ‘Yo Pi’erre’, you say, ‘You wanna come out here?’” instructs Pi’erre Bourne to an obliging audience as he steps on stage. The line – a dialogue sample from The Jamie Foxx Show – has become the rapper and producer’s tagline since it featured on Playboi Carti’s Magnolia, a monster hit propelled by Bourne’s game-changing earworm of a beat.

The South Carolinian’s board skills have rocketed him upwards, and he is now one of the most sought-after producers in hip-hop, working with Lil Uzi Vert, 21 Savage, Young Thug, Chance the Rapper and even his hero Kanye West. It was West’s dual role as producer and rapper that Bourne once looked to shadow, saying: “I could really be the next Kanye type of star.” In 2019, he released his major label debut, The Life of Pi’erre 4, a T-Pain-esque overload of Auto-Tune crooning above deft production skills.

Touring until 19 February.

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