May 1, 2002 12:00 PM

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

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