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

Music for orangutans, as Lyra Pramuk and Rani Jambak connect to Sumatra’s ecosystem

Delivered... Peter Kirn | Artists,Scene | Fri 30 Apr 2021 7:47 pm

The music flows easily, entangled like vines, in a production constructed between Berlin and Indonesia over Zoom. But in these serene melodies, there is a plea for the ecosystem of North Sumatra.

The post Music for orangutans, as Lyra Pramuk and Rani Jambak connect to Sumatra’s ecosystem appeared first on CDM Create Digital Music.

FCC Rules for All-Digital AM Radio Become Effective – Will There Be a Flood of Applications?

Delivered... David Oxenford | Scene | Fri 30 Apr 2021 3:19 pm

The FCC’s order adopted in late October authorizing AM stations to voluntarily convert to operations in a fully-digital mode became effective yesterday when the approval of its information-collection obligations under the Paperwork Reduction Act was announced in the Federal Register.  This means that AM stations can opt for full-digital operations, which many have argued will provide a stronger, more stable digital AM signal with improved fidelity and more resistance to the environmental noise that plagues analog AM reception.  We wrote about the draft of the FCC’s order adopting these rules, and the paperwork required for a station to convert, here.  An FCC Form 335-AM must be filed upon a station’s conversion, containing information about the digital operation.  That form includes, among other required information, certifications that the digital operation meets all power and bandwidth requirements and can comply with EAS requirements. Converting stations must provide 30 days of notices to their analog listeners before switching to digital.

Will there be a rush of stations looking to take advantage of this opportunity?  The trade press has reported on several stations already making the change.  While most have associated FM translators so that their programming will continue to be available to analog listeners in their market even after their digital conversion, there have been stations that have opted to convert even without a translator.  These stations are seemingly banking on factory-installed digital AM radios that are included in some new cars.  We assume that other AM operators will take a wait and see attitude while some others, finding less and less of a return on AM facilities, may embrace this all-digital option as a way of attempting to revive this challenged part of the radio ecosystem.  Whatever your thoughts may be, if you operate an AM station, the opportunity is now open for full digital operations.


Smooth Operator is a brilliant new spectral sound sculpting plug-in from Baby Audio

Delivered... Peter Kirn | Scene | Thu 29 Apr 2021 7:21 pm

Smooth Operator is a unique new way of reaching out and sculpting sound at the spectral level - and it's terrifically addictive and creative.

The post Smooth Operator is a brilliant new spectral sound sculpting plug-in from Baby Audio appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 29 Apr 2021 5:30 pm
The headliners are The Strokes, Lizzo and Tame Impala.

May Regulatory Dates: Auction Applications for AM and FM Construction Permits for New Radio Stations, New DTS Rules, License Renewals and More

Delivered... David Oxenford | Scene | Thu 29 Apr 2021 5:00 pm

May is somewhat lighter on broadcast regulatory dates and deadlines than some recent months, but there are still dates to note.  Among other things, the FCC will begin the process of auctioning 140 construction permits for new AM and FM radio stations across the country.  Also, broadcasters in several states, with an eye on the June 1 deadline, should be preparing now to file applications for license renewal or to prepare and upload to their public inspection file EEO public file reports, demonstrating their compliance with the FCC’s equal employment opportunity requirements.  So let’s take a look at some of the important dates for May (and early June).  As always, be sure to consult with your communications counsel on the dates and deadlines applicable to your operation.

The Auction 109 window for “short-form” applications to participate in the auction of 136 FM construction permits and 4 AM construction permits began at 12:00 p.m. Eastern Time on April 28 and will close at 6:00 p.m. Eastern Time on May 11.  By that deadline, interested parties must file with the FCC their short-form applications (FCC Form 175) setting out information including their ownership and the channels on which they are interested in bidding.    The auction is scheduled to begin on July 27.  A freeze on the filing of FM minor modification applications remains in effect until the end of the auction filing window.  This freeze was imposed to ensure that Commission staff and auction bidders have a stable database to work with during the auction.  Read more about the auction and freeze, here and here.

On May 24, new rules for distributed transmission systems (DTS, also known as single frequency networks) will go into effect.  These new rules are designed to give broadcast TV stations greater flexibility in the placement of multiple transmitters throughout their protected service area to provide a stronger, more uniform signal throughout their markets.  This is seen as important to facilitate the provision of the additional services that can be offered through the new ATSC 3.0 transmission standard (NextGen TV).  Note that, although the rules for full-power stations go into effect on May 24, the rules that apply to Class A, low power TV, and TV translator stations have to undergo additional review by the executive branch and will become effective sometime after May 24.  For more information, see our article here.

Looking ahead to early next month, by June 1, radio stations in Arizona, Idaho, Nevada, New Mexico, Utah, and Wyoming and television stations in Michigan and Ohio must submit applications for renewal of their license.  See our article, here, about preparing for license renewal.  These stations must also file with the FCC a Broadcast EEO Program Report (Form 2100, Schedule 396) and, if they are part of a station employment unit (a station or a group of commonly owned stations in the same market that share at least one employee) with 5 or more full-time employees, upload to their public file and post on their station website a link to their Annual EEO Public Inspection File report covering their hiring and employment outreach activities for the twelve months from June 1, 2020 to May 31, 2021.

In addition to the stations noted above filing for license renewal, radio stations in Michigan and Ohio, TV stations in Arizona, Idaho, Nevada, New Mexico, Utah, and Wyoming, and radio and TV stations in the District of Columbia, Maryland, Virginia, and West Virginia must, if they are part of a station employment unit with 5 or more full-time employees, upload to their public file and post on their station website a link to their Annual EEO Public Inspection File report covering their hiring and employment outreach activities for June 1, 2020 through May 31, 2021.

By June 3, comments are due in the FCC’s new proceeding looking at the Commercial Advertisement Loudness Mitigation Act (“CALM Act”), which is meant to regulate the volume of commercials on broadcast TV and radio.  After inquiries from a Member of Congress, the FCC is asking the public and industry to weigh in on the current rules and whether changes need to be made.  Reply comments are due by July 9.  We wrote more about the CALM Act, here.

Be sure to watch our blog, FCC releases, trade press, and advisories from your legal counsel throughout the month for updates on these dates and other regulatory developments of importance to broadcasters.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 29 Apr 2021 4:30 pm
They've moved to later in the year.

Missing Music On Streamed TV Programs Highlights Rights Issues for Podcasters and Video Producers

Delivered... David Oxenford | Scene | Wed 28 Apr 2021 4:59 pm

Last week, the NY Times ran an interesting article, here, about how many old TV programs now available on streaming services are missing music that was featured on the original broadcast.  This was because when the music rights were initially purchased,  their use was limited to over-the-air broadcasts or was limited to a short period of time, with the producers never envisioning that the programs would be available through on-demand streaming services decades after they originally aired on over-the-air television.  While not mentioned in the article, for many radio broadcasters one of the series most missed on streaming services is the industry favorite WKRP in Cincinnati.  That series took forever to get to digital outlets, and still does not appear to be on any subscription streaming service, reportedly because of music rights issues.  This article and the issues that it highlights should be a warning not just to TV producers, but also to anyone planning to use music in audio or video productions – including podcasts and online videos – that clearing music rights is essential to insure that these productions can be fully exploited  not only when they are first made available, but also in the future if they are repurposed for other platforms.

We have written before (see, for example, our articles here and here) about the need to get permission from the copyright holders in both the musical work (or musical composition – the words and music to a song) and in the sound recording (or master recording – the song as recorded by a particular band or singer).  Just signing up with a performing rights organization (ASCAP, BMI, SESAC or GMR) is not enough because, while podcasts may involve the public performances of the musical works that these organizations license, they do not give rights to make the permanent fixed copies of those songs, synchronized with other audio in the podcast, that can be accessed and downloaded on demand.  These uses require the additional copyrights to reproduce and distribute music, and arguably to make derivative works, that can only be obtained from the copyright holder (see our article here describing why the PRO license itself does not give all rights needed to use music in podcasts).   Similarly, the rights to the sound recording must also be obtained from the copyright holder in the recording – and payments to SoundExchange do not cover the on-demand music uses involved in a podcast.  Thus, when the necessary rights are not obtained from the copyright holders, we have seen podcasts go silent after infringement claims are brought or threatened (see our article here).

The same issues apply to any video production using music.  The rights discussed above must be obtained from the copyright holders to “sync” the music and the video into a recorded, on-demand production.  See our articles here and here.  While some platforms (like YouTube and their Content ID system) have entered into deals with some copyright holders that allow use of certain music in videos posted on their site in exchange for a share of any monetization of that video that may occur on the site, those rights do not carry over to the video’s producer if that producer wants to take the program containing the music and use it on other platforms.  Spotify also has made available certain music to podcasters who podcast on their platform – but only when the podcast is originated to the user through the Spotify platform.

The need for copyright clearance  also applies to the use of  music in the production of commercials or other advertisements that  air on a broadcast station or online platform.  Musicians charge for the use of their music in these settings , and  your blanket licenses discussed above do not give you rights to use that music in your productions. See our article here for more information.

To avoid these traps, audio and video producers often will obtain rights to less well-known songs that copyright holders are willing to license at reasonable rates.  Some platforms have sprung up to facilitate such licenses (e.g. PodcastMusic.com or Songtradr are, respectively, platforms for licensing music for podcasts or videos – they are among many platforms seeking to fill this need).  Some producers commission their own music.  Sometimes, the rights to the musical composition can be licensed but not the sound recording, so another artist will be hired to perform the song to be used in the production.  All are work-arounds that must be considered to avoid the potentially unpleasant consequences of an infringement claim against a current use, or the denial of a future use because the rights that have been secured did not cover the way in which that production is intended to be used in the future.  Proceed with care!



Delivered... Spacelab - Independent Music and Media | Scene | Wed 28 Apr 2021 3:30 pm
There's new dates to create a safer festival experience.

New Capcom videopacks turn OP-Z into a novel audiovisual gaming instrument, free

Delivered... Peter Kirn | Scene | Wed 28 Apr 2021 2:02 pm

The worlds of gaming, “play,” and electronic music have always been in an extended flirtation. A deep collaboration between Capcom and Teenage Engineering brings those worlds together and lets you VJ with classic games. The download is free, pouring supersaturated pixel goodness from Capcom classics into a live 3D engine you can play in time […]

The post New Capcom videopacks turn OP-Z into a novel audiovisual gaming instrument, free appeared first on CDM Create Digital Music.

Effective Date Set for New Rules on TV Distributed Transmission Systems (Single Frequency Networks) – An Assist in the Roll-Out of Next Gen TV 

Delivered... David Oxenford | Scene | Tue 27 Apr 2021 4:17 pm

In January, the FCC adopted new rules for Distributed Transmission Systems (DTS) for TV broadcasters (the FCC’s order is available here).  Last week, the rules were published in the Federal Register, setting the effective dates of these new rules as May 24, 2021 (except as they apply to Class A TV, LPTV and TV translators, where new rules are subject to further review by the Office of Management and Budget under the Paperwork Reduction Act before they become effective).  The FCC yesterday released a Public Notice confirming that effective date.  The new rules for DTS will allow over-the-air TV broadcasters to provide stronger, more uniform coverage throughout their service areas, rather than having coverage strongest near to a station’s transmitter site and decreasing as the distance to the viewer increases (or as terrain obstacles intervene).

DTS, also referred to as Single Frequency Networks, allow TV stations to, instead of having one large transmitter in the center of its market area, use multiple transmitters throughout the service area to provide more consistent coverage throughout the market.  The new ATSC 3.0, Next Gen television transmission standard that is being rolled out throughout the country was designed for this kind of operation. This transmission model is more akin to the operation of cellular telephone networks than to the old broadcast model.  ATSC 3.0 uses a transmission system in which multiple signals on the same channel that are receivable at the same location reinforce each other.  Older broadcast transmission systems face issues when trying to operate multiple transmitters on the same channel, as these transmitters can cause destructive interference in areas where their coverage overlaps, making coverage worse, not better  (see, for instance, the concerns about the proposals for the use of “zonecasting” for FM stations, where arguments have been raised that multiple FM same-channel boosters rebroadcasting a primary FM station will create pockets of interference within a station’s market – see our references to such comments in articles here, here, and here).  The new DTS rules allow TV broadcasters to take advantage of the new ATSC 3.0 transmission characteristics to provide uniform, strong signals throughout a station’s market, without the destructive interference.

Currently broadcasters can operate with DTS, but the signals from DTS transmitters must be restricted to the station’s existing protected contours.  DTS coverage outside the protected service contour, even if within the TV station’s designated Nielsen market, cannot be provided.  The new rules, however, provide broadcasters with a bright-line rule that will expand the permissible range of “spillover” by DTS facilities to areas outside of their current protected contours.  Specifically, the new rule will permit DTS transmitters to be located in any location so long as, for UHF stations, the 41 dBu F(50,50) contour for each DTS transmitter does not exceed the primary station’s current 41 dBu F(50,50) contour.  The relevant contours are 28 dBu for Low VHF stations and 36 dBu for High VHF stations.

The promise of ATSC 3.0 includes not only linear television programming but also enhanced data transmission capabilities.  Since   Next Gen TV allows for the transmission of data using standard Internet Protocols, the information transmitted can interact with all sorts of devices if the devices are designed to receive the new transmissions.  Stations using ATSC 3.0 will theoretically provide to smart devices everything from audio services to updates throughout a station’s service area.  The ability to provide such services to large areas through these Single Frequency Networks that reach entire markets is seen by the technology’s proponents as being far more efficient for many of these uses than the one-to-one Internet transmissions provided by other transmission systems.

While these rules will become effective in May, there still is a period for the filing of reconsideration petitions, and the Democratic commissioners still on the Commission expressed doubts in January about the adoption of this order and its potential impact on other spectrum users in these areas where greater coverage by television stations will be permitted (questions about that impact were raised in the Notice of Proposed Rulemaking that led to the rule changes – see our article here).  So, while the rules will become effective, it will be important to watch if there are future developments on this issue when all of the new Commissioners are in place.


Delivered... Spacelab - Independent Music and Media | Scene | Tue 27 Apr 2021 3:30 pm
My Morning Jacket and Dave Matthews Band will headline Sturday and Sunday night respectively. Leon Bridges, Jason Isbell, Billy Strings, Khruangbin, Black Pumas, The Revivalists, Midland, Band Of Horses also top the list. See the below for a coapmlete list of who's performing.

Sequential is now a fully-owned Focusrite subsidiary; Dave Smith announcement

Delivered... Peter Kirn | Scene | Tue 27 Apr 2021 10:56 am

It's consolidation season fo the industry. And Focusrite has just acquired legendary synth maker Sequential, alongside names like Adam Audio and Novation.

The post Sequential is now a fully-owned Focusrite subsidiary; Dave Smith announcement appeared first on CDM Create Digital Music.

Videosync 1.0 arrives: visuals integrate with Ableton Live Session, Arrangement, Warping

Delivered... Peter Kirn | Scene | Mon 26 Apr 2021 4:22 pm

Now at 1.0, Videosync from Showsync is a deep Max for Live visual engine, complete with integration with Ableton Live's native interface, modulation, Warp Markers, and edit/play workflows.

The post Videosync 1.0 arrives: visuals integrate with Ableton Live Session, Arrangement, Warping appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Mon 26 Apr 2021 4:00 pm
TRNSMT Festival 2021 happens in City Centre in Glasgow with a lineup of indie rock, alternative rock, indie folk, indie pop and more.


Delivered... Spacelab - Independent Music and Media | Scene | Mon 26 Apr 2021 4:00 pm
TRNSMT Festival 2021 happens in City Centre in Glasgow with a lineup of indie rock, alternative rock, indie folk, indie pop and more.
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