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Indian E-music – The right mix of Indian Vibes… » 2021 » March » 03


Beatport DJ is in-browser DJing for everybody – a first look, from a producer-DJ perspective

Delivered... Peter Kirn | Scene | Wed 3 Mar 2021 8:36 pm

Beatport DJ is a browser-based tool that combines finding music with mixing it right away. It is definitely where the company's LINK subscription is going. And we've got a first look at the interface - plus what it might mean for anyone making and releasing music (and what's missing so far).

The post Beatport DJ is in-browser DJing for everybody – a first look, from a producer-DJ perspective appeared first on CDM Create Digital Music.

EDC MEXICO 2021

Delivered... Spacelab - Independent Music and Media | Scene | Wed 3 Mar 2021 6:30 pm
EDC Mexico is a south of the border offshoot of the festival, with classic Electric Daisy Carnival stages like kineticFIELD, circuitGROUNDS, neonGARDEN, wasteLAND, DOS EQUIS STAGE and stereoBLOOM.

LOVE SAVES THE DAY TICKETS SOLD OUT AMAZINGLY FAST

Delivered... Spacelab - Independent Music and Media | Scene | Wed 3 Mar 2021 6:30 pm
The statement from LSTD said “Okay well that was insane... nearly 15,000 tickets gone in 5 minutes.”

LOVE SAVES THE DAY 2021 TICKETS GO ON SALE MAR. 4!

Delivered... Spacelab - Independent Music and Media | Scene | Wed 3 Mar 2021 6:30 pm
It's gonna be the summer of love.

Rian Treanor: the producer hacking a smarter, kinder future for music

Delivered... Chal Ravens | Scene | Wed 3 Mar 2021 11:30 am

The Rotherham electronic musician is using his skills to tackle dementia, teach children and collaborate across the globe – and dreams of a club where the dancers play the drum machines

Living in lockdown while caring for someone with dementia “isn’t just like Groundhog Day”, chuckles Rian Treanor, “it’s like Groundhog Second.” The soft-spoken electronic music producer has spent a year indoors with three generations of his family – including his producer and sound-artist dad, Mark Fell, and his grandmother, Doreen, who is has late-stage Alzheimer’s. It’s certainly a change of scene for the producer of one of 2020’s most audacious and frenzied dance albums, File Under UK Metaplasm.

Instead of the pointillist rave and singeli – a high-speed Tanzanian style – that influenced that record, the Treanor-Fell household playlist is geared towards Doreen’s favourites, particularly dub reggae and Hawaiian-style steel guitar. “When she listens to that she’s completely in the zone, she astrally projects into it,” marvels Treanor. Music has a powerful effect on brains damaged by dementia, unlocking memories and opening up non-verbal channels of communication, so they tried Doreen on a piano next, knowing that she’d grown up with one. When the keys proved too complicated, Fell designed a set of blocks for her to use, described by Treanor as “squares with little notches cut out that create different chord shapes”.

Related: Public house music: Mark Fell on making art in a derelict boozer

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GMR Offers to Extend Its Interim License With Commercial Radio Stations – But It Wants a 20% Increase in Royalty Payments

Delivered... David Oxenford | Scene | Wed 3 Mar 2021 12:33 am

Global Music Rights, one of the newest performing rights organization licensing the public performance of musical compositions, has agreed to extend its interim license with commercial radio broadcasters.  That license is set to expire at the end of March (see our article here).  This interim license has been offered and extended for the last several years to allow stations to perform GMR music while GMR litigates with the Radio Music Licensing Committee over whether GMR is subject to any sort of antitrust regulation of the rates that it sets (and GMR’s countersuit over whether the RMLC itself violates the antitrust rules as a buyer’s cartel, by allegedly organizing all the buyers of GMR’s music to hold out for a specific price).  We wrote about that litigation here.  With the pandemic, the lawsuit which should have already gone to trial is likely not going to be heard until possibly next year, as discovery in the case has been postponed until later this year.

Today, the RMLC notified radio broadcasters that GMR will again extend its interim license while the litigation plays out – but GMR wants a 20% increase in the royalties that it receives.  RMLC made clear that this is not a negotiated rate – it is one that GMR has imposed with no input from RMLC.  Stations should expect to hear from GMR about the extension by March 15.  If they do not, stations interested in the extended license should reach out to GMR.  Many stations are confused by this royalty, so we thought that we would provide some background.

As background, GMR is a new performing rights organization. Like ASCAP, BMI and SESAC, it represents songwriters and collects royalties from music users for the public performance of these songwriter’s compositions. GMR will collect not only from radio stations, but from all music users – it has already reached out to business music services that provide the music played in retail stores, restaurants and other businesses, and no doubt has or will license other companies that make music available to the public. Most songwriters represented by GMR used to be represented by ASCAP or BMI, but these songwriters have withdrawn from ASCAP and BMI and joined GMR, allegedly to attempt to increase the amounts that they are paid for the use of the songs that they have written. For radio, these withdrawals became effective in January 2017, when the old license agreements between ASCAP and BMI and the commercial radio industry expired.  Since then, radio stations have been signing interim licenses to play GMR music – and now it is seeking this big increase in what they are being paid for that interim license.

What is a broadcaster to do?  Obviously, consult your own attorney for advice.  Generally speaking, there is no authority to play the GMR music catalog other than through a license.  Right now, that license comes either through this interim license offered to all commercial stations, or through an individually negotiated license between the broadcaster and GMR. Commercial stations can either sign a license or stop playing GMR music. Pulling all GMR music would be difficult because GMR has core songwriters in most musical genres, whose songs are basically must-haves for a station to operate with most traditional formats.  For instance, GMR’s catalog includes songs written by members of the Eagles, Bruno Mars, Bruce Springsteen, John Lennon, Pharrell Williams and even George Gershwin.  Under copyright law, there are substantial “statutory damages” of up to $150,000 per song for any infringement, so even if one of GMR’s songs is in an ad or in some syndicated programming that plays on your station, your liability could be steep. GMR has already sued one station group for not paying royalties (see our article here).  It is watching what broadcasters do, so careful consideration of rights and liabilities must be made.

Note, however, that noncommercial broadcast stations are not covered by this interim license being offered by GMR to RMLC members, as public performance royalties for noncommercial broadcasting are set by the Copyright Royalty Board.  See our article here for more details on the royalties for noncommercial stations through the end of 2022.  A proceeding at the Copyright Royalty Board has just begun to review noncommercial rates for 2022 through 2027, so GMR royalties for noncommercial stations may increase in the not too distant future.

All stations should discuss with their counsel what their best course of action is in connection with GMR.

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