May 1, 2002 12:00 PM, Mix Staff

Weeks of May 1-15

RIAA Requests Tax Dollars to Fund Piracy Legislation

At a Congressional hearing on April 26 on protecting intellectual property rights, the Recording Industry Association of America (RIAA) pressed leading Congressional budget writers for additional funds for federal anti-piracy law-enforcement efforts and a renewed focus on protecting intellectual property.
Though the RIAA did not request a specific amount, the funds would be used to create additional squads or units for a program called Computer Hacking and Intellectual Property -- CHIPs -- which is part of the Justice Department's initiative to fight online piracy.
The RIAA said that the number of arrests and indictments for music piracy are up 113% from 2000 to 2001; meanwhile, guilty pleas and convictions were up 203% and sight seizures were up 170%.
In a written testimony, Frank Creighton, executive VP and director of Anti-Piracy at the RIAA, said, "We all have to find a way to come together and make sure that we are using the people's resources and the tools of the law in a way that makes sense and gets results. We need more CHIPs units. We need IP to be a priority within these units. We need to explore creative approaches to creating appropriate deterrent levels on the Internet in coordination with private industry."

Department of Labor Releases Occupational Outlook for Film Editors

The Bureau of Labor Statistics, an agency within the U.S. Department of Labor, has published the 2002-2003 edition of the Occupational Outlook Handbook, which includes a section that explores the outlook for editors of film, video and television.
Sections explored in the handbook include nature of work; working conditions; employment; training, other qualifications and advancement; job outlook; and earnings.
According to the handbook: "Employment of camera operators and editors is expected to grow faster than the average for all occupations through 2010."
Read through the handbook online at http://stats.bls.gov/oco/ocos091.htm.

Webcasters Go Silent in Royalty-Rate Protest

LOS ANGELES (Reuters) -- Hundreds of Web broadcasters went silent on Wednesday in an organized protest against proposed U.S. royalty rates they say would undermine the industry and stifle innovation on the Internet.
The Web radio stations started their protest at dawn to oppose rates recommended in February by a Copyright Royalty Arbitration Panel working for the U.S. Copyright Office.
Under the Digital Millennium Copyright Act, the Librarian of Congress is required to set sound recording performance royalty rates for Web radio stations by May 21.
The arbitration panel recommended Webcasters pay recording companies a rate of 14/100ths of a cent per listener per song. While that appears to be a small fee, Webcasters say it would drive many in the struggling industry out of business.
Kurt Hanson, publisher of Radio and Internet Newsletter, and one of the organizers of the protest, said the proposed fees would amount to about $9,000 a month for any mid-sized Webcaster, about double typical revenues.
Some representatives of the music industry, which had lobbied for the royalty structure, said that while the Webcasters "Day of Silence" was misguided, it was an appropriate reminder that music must carry a price in the market.
"Everyone should understand what the world would sound like without the music that is often taken for granted. If those who make the music we all love are not fairly compensated for their work, that will be the result -- silence," said John Simson, executive director of SoundExchange in an open letter signed by over 50 music executives and artists including Eagles front-man Don Henley.
SoundExchange collects license fees on behalf of the recording industry.
While many Webcasters planned an entire day of silence, others replaced music streams with periods of silence interspersed with public service announcements on the subject.
The Recording Industry Association of America, which represents all the major labels like AOL Time Warner Inc.'s AOL. Warner Music and Vivendi Universal's Universal Music, lobbied Congress for the royalty payments and had sought even higher rates.
Simson, of RIAA affiliate SoundExchange, said he is pleased with the proposed rates, which put the industry a step closer to implementing the right of licensing, collecting and distributing performance royalties for Webcasts.
He said he did not believe the rates would cripple the industry and were fairly valued.
"Somehow, these companies have found a way to pay fair market rates for everything else necessary for their business from bandwidth and computers to rent and furniture. Why should the most important element of their business -- the music -- be any different?" he said. "The time has come for Webcasters to stop protesting and work cooperatively with artists and record labels to ensure success for all, and provide fans with the great music they expect and deserve."
Meanwhile, Webcasters said if they are put out of business, the recording industry will have to deal with more pirate services that will flourish in their absence.
Some traditional broadcasters, which stream simulcasts on the Web, also planned to support the effort on Wednesday, Hanson said.
Traditional radio stations pay no performance royalties for music played on air because it has proven promotional value.
These operators would only be required to pay half of the fee -- or 7/100ths of a cent -- for music they stream on the Web simultaneously with their radio broadcasts, according to the proposal.

NPR Purchases 25 Neumann U87AI's For New L.A. Facility

National Public Radio (Washington, D.C.) recently purchased 25 Neumann U87 AI/Set Z large-diaphragm condenser microphones for their new Los Angeles facility. Most of the microphones will be used for spoken-word applications. In the final stages of construction, the new facility is scheduled to open in September 2002.
According to NPR, their engineers use the Neumann U87 extensively in their Washington D.C. facility as the "gold standard" in fidelity. This current incarnation of the U87 boasts a 6dB signal-to-noise ratio improvement while maintaining the sound that engineers love.
For more, visit www.neumannusa.com.

SSL Announces Financing Plan, Leasing Program

Solid State Logic Inc. (New York City) is offering a purchase package for the XL 9000 K Series SuperAnalogue Console and the Avant Plus TVP Digital Post/Film Console. This lease purchase plan, available to qualified clients, specifies a monthly payment of only $999 for the first 12 months of the agreement. This offer is available through June 30, 2002.
"Working with Wells Fargo, we have created a highly beneficial program for our studio clients that allows us to make this offer to qualified studios," said Rick Plushner, president of SSL North America. "Studios can realize the many advantages of owning an SSL console without the upfront costs of a more traditional purchase plan."
The low initial monthly payments allow a facility to start up a studio room with a positive cash flow while attracting top music and production projects. The promotional benefits of owning an SSL are well-known and the flexible front end of the purchase plan allows for the buildup of cash reserves. After the first 12 payments, clients can select terms of 36 to 48 months, both at the lowest available rates.
Solid State Logic also announced a new "Operating Lease Program" for all qualified broadcasters in North America interested in upgrading to an SSL broadcast console. Also through an arrangement with Wells Fargo Equipment Finance, Inc., the benefits of this leasing program are now available through June 30, 2002.
According to Plushner, "The purpose of the program is to allow broadcasters to upgrade to a state-of-the-art console today, meeting the industry’s demand for an all-digital signal path without the need for a large capital expenditure."
The Operating Lease Program allows broadcasters to take advantage of installing an SSL digital broadcast console and enables payments to be charged against the station’s operating budget rather than a capital expense. It also reduces initial capital outlay while allowing an option to purchase the audio console on very favorable terms at the end of the lease period.
For more, check out www.solid-state-logic.com.

Sound Lounge Adds To Mixing Staff

Sound Lounge (New York City), a provider of audio post-production services to the advertising industry, has expanded its creative and technical resources with the promotion of Rob DiFondi, a staff assistant for the past two years, to mixer, and completing construction of an all-new, custom-designed digital audio mixing suite, the company's fifth, for mixer Philip Loeb.
The two moves come as Sound Lounge has just completed a number of high-profile projects, including campaigns for AT&T "mlife," Miller Lite and New Balance. Sound Lounge has also mixed seven spots that debuted on this year's Super Bowl broadcast. (The studio has a long track record of mixing Super Bowl spots, including having mixed four spots in 10 years voted "Best Liked" among Super Bowl ads.)
Loeb has inaugurated his new room with two prestigious assignments. They include a package of Mercedes Benz spots and the latest installment in Lipton Brisk's campaign featuring stop-motion celebrity characters. Loeb previously mixed the Lipton Brisk spot with Danny DeVito that debuted on this year's Super Bowl.
DiFondi's promotion is in keeping with Sound Lounge's philosophy of developing new talent from within, according to Sound Lounge co-founder and mixer Tom Jucarone. "We believe in developing our own talent so that they learn our approach to mixing and working with clients," he said. "It has been very successful for us. It has also helped us to attract a highly motivated group of assistants who are here for the sole purpose of becoming mixers."
Jucarone added clients now have begun to request DiFondi. "Rob has worked very hard and developed much faster than we had expected. He has earned this opportunity, and we are confident that he will make the most of it."
DiFondi began his career with Sound Lounge in 1999, immediately earning a degree in sound recording from the State University of New York College at Fredonia. "I knew I wanted to work in audio post for television, but I didn't know I'd end up in such a great place," he recalled. "After one month, I concluded that I'd be totally happy doing this for the rest of my life."
Sound Lounge's new mixing studio is also in keeping with long-held tradition. Its technical, acoustical, interior design and aesthetic features were designed by Loeb in concert with Jucarone and Sound Lounge chief engineer John DeMaio. The studio's central technical feature is a Pro Tools|24 MIXplus system and Digidesign's ProControl hardware control surface. The studio is linked to other Sound Lounge rooms via a local network, which also hosts an online sound effects library. "My new system has enough processing power and I/O to meet the demands of commercial mixing," Loeb said. "It allows me immediate access to the tools that I need to get the job done right."
The layout, designed to match Loeb's mixing style, places him in the center of the room. "This design keeps me in close proximity to my clients," he explained. "Advertising is a collaborative art, and I want my clients to be a part of the process. It should be easy to talk and exchange ideas."
Other features of the room include hand-laid hardwood floors, remote-control lighting and window treatments, and custom-made furniture by industry leader Forecast Consoles of Deer Park, N.Y.
Sound Lounge is located at 149 5th Ave., New York, N.Y. 10010. For more information, www.soundlounge.com.

MacPherson Product News From NSCA 2002

MacPherson Inc. (Skokie, Ill.), manufacturer of high-performance professional loudspeaker systems, introduced its PC12 Loudspeaker at NSCA Expo 2002.
This full-bandwidth loudspeaker brings studio monitor clarity to the sound reinforcement arena.The PC12 offers true high-fidelity performance in a compact enclosure. Its two-way design incorporates a sophisticated crossover network, which allows a single amplifier channel to produce high sound-pressure level (SPL) with minimum frequency and phase distortion. The PC12 also delivers extended low-frequency performance. Internal components include a 12-inch woofer and a 1-inch high-frequency compression driver that is coupled to a constant directivity horn. A HF response pattern is 60 degrees horizontal by 50 degrees vertical.
With its high-SPL capability, the PC12 is the ideal solution for a wide range of live and playback sound reinforcement applications and can be stand-mounted, wall-mounted, suspended or sitting on a flat surface. The PC12's small front profile --21.7x14.4x15.3 inches (HxWxD) -- is designed to minimize obstruction of sight lines.
For more on the PC12, check out www.macpherson-inc.com.

Latin Grammy Awards Date, Venue Announced

The Third Annual Latin GRAMMY Awards will be held on September 18, 2002, and will be broadcast by the CBS Television Network. The show, which will feature performances from some of the genre's biggest artists, will take place at the Kodak Theatre in Hollywood. The Latin Recording Academy also has added two new award categories this year, Best Contemporary Tropical Album and Best Christian Album, bringing the total to 41 categories. Nominations for the Latin Grammy Awards are expected to be announced in July.
The Third Annual Latin GRAMMY Awards is a Recording Academy event produced in association with Cossette Productions. Pierre and John Cossette are executive producers, Ken Ehrlich is producer/writer, Walter Miller is producer/director, and Tisha Fein is coordinating producer.
For more, visit www.grammy.com/latin_academy/.

Barefoot Studios Installs Neve 88R

Barefoot Studios (Hollywood) has chosen a 60-channel Neve 88R analog console to replace its classic Neve 8128, bringing routing, recall and automation features to the facility, while maintaining the rich Neve analog sound.
"For me, the 88R is really the Holy Grail of consoles," said owner Eric Valentine. "It has all the modern features and flexibility in terms of routing and automation, without any compromise in sound. The EQ is really great; the additional gain you have in each bandwidth is very noticeable. It’s a console that adds a particular color and excitement to the sound of any project."
Valentine became a Neve proponent more than a decade ago, and in the past few years, he has been looking for a console that preserves the sound and offers enhanced routing flexibility and mix recall, as well as a large input frame. The 88R fulfills that wish list on all counts, Valentine said. As he occasionally does film mixing, especially when one of his clients has a song on a movie soundtrack, Valentine plans to configure the 88R desk so that he can do 5.1 surround when needed.
While the new console is being installed by Valentine, studio manager Trevor Atkinson and technicians from Neve, Barefoot will shut down for a few weeks. "And then I’m going to spend about a month doing developmental projects so I can sort of get up to speed and comfortable on the new console," Valentine said. "One thing I’ve learned in the past 10 years is that no matter how much time you spend or how much you put into it, you’re never done improving your studio. And the 88R is going to be a major improvement."
Among Valentine's roster of engineering/recording clients are Third Eye Blind, Smash Mouth, Queens of the Stone Age and The Dwarves. He has also served as engineer, drummer, percussionist and bass player on several songs by the legendary guitar virtuoso Joe Satriani.
For more, check out AMS Neve online www.ams-neve.com.

Producer David Foster, Jazz Vocalist Shirley Horn To Be Honored at Berklee Commencement

Hit record producer David Foster and legendary jazz vocalist Shirley Horn will receive honorary Doctor of Music degrees from Berklee College of Music (Boston) at the school's 2002 Commencement, Saturday, May 11, at the Reggie Lewis Track Center in Boston. Foster will deliver the Commencement Address to approximately 600 graduates and 3,000 guests.
The evening before commencement, students will present a concert tribute to the honorees, performing selections from each of their extremely distinguished careers. The 2002 Commencement Concert will be broadcast live on the Internet, and can be viewed at www.berklee.edu, beginning at 7:15 p.m. EST. The Webcast also will be archived on the Berklee Website for future viewing.
Producer David Foster, originally from British Columbia, has won 14 Grammys, out of a total of 42 nominations for his work as a songwriter, arranger and producer. He has won both Producer of the Year and Album of the Year three times. Foster produced several of the 1990s biggest hits, including "Unforgettable" by Natalie Cole, "I Will Always Love You" by Whitney Houston and "Because You Loved Me" by Celine Dion. He also has produced music by Toni Braxton, The Corrs, Barbra Streisand and Chicago.
In addition, Foster has written and produced music for feature films, earning three Academy Award nominations and winning the Golden Globe for the song "The Prayer," from the soundtrack to The Quest for Camelot. He is also the founder and chairman of 143 Records, a joint venture with the Warner Music Group.
Shirley Horn, of Washington, D.C., is widely regarded as the premier singing pianist in jazz since Nat King Cole, and is renowned for her ability to negotiate melodies and lyrics at an exquisitely unhurried pace. Horn's career spans five decades, and has included collaborations with fellow jazz greats Kenny Burrell, Johnny Mandel, Hank Jones, Quincy Jones and her mentor Miles Davis.
Horn's 1992 recording Here's to Life was the year's top-selling jazz album, and earned a Grammy for arranger Johnny Mandel. In 1998, Horn paid tribute to Davis with the album I Remember Miles, which won her the Grammy for Best Jazz Vocal Performance. Her most recent album, You're My Thrill, was released last year to widespread acclaim.
Foster and Horn will join such Berklee honorary doctorate recipients as Duke Ellington, David Bowie, B.B. King, Patti LaBelle, Sting, James Taylor, Pat Metheny, Dizzy Gillespie, Carly Simon, Billy Joel, Bonnie Raitt, Walter Becker and Donald Fagen of Steely Dan, and alumnus Quincy Jones.

Songwriter Otis Blackwell Dies in Nashville

NASHVILLE (Reuters) -- Songwriter Otis Blackwell, whose tunes "Don't Be Cruel" and "Great Balls of Fire" became smash hits for Elvis Presley and Jerry Lee Lewis, has died, hospital officials said Tuesday.
Blackwell, who was 70 and reported by friends to be ill for some time, was brought to St. Thomas Hospital Monday, where he was pronounced dead on arrival, a hospital spokesman said.
He had suffered a stroke in 1991, according to his attorney, Trip Aldridge.
A member of the Nashville Songwriters Hall of Fame, the pianist and singer from Brooklyn, N.Y., launched his writing career by selling six songs for $150. He recorded one with a drummer playing on a cardboard box.
The song "Don't Be Cruel" was picked up by Elvis Presley and went to Number One on the charts in 1956. The following year, another Blackwell song, "All Shook Up," also became a Presley hit, as did "One Broken Heart For Sale" and "Return to Sender."
Presley looked to Blackwell for inspiration for his early pop songs, picking songs he liked and then using the same arrangements.
Other hit songs were "Hey Little Girl" for Dee Clark and "Breathless" and "Great Balls of Fire" for Jerry Lee Lewis.
Blackwell's song "Fever," which he wrote under a pseudonym but never explained why, became a signature tune for Peggy Lee.
In the late 1970s, Blackwell recorded albums These Are My Songs and Singin' the Blues. In all, he wrote almost 1,000 songs, including a number of top-selling rock 'n' roll tunes recorded by such notables as James Taylor and others.

Digidesign Launches Training, Education Program

Digidesign (Daly City, Calif.) announced the launch of the Digidesign Training and Education Program, which will lend support to Pro Tools users through a network of education partners who will offer specialized training curriculum, online certification testing, and promotion of certified experts and operators.
Digidesign's new program will complement Avid's longstanding training efforts through AAEC (Avid Authorized Education Center) and utilize all Avid training facilities. Digidesign will also partner with additional centers to expand Pro Tools training further. One of the first of these new centers certified by Digidesign is Full Sail Real World Education (Orlando, Fla.); Full Sail already has over 20 Pro Tools TDM systems within their curriculum.
Features of the program include free educational resources for users to teach themselves Pro Tools; Pro Tools-certified training curriculum through Digidesign-certified training locations (colleges or technical programs that integrate Pro Tools coursework within a larger audio education program) and authorized pro schools (institutions that offer professional training in multi-day courses); online testing for certification; and support of certified professionals through Premium AudioPages listed on DigiProNet.com.
"We are thrilled to have Digidesign take such an active role in training and education at Avid," stated Mike Pashby, Avid's manager of education services. "We encourage our users to expand their knowledge and become proficient in using our systems. We can depend on Digidesign to prepare high-quality, up-to-date curriculums and work closely with our network of trainers and facilities to offer the best training possible."
For more detailed information and a current list of training locations, visit http://training.digidesign.com.

Paul W. Klipsch, 1904-2002

Founder of Klipsch Audio Technologies, Paul W. Klipsch, died on May 5, 2002, at the age of 98.
Born on March 9, 1904, in Elkhart, Ind., Klipsch is best known for his contributions in revolutionizing the audio world. After being drafted in World War II, where he served for ballistics and photography, and ultimately discharged with the rank of Major, Klipsch decided to commit his life to building loudspeakers. After continued research and experimentation, patents and trademarks were applied for and ultimately granted, including his first patent for horn design; throughout his life, Klipsch had three patents in ballistics, eight in geophysics and 12 in acoustics. The name Klipsch and Associates was registered in 1946, although his first employee wasn't hired until 1948.
In a memorial letter from CEO Fred S. Klipsch, Paul W. Klipsch is remembered as a legend in sound. "Stories of Paul's lasting wit and superior intellect were indeed true, which is what often made it difficult to accept the fact that he was 98 years old. And that is, in fact, the correct age despite rumors and Rolling Stone magazine articles that cite ranges from 90 to 103. But that's just the tip of the iceberg when it comes to the myth, the lore, and the absolute truth about our legendary founder.
"Paul's indisputable genius and one-of-a-kind personality touched so many lives for so many years that there are now hundreds of stories about him being told and retold -- from the funny to the profound.
"It has been said, and I firmly believe it, that every time you listen to recorded music, you're hearing the passion, the genius and the legacy of Paul W. Klipsch. He was a verifiable genius who could have chosen any number of vocations, but the world sounds a lot better because he chose audio. And the integrity of Paul W. Klipsch was beyond reproach. He was a great man who always did the right thing in the right way."
In honor and in memory of Paul W. Klipsch, Klipsch Audio Technologies has published the family's obituary on its Website (www.klipsch.com). In lieu of flowers, the family requests that donations be made to the Paul Klipsch Scholarship Fund at New Mexico State University.

JBL To Sponsor Upcoming Who Tour

JBL (Woodbury, N.Y.) announced that it is the official sponsor of the upcoming U.S. summer tour for The Who.
As the official sponsor of the 20-date nationwide tour, JBL will support The Who with an extensive sponsorship program, which will include national and local media advertising, a sweepstakes, and local-market promotional activities with local radio, television and print media tie-ins.
Sound services will be provided by Clair Bros. (Lititz, Pa.), which will supply The Who with a concert audio system having in excess of 120,000 watts of amplifier power. The custom systems used by Clair Bros. feature JBL drivers and components, chosen by the company for their sonic performance, high-power-handling capability and longterm reliability.
The Who tour begins on June 28, 2002, in Las Vegas at the Hard Rock Hotel and Casino, includes a four-night stint at New York's Madison Square Garden, and is scheduled to conclude on August 31 at the Jones Beach Amphitheatre on Long Island, N.Y. Former Led Zeppelin member Robert Plant will open many of the East Coast shows, while the Counting Crows will support several of the West Coast dates.
Paul Bente, president of JBL Consumer Products, noted, "JBL could not be more proud and excited to be the sponsor of the upcoming Who tour. The Who and JBL are an ideal combination; The Who is one of the legendary bands of rock 'n' roll, and JBL loudspeakers are legendary for their exceptional sound quality in the concert hall and at home. In fact, The Who and JBL were there at the original Woodstock in 1969. And today, The Who and JBL are rocking the world more than ever!"
Dates and venues can be found at www.jblpro.com/pressroom/who.html.

Midiman Begins Shipment of Groove Tubes Studio Mics

Midiman (Arcadia, Calif.) announced the shipment of the new line of Groove Tubes microphones. This all-new, American-designed lineup of studio condensers features six different models differentiated by medium- or large-diaphragm sizes, tube of FET circuitry, and single or multiple polar patterns.
The entire line employs sold-brass capsules. Ultra-thin evaporated gold diaphragms yield an extremely transparent sound. These diaphragms, according to Midiman, are half as thin as its nearest competitor; 3 microns on the large diaphragms and 6 microns on the medium-sized diaphragms.
All large-diaphragm Groove Tubes microphones incorporate the company's unique Disk Resonator technology, delivering extended frequency response that is ideal for accurately capturing the realism of any sound source. Disk Resonator interacts with part of the diaphragm at high frequencies to extend the range of the capusle transparently, through 20 kHz and beyond. Each mic is hand-assembled, hand-tested and measured against Groove Tubes golden-reference mic; each mic must measure within +/- 1 dB of the reference mic in order to pass inspection.
The new line also introduces affordable matched pairs for stereo miking; all Groove Tubes mics now ship in matched pairs without a penalty fee.
Midiman announced in January 2002 that it will begin distributing Groove Tubes mics.
For more on the new line, visit www.midiman.net/products/microphones.php.

Internet File-Sharing Boosts Music Sales, Report Says

WASHINGTON (Reuters) -- Internet users who download songs for free from unauthorized "peer to peer" services are more likely to increase their music purchases than regular Internet users, according to a report released on Friday, May 3, 2002.
While file-sharing services like Kazaa and Morpheus enable anyone with an Internet connection to access a huge library of music for free, experienced file sharers are more likely to actually increase the amount of money they spend on CDs, the report by research firm Jupiter Media Metrix said.
Thirty-four percent of all peer-to-peer users said they spent more money on music than before they used such services, the report said, while 15% said they spent less. One-half said the amount of money they spent remained the same.
Online music fans who did not use file-sharing services were less likely to report increased spending. Nineteen percent said they spent more money on music, while 10% said they spent less and 71% said they spent the same amount.
Other technologies, such as recordable CD drives and high-speed Internet connections, had no impact on consumer spending, the report said.
Music companies say Internet piracy is partially responsible for a 5% drop in sales last year, and the industry has aggressively pursued file-sharing companies in court. Napster, the first such service, has been offline since last July, as it struggles with a court order to keep copyrighted music off its system.
But the survey suggests that file sharing could provide a boost to the industry, said report author Aram Sinnreich.
"The Internet is the greatest thing that ever happened to the music industry, and they're just missing out on cashing in on it," Sinnreich told Reuters.
Peer-to-peer users tend to be avid music fans who already spend more money than average on music. Rather than shutting down peer-to-peer services, music companies should cultivate these fans, Sinnreich said.
A spokesman for the Recording Industry Asssociation of America said Jupiter's findings conflicted with a survey that found Internet downloads did eat into music sales.
In a survey the trade group commissioned last year, 23% of respondents said that they did not spend more money on music because they could download it for free.
The five major recording companies -- Sony Music, Warner Music, EMI Group Plc, Vivendi Universal and BMG -- have introduced file-sharing services of their own that, for a fee, allow users limited access to portions of their catalogs. So far, the services have met with limited success.
Some companies have turned to copy-protected CDs, which cannot be played on computers and some other devices. Universal is currently considering whether to release best-selling rap artist Eminem's new release in copy-protected form.
The report was based on a June 2001 survey of 1,911 online music fans, 305 of whom were experienced peer-to-peer users.

Best 100 Music Communities Survery Underway

The third annual Best 100 Communities for Music Education Survey has been collecting responses online www.amc-music.org, the official Website of the American Music Conference.
The survey is in the process of analyzing music program specifics, class size, financial data and other indicators to measure the overall quality of music education in our nation's communities. Private and independent instruction, as well as public school music programs are tallied into each community's score; smaller communities are evaluated on par with larger ones.
In addition to the AMC, the survey is also sponsored by the Music Teachers National Association, the National School Boards Association, the Perseus Development Corporation, VH1 Save the Music Foundation and Yamaha Corporation of America.
According to AMC executive director and NAMM International Music Products Association president Joe Lamond, the first two years of the study showed results that substantiated that "there are great music programs all over the country, in large communities and small."
The Best 100 will be announced later this spring.

WaveFrame Software Group Announcement

WaveFrame announced that its entire digital audio workstation product line, most notably WaveFrame/7, as well as the WaveFrame trademark have been acquired by a new company, Cybermation Inc., which will do business as the WaveFrame Software Group (WSG).
Cybermation/WSG is owned by John Schnell and Dave Hart. According to WSG, there will be continued efforts to develop and support WaveFrame/7.
According to WSG, to the best of their knowledge, WaveFrame Inc. has essentially ceased operations. Any business or past servicing issues should be directed to WaveFrame Inc. at 510/594-9455. FrameWorks/DX and the Diaquest products that WaveFrame Inc. was distributing will not be supported or sold through WSG. The FrameWorks/DX name has been discontinued, but the product will continue as "Pyramix Virtual Studio," sold by Merging Technologies (www.merging.com). A new company, Diaquest Products LLC www.diaquest.com), has acquired the Diaquest product line, and will continue to develop and support these products.
Effective immediately, all WaveFrame/7 development, sales and support will be directed by WSG through its Southern California offices. Sales will be handled exclusively through its dealer channels. Engineering and support will continue as before. Pricing, options and support details are being reviewed and updated, and will be made available to all of its dealers in the near future.
Dave Van Hoy, who has been associated with the WaveFrame product line since its earliest days, will continue his association with WaveFrame/7 by serving in an advisory capacity to WSG. In addition, his company, Advanced Systems Group, will continue in its role as one of WSG's flagship dealers.
According to WSG, an official 7.10 release version for WaveFrame/7 will be posted shortly. Eventually, new releases will be issued on a fee-for-upgrade basis, and a more traditional beta program will be initiated. WSG will also be offering fee-based support for the legacy WaveFrame 6 line of products; details will be published soon.

Digidesign Launches DigiZine Online Magazine

Digidesign announced the launch of its new, online monthly educational magazine aimed at both the beginner and professional Pro Tools user. The mag can be found at www.digidesign.com/digizine.
"DigiZine is a place where readers can learn not only who is using Pro Tools, but how they are using it," said Dusty DiMercurio, DigiZine's editor. "Pro Tools is a deep program, and having several different perspectives from professionals really shows the diversity of the system and how users in differing industries are taking advantage of its capabilities in their own unique ways to produce audio."
Each month, DigiZine will feature a cover story on a high-profile Pro Tools user, as well as three Pro Techniques interviews where professionals share some of their favorite Pro Tools tips and techniques. DigiZine will also feature: Hard Disk Life monthly column, written by Charles Dye, Grammy-winning engineer/mixer/producer; LE Boot Camp monthly column, which features basic training for those new to Pro Tools, and is written by Joe Gore; and, beginning in June, Greg Geddes, co-owner and chief engineer of Novastar Post (Hollywood), will begin sharing his expertise on how to use Pro Tools for post-production. Also included will be Tech Talk, a section dedicated to the tech aspects of digital recording, Net Working, stories and info about using the Internet as a resource for audio production, and Centerfold: Plug-In of the Month, where Joe Gore will profile a different Pro Tools plug-in.

Universal Music Group Offers Vinyl Mastering Services

Universal Music Group (Santa Monica, Calif.) announced that vinyl mastering services are now available at its West Coast recording facility, Universal Mastering Studios-West (Universal City, Calif.). Effective immediately, the vinyl mastering services are available to UMG's family of labels and the music community at large.
These services include the use of exclusive, state-of-the-art equipment (including a Manley/Scully/Westrex/Neumann lathe) as well as the services of mastering engineer Charlie Watts. Clients utilizing UMG's studios in New York and New Jersey will also be able to electronically transfer audio files to the L.A.-based studio for vinyl mastering.
Paul West, VP of UMG studio operations, said, "We are excited to be able to serve the music industry and all of Universal Music Group's labels, because vinyl is still an important format for many music genres today. For those who embrace the format, our equipment and engineers offer a new level of audio quality essential to the artist, DJ and consumer."

U.S. Postal Service Employed Endless Nosie, Leo Burnett for New Commercial

Award-winning sound design and music company Endless Noise announced details of the company's hybrid "musical sound design" work for the latest U.S. Postal Service spot from Leo Burnett/Chicago. The new 30-second TV spot, entitled "Dry Cleaners," was directed by Anonymous Content’s John Dolan and debuted on April 15.
In the spot, a small drycleaner experiences a surge of business based on a direct-mail campaign. As commerce picks up, the sounds of customers entering combine with hisses of steam, the motor of rack as it spins around, rings from the cash register and other ambient noises, eventually building into a percussive underscore. The voice-over drives the point home: "Target your customers with direct mail, and you may actually hear your business growing. Music to your ears, brought to you by the United States Postal Service."
"We had to find a way to get across to people that the postal service can help businesses grow to become more vibrant and efficient," explained Endless Noise creative director and project co-composer and sound designer Jeff Elmassian. "So, specifically, we had to find sounds in the environment of this business that reflect the image of the postal service and that come across as being interesting and musical.
"Together with John Dolan and the creative team, we found that the sounds in this environment made for a dynamic rhythm track, so that's the direction we ultimately went," Elmassian continued.
"The biggest challenge was trying to live within the reality of the sounds," explained Leo Burnett’s senior producer Bob Davis. "It was challenging to create an interesting sound that builds, but the team at Endless Noise helped us find the right balance of ambient sounds that could build to drive the storyline of the spot."
"To me," added director John Dolan, "Jeff's input was invaluable in the pre-production stage, because he helped me define which sounds would work the best musically. He also created a scratch track that I used on location to ensure the proper tempo. His knowledge of music and sound design and the combination of those is what makes him really unique."
The live-action footage was captured on-location at Bixby Knolls Cleaners in Long Beach, Calif., in March by Dolan anddirector of photography Conrad Hall Jr. All sound for the project was created in-house at the Endless Noise studio in West Hollywood. Working with co-composer and sound designer Andy Rehfeldt on a Macintosh G4, the team used SampleCell, Pro Tools and Studio Vision to sequence their sounds into a musical composition. The final track was mixed through a DigiDesign Control 24 mixing console. The Endless Noise studio features Mackie HR-24 studio monitors.
The ability of Jeff Elmassian and his team to transform sound into music recently earned them a London International
Advertising Award for Best Sound Design for their work on the sensational Nike Freestyle campaign. Elmassian will also be honored for that campaign’s sound design at the upcoming 2002 International ANDY Awards Show and Party on May 1, 2002, in New York City and at the 43rd Annual Clio Festival on May 21 in Miami Beach.
For the Leo Burnett project team in Chicago, Lisa Bennett served as executive creative director and Steve Simoncic was the creative director. Along with Bob Davis, the team also included Chad Ackley as art director and Daniel Mabe as copywriter.
Anonymous Content’s team was led by executive producer Andy Traines and head of production Cassie Hulen, and also included producer Tapas Blank and production manager Sam Swisher.
Deb Schimmel of Chicago’s Optimus edited the spot.

Native Instruments Absynth Available for PC

Native Instruments announced that Absynth is now available for PC.
This software synthesizer offers 68-stage envelopes, six oscillators with freely drawable waveforms and multiple synthesis techniques, as well as more than 700 of professionally designed sound patches.
Absynth PC runs stand-alone or as a VST and DXi plug-in with up to eight instances. It is available through authorized dealers and in the NI Online Shop.
Visit www.native-instruments.com/absynthpc.

DigiWorld "Loud and Clear" and Avid "Start to Finish" Tour Come to Los Angeles

Digidesign (Daly City, Calif.) announced the DigiWorld "Loud and Clear in Los Angeles" and Avid "Start to Finish" Tour on Friday, May 31, from 12 p.m. to 8 p.m., and Saturday, June 1, from 10 a.m. to 6 p.m. at Universal Studios, Universal City, Calif. Admission is free; however, advanced registration is recommended. Register online at www.digidesign.com/digiworld or call 800/333-2137, code 103.
This two-day event will showcase the newest products from Digidesign, Digidesign Development Partners and Avid Technology Inc.
Attendees can also sign up for Pro Tools 101, a free one-hour personalized Pro Tools LE training course using an Apple iBook and the new Mbox. Pro Tools 101 gives attendees the chance to get a hands-on tutorial with a Digidesign instructor who will take them through real-world exercises like comping vocals, editing a drum take or cleaning up a guitar track. One class will be offered in Spanish per day.
At DigiWorld, attendees will have the chance to speak directly with the company's partners, including Access Music, Antares, Aphex, Bitheadz, Bomb Factory, Dolby, Drawmer, DUY, EMTEC, Focusrite, Gallery, Glyph, IK Multimedia, INA-GRM, Line 6, Magma, McDSP, Native Instruments, Prosoniq, Serato, Sonic Solutions, Sony, Synchro Arts, Wave Mechanics and Waves.
At the "Start to Finish" tour, attendees will get free, hands-on training with Avid’s Xpress DV-editing software, see Avid’s HD and SD finishing solutions, and sample the latest features and interop capabilities of Avid’s editing, shared storage and network solutions.
All registered attendees will be entered to win a free Mbox, the new micro studio from Digidesign and Focusrite.

Napster CEO Resigns as Funds Dry Up

SAN FRANCISCO (Reuters) -- Embattled Internet music company Napster Inc. announced Tuesday that its chief executive officer, Konrad Hilbers, had resigned and that it had been unable to secure funds to relaunch its once wildly popular song-swap service.
"We appreciate the contribution made by Konrad Hilbers as CEO of Napster," the company said in a statement. "We deeply regret that we have not yet been able to find a funding solution that would allow Napster to launch a service to benefit artists and consumers alike. We will be looking at additional steps in the coming week to further reduce expenses."
A Napster spokesman was unable to say immediately if the company -- a once hot property on the Internet, which has been struggling to relaunch itself as a royalty-paying service to comply with U.S. copyright law -- would file for bankruptcy.
Tuesday's announcement followed a decision by German media group Bertelsmann AG, which has taken a significant stake in Napster, to postpone talks to buy the rest of the company pending resolution of a dispute among other Napster investors.
The company, which has been grounded by legal squabbles since July 2001, last postponed the launch of its new secure service in March, and last month announced it was laying off about 30 people, or 30% of its staff.

Fairlight Ships World's First DREAM Console

Andy Richards, one of the most prolific and successful producers in the global music community, has just installed the world's first Euphonix DREAM Console at his Out of Eden digital studio in London. Out Of Eden is a music facility for production, mixing, recording, composition, writing and programming. Richards now expects to offer an even more creative range of music and post-production services using the high-end automation and processing provided by the 96-track DREAM Console.
According to Chris Pelzar, CEO of Fairlight USA, the fact that the first Fairlight DREAM Console goes into music production is significant. "The thinking behind the Fairlight DREAM Console was to design a console that brings the highest levels of quality, performance and reliability to a price point that makes sense in the music industry, and then to integrate a Fairlight editor without impacting the cost to the user," Pelzar said. "With the DREAM Console, we've done exactly this, and we're truly taking Fairlight's legendary heritage in music production to new heights. The fact that Andy is our first DREAM Console customer is very fitting in this respect."
The new DREAM Console replaces Out Of Eden's Fairlight FAME2, and Richards sees this as a natural upgrade. "I've been a longtime user of Fairlight products, ranging from their Series 3 16-bit CMI sampler/sequencer in the mid-'80s to today's stunning DREAM Console. The Console is even more sophisticated and unique than the FAME2, and comes with an incredible high-end feature set. It allows me to work faster and smarter."
The DREAM Console is a fully featured digital audio mix console with an integrated 48-track disk recorder and editor powered by Fairlight's QDC Technology. In addition, the console offers 96 channels returned to 48 mix buses, with full 6-band EQ and filtering and two-stage dynamics processing on each input simultaneously. This channel structure delivers into a multiformat busing system, which allows simultaneous generation of multiple surround formats plus bus-to-bus mixing for multi-stem work, ideal for Out Of Eden's 5.1 surround work.
Also important to Richards is the unique grouping and panning system in the console, which allows smooth and simple manipulation of the mix matrix, ensuring that the most complex surround sound mixes can be accomplished with ease.
Richards explained, "With the console, I can keep all of the audio in the digital domain to ensure absolute integrity. In addition, I am able to perform complex 5.1 editing and enhance mixes within minutes to create the highest-quality audio that my clients have come to expect."
Richards has worked on many high-profile projects using the FAME2, including Bridget Jones's Diary, Ali G in Da House and The Parole Officer, and will shortly start work on mixing Kylie Minogue's new live DVD and double-live album using the DREAM Console and Fairlight's new V-motion hard disk video player/recorder system.
For more on the DREAM Console, visit Fairlight www.fairlightesp.com.au.

Marantz, Denon Complete Merger

D&M Holdings Inc., a joint holding company formed to merge the operations of Marantz Japan Inc. and Denon, announced yesterday the completion of the merger. The two companies will maintain the established Marantz and Denon brands. Denon's and Marantz’ combined experience in the home theater, A/V consumer electronics and professional audio markets exceeds 130 years.
D&M Holdings (Sagamihara City, Japan) has succeeded Marantz as a publicly traded concern on the Second Section of the Tokyo Stock Exchange. Ripplewood Holdings LLC, Denon’s largest shareholder, will become the majority shareholder in D&M Holdings, which has 1,650 employees around the world. Royal Phillips Electronics, which owned 49% of Marantz Japan, now owns 14.7% in D&M Holdings.
Tatsuo Kabumoto, former chairman and CEO of Marantz who is now president and CEO of D&M Holdings, said D&M Holdings will capitalize on the strategic benefits resulting from the combined companies. "The merged company formed will create a powerful force in the premium home theater and audio-video market. By combining these two companies, D&M will be able to obtain significant improvements in margins and cash flow. Moreover, D&M will be well-positioned to take advantage of the growth in this market segment given the high demand of home theater products and the digitalization of this market segment," Kabumoto said.
All shares of Marantz and Denon were transferred to D&M Holdings, making both entities wholly owned subsidiaries. Former Marantz shareholders received one share of D&M Holdings for each Marantz share, and former Denon shareholders received 0.4416 shares of D&M Holdings for each Denon share. Former Marantz shareholders will hold approximately 30% of the new company, and former Denon shareholders will own approximately 70% of the new company. The Denon and Marantz brand names will be maintained, as well as their sales and marketing, and brand-specific product and distribution channels.

AES Presents Prof. Dr. Fritz Sennheiser with Gold Medal Award

At AES 2002 Munich, the Audio Engineering Society awarded their Gold Medal Award to Prof. Dr. Fritz Sennheiser in recognition of his lifetime achievements in audio and microphone technology. Additionally, Sennheiser, the company he founded more than 55 years ago, was honored for 25 years of participation at the AES Conventions.
In his acceptance speech, Dr. Sennheiser said, "When I look back on the many decades as an engineer and entrepreneur, I am very thankful to call one of the most interesting fields of work my own. The field of acoustics is so wide and varied that it has never failed to fascinate me, even today. I am very grateful for the AES Gold Medal Award, knowing that it also recognizes the commitment of the many employees with whom I created my life's work."
For more, visit www.aes.org.

Weeks of May 16-31

Broadjam To Provide Song Management System For Warner-Chappell
Broadjam (www.broadjam.com) announced that it has performed music-encoding and song-indexing services for the recently unveiled Warner Chappell Music OneStopTrax (www.onestoptrax.com) e-license site, a fully integrated, online music-licensing service from a major music company.
Broadjam will provide its Song Management System, a comprehensive Web-based music database and search engine, for OneStopTrax, enabling film and television music supervisors, festival and student filmmakers, and producers of industrial in-house presentations a one-stop shopping approach to music licensing. Instead of having to go to separate companies to obtain the rights to a single piece of music, the OneStopTrax site enables users to acquire both music publishing and recorded music rights instantly, including licensing and payment, in one transaction.
Available music is from a wide variety of well-known artists, from Cole Porter and George and Ira Gershwin, to the contemporary music of Madonna, Radiohead, Nickelback, Dido, Sheryl Crow and Smash Mouth.
"Broadjam analyzes our songs to a level of detail that is unparalled. They've been great to work with, and we believe that their services will enable us to market more efficiently to our customers," according to Steve Scott, VP of new media at Warner Chappell. "After Broadjam processes our songs, we can search by subject matter, genre, similar artist, lyrics, tempo, beats per minute and language. It's quite a unique service."
Check out the search engine and songs on the newly unveiled Warner/Chappell Website at www.warnerchappell.com.

Shure Bid For Hearing Raises More Than $10,000 For Hearing Conservation
"Better Hearing and Speech Month" in May got off to a great start, thanks to the fundraising and awareness efforts of the Shure Bid for Hearing online charity auction, sponsored by audio manufacturer, Shure Incorporated (Evanston, Ill.). Intended to inform the 41 million Americans with hearing and speech problems that help is available, this month also serves as a time to educate the public about the hazards of noise and the importance of hearing protection.
On April 29, Shure's online charity auction went online to generate funds and increase awareness about hearing conservation. Music fans duked it out on eBay, bidding for 37 artist-signed mics, audio electronics and memorabilia. The auction was hosted on eBay, and all proceeds from the auction benefited Los Angeles-based House Ear Institute (HEI).
"We at HEI could not be happier with the cooperative fundraising effort in support of our Sound Partners program," said Jim Boswell, CEO of HEI. "We are proud to have Shure as one of our significant corporate partners, committed to our efforts to educate audio industry professionals on safe sound management and hearing conservation. We greatly appreciate Shure's leadership and support of our program."
Ending on May 10, and topping the charts, were these top five selling items:

• Number One: Christina Aguilera Shure U2/Beta87 Wireless Microphone Transmitter, $810
  

• Number Two: Ozzy Osbourne Shure U2/Beta 58 Wireless Microphone Transmitter, $615
  

• Number Three: Phil Anselmo (Pantera) Shure Beta 58A Wired Vocal Microphone, $511
  

• Number Four: Nelly Furtado Shure U2/Beta 58 Wireless Microphone Transmitter, $460
  

• Number Five: Bruce Dickinson (Iron Maiden) Shure U2/Beta 87 Wireless Microphone Transmitter, $456.29

The Shure Bid for Hearing auction grossed over $10,000. For a complete listing of artists who donated items, visit www.shure.com/hearing/. For more information, visit HEI at www.hei.org.

One-Inch Demand Rises
Artists and producers in the Los Angeles area are steadily notching up their demand for stereo mastering on the 1-inch analog format. In response, studios and rental companies are purchasing additional inventories of 1-inch ATR-102s from ATR Service Company (York, Pa.).
"We’ve seen a gradual building of interest, month by month," said Gary Ladinsky, president of the Design FX rental company. "We bought one machine and then ran into a situation where we were getting more calls, and that machine was already out!"
Design FX now has two of the machines working at various studios around Southern California. According to Ladinsky, recent 1-inch analog mixes using his ATRs include projects by Meat Loaf, BeBe Winans, Lee Ritenour, Blue October and System of a Down.
Extasy Recording also owns a pair the 1-inch ATRs, which either shuttle between the company’s two studios (Extasy North in North Hollywood and Extasy South in Los Angeles) or go out to other studios through the company’s 1080 rentals division.
"After the first big rush into Pro Tools, it’s coming full circle and people are getting back to putting things on tape," noted Joe James, engineer and operations manager at Extasy. "I know that when it comes to the final mix, I love to print to analog. And when people start to put these 1-inch machines into their working environment on a regular basis, we expect they will be very much in demand."
Larrabee Sound Studios is banking on a continued upswing in 1-inch demand, having recently taken delivery on the first of three 1-inch machines ordered from ATR Service. "We just uncrated it and it looks fantastic," enthused Larrabee maintenance engineer Aaron Becker. "It has stirred up a lot of interest already. I talked to one producer who really prefers to mix to analog at 15 ips, but he doesn’t like using Dolby SR. Now, with the 3 dB lower noise on the 1-inch, he can do 15 ips without the noise reduction."
Though the 1-inch stereo format has been around for a number of years, machines from ATR Service seem to have cornered the lion’s share of the emerging wide-track market. Design FX’s Gary Ladinsky said that he relies on ATR Service’s Michael Spitz, because, when serving clientele at this level, it makes no sense to cut corners just to save a few dollars.
"Mike has the reputation of being the best rebuilder in the business," said Ladinsky. "I have a lot of confidence in what he does. That was one of the main reasons I took the plunge and bought the first machine."
Joe James at Extasy echoed the same sentiment. He remembers what the studio’s ATR-102 looked like before it went to ATR Service for acomplete overhaul and 1-inch upgrade. "When it came back, the buzz went around the shop, ‘Hey everybody, come look at this!’ It’s amazing, the quality of work he does. And it’s not just the visual appearance, but the performance as well. I can’t say enough about the quality of work he does. It’s amazing."
For more information, visit www.atrservice.com.

EMI Music Taps Henninger Vision for DVD-Audio Releases
EMI Music Catalog Marketing Group (Arlington, Va.) has teamed up with Henninger Vision, a provider of complete, end-to-end multimedia solutions, to release several DVD-Audio titles. Henninger Vision is working with EMI Music Distribution to offer classic recordings in advanced-resolution surround sound, remixed to optimize playback on high-end surround systems, as well as home theater systems. Titles released recently include popular and rare music videos, bios and photo galleries, including Al Green Greatest Hits, Dave Koz: The Dance and Eric Johnson: Ah Via Musicom. Henninger Vision is also working on titles by Queensryche, Crowded House and Richard Thompson, to be released this summer.
"We were very excited to be a part of this EMI project," said Tom McCarthy, Henninger’s director of DVD services. "The DVD-Audio format is a terrific medium to work with. It allows us to include features such as photo galleries and bios that can be viewed at random without interruption during playback of advanced-resolution surround audio. Also included on some of the disc are music videos previously unavailable for purchase. All of these new features makes ‘listening’ to these releases a more active and pleasurable experience."
"We are enthusiastic about this new music format," said Tom Cartwright, VP catalog marketing for EMI Recorded Music. "The superior sound quality and added video enhancements create a premium listening experience that will help boost sales for our artists. The creative team at Henninger Vision was a valuable resource in establishing the video enhancements and putting these releases together."
Each DVD-Audio release is re-mixed at Capitol Studios from the original multitrack master tape in Advanced-Resolution 96kHz/24-bit, PCM surround sound. To get the most out of the new format, audiences need a DVD-Audio player that can play back the advanced-resolution surround and stereo tracks. While listening to the high-resolution audio, the listener can browse the artist bio’s, photo gallery and track credits without playback interruption. Also included on the disc are 5.1-surround mixes in DTS and Dolby Digital formats, so the 31 million owners of DVD-Video players can also enjoy the surround remixes.
To find out more, visit Henninger Vision at www.henninger.com.

L.A. Studios Upgrades with Sony Digital Console
The L.A. Studios Inc. (Hollywood), parent company of the audio post-production facilities L.A. Studios, Margarita Mix Hollywood and Margarita Mix de Santa Monica, announced today that the L.A. Studios location has re-opened it's newly refurbished Studio C suite, which is designed around Sony's DMX-R100 digital console. This is the third step in their two-year plan to renovate each of its six studios.
Studio C will continue to be helmed by mixer Cameron Davis, lending his expertise to voice recordings for animated feature films, animated television series, and the recording, editing and mixing of commercial and entertainment advertising campaigns for radio and television.
L.A. Studios engineer Paul McGrath has been working with the R100 in Studio D since the spring of 2001: "I can juggle numerous projects due to the digital console's ability to save the settings for up to 10 titles," noted McGrath. "Now, with three R100s in our facility, I can seamlessly migrate from one studio to another. I also like the R100's digital router, which virtually eliminates the need for the patchbay."
Other upgrades to Studio C include an Islands International decor with dark, Indonesian wood furniture, supple leather couches and a leaf-patterned carpet. "In addition to the new digital gear and stylized creature comforts, the upgraded studios are designed to be more video-friendly than their predecessors," stated L.A. Studios general manager Jane Curry.
In other L.A. Studios new, Jimmy Hite, chief engineer at Margarita Mix de Santa Monica facility, was named this year's "Best Audio Engineer" recipient at the 23rd annual Telly Awards for his audio post work on "Cat Herders." The humorous spot, mixed for EDS Business Solutions, spoofed cowboys articulating the hardship and the adventure of corralling, not cattle, but cats. Hite's past honors include "Los Angeles Mixer of the Year," presented by The Association of Music Producers in May of 2001.
Hite is a 20-year veteran in the audio post industry. His experience in live radio, television, commercial mixing and motion picture promotions has made him one of the most respected and sought after mixers an the L.A. Studios proprietary sound library, The Sound Effects Network. Hite is constantly working on some of the most high-profile projects in advertising and entertainment, including spots that ran during the 2002 Super Bowl, the Oscars and the 2002 Winter Olympic Games for clients like Chevy, Home Depot and E-Trade, to name a few.
"It is always an honor to be appreciated by one's peers," remarked Hite. "Audio mixing is often an overlooked component in this business. However, with technologies like 5.1 and 7.1 surround on the rise, my craft has become more crucial than ever."
For more, visit www.lastudios.com.

Fairlight Receives Australian Design Award for DREAM Family
Fairlight ESP, the Sydney-based designer and manufacturer of digital audio technologies for the production of the most advanced music, film and television sound, was honored last month at the 2002 Australian Design Awards for the development of the company's DREAM Series of editing and mixing systems. The awards, which were held at the Sydney Convention & Exhibition Centre, marked the culmination of a long and thorough review process by an independent panel of senior industry and design professionals.
Fairlight's DREAM line received the Software-Electronics Design Award from Standards Australia International, whose Australian Design Awards program was established to promote to the industry and the general public the benefits of professional product design in the development of manufactured goods.
Some of the criteria used in the judging were functionality, ergonomics, aesthetics, creativity and originality, safety and environmental considerations, manufacturing (construction and use of materials) and price (value for money).
Commenting on the nomination and award, Karl Seglins, VP of marketing, said, "The DREAM family represents a quantum leap forward in intuitiveness, editing power and ergonomics. The Design Award is an endorsement of this company's commitment to not simply accept the status quo in systems design, but to advance the user experience at every opportunity through extensive investment in R&D and product development."
For more, visit Fairlight online at www.fairlightesp.com.au.

Maltin Returns to DVD Conference
The Fifth Annual DVD Entertainment Conference & Showcase announced that renowned critic and writer Leonard Maltin will return for the third year in a row to moderate the Hollywood Director’s View panel discussion and Fifth Annual DVD Awards. The 5th Annual DVD Entertainment Conference & Showcase will take place August 21-22, 2002, at the Universal City Hilton, Universal City, Calif.
"The name Leonard Maltin is synonymous in the popular culture with film historians," said Charles Van Horn, president of the International Recording Media Association (IRMA), a co-producer of the event. "His ongoing association with our DVD Entertainment conference as moderator of the Director’s Panel and host of the DVD Awards is a fruitful relationship that lends a one-of-a-kind passion for the motion pictures on any format, but especially on DVD."
Maltin is in his 20th season as film historian and correspondent for the television show Entertainment Tonight, and is now co-hosting the weekly movie review show Hot Ticket. His annual paperback, Leonard Maltin’s Movie & Video Guide, is considered a standard film reference around the world. Maltin’s other titles include The Great American Broadcast and Of Mice and Magic: A History of American Animated Cartoons. "I've enjoyed hosting the awards ceremonies and filmmaking panels the past two years and look forward to another session this summer," said Maltin. "The DVD boom is big news this year, and I'm delighted to be associated with an event that celebrates the home video format of choice for a growing number of movie buffs."
The Fifth Annual DVD Entertainment Conference & Showcase–an executive-level seminar and showcase of DVD technologies for studios, labels, producers and facilities involved in the creation, production and distribution of DVD-Video, -Audio and -ROM entertainment titles–is the longest-running full-service DVD conference/showcase. It is co-produced by the International Recording Media Association (IRMA) and United Entertainment Media’s Medialine magazine.
For more, visit www.dvdconference.com.

BERTELSMANN SNAPS UP NAPSTER
SAN FRANCISCO (Reuters) -- Embattled Internet music upstart Napster Inc. was handed a new lease on life Friday as German media giant Bertelsmann stepped in with $8 million to buy its assets and keep the online song-swap service in business.
The surprise deal also brought Napster CEO Konrad Hilbers and founder Shawn Fanning back into the fold just days after they quit the company amid fears that mounting legal, financial and technical problems would silence Napster for good.
"While this has been a very unusual week, I'm pleased that I and my colleagues can move forward and give our full attention to Napster's future," Hilbers said in a statement.
Bertelsmann's agreement to provide $8 million for Napster's creditors will allow the company to file for Chapter 11 bankruptcy protection and emerge as a wholly owned subsidiary of Europe's second-largest media group, officials said.
It will then resume its much-delayed plan to relaunch as a subscription digital music service that complies with U.S. copyright law.
Analysts said the deal, which gives Bertelsmann control of Napster for far less than the $15 million to $30 million it might have cost to buy the company outright, could nevertheless prove a good deal for the online music company.
"This development could very well breathe new life into this Napster," said Phil Leigh, a financial analyst at Raymond James & Associates.

a hot property gone cold
Napster, once one of the hottest properties on the Internet, has been offline since July 2001, as it fights a music piracy lawsuit by major record labels.
The service this week signaled it was nearing the end of the game as Hilbers, Fanning and several other senior executives quit after a dispute among board members derailed a Bertelsmann bid to buy the company outright.
That quarrel was resolved by a Delaware court Tuesday, setting up a new Napster board chaired by Hilbers.
Bertelsmann, which broke ranks with other music companies by buying a stake in Napster in 2000, said it was now ready to help push the company toward its goal of becoming a secure, membership-charging service.
"Creating new ways of doing business is never easy, but Napster will be at the forefront of finding business models that respect copyright, reward artists and deliver entertainment value to consumers," Joel Klein, chief executive of the U.S. arm of Bertelsmann, said in a statement.
"Peer-to-peer is a transforming technology, and we're proud to have Shawn Fanning continue to work on its development."

a new vision for Napster
Fanning, who founded Napster as a college student in 1999 and will now serve as the company's chief technology officer, said he was pleased to be moving forward with Bertelsmann.
"Bertelsmann understood our vision when they first invested in us," Fanning said. "They still believe in that vision."
Fanning's vision was in part what landed Napster in trouble in the first place.
While wildly popular with millions of users around the globe, the service quickly drew the ire of the recording industry, which in late 1999, filed suit charging it with abetting music piracy by allowing users to download digital music files from other people's computers without paying any royalty fees to copyright holders.
Lengthy litigation resulted in a court injunction, which barred the service from offering copyrighted songs identified by the labels.
While Napster now says it will relaunch as a royalty-paying service, company officials concede that there have been both technical difficulties in setting up the system and contract difficulties with record labels declining to provide licenses for their music.
"The biggest remaining job for Bertelsmann is to get content, to get the other record labels to agree to use Napster," said Leigh of Raymond James.
Sources close to the company said Friday they still had no firm date for the Napster relaunch, but said it would only take place once all the kinks had been worked out.
"For Bertelsmann, this is a longterm play," one source said, adding that Napster's high brand visibility, established "community" of users and peer-to-peer format were all assets.
Jupiter Media Matrix analyst Stacey Herron said that while Napster remained the most famous of the digital music services, it would still face competition from newer companies that have sprung up during the long months of litigation.
"This announcement certainly doesn't secure the future of Napster as a thriving business," Herron said.
"You can't simply turn back the clock and make Napster what it was two years ago."

-*-

Kangaroo Covers Unveils New Amplifier Cover with Pockets
Kangaroo Covers (Nashville) introduced a new, custom-made amplifier cover that features large exterior pockets for storing cords and effects. The covers are made with 1,050-denier ballistic nylon or 32-ounce, heavy-duty, textured vinyl. The covers also include a leather-reinforced handle opening, double-stitched inside seams and leather logo. Velcro inner pocket straps pull up and over the top of the amplifier, holding the pockets open while loading or unloading.
The 1,050-denier ballistic nylon is water repellent with 1/4-inch urethane backing and offers snap buckles. The vinyl model is UV resistant, mildew-treated face and back, cold crack to 10 degrees and offers nickel-plated rust resistant buckles.
List price is $149.95.
Kangaroo Covers, PO Box 120593, Nashville, TN 37212; 800/431-5537; 615/361-5537. Available direct from www.kangarooampcovers.com.

Microboards Technology Is Shipping Faster CopyWriter Tower
Microboards Technology (Chanhassen, Minn.) announced that it is now shipping the fastest duplicator line available on the market. The new models’ significant features include support for 40x record speed and a new brushed-aluminum-style casing.
With the new CopyWriter Tower Series, the CopyWriter brand name is brought back to the tower duplication arena. "CopyWriter was the name of the world’s first stand-alone CD duplicator, which was also brought to market by Microboards," said John Westrum, CTO at Microboards Technology. "And it was only appropriate to bring it back as we reach this new benchmark for speed and throughput." Pricing on the CopyWriter Tower starts at $1,595 (MSRP).
Configurable with anywhere from two to eight recorders, the CopyWriter Tower is designed to be both economical and scaleable. Because all Microboards Tower Duplication equipment comes with a built-in reader, the user is able to make up to eight copies simultaneously from a single master. In addition, the CopyWriter Pro Version comes with an integrated hard drive and user-interface module that gives the user access to advanced features. These include speed selectability, image archival and track extraction to create customized audio CDs.
The CopyWriter Tower Series is one of many CD and DVD Recordable Technology products provided by Microboards. Further information is available by visiting its Website at www.microboards.com.

"COPY-PROOF" CDs CRACKED WITH 99¢ MARKER PEN
LONDON (Reuters) -- Technology buffs have cracked music publishing giant Sony Music's elaborate disc copy-protection technology with a decidedly low-tech method: scribbling around the rim of a disc with a felt-tip marker.
Internet newsgroups have been circulating news of the discovery for the past week, and in typical newsgroup style, users have pilloried Sony for deploying "high-tech" copy protection that can be defeated by paying a visit to a stationery store.
"I wonder what type of copy protection will come next?" one posting on alt.music.prince read. "Maybe they'll ban markers."
Sony did not immediately return calls seeking comment.
Major music labels, including Sony and Universal Music, have begun selling the "copy-proof" discs as a means of tackling the rampant spread of music piracy, which they claim is eating into sales.
The new technology aims to prevent consumers from copying, or "burning," music onto recordable CDs or onto their computer hard drives, which can then be shared with other users over file-sharing Internet services such as Kazaa or Morpheus MusicCity.

Sony aggressive anti-piracy push
Monday, Reuters obtained an ordinary copy of Celine Dion's newest release A New Day Has Come, which comes embedded with Sony's "Key2Audio" technology.
After an initial attempt to play the disc on a PC resulted in failure, the edge of the shiny side of the disc was blackened out with a felt-tip marker. The second attempt with the marked-up CD played and copied to the hard drive without a hitch.
Internet postings claim that tape or even a sticky note can also be used to cover the security track, typically located on the outer rim of the disc. And, there are suggestions that copy-protection schemes used by other music labels can also be circumvented in a similar way.
Sony's proprietary technology, deployed on many recent releases, works by adding a track to the copy-protected disc that contains bogus data.
Because computer hard drives are programmed to read data files first, the computer will continuously try to play the bogus track first. It never gets to play the music tracks located elsewhere on the compact disc.
The effect is that the copy-protected disc will play on standard CD players but not on computer CD-ROM drives, some portable devices and even some car stereo systems.
Some Apple Macintosh users have reported that playing the disc in the computer's CD drive causes the computer to crash. The cover of the copy-protected discs contain a warning that the album will not play on Macintoshes or other personal computers.
Apple has since posted a warning on its Website.
Sony Music Europe has taken the most aggressive anti-piracy stance in the business. Since last fall, the label has shipped more than 11 million copy-protected discs in Europe, with the largest proportion going to Germany, a market label executives claim is rife with illegal CD-burning.

-*-

U.S. Copyright Office Rejects Webcasting Rate Plan
WASHINGTON (Reuters) -- The U.S. Copyright Office on Tuesday rejected proposed royalty rates for Internet broadcasters and said it will come up with a final plan within a month, offering hope to online radio stations that said they would be bankrupted by the proposed rates.
Register of Copyrights Marybeth Peters and Librarian of Congress James H. Billington rejected the proposed rate of 0.14 of a cent per listener per song that was proposed by a special arbitration panel in February.
A final decision will be issued by June 20, the two said in a statement.
Unlike conventional radio stations, Internet "Webcasters" must pay performers and recording companies on a per-song basis.
Webcasters had protested that the arbitration panel's proposed rate is too high and could force many of them out of business, pressing their case with a one-day blackout and dogged lobbying.
The Copyright Office did not indicate whether the final rates would be higher or lower than those recommended by the panel, but Webcasters sounded an optimistic note.
"Today's decision by the Librarian offers hope that the final royalty will be more in-line with marketplace economics than was the arbitrators' proposal," said Jonathan Potter, executive director of the Digital Media Association, a trade group that includes Webcasters.
Software maker RealNetworks Inc., whose media players are often used to listen to Webcasts, said the decision is a positive sign that regulators had heard the Webcasters' message.
Recording companies, which would split royalty revenues with the artists, had initially sought a higher rate than what the arbitration panel proposed, but later said they could live with the panel's decision.
However, Cary Sherman, president of Recording Industry Association of America, emphasized that the decision did not necessarily mean a victory for Webcasters.
"We do not know why or what decision the Librarian will ultimately make based on the evidence presented," Sherman said.
Unlike Kazaa and other song-swapping services that allow users to download songs for free, Webcasters have not been accused of copyright violations by artists and record companies.
Webcasters say they are willing to pay a fee for the right to use the songs. Record companies, for their part, say they welcome the advent of Webcasters, which have grabbed the ears of 9% of Americans aged 12 and older, according to market research firm Arbitron.
But despite years of negotiations, the two sides had been unable to agree on a royalty rate, prompting the Copyright Office to step in.
Webcasters will be liable for back royalties once a final agreement is reached.
The head of an organization that would distribute some royalties once an agreement is reached said it is high time that Webcasters start paying for the songs they use.
"Over the past three years, Webcasters have paid for bandwidth, rent, hardware, software and other business expenses," said SoundExchange executive director John L. Simson. "It is time that they finally start to pay the artists and record companies whose creative output is the most important component of their business."

Meyer Sound To Feature Booth Presentations at InfoComm 2002
At this year’s InfoComm International (June 8-14 at the Sands Expo & Convention Center in Las Vegas), Meyer Sound’s booth, #19139, will feature a host of new products, regularly scheduled product presentations, and a special panel discussion entitled "Getting the Best Out of the ‘A’ in A/V." All presentation attendees will have the chance to win a pair of UPM-1P self-powered loudspeaker systems, a $4,420 value.
Each day at 11 a.m., 1 p.m. and 5 p.m. (3 p.m. on Day 3), the unique advantages of Meyer Sound products will be explained in detail. The sessions will be 20 minutes in length, and all who attend any of the presentations throughout the day will be eligible for the drawing for the loudspeakers, which will be held at 3:30 p.m. on Day 3. These presentations are designed to not only educate the show attendees about the benefits of Meyer Sound products but to also provide general information about the practical aspects of providing great sound in A/V applications.
At 3:00 p.m. on Day 1 and 2, a panel composed of industry veterans will discuss "Getting the Best Out of the ‘A’ in A/V." Topics will include the current influx of line array systems into the market and the continuing developments of conventionally arrayed loudspeakers. This discussion seeks to provide practical information about when, where and how to use each type of product.
Attendees can register to win Meyer Sound's UPM-1P Ultra-Compact, Wide-Coverage Loudspeakers by filling out a questionnaire after any of the Meyer Sound presentations during the show. A pair of UPM-1Ps will be given away at the end of the show (3:30 p.m. on the 14).
Check out www.meyersound.com or www.infocomm.org for more.

Seventh Annual Mix L.A. Open Slated for June 10
Nearly 150 golfers from the music and pro audio industry will gather Monday, June 10, 2002, at the Malibu Country Club to participate in the Seventh Annual Mix L.A. Open. The charity tournament, presented by the Mix Foundation for Excellence in Audio, benefits hearing conservation efforts of the House Ear Institute's Sound Partners program, as well as scholarships for students of the audio arts and sciences.
"The Mix L.A. Open has become one of the most popular events for recording professionals who love the game of golf," said tournament director Karen Dunn, pointing out that the cream of the Southern California studio community will be on hand. "They are also concerned about protecting their hearing and that of their audience, so this is a way to have a great time while helping to raise money for a good cause."
Besides competing for trophies in the "best ball" tournament, participants will have a shot at this year's hole-in-one contest prize of a pre-paid, two-year lease on a BMW 2002 Z3, provided by Steve Thomas BMW of Camarillo, Calif. Following the tournament, a silent auction will feature such items as audio gear and production software, sports memorabilia, wine/food baskets, audio industry mementos, and 16 hours of production time at The Studio at the Sunset Marquis' A Room, including one night's lodging at the Sunset Marquis Hotel. The tournament concludes with a "19th Hole" barbecue dinner and awards presentation.
Top pro audio companies, manufacturers and recording studios have once again rallied to support the benefiting charities by sponsoring one of the holes or contests (including longest drive, longest putt and closest to the pin). At press time, sponsoring companies include: Audio-Technica, CE Pickup, Design FX, Disc Marketing, Emtec Multimedia, QSC, Quantegy, Record Plant, Rodnik Vodka, Royaltone Studios, Shure, Signet Sound, TC Electronic, The Village, Steve Thomas BMW and Warner Brothers Studios.
Remaining sponsorship slots can be checked online at www.tecawards.org. In addition to sponsorships, foursomes and individual tickets are still available. For more information, contact Karen Dunn at 925/939-6149 or send an e-mail to karen@tecawards.org.

BOEING PUTS DIGITAL MOVIE SYSTEMS IN 23 THEATERS
LOS ANGELES (Reuters) -- It falls far short of Star Wars creator George Lucas' hopes, but the Force--the force behind digital cinema, that is--is still with them.
The Boeing Co.'s Boeing Digital Cinema unit said it expects to have 23 digital cinema systems running in theaters around the country by May 16, giving the high-tech method of distributing and showing movies a much-needed lift.
Frank Stirling, executive director of Boeing Digital Systems, said he expects to have as many as 40 systems in theaters by the summer's end and possibly 100 by year's end.
The 23 all-digital theaters are in cities ranging from Seattle to Boston and Wichita, Kan., Stirling said.
The number is far short of the some 2,000 Lucas hoped for three years ago when Star Wars: Episode I--The Phantom Menace debuted in theaters loaded with digital effects.
Attack of the Clones was made digitally, which holds the promise of sharper pictures and better special effects for audiences each time a movie is played.
But digital cinema has been slow to take hold with theater owners due to cost and technology issues. Hollywood's studios, too, are concerned about digital pirates who could steal perfect copies of movies from satellite uplinks, the Internet or DVDs, thereby reducing film profits.
Boeing Digital Cinema, however, believes it has many of those problems worked out, and since early March, it has been contracting with theater owners and Hollywood's studios at a rapid rate to deploy systems, Stirling said.
"At first, there was great interest and no commitment until (this year's) ShoWest, when (Clones producer) Rick McCallum showed his package of Star Wars content. Then something very interesting happened. The next day, theater owners began calling us, and we began negotiating," said Stirling.

pirate-proof?
ShoWest is the movie theater owners largest convention of the year, where vendors sell everything from popcorn to projectors to theater owners. In recent years, much of ShoWest has centered on the anticipated rollout of digital cinema.
Theater owners, however, largely rejected the idea because they didn't want to pay the estimated cost of one system, which is as high as $150,000 for an advanced projector, computer servers and satellite dishes or high-speed wiring.
Owners went on a spending spree in the 1990s to upgrade theaters, which led to many bankruptcies in 1999 and 2000. But by 2001, the industry had returned to moderate health.
Stirling declined to give pricing details on a Boeing system because each owner has different specifications.
He said, however, that some Hollywood studios--he did not name names--have agreed to pay a digital distribution fee to Boeing to help offset installation costs.
That helped solve one major issue of theater owners who argued the studios should foot the entire bill because they gained the most by the reduced cost of distributing films.
Still, digital cinema does offer owners the not-yet-proven opportunity of using empty theaters for alternative events like showing rock concerts, sporting matches or corporate meetings.
Stirling said Boeing's contract often calls for revenue sharing if owners are able to boost sales with its system.
He added that the history of Boeing's various units in operating satellites and in processing highly encrypted data for the government as a defense contractor helped convince the studios that Boeing could thwart digital movie pirates.
Boeing digital cinema hopes to be among the first to tap into a market that Stirling said could be valued from the hundreds of millions to the billions of dollars in years ahead.
Nobody really knows the eventual size of the market, but what everyone seems to agree on is that digital cinema is the wave of the future for making and showing movies.
Boeing faces competition from a joint venture of wireless phone-maker Qualcomm Inc. and Technicolor, as well as from photography giant Eastman Kodak Co.

-*-

EMI Music Publishing Intros New Website
EMI Music Publishing, a leading music publisher, introduced the first "Search-to-Quote" online service in the music publishing industry. The site, www.emimusicpub.com, provides professional music users with a broad range of tools that afford greater control, speed, capability and depth of information when searching for and licensing songs.
The new site provides direct access to more than 500,000 of EMI's catalog, with a greater variety of search criteria tailored to the precise needs of the music user.
"This is about our commitment to providing tools and resources for our clients that are both powerful and flexible," said John Melillo, VP of emi musicResources, EMI Music Publishing. "This release of our site has dramatically more content, and for the first time, allows users to manage as many attributes of their projects as they like, from creative to business, all on the site."
Key functions include: A Search and License feature allows users to search through all of the songs in EMI's online catalogs and request a licensing quote on the spot. These advanced searches produce highly detailed results, featuring sound clips, lyrics, label copy, hit year and discography. Results can be further tailored with a "fuzzy" search, which compensates for spelling errors and typos, along with a Thesaurus function that automatically broadens the scope of a search to include related words, ideas and emotions.
Other Search and License features include:
• Song Search, where music users can search the entire EMI song database or limit their search to top songs only. Searches can be performed by song title, artist, writer, hit year, album, record label, film and show.
• Lyric Search, where users can search for ideas and emotions using key words or phrases.
• License Request Forms that allow users to initiate the licensing process and retrieve a quote online. Once the process is in motion, users can log on to track the progress of each request.
• The Sync TankSM affords industry professionals a secure, private, password-protected work area where they can organize and track the progress of single or multiple projects, even those involving non-EMI songs. With the private, password-protected Sync TankSM, clients can maintain projects in separate folders, track ongoing work, add new projects, and keep track of important details such as visual descriptions, team members, music-use information and licensing status. Only the authorized user, or someone of their choosing, can view and work within designated project folders. Users may also share their work and seek collaboration from colleagues around the world or down the hallway.
• News & Charts provides important information about the people, places, songs and major events that affect the music publishing industry.

Elliot Scheiner Takes Delivery of First Yamaha Digital Console
Yamaha Corporation of America (Buena Park, Calif.) announced the first U.S. delivery of the DM2000 digital console to engineer/producer and five-time Grammy winner Elliot Scheiner for his 5.1 studio in Redding, Conn.
Sheiner is currently using the new console on Steve Lukather's (of Toto) solo project, DTS. "The DM2000 is unlike any other console, packed with features and sounds spectacular," commented Scheiner. "And to have 96 inputs at 24-bit/96k is incredible."
Scheiner's studio, wired by Monster Cable, also houses Yamaha MSP-10 monitors, a Yamaha SREV-1 reverb, Alesis HD-24, dbx 160SL signal processor, Studio Comm 5.1 monitor controller and Steinberg's Nuendo DAW. Along with the DM2000, all (except for the monitors) are positioned in a custom desk manufactured by Todd Beeton at Custom-Consoles (Nashville).
"To have someone with Elliot's credentials tout the attributes of the DM2000 affirms that Yamaha is truly listening to the market," said Larry Italia, general manager at Yamaha Commercial Audio Systems division. "Elliot's input will be invaluable as it relates to the design of future Yamaha products."
Scheiner has been working with the console for the past several months on a multitude of 5.1 projects, as well as other projects. "The DM2000's library of built-in effects is absolutely awesome; there's an enormous amount of flexibility with the internal patching and some great 5.1 effects processors. It's one of the most powerful consoles I've ever worked on," said Scheiner.
The high-performance digital console offers 96 input channels, gates and compressors on every channel, extensive surround production features, integrated digital audio workstation and Pro Tools control, while providing nine times the processing power of the Yamaha 02R. While in 96k mode, there is no loss of any inputs or outputs, made possible by utilizing the newly developed DSP7 LSIs with 32-bit (accumulative 58-bit) internal processing.
For more info on the DM2000, check out www.yamaha.com.

AKG Donates Technology For Song Contest
AKG Acoustics has donated several pieces of equipment to www.Songlounge.com, a new Internet-based quarterly song contest site. Among assorted cash and prizes that will be awarded every three months, Songlounge.com contest winners will receive an AKG D880 live performance microphone or a pair of AKG K66 stereo headphones.
According to Songlounge.com's founder Eric Serrano, "AKG's reputation is impeccable, and we're proud to be associated with a company that has become a household name among musicians all over the world. The involvement of AKG and other reputable manufacturers helps us gain the trust of musicians who have come to rely on these companies for their good, quality products and excellent customer service throughout the years."
"AKG feels that Songlounge.com is genuinely interested in helping rising artists," said Sarita Stewart, marketing manager at AKG Acoustics. "Through our donation, we are optimistic that AKG is contributing to what will hopefully become successful musical careers and that our technology will play a continuous role in those careers as they progress."
Entries for the contest are judged by a panel of music industry professionals working with major-label artists or music production companies in Los Angeles. Songs are judged on the basis of melody (hook), structure (composition) and mood.
For more on AKG's line of professional products, visit www.akgusa.com.

Liquid Audio Granted Patent
Liquid Audio Inc. (Redwood City, Calif.) announced that the U.S. Patent Office has granted the company a patent (Patent No. 6,385,596) on May 20, for its secure online music distribution system, Liquid System.
This patent covers the technology used in Liquid Audio's structure for mastering, serving and distributing copyright-protected, professional-quality music over the Internet.
"As a leading digital music service provider, companies rely on us to offer an innovative solution that meets all of their digital distribution needs," commented Leon Rishniw, VP of engineering at Liquid Audio. "Our patented end-to-end platform provides them with the necessary tools and infrastructure to securely deliver digital music today."
For more, visit Liquid Audio online at www.liquidaudio.com.

ATC Loudspeakers Surrounds World Cup Finals
ATC Loudspeaker Technology announced that it was selected to provide the high-quality surround sound monitoring at the main broadcasting center in Seoul, South Korea, for this summer's World Cup Finals.
The center, operated by HBS, will provide the surround sound monitoring of all outgoing TV and radio audio feeds from the 20 stadiums in Korea and Japan, to an estimated worldwide audience of over 1.5 billion.
For all matches, HBS will be using ATC's "100 Pro" 250-watt, three-way Monoblock active loudspeakers in a 5.1-channel configuration, the designated center speaker utilizing a specially aligned array. Two C6 active sub speakers, each comprising a 15-inch driver with an ATC amplifier of up to 1,000 watts, share the LFE channel. In addition, a pair of ATC Pro 20 active loudspeakers will be used as local near-field monitors at the sound desk position for the stereo-only feeds.
Audio specialist Video Sound Services Limited founders Ian Rosam and Robert Edwards commented: "For such an important event, it was essential for us to have a reference we could trust. The speakers will give us a smooth, spatially accurate reference, making our job of checking the audio feeds from these grounds far easier than with lesser, more colored speakers. As a result, they are much less fatiguing to listen to over a long period, a significant factor to consider when 60 games will come through the center in one month."
A spokesman from ATC said, "We are delighted to have our speakers selected to play at this prestigious sporting event. The ATC Subs will be playing for a full 90 minutes during every match."
For more, visit ATC online at www.atcloudspeakers.com.

Acceptable Use Policy blog comments powered by Disqus