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Indian E-music – The right mix of Indian Vibes… » 2021 » January » 08

How MPE can work on hardware synths: a look at Sequential OB-6, Prophet 6 updates

Delivered... Peter Kirn | Scene | Fri 8 Jan 2021 8:22 pm

Chicken and egg problem, no more. MIDI Polyphonic Expression is now in commonly available controller hardware and software like Ableton Live 11. So let's check in at the synth maker of the father of MIDI - Dave Smith's house Sequential and see what happens when you add it to classic synthesizers.

The post How MPE can work on hardware synths: a look at Sequential OB-6, Prophet 6 updates appeared first on CDM Create Digital Music.

Happy Jamuary – kick it off with this compact duo of MeeBlip and Zoom

Delivered... Peter Kirn | Scene | Fri 8 Jan 2021 7:06 pm

When you feel like you're out of ideas, when you've obsessed over that edit and that knob, when your mood has gone south... it's time to stop everything and jam. January doldrums, meet Jamuary bliss.

The post Happy Jamuary – kick it off with this compact duo of MeeBlip and Zoom appeared first on CDM Create Digital Music.

Copyright Royalty Board Announces SoundExchange Audits of Royalty Payments for Webcasters (Including Broadcast Simulcasts) and Other Digital Music Services

Delivered... David Oxenford | Scene | Fri 8 Jan 2021 6:25 pm

The Copyright Royalty Board today published a Federal Register notice announcing that SoundExchange was auditing a number of broadcasters and other webcasters to assess their compliance with the statutory music licenses provided by Sections 112 and 114 of the Copyright Act for the public performance of sound recordings and ephemeral copies made in the digital transmission process by commercial webcasters. A separate notice to audit the company Music Choice, which also provides a digital music service usually delivered with cable or satellite television services, was also issued to audit their compliance both on webcasting and on their subscription music service which is subject to separate royalty rules set out in a different part of the same section of the Copyright Act and set through a different Copyright Royalty Board proceeding. A third audit notice has gone out to a company called Rockbot, a Business Establishment Service whose royalties are exclusively paid under Section 112 of the statute (see our article here about the CRB-set royalties for these services that provide music played in various food and retail establishments and other businesses).

SoundExchange may conduct an audit of any licensee operating under the statutory licenses for which it collects royalties.  Such audits cover the prior three calendar years in order to verify that the correct royalty payments have been made. The decision to audit a company is not necessarily any indication that SoundExchange considers something amiss with that company’s royalty payments – instead they audit a cross-section of services each year (see our past articles about audits covering the spectrum of digital music companies audited by SoundExchange here, herehere and here).  Audits are conducted by outside accounting firms who, after they review the books and records of the company being audited, issue a report to SoundExchange about their findings.  The company being audited has the right to review the report before it is issued and suggest corrections or identify errors.  The reports are then provided to SoundExchange and, if they show an underpayment, it can collect any unpaid royalties, with interest.  While, by statute, the notice of the royalty must be published in the Federal Register, the results of the audit and any subsequent resolution usually are not made public.

SoundExchange is not the only royalty collection group who can audit music companies – though its audits are different because announcements are published in the Federal Register. All of the other performing rights organizations (e.g. ASCAP, BMI and SESAC) can conduct audits from time to time. Audits are not limited to music, as television stations and other video companies can be audited to assess their compliance with program royalty obligations. We wrote more extensively about the royalty audit process here.

If your company is audited, get with your attorneys and accountants right away to make sure that you discuss the audit process and how to minimize the disruption to your business.  If you were not on this list, the list serves as a good reminder to assess the records you are keeping to be sure that you are maintaining them in a way that will demonstrate that you paid what you owe.  Any company, big or small, could be the subject of a future audit to assess its compliance with its royalty obligations.


Farhot: Kabul Fire Volume 2 review – gut-shaking sonic collage | Ammar Kalia’s global album of the month

Delivered... Ammar Kalia | Scene | Fri 8 Jan 2021 9:00 am

(Kabul Fire Records)
The Afghan-born producer skilfully explores his heritage with an unruly collage of vocal samples blended with diasporic sounds

For producer Farhot, the cut-and-paste method of sampling in hip-hop serves as an apt symbol for the assembly of his immigrant identity – he sought asylum in Germany from his native Afghanistan in the 1980s and has not returned since. He first made his name with productions for the likes of Talib Kweli, Isaiah Rashad and Nneka that echoed the melodically driven US rap of the early 2000s and particularly the work of DJ Premier and Pete Rock. His first solo release, Kabul Fire Vol 1 (2013), was a scattershot mixtape homage to his childhood home, weaving in dub influences, rattling drum machine loops, Afghani folk samples and features from Kano, Ms Dynamite and Talbi Kweli.

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