It seems contradictory, but it’s true: Despite high-capacity, low-cost data backup, we are losing fragments of our past every day.
PHOTO: Chris Pelonis
( Please take note that this article first appeared in the Mix magazine in August. )
Maybe back in the mid-2000s, my brother-in-law Rick turned me on to a book called How the Irish Saved Western Civilization, by the best-selling writer Thomas Cahill. It’s a fun read as far as famous, traditional nonfiction goes, and though its claims may be overstated at times ( certainly there were others working on the same thing ) and its views may skew in favor of St. Patrick, St. Augustine and another, its basic idea is good. And that premise is this:
When the Roman Empire was falling, ushering in the Dark Ages, education, and most certainly the recording and preservation of knowledge, fell out of fashion for the next 600 years or so. In light of this, the new monastic orders of Ireland, which were based on a foundation of education and the promotion of knowledge, began using their contacts on the continent to smuggle every piece of text they could find to Ireland. There, over the next half a millennium, from the Isle of Man in the east to the shores of Galway in the west, monks and scribes began copying those books and scrolls—over and over and over. That’s how the Irish saved Western civilization
A couple of things have recently appeared on my desk that have given me an entirely new perspective about those monks. Maybe, I thought, they loved their work, excited to be a part of the world’s first large-scale information backup. As long as it was properly preserved and then transferred with care to whatever distribution and storage systems might emerge in the future, it may be that they realized that the simple physical storage medium of ink on paper was forward-compatible with the Rosetta Stone and early pictograms and backward-compatible with the end of the human race.
READ MORE: Editor’s Note—Making the Connection.
The news story from late in June that Paramount had quietly shut down the MTVnews.com website, only to have it become a major story, was the first thing that made me reevaluate the monks. Where did the 30 years of unique music news, journalism, photography and videos go? Was it gone forever? We’re still in the throes of the fallout, and the site’s writers and personalities became outrageous and went public. Future-focused pundits made comments, and other music websites chimed in. In 2019, MySpace was back in the news with something similar, admitting that it had irreversibly lost 12 years worth of music and photos, affecting 14.2 million users and 53 million tracks. Just gone.
The media and entertainment industries, admittedly on a smaller scale, experience similar circumstances every day. After the new corporate owner assumes charge of storage, a small-town newspaper shutters its digital archive to reduce costs and is unable to locate its physical assets. You’re unlikely to find anything today unless you save a physical copy of that particular issue, which might have been an early-nineties regional punk music zine.
The third in a series of recent pieces on Iron Mountain’s technological efforts surrounding the storage, preservation, and archiving of music and media assets was reading this month’s feature by senior writer Steve Harvey,” It’s Time Talk About Hard Drives,” which made me rethink the monks. It was a bit shocking, but not too surprising, to learn that during a recent inventory survey of media assets, they found that 20 percent of hard disk drives were unreadable. It’s not Iron Mountain’s fault, the drives were brought in that way and there’s only so much they can do if a disk does n’t spin or a root system file is corrupted. If a song from the mid-to-late ‘ 90s was recorded, mixed, mastered and distributed all-digital, never touching a physical medium, there’s no guarantee that it will play back in 2024, or that the assets will ever be recovered.
Robert Koszela, director of North American Studio Operations at Iron Mountain, has seen it all in nearly 30 years as a media archivist, from issues with tape through today’s most up-to-date preservation and restoration technologies. He’s not up late at night worrying about doomsday scenarios, and he does n’t believe the sky is falling—so when he issues an industry-wide call for awareness and action regarding digital storage and playback, it’s best to pay attention
I’m not a chicken little either, and I’m not in favor of returning to paper storage and lab-reported photos. I believe that with a little digital and physical sleuthing, many assets can be recovered.
However, it’s also true that the majority of people today mistakenly believe that their information is digital and accessible forever when they click Save or Send. That’s simply not true. The term” the digital dark age” was first used in the mid-’90s to explain the contradictory idea that we are actually losing significant amounts of historical data every day as storage grows in capacity and prices year after year. That makes no sense, yet it’s true.
All you can really do is pay attention to your assets and make sure to future-proof them for all future formats is at the end of the day. Then backup, backup, backup. If that proves too time-consuming, you might try asking a monk for help. They have a solid track record.
All music pages current an issue for the performer: how do you get to the opposite facet? When you’re a pianist in a efficiency, you may have a page-turner. A page-turner is a musically literate one that sits simply behind you to your left and, a few measures earlier than the music on the primary web page ends, shortly stands, turns the highest proper nook of the web page so that you could end what’s on the underside proper nook of the web page, turns the web page, makes certain it’s regular and sits once more. It’s a fragile dance for the turner – too early or too late, and your pianist may be in hassle.
Frank Levy, pianist, with Alan Amit, web page tuner
For an organist, the issue is compounded by the organ stops. Your web page turner not solely has to show pages, but additionally be prepared to alter the organ stops. If it’s solely web page turning, the turner shall be seated, but when extra is concerned, then the turner shall be standing by the organist’s facet. If it’s significantly difficult, there could also be a cease puller on both sides of the organist.
Organist Rosalind Mohsen with web page turner
Pipe Organ with standing web page tuner and cease puller, 2021 (Royal Opera Home Muscat) (Picture by Khalid al-Busaidi)
Keep in mind that a web page flip isn’t at all times a web page flip – some music has da capo markings, i.e., return to the start. That may be one web page flip or a number of. A very good page-turner not solely has to maintain observe of the place the performer is within the music but additionally the place the composer is within the piece itself.
With the arrival of digital scores – large- or small-scale tablets the place you’ll be able to hold ALL your music – the issue has modified however not essentially gotten higher. To show the web page, it’s essential sign the pill. At first, performers would hook up a foot pedal by way of a cable that might allow them to do the web page turns.
Mozart Clarinet Quintet in A Main, Okay. 581
First violinist Nicholas Kitchen with the Borromeo String Quartet and his foot operated page-turner.
With Bluetooth, there isn’t a longer a necessity for bodily cables, however you do want to make sure that every little thing is working. The place your digital rating must be charged, your paper rating doesn’t.
iPad Rating
What about our poor pianist, nonetheless? There could also be no free hand or perhaps a free foot to hit the gadgets. We had been at a live performance the opposite day the place the pianist defined that, since COVID distancing made even a page-turner an issue for sitting too shut, he’d chosen the perfect Bluetooth choices. His rating was digital. Nonetheless, the page-turner wasn’t sitting a foot behind him however, relatively, within the first row of the viewers, working the page-turning gadget and following the rating on his personal digital gadget.
There are additionally new applied sciences that use the digital camera on a digital rating to do a web page flip with merely a head movement or eye blink, utilizing an app referred to as ForScore for 1 digital rating or CUE for coordinating two digital pads.
ForScore – Face Gesture for web page turning demonstration
Utilizing facial gestures to show the web page
Two organists who use it did say, nonetheless, that it was attainable to prank a participant by standing behind him and making the turn-page gesture and altering his pages at completely the mistaken time – throughout follow solely, in fact!
For performers who don’t use page-turners, i.e., virtually everybody who isn’t a pianist, a number of options have introduced themselves. In some instances, the performer copies out the music they should play after the web page flip and tapes it to the underside of their web page as a foldout. This would possibly contain elaborate preparations earlier than a efficiency the place the rating is opened and the varied foldouts are opened earlier than enjoying commences.
String quartet with further pages laid out, 2010 (Picture by Pf1988)
Music rating taped collectively (Picture by Nicholas Tolle)
On a light-weight stand, this will usually create an unbalanced rating that’s at risk of crashing to the bottom when touched. Typically, you’ll see performers lay their music out over a number of stands in order that they don’t have to show a web page in any respect.
When you watch an orchestra performing, you’ll see that the second participant on the stand is answerable for web page turns. Typically, you’ll see the string gamers stabilizing the music with their bows if it threatens to flip again.
On this efficiency with Christian Tetzlaff and Lars Vogt, each suffered music rating crises, first with the violinist’s rating falling to the bottom and, a bit later, the pianist’s rating coming aside throughout a web page flip. Each had been rescued by the page-turner, Anna Reszniak, who was applauded by the viewers on the finish. The music by no means stopped, and the page-turner saved a watch on every little thing.
Web page turning Incident Tetzlaff Vogt with visitor star Anna Reszniak
You don’t at all times want your music there – generally, it’s only a visible heat blanket. You recognize the music…however what if one thing goes mistaken? Shock horror! It’s OK, the rating is there….
For extra of the perfect in classical music, for our E-Publication
In Arijit Singh v. Codible Ventures LLP[i], the Bombay Excessive Court docket restrained third events, resembling AI platforms, eating places, merchandise sellers, digital music occasions, and so forth., from violating the character rights of the famend Bollywood singer Arijit Singh.
These entities had been restrained from utilizing Arijit Singh’s title, voice / vocal fashion and approach / vocal preparations, {photograph}, picture or its likeness, and so forth., in any kind, for any industrial or private achieve in any method in any respect, with out Arijit Singh’s consent.
Info
It was submitted that Arijit Singh hailed from Murshidabad, a small city in West Bengal, and got here from humble beginnings. From a younger age, Arijit Singh had a robust ardour for music, which led him from being a contestant on the musical actuality TV present “Fame Gurukul” to changing into a celebrated playback singer and foremost singer worldwide. Subsequently, Arijit Singh established that he had the place of a star in India.
On this case, Arijit Singh sought safety of his character rights, together with his title, voice, signature, {photograph}, picture, caricature, likeness, persona, and different private attributes from unauthorized industrial exploitation and misuse. The case additionally concerned the violation of Arijit Singh’s ethical rights in his performances, as offered below Part 38-B of the Copyright Act, 1957.
There have been a number of infringing actions being completed by third occasion entities which necessitated submitting the current swimsuit by Arijit Singh, a couple of of which had been:
(i) AI Platforms Misusing Arijit Singh’s Voice and Picture:
AI platforms misused Arijit Singh’s voice and picture by using refined algorithms to duplicate his voice, picture, and different character traits with out permission, exploiting his popularity.
These platforms enabled the conversion of audio recordsdata into his voice utilizing unauthorized datasets and promoted these actions by movies and on-line tutorials.
Web sites had been created to provide AI voice fashions of Arijit Singh, providing instruments that transformed textual content or speech into his AI voice, and even produced music and deepfake movies that mimicked his voice and likeness, all with out authorization.
(ii) False Affiliation with Arijit Singh:
A restaurant/pub, hosted an occasion in Bengaluru utilizing Arijit Singh’s title and picture with out authorization.
One other individual marketed a digital music occasion falsely implying Arijit Singh’s participation and endorsement.
(iii) Unauthorized Sale of Merchandise:
An individual exploited Arijit Singh’s publicity rights by promoting merchandise bearing his title, picture, and likeness on numerous e-commerce platforms.
An individual allowed customers to create and share GIFs of Arijit Singh’s performances, exploiting his picture and likeness for revenue with out authorization.
(v) Infringing Area Names:
Unknown entities registered domains containing Arijit Singh’s title, with one redirecting to a third-party web site.
Arijit Singh argued that the situations of character rights violations talked about weren’t exhaustive, noting that a number of entities operated clandestinely, concealing their identities. Defendants whose particulars had been identified had been named, whereas unidentified ones had been listed as “Ashok Kumar” or “John Doe”.
Allegations
Arijit Singh argued that Defendants Nos. 3 to eight offered instruments for unauthorized AI-generated voice fashions of celebrities, whereas Defendants Nos. 9, 11 to 25 exploited Arijit Singh’s character traits on merchandise. He emphasised that this misuse jeopardized his profession and couldn’t be justified below freedom of speech. Rapid aid was sought to forestall irreparable hurt.
It was acknowledged that the protectable elements of Arijit Singh’s character and publicity rights, which had been the main focus of this swimsuit, included the next:
Arijit Singh’s title;
His voice, vocal fashion and approach, in addition to his vocal preparations and interpretations;
His mannerisms and method of singing;
His picture, {photograph}, caricature, and likeness;
His signature.
It was argued Arijit Singh held the proper to command and management the usage of his character traits, as these shaped a part of his unique Persona Rights and Publicity Rights. Any misappropriation of Arijit Singh’s character traits for industrial functions with out his categorical permission was to be restrained not solely primarily based on his publicity rights, which is the unique proper to commercially exploit his character, but additionally on the idea of the tort of dilution, particularly tarnishment.
Moreover, any unauthorized distortion, mutilation, modification, or dissemination of Arijit Singh’s performances, voice, or video recordings that harmed his popularity would represent a violation of his ethical rights below Part 38-B of the Copyright Act, 1957.
Court docket’s Evaluation
The Court docket was satisfied that Plaintiff was a notable singer in India who gained immense goodwill throughout his profitable profession and had subsequently acquired a movie star standing in India.
It was noticed that celebrities are entitled to safety of the sides of their character resembling their title, photos, likeness, voice, signature, and so forth. towards unauthorized industrial exploitation by third events.
The Court docket quoted a couple of related observations from Karan Johar v. Indian Pleasure Advisory[ii] and Anil Kapoor v. Merely Life India[iii] case, that are as follows:
The movie star’s proper of endorsement is a significant supply of livelihood for the movie star, which can’t be destroyed fully by allowing illegal dissemination and sale of merchandise with out their lawful authorisation.
Technological instruments, together with AI, now enable anybody to illegally use, produce, or imitate a star’s persona.
The Court docket can’t overlook the misuse of a character’s title and persona. Dilution, tarnishment, and blurring are actionable torts requiring safety.
Superstar’s title, likeness, picture, and persona deserve safety, not just for the Superstar but additionally for his household and associates, to forestall tarnishing or unfavorable use of his likeness.
In an motion for safeguarding character rights and proper to publicity, establishing the movie star standing of the plaintiff is barely the first ingredient. It should even be established that the plaintiff is identifiable from the defendant’s unauthorized use and that such use by the defendant is for industrial achieve.
The Court docket noticed that the file prima facie indicated that Defendant Nos. 1 to 9, 11 to 25, 37, and 38 had been unauthorizedly utilizing Arijit Singh’s character traits—resembling his title, picture, and likeness—in ways in which clearly determine him. This exploitation seemed to be for industrial and private achieve, with none permission or authorization from Arijit Singh.
Making AI instruments out there that allow the conversion of any voice into that of a star with out his/her permission constitutes a violation of the movie star’s character rights. The Court docket was significantly involved about the usage of AI to create counterfeit content material that misuses Arijit Singh’s id, probably jeopardizing his profession and livelihood.
The unauthorized commercial, promotion, and sale of merchandise bearing Arijit Singh’s character traits by defendants had been deemed a transparent violation of his character rights and proper to publicity. The Court docket famous that Arijit Singh had made a acutely aware option to keep away from model endorsements or commercialization of his character traits for years.
The Court docket noticed that although freedom of speech and expression permits for critique and commentary, it doesn’t grant the license to use a star’s persona for industrial achieve. In these circumstances, the Court docket was inclined to guard Arijit Singh towards any wrongful exploitation of his character rights.
Judgement
The Court docket acknowledged that in view of the circumstances outlined, and as described in paragraph 60 of the Plaint, offering discover to the Defendants would defeat the aim of Arijit Singh’s utility. Consequently, an ex-parte ad-interim order was issued by way of the prayer of the plaintiff, which is inter alia as follows:
Restraining defendants from violating Arijit Singh’s Persona Rights and Publicity Rights through the use of his title, voice, likeness, or some other attributes of his character in any kind, with out his consent or authorization, together with by AI know-how, on-line platforms, or merchandise.
Directing sure defendants to take away, cancel, or droop the domains containing Arijit Singh’s title, or alternatively, transferring these domains to Arijit Singh.
Ordering defendants to take down, take away, or block entry to all infringing content material and URLs recognized by Arijit Singh in his plaint exhibit.
Requiring defendants to reveal all particulars of the registrants of the impugned domains.
Regardless that there was no justification for the violation of Arijit Singh’s character rights, the Court docket noticed that eradicating complete movies weren’t pointless for sure defendants. As an alternative, sure defendants had been ordered to edit or delete all references to Arijit Singh’s title, voice, picture, and different character traits from the required YouTube movies.
Conclusion and Ideas
Using deepfakes and AI has grow to be more and more widespread in India and worldwide. Individuals now have the power to create content material utilizing the character traits of celebrities, usually misusing this content material to tarnish their picture or unfold unendorsed messages to the general public.
India
In India, this situation is especially severe as a result of many customers could not understand, or could not try to confirm, if the video is pretend, resulting in a completely tarnished picture of celebrities amongst most of the people. This drawback has led to a number of authorized instances in India lately.
In a latest interim order within the case of Jackie Shroff v. The Peppy Retailer,[iv] the Delhi Excessive Court docket safeguarded the character and publicity rights of actor Jackie Shroff and has restrained numerous entities, together with e-commerce shops, Synthetic Intelligence (“AI”) chatbots, and social media accounts, from utilizing Shroff’s title, picture, voice, and likeness with out his specific consent.
In Anil Kapoor vs Merely Life and Others., the defendants had been discovered misappropriating Anil Kapoor’s character rights utilizing generative synthetic intelligence to superimpose his face on different well-known actors’ our bodies and creating cartoon characters, which led to the Court docket granting an interim aid to Mr. Anil Kapoor for defense of his title, likeness, voice, persona, and different attributes of his character towards unauthorized industrial use.
USA
Just lately, in america of America, new laws has been launched to counter this unrestricted violation of character rights of people with out correct authorization.
In Tennessee, United States of America, a brand new legislation was enacted, titled the Guaranteeing Likeness Voice and Picture Safety Act of 2024(“Elvis Act”) changing the Private Rights Act. The Private Rights Act beforehand prohibited unauthorized industrial use of a person’s title, {photograph}, and likeness. The Elvis Act expanded the publicity proper by including voice as a protectable ingredient, probably aiming at Synthetic Intelligence firms that make out there providers or know-how whose major operate is to provide such voices or images which might be unauthorized. You may see the total publish explaining the Elvis Act right here.
Final week, U.S. lawmakers launched the Nurture Originals, Foster Artwork, and Maintain Leisure Protected Act (“No Fakes Act”). The most recent model of the draft No Fakes Act was launched only some days after the U.S. Copyright Workplace referred to as for brand spanking new laws to control the usage of digital replicas on-line in its report.
Presently, rights of publicity fluctuate by state within the USA (as will be seen from the Elvis Act which is barely relevant within the state of Tennessee), with some states missing statutory or widespread legislation protections for these elements of a person’s id. If No Fakes Act is handed, the legislation would create the primary nationwide harmonized proper of publicity, and create safety towards unauthorized extremely sensible, digital replicas that use a person’s voice or likeness.[v]
Finish Notes:
[i] Arijit Singh v. Codible Ventures LLP, Interim Software (L) No.23560 of 2024 in Com IPR Go well with (L) No.23443 of 2024.
[ii] Karan Johar v. India Pleasure Advisory Pvt. Ltd., Interim Software (L) No.17865 Of 2024 in Com IPR Go well with (L) No.17863 Of 2024.
[iii] Anil Kapoor v. Merely Life India, 2023 SCC OnLine Del 6914.
[iv] Jaikishan Kakubhai Saraf alias Jackie Shroff v. The Peppy Retailer, CS(COMM) 389/2024.
Native Instruments is releasing Traktor Pro 4 now. It’s been a long time ( 6 years, in 2018 ) since Traktor Pro 3 came out. The criminal element of today’s Traktor Pro 4 launch date dates back to 2014, the year the Kontrol S8 and Stem Decks initially appeared in the DJ program. Native Instruments has introduced plant parting research in this updated version of the program, breaking down your lines into individual components and making them accessible, effectible, and mixable.
Some people saw this as a vision when Traktor released the Pro 2 with Stem Decks in 2015, and in many ways, this is it. Advances in modern music control algorithms have made on-the-fly plant separation a fact rather than having to purchase Stems files made by the producers and labels.
Traktor Pro 4 is available today, right now. We’re able to sell it digitally, so if you want to support DJTT, you can upgrade it here or purchase it here.
Traktor Pro 3 upgrade costs$ 74.50, or you can purchase a license for just$ 149. It’s not a cheap investment, but we are happy to see that the new killer features are n’t locked behind a subscription model. They’ve also added previous subscription-only features – Pattern Player and Ozone Maximizer – into the base software – so if you’ve missed out on those features in the past, they could be right for as a one-time upgrade.
Is this distinct from stem separation in other DJ softwares?
Yes, in terms of the technology behind it, this is different – but the result is very similar. The Stem separation engine from Native Instruments sounds pretty good, so I asked them to explain more about the technology behind it. I was concerned that it might have incorporated some of the internal software tools from their merger with iZotope in 2021. Sure enough – here’s what they said:
Traktor Pro 4 features stem separation powered by AI, and iZotope’s powerful RX technology. We ca n’t provide too many technical details, but we do have the same upgraded machine learning as the new RX 11, which is based on the most cutting-edge neural network, plus our own pre and post-processing to increase the separation quality. We’ve chosen settings that work well across all genres and have chosen to prioritize quality over speed for Traktor. To maintain consistency and simplicity across the entire collection, we are not currently exposing these settings.
The Stem separation from NI sounds similar to Virtual DJ’s Stems 2.0 and Serato DJ’s Stems 2.0. When I tested all three side-by-side, I was pretty shocked that they were so similar, despite clearly all being based on different tech. ( Worth noting I did n’t have a ready-to-test version of Algoriddim djay as they’ve also put a lot of work into their algorithm, – but I plan to later today ). Most stem separation has actually reached the point where it’s acceptable for most DJs to use it in the mix, but it’s not perfect on its own.
Stems analysis takes a while, in my initial tests, averaging 30 to 40 seconds of processing per minute of song separated. I asked NI to provide a little more information to see if this would lead to further optimization, and they responded:
The current implementation is CPU-based, and optimized for CPU-processing ( as opposed to GPU). We could add more parameters in a future update to give users more control over the speed and quality tradeoff, but we’re eager to hear more feedback about the feature since it comes with Traktor Pro 4.0.
How flexibly can the stems be mixed?
Here’s the thing: Native Instruments invested years in creating a complete ecosystem to support Stems mixing. We’ve all heard of DJs who manually re-run their collections in the software before using Traktor 4. The implementation has n’t changed here – DJs see the main waveform on the bottom of the deck, and it’s made up of the individual 4 parts that Traktor splits them into ( Drums, Bass, Other, and Vocals ).
From my perspective, Traktor Pro 4 has the most flexible Stems mixing controls on the market – with per-Stem volume, filter, and FX send, all of which are MIDI mappable. Again, it’s not a big surprise here because it they’ve had this workflow for a long time, with only the built-in analysis and separation being new.
You can access the files as multi-track MP4s in Traktor’s data folder in your OS if you wanted to get experimental, but there is no simple way to do this.
Restoring obsolete hardware that was previously used to make stems ( S8, D2, S5 ).
The new release adds a brand-new feature to a number of different hardware pieces that have been discontinued by NI, which is incredibly intriguing. The Kontrol S8, Kontrol D2, and Kontrol S5 all show individual Stems Decks waveforms. I asked NI to tell me if they planned to return any, and they responded:” Yes.
Any piece of hardware that has dedicated stem controls for our stems can be controlled with ours. Let’s see how our user base reacts to the new features and take it from there, although there are no plans to revive the D2 and S8 right now.
I’ve kept a casual but keen eye on Kontrol D2 prices over the years since they were discontinued—and the used market has been very expensive for out-of-production hardware. My best guess is that this will only increase prices even further—they’ve hovered at around$ 499-$ 699 (original release price was$ 499 in 2015 ).
Similarly, I asked about” club-standard” gear compatability – as Stems have somewhat struggled to get into big DJ booths without a good way to quickly control them. Will HID integration with other gear, such as mixers and CDJs, gain some Stems features if the D2s do n’t return anytime soon?
Update the mappings in the future is likely to result in this. But to bring the 4 waveforms onto industry standard displays, we will be depending on the support of the device’s manufacturers.
The other big feature: flexible beatgrids (! )
Traktor Pro 4 now includes flexible beatgrids. This request on the Native Instruments docket must be the longest in existence; I can recall reading it as one of the main things DJs wanted to see in a upcoming Traktor version.
Well, at long last, it’s real. Grid Markers now have their own associated tempo, and Traktor Pro 4’s flexible beatgrids precisely follow each tempo change throughout a song. You can manually add your own tempo zones and change the tempo of each, and yes, live-played tracks can be gridded as well by adding a marker every 16 beats; this process feels a lot like turning the knob on a track in Ableton Live.
Traktor Pro 4’s future
I also inquired about the Traktor team, any updates that might be related to Maschine/Stems, and the potential future Traktor roadmaps ( given that there was a fairly open roadmap revealed with Stems and flexible beatgrids ). Their response was promising, if currently vague:
Over the past year, the team has grown, and the Traktor ecosystem has a long way to go. We made the decision to not include our Traktor roadmap with this release. In the interim, we’ll be carefully analyzing feedback and setting development priorities accordingly.
Alright – now back to the lab for a bit more testing. Again, if you want to upgrade to our store to support DJTT, you might as well upgrade to the new version of Traktor Pro 4.
Stay tuned for a new mapping for the Stem Decks for the Midi Fighter Twister and Traktor Pro 4!
Songs stands out as one of the most dynamic and constantly evolving forms of human ingenuity in the vast panorama of individual creativity. Music has always been a representation of its time, from the old melodies beaten on drum to the complex melodies of the classic era. Now, the advancement of audio is being driven by technology in ways that were once unbelievable. Audio technology has altered both how we create and consume songs and how we interpret and practice sound as a whole.
The Beginnings of Music Technology
The introduction of the turntable by Thomas Edison in 1877 is where audio technology began. Making it possible for people to experience song in their houses for the first time, this breakthrough device made it possible for songs to be recorded and played again. The recorder laid the foundation for the recording industry, and as technology progressed, so did the ways in which music may be recorded, distributed, and consumed.
A number of advances more radically altered music production and distribution during the 20th century. Electrical tape, introduced in the 1940s, allowed for multitrack tracking, giving artists and producers extraordinary control over the capturing process. Digital music was also introduced during this time, with devices like the soundtrack and oscillator providing novel ways to create audio.
The Digital Revolution
The modern revolution, which occurred in the late 20th century, was a fundamental shift that permanently altered the music industry. The digital era began with the release of the compact disc ( CD ) in the 1980s, which offered better sound quality and durability than cassette tapes and vinyl records. However, the development of the internet and online music styles like MP3 in the 1990s was what really altered the environment.
Without the need for standard record labels, the internet has revolutionized music supply, allowing artists to achieve global audiences. With systems like Napster disrupting the business by making music readily available online, this shift led to the trend of file sharing. Although this presented major challenges for the sector, it also opened the door to new business models, such as streaming solutions like Spotify and Apple Music, which are currently the most popular style of music consumption.
The Rise of Home Studios and DIY Generation
The rise of home productions and the reform of music manufacturing have been two of the most significant effects of music technology. Prior to now, recording audio required time in the pricey studios and professional equipment. People can now make high-quality recordings from the comfort of their own home using a computer and some simple program.
Digital audio workstations ( DAWs ) like Ableton Live, Logic Pro, and FL Studio have become essential tools for musicians, producers, and sound engineers. These strong plans allow consumers to record, edit, mix, and master songs with simplicity, making professional-level creation available to all. This has resulted in an explosion of independent musicians and manufacturers who are able to produce and sell their song without the need for a record label.
The Future of Music Technology
Audio technology is showing no signs of slowing down as we look to the future. AI-generated music is already beginning to challenge our assumptions of creativity and authorship, with artificial intelligence ( AI ) making its mark on the field. Additionally, AI tools are being used to analyze and categorize sizable amounts of audio files, helping artists and producers understand trends and create works that are targeted to particular audiences.
The way we experience music will also be impacted by augmented reality ( AR ) and virtual reality (VR ) technology. Fans are finding a new way to interact with their favorite artists as VR concerts and engaging audio experiences become more and more common. These systems are opening up new avenues for designers to interact with their people in ways that were previously unbelievable.
By providing innovative methods to distribute music and guaranteeing that artists are fair paid for their work, blockchain technology has the potential to alter the music industry as well. By using blockchain to produce decentralized music websites, designers could regain control over their music and eliminate middlemen, leading to a more egalitarian economy.
Conclusion
Since the days of the turntable, audio technology has come a long way, and it is evolving rapidly. These developments are altering how we think about imagination and the very essence of melody, from the dawn of home studios to the development of AI and VR. The options for audio systems are limitless as we progress, and the future of audio is more exciting than ever. Whether you’re a musician, maker, or just a fan of music, there’s no doubt that technology will continue to form the way we experience this common speech.
In 2024, the Odyssey Music Festival will once again bring digital music and cyber society to St. Petersburg, Florida.
Then expanding to two days, the exterior store event will take place on October 4-5 at a new location, The Shop, in the town’s warehouse district. Odyssey was originally located at Vinoy Park, a shore place in downtown St. Petersburg.
The headliners on this year’s roster are Mija and Ternion Sound as well as A Hundred Drums and DJ Susan, who were named to the EDM.com Class of 2023 and 2024, both.
Epic 2024 will have two stages: the Rawsome Period, which is dedicated to the sounds of dance and house songs, and the Wave Stage, which may take a bass-heavy method. Additionally, the festival will host a number of” Conscious Oasis” areas surrounded by beautiful palm trees, photo ops, food and art vendors, and other interactive art installations.
A event fashion show and airport contest may serve as the event’s cyber theme. Specific prizes like outfits and gift cards are provided by style partners like Euphoric Ravewear, Eden Couture, and many others are offered in the subject contest, which runs on both days of OMF. For those who want priority timeslots in the airport show to display their cyberpunk style, earlier sign-ups will be available.
c&, sun, o Press
The show’s founder and CEO, Thomas Greco, expressed his excitement about returning Odyssey Music Festival to Saint Petersburg for its next year. Our goal is to honor the rich diversity of culture and also providing a venue for artists to display their skills.
” We believe in the power of music to motivate and unite”, continued Greco, who will also do a DJ cast at the event as Dr. Greco. With each passing year, the range and impact of Odyssey Music Festival expands, and we are dedicated to inspiring the next generation to explore the world of songs.
Purchase tickets here to experience OMF’s looks with their carefully selected Spotify playlist below.
Film music, often called the “invisible actor” of cinema, plays a crucial role in shaping the emotional and narrative experience of a movie. From the iconic opening notes of “Star Wars” to the haunting melodies of “Schindler’s List,” the power of a film score lies in its ability to evoke emotions, build tension, and create a lasting impact on the audience. In this blog, we’ll explore the art of film music, its evolution, and its profound influence on storytelling in cinema.
The Origins of Film Music
The relationship between music and film began in the silent film era when live musicians accompanied screenings to enhance the visual experience. These early performances ranged from solo piano or organ to full orchestras, with musicians often improvising or following cue sheets that outlined specific moods for different scenes.
As technology advanced and synchronized sound became possible, the role of music in film evolved. The introduction of “talkies” in the late 1920s allowed filmmakers to integrate music directly into the film’s soundtrack, giving rise to the original film score. This development marked the beginning of a new era where composers could craft music specifically designed to complement the narrative and emotional arc of a film.
The Evolution of Film Scoring
Over the decades, film scoring has undergone significant transformations, reflecting changes in both technology and artistic trends. The Golden Age of Hollywood, from the 1930s to the 1950s, saw the rise of symphonic scores, with composers like Max Steiner, Erich Wolfgang Korngold, and Bernard Herrmann creating lush, orchestral soundscapes that became synonymous with classic cinema.
In the 1960s and 1970s, film music began to incorporate more diverse musical styles, from jazz and rock to electronic and experimental sounds. This period gave birth to iconic scores like Ennio Morricone’s work on “The Good, the Bad and the Ugly” and John Williams’ unforgettable themes for “Jaws” and “Star Wars.” These scores not only defined the films they accompanied but also became cultural touchstones in their own right.
The late 20th and early 21st centuries have seen an even broader range of musical influences in film, with composers like Hans Zimmer, Trent Reznor, and Hildur Guðnadóttir pushing the boundaries of what film music can be. Whether through the use of electronic beats, minimalist motifs, or unconventional instruments, modern film music continues to evolve, adapting to the changing landscape of cinema.
The Role of Film Music in Storytelling
Film music serves as an emotional guide for the audience, subtly influencing how viewers perceive a scene or character. A well-crafted score can heighten tension, underscore romance, or evoke a sense of wonder. It can also provide narrative clues, foreshadowing events or revealing hidden aspects of a character’s inner world.
One of the most powerful aspects of film music is its ability to create motifs or “leitmotifs”—recurring musical themes associated with specific characters, places, or ideas. John Williams is a master of this technique, using leitmotifs to great effect in films like “Star Wars,” where the “Imperial March” instantly signals the presence of Darth Vader, or in “Harry Potter,” where the “Hedwig’s Theme” evokes the magical world of Hogwarts.
Moreover, film music can transcend the visual narrative, resonating with audiences on a deeply personal level. Think of the tear-inducing score in “The Lion King” or the uplifting melodies of “La La Land.” These pieces of music often stay with the audience long after the film has ended, becoming a part of the cultural zeitgeist.
The Collaborative Process
Creating a film score is a highly collaborative process, involving close communication between the composer, director, and sometimes even the actors. The composer must understand the director’s vision and translate it into a musical language that enhances the storytelling without overpowering the visuals.
This collaboration often begins with spotting sessions, where the director and composer watch the film together to identify key moments where music should be placed. The composer then works to create a score that aligns with the film’s tone and pacing, often revising and refining the music in response to the director’s feedback.
In some cases, directors and composers form long-lasting partnerships, such as the collaborations between Steven Spielberg and John Williams or Tim Burton and Danny Elfman. These relationships often result in a deep mutual understanding that allows for the creation of truly memorable film music.
The Impact of Film Music on Popular Culture
Film music has a unique ability to transcend the medium of cinema, becoming a significant part of popular culture. Iconic themes like the “James Bond” theme, the “Mission: Impossible” motif, and the sweeping score of “The Lord of the Rings” have all become instantly recognizable, even to those who may not have seen the films themselves.
Beyond individual themes, film music has also influenced other art forms, from concert performances to video game soundtracks. The popularity of film music concerts, where orchestras perform scores from beloved movies, speaks to the enduring appeal of this art form. Additionally, the rise of streaming platforms has made film scores more accessible to a global audience, allowing fans to enjoy their favorite movie music anytime, anywhere.
Conclusion: The Timeless Power of Film Music
Film music is more than just an accompaniment to the visuals; it is a powerful storytelling tool that shapes the emotional and narrative experience of a movie. From the grand orchestral scores of Hollywood’s Golden Age to the innovative sounds of contemporary cinema, film music continues to captivate and inspire audiences around the world.
As technology and filmmaking continue to evolve, so too will the art of film music. Whether it’s a soaring symphony or a minimalist electronic beat, the music of the movies will always have the power to move us, connect us, and leave an indelible mark on our collective imagination.
The music industry has undergone seismic shifts over the past few decades, driven by technological advancements, changing consumer behavior, and the globalization of sound. From the days of vinyl records to the era of digital streaming, the industry has continuously adapted to new realities, influencing not just how we consume music, but also how artists create, distribute, and monetize their work. In this blog, we’ll explore the key changes shaping the music industry today, and what the future might hold for musicians, fans, and industry professionals.
The Digital Revolution and Its Impact
The advent of digital technology has arguably been the most transformative force in the music industry. The shift from physical formats, such as CDs and vinyl, to digital downloads and streaming has redefined how music is consumed. Platforms like Spotify, Apple Music, and YouTube have made music more accessible than ever before, allowing listeners to access millions of songs with a simple click.
However, this convenience comes with its challenges. The revenue model for artists has shifted dramatically. While streaming services provide exposure to a global audience, the financial returns for artists can be minimal compared to the revenue generated from physical album sales. This has sparked debates about the fairness of streaming royalties, with many artists and industry advocates calling for more equitable compensation.
The Role of Social Media and Online Platforms
Social media and online platforms have become essential tools for artists to build their brand, connect with fans, and promote their music. Platforms like Instagram, TikTok, and Twitter allow artists to share their creative process, engage with their audience, and even release music directly to fans without the need for traditional record labels.
TikTok, in particular, has emerged as a powerful platform for music discovery. The app’s algorithm-driven content feeds have helped propel unknown artists to global fame almost overnight, as viral trends and challenges often feature specific songs, turning them into chart-topping hits. This democratization of music distribution has opened doors for independent artists who may have struggled to break into the industry through traditional channels.
The Rise of Independent Artists and Labels
The barriers to entry in the music industry have significantly lowered, thanks to advancements in technology and the rise of online platforms. Independent artists can now produce, distribute, and promote their music without the need for a major record label. Digital distribution services like DistroKid, TuneCore, and Bandcamp empower artists to retain control over their music and keep a larger share of the revenue.
This shift has led to the growth of independent labels and collectives, which often focus on niche genres and prioritize artistic freedom over commercial success. These labels provide a platform for artists who want to maintain creative control and avoid the pressures of conforming to mainstream trends. As a result, the music industry has become more diverse, with a wider range of voices and sounds reaching audiences worldwide.
The Influence of Globalization
Globalization has played a significant role in shaping the music industry, as cross-cultural influences and collaborations have become more common. The internet has made it easier for artists from different parts of the world to connect and share their music with a global audience. Genres like K-pop, reggaeton, and Afrobeats have transcended their regional origins to become global phenomena, thanks to the power of the internet and social media.
This cross-pollination of musical styles has led to the emergence of new genres and the blending of cultural influences. For example, artists like Bad Bunny and J Balvin have brought reggaeton to the forefront of global pop music, while K-pop acts like BTS have garnered massive international followings, breaking language barriers and redefining what it means to be a global superstar.
The Future of the Music Industry
As the music industry continues to evolve, several trends are likely to shape its future. The rise of artificial intelligence (AI) and machine learning could revolutionize music production, with AI-generated compositions becoming more sophisticated. Additionally, the growing popularity of virtual and augmented reality (VR/AR) experiences could create new opportunities for live performances, allowing fans to attend concerts from anywhere in the world.
Blockchain technology also holds potential for transforming the industry by providing more transparency in royalty payments and enabling artists to maintain greater control over their intellectual property. NFTs (non-fungible tokens) have already started to make waves in the music world, allowing artists to sell unique digital assets directly to fans.
Ultimately, the music industry is in a state of constant flux, driven by technological advancements and changing cultural dynamics. While these changes present challenges, they also offer exciting opportunities for artists, fans, and industry professionals to explore new ways of creating, sharing, and experiencing music. As we move forward, the industry’s ability to adapt and innovate will be key to its continued success and growth.
Spotify is by far the world’s main music streaming service. This success was something however pre-programmed, and except for the advertising and marketing abilities of its two Swedish founders, it was primarily likelihood that introduced Spotify to this place. Spotify has its roots within the P2P file-sharing neighborhood and owes its rise to some extent to the lawsuit in opposition to the creators of the torrent tracker The Pirate Bay, which made worldwide media headlines in 2008 when Spotify was launched. This a part of the weblog sequence traces the event of Spotify throughout the The Pirate Bay trial and the early years that laid the foundations for its success.
The Music Streaming Financial system – Half 8: Spotify in The Pirate Bay
On 7 October 2008, Spotify introduced the launch of operations in Finland, France, Germany, Italy, Norway, Spain, Sweden and the UK with a Fb put up titled “We’ve solely simply begun!”, a Nineteen Seventies marriage ceremony hit by The Carpenters,[1] and shortly after opened places of work in London, Berlin and Madrid.[2] The timing was good. On 31 January 2008, Swedish prosecutors filed prices in opposition to torrent tracker The Pirate Bay,[3] which had turn out to be probably the most in style P2P file-sharing networks. For months, media consideration had been targeted on the forthcoming The Pirate Bay trial, which was lastly set to start in Stockholm on 16 February 2009. Supporters and opponents of the favored P2P file-sharing community had been slinging mud at one another for months within the run-up to the trial, so it comes as no shock that the announcement of a authorized music service on the Web, which was even be free, attracted lots of consideration not solely in Sweden however far past. Daniel Ek even admitted in an interview that The Pirate Bay was the supply of inspiration for the creation of Spotify.[4]
Nevertheless, the true purpose for Spotify’s official launch initially of October 2008 was signing of licensing offers with the 4 music majors of the time – Common Music Group, Warner Music Group, Sony-BMG and EMI – in addition to with the indie labels’ music licensing company MERLIN, for the usage of their music catalogues. It might appear shocking that the 4 greatest music corporations on the planet have been doing licensing offers with a small software program firm from Sweden. The Pirate Bay additionally performed an vital position. In 2008, document corporations have been nonetheless underneath huge financial stress and blamed file-sharing for his or her financial issues. Because the quickest rising service, The Pirate Bay was a first-rate goal for the music majors, who have been desperately searching for another. Spotify was the perfect associate. With music streaming, not like music downloads, the rights holders didn’t lose management over music distribution, and so they have been additionally in a position to make Spotify depending on them by licensing their music catalogues. Even the CEO of Sony-BMG Sweden, Per Sundin, admitted in an interview that with out the chaos The Pirate Bay had brought on within the document market, the majors would have felt little stress to enter into shaky licensing offers with an underfunded start-up.[5]
The e-book “Spotify Teardown” from 2019 due to this fact doesn’t discuss concerning the launch of Spotify in October 2008, however concerning the legalisation of the music providing.[6] The music streaming service, which was registered on 23 April 2006 by Daniel Ek and Martin Lorentzon as a software program firm known as Spotify AB in Stockholm, was primarily based on a P2P file-sharing protocol to be able to save the prices of digital music distribution and on the identical time have the ability to faucet into the additional bandwidth of web customers.[7] Daniel Ek, who had dropped out of KTH Royal Institute of Expertise in Stockholm, had briefly labored as CEO of μTorrent, the supplier of the file-sharing programme of the identical identify for the BitTorrent protocol, in 2006. The software program was developed by Ludvig Strigeus, who offered his firm to BitTorrent Inc. in December 2006 to hitch Spotify, which had simply been based by Ek and Lorentzon. Strigeus’ experience in P2P file sharing was wanted to develop the technical foundations for the streaming service. This consisted primarily of a P2P community.[8]
This allowed Spotify to save lots of on server assets and related prices, which was important for a start-up. When Spotify customers streamed a music on their desktop computer systems, it was extremely doubtless that it was not coming from the corporate’s personal server, however from different customers who had unwittingly turn out to be a part of the file-sharing community. Requested by TorrentFreak’s Ernesto Van der Sar about Spotify’s know-how, firm spokesman Andres Sehr mentioned: “Spotify makes use of a hybrid p2p system the place music is delivered each by our servers and utilizing P2P. (…) This enables us to ship the lengthy tail of music which will not be highly regarded, in addition to shortly serve up the most recent hits that almost all of customers take heed to. P2P permits us to each enhance the velocity that we ship music and in addition decrease the price of streaming it.”[9]
It was not till 2014, six years after the operational launch of Spotify, that the P2P file-sharing know-how was regularly migrated to a purely server-based mannequin. Till then, Spotify, which had efficiently positioned itself as a substitute for music piracy, was primarily based on the identical know-how because the frowned upon and legally prosecuted torrent tracker ‘The Pirate Bay’. Nevertheless, not like the same old file-sharing providers, Spotify was simple to make use of, freed from malware and nonetheless allowed free music consumption.
Spotify had confirmed that it was attainable to construct a enterprise mannequin round file sharing. This was thanks to 2 advertising and marketing specialists, Lorentzon and Ek, each of whom had beforehand constructed profitable advertising and marketing businesses. Lorentzon co-founded affiliate internet marketing company TradeDoubler in 1999, which went public in 2005. In March 2006, TradeDoubler used recent capital to purchase Advertigo, a small advertising and marketing firm based by Daniel Ek that specialised in contextual advertising and marketing on the web. That is how Ek and Lorentzon met and determined to depart TradeDoubler to begin Spotify.[10] At launch, Spotify was a community of corporations: The software program firm Spotify AB, primarily based in Stockholm, Spotify Expertise Gross sales Ltd. and Spotify Expertise Holding Ltd., which holds the patent and trademark rights, primarily based within the tax haven of Cyprus, which in flip are a part of the holding firm Spotify Expertise SA, primarily based within the Grand Duchy of Luxembourg, which can be identified for its experience in tax optimisation.[11]
So in October 2008, the entire company construction nonetheless existed when the licensing agreements with the music majors and MERLIN have been signed. The ink was barely dry when beta customers found they may not entry lots of their playlists. Spotify had pre-emptively eliminated a lot of the unlicensed music from its service, and within the spring of 2009 extra music titles disappeared as a result of country-specific copyright restrictions.[12] The one innovation within the official launch of the streaming service in October 2008 was the introduction of a premium subscription mannequin, which remodeled Spotify from an ad-supported free service to a freemium mannequin. A freemium mannequin consists of constructing it engaging for customers of a restricted free service to modify to a premium service that is freed from promoting however for which they should pay. Initially, customers may select between two pricing choices: a day cross for EUR 0.99 and a month-to-month subscription for EUR 9.99.[13] Nevertheless, evaluation of consumer numbers (fig. 1) by market analysis agency Analysys Mason reveals that Spotify’s ad-supported free service was initially the preferred.
Supply: Analysys Mason cited in Selvakumar, Ekambar et al. (2012).
The two million consumer mark was damaged for the primary time in April 2009, though lower than 2 per cent of those have been paying subscribers. The proportion of premium customers continued to fall till August 2009, and it was solely when the Spotify app turned obtainable for iPhone and Android cell phones that the proportion of paying customers started to rise, though by March 2011 solely just below 10 per cent of customers have been paying to stream music on Spotify.
Along with the supply of Spotify on smartphones, which have been launched in 2007,[14] and the engaging free service, the bundling of the Spotify app with TeliaSonora’s choices was a key success issue. In 2009, Spotify signed a two-year unique take care of the Swedish telco, which built-in Spotify into its cell, broadband and IP-TV providers and promoted the streaming service closely. An identical deal was struck with TeliaSonora in Finland in 2010, and a yr later the partnership with TeliaSonora in Sweden was prolonged for an additional two years.[15] It was a win-win scenario for each companions. The telcos have been ready so as to add a hip music service to their providing, and Spotify gained entry to tens of millions of telco clients who have been additionally underneath the impression that the music service was free.
Nevertheless, the enlargement into different markets additionally led to a speedy enhance in Spotify’s consumer numbers. Spotify was already obtainable in the UK initially of 2009,[16] adopted by the Netherlands in Could 2010,[17] the USA in July 2011,[18] Denmark, Belgium, Austria and Switzerland in October and November 2011[19] and, after prolonged negotiations with the music rights organisation GEMA, Germany in March 2012, making Spotify obtainable in 13 international locations.[20]
However, Spotify’s monetary scenario and financial survival have been removed from safe. It wanted traders to cowl the prices of launching the service and, particularly, the licensing offers with the labels. In a primary funding spherical led by Swedish enterprise capital agency Northzone, Spotify US raised US $20 million in alternate for an 11.9 per cent stake within the firm and a seat on the board. Nevertheless, this was not sufficient to begin operations.[21] Not solely did Spotify conform to pay royalties, however it additionally needed to make advance funds to the document corporations (i.e. the labels) that may very well be offset in opposition to future streaming revenues to make use of the music catalogues in any respect. One such contract between Spotify and Sony from 2011 was leaked. It reveals that the streaming service needed to pay Sony Music Leisure an upfront charge of US $42.5 million over three years, with US $9 million due within the first yr, US $16 million within the second and US $17.5 million in an elective third yr.[22] It’s doubtless that the opposite three main labels and MERLIN have comparable offers with Spotify, leading to an upfront cost of between US $160 million and US $200 million. It’s clear {that a} financially weak start-up like Spotify couldn’t simply shoulder this expenditure and due to this fact paid for not less than a part of it with shares within the firm.
It was later revealed that Common, Warner, Sony, EMI and the licensing company for impartial labels, MERLIN, held a mixed 18 per cent stake in Spotify in 2008 (see fig. 2).
Determine 2: The document corporations’ share of Spotify in 2008
Firm
Variety of shares
Share in %
Common Worldwide Music BV
97,827
5.0%
Sony BMG Music Leisure Worldwide Ltd.
117,392
6.0%
Warner Music Luxembourg S.à.R.L.
78,261
4.0%
EMI Data Ltd.
39,131
2.0%
Merlin BV
19,565
1.0%
Complete
352,176
18.0%
Complete variety of Spotify shares
1,956,531
100%
Supply: After Music Enterprise Worldwide, “Right here’s precisely what number of shares the key labels and Merlin purchased in Spotify – and what these stakes are price now”, Could 14, 2018, accessed: 2024-08-04.
From the labels’ perspective, the deal was additionally dangerous. Spotify wouldn’t have been the primary streaming service to close down prematurely. The music corporations would have needed to write off their losses, though they’d have been manageable.
The following a part of the sequence will take a look at the lengthy highway that Spotify needed to journey to go public in 2018.
Endnotes
[1] Spotify press launch, “We’ve solely simply begun!”, October 7, 2008, accessed: 2024-08-04. Nevertheless, the announcement to make Spotify obtainable in Germany and Italy needed to be withdrawn shortly afterwards as a result of the native music accumulating societies had not but agreed to a licence deal. Spotify solely launched in Germany in March 2012 and in Italy nearly a yr later in February 2013. See Maria Eriksson et al., 2019, Spotify Teardown. Contained in the Black Field of Streaming Music, Cambridge, Mass. und London: The MIT Press, p 45.
[2] Music Enterprise Worldwide, “Spotify. Streaming Service”, n.d., accessed: 2024-08-04.
[3] Wired, “Pirate Bay Future Unsure After Operators Busted”, January 31, 2008, accessed: 2024-08-04.
[4] The interview with Daniel Ek happened on the Nice Escape Pageant in Brighton in Could 2009 and was performed by Paul Brindley for MusicAlly: “Spotify was ‘impressed by the Pirate Bay’”, Could 18, 2009, accessed: 2024-08-04.
[5] The interview was initially revealed within the Swedish newspaper Breakit and quoted on TorrentFreak: “How The Pirate Bay Helped Spotify Grow to be a Success”, Could 19, 2018, accessed: 2024-08-04.
[6] Maria Eriksson et al., 2019, Spotify Teardown. Contained in the Black Field of Streaming Music, Cambridge, Mass. und London: The MIT Press, p 45.
[7] Ek and Lorentzon opened their first workplace at Riddargatan 20 in Stockholm’s previous city in August 2006, the place they developed the beta model of the Spotify software program, see ibid., p 42.
[8] See TorrentFreak, “Spotify Begins Shutting Down Its Large P2P Community”, April 16, 2014, accessed: 2024-08-04.
[9] Cited in TorrentFreak, “Spotify, An Various to Music Piracy”, January 2, 2009, accessed: 2024-08-04.
[10] Spotify Teardown, 2019, p 41.
[11] Ibid., pp 41-42.
[12] Ibid., p 45.
[13] MusicAlly, “Daniel Ek talks Spotify, social options and ISP partnerships… again in 2008”, March 26, 2012, accessed: 2024-08-04.
[14] Wikipedia, “Smartphone”, within the model of February 22, 2024, accessed: 2024-08-04.
[15] Ekambar Selvakumar et al., 2012, p 6.
[16] Billboard, “Spotify Opens To U.Ok. Public”, February 11, 2009, accessed: 2024-08-04.
[17] Billboard, “Spotify Launches In Netherlands, Gives New Providers”, Could 18, 2010, accessed: 2024-08-04.
[18] Billboard, “Spotify Lastly Launches within the U.S. — Full Particulars Right here”, July 14, 2011, accessed: 2024-08-04.
[19] Billboard, “Spotify Launches In Denmark, Its Ninth Nation”, October 12, 2012, accessed: 2024-08-04 and Futurezone, “Spotify in der Schweiz und Belgien gestartet”, November 16, 2011, accessed: 2024-08-04.
[20] The Hollywood Reporter, “Spotify To Launch in Germany Tuesday”, March 12, 2012, accessed: 2024-08-04.
[21] Spotify Teardown, 2019, p 46.
[22] The Verge, “This was Sony Music’s contract with Spotify”, Could 19, 2015, accessed: 2024-08-04.
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The new, affordable, touch-sensitive synthesizer, The Theremin, was inspired by the famous Theremin synth.
More than a year has passed since the NAMM present. With the exception of Korg, there was no other significant oscillator scene. With its innovative Stylophone Theremin and CPM DS-2, the American company Dubreq was able to draw interest.
The Theremin is then accessible despite taking a little longer.
Feature Shows
Control with your system
Portable
Drone or set information
Built-in speech with level manage
Built-in vibrato and wait effects
Connect any wired headsets and other products together
device powered
The standard Dubreq site today offers 109 and 95€ plus shipping.
Depending on your site, it boats from the EU, UK, or US inventory. It will appear after at merchants.
Accessible for pre-order at my companion:
Perfect Circuit
Content From January 5, 2024
One of the first, if not the second, instruments was the Theremin. Invented in 1920 and patented in 1928 by Leon Theremin. Synthesizers with white and black keys did n’t debut until much later. The Theremin’s unusual operation continues to be outstanding today.
You move your hands along two antennas, one for volume and the other for ball, instead of the classic keys. a skill that requires constant practice. Dubreq, the engineers of the latest Stylophone variety, have now brought their unique Theremin onto the market.
Stylophone Theremin
The Stylophone Theremin, aka Pitch Theremin, is never a 1-to-1 copy or duplicate of the original product. It has a slightly different idea and features its individual.
Like the classic, Dubreq’s Theremin is also a touch-sensitive Synthesizer that creates appears by detecting your activity. Yet, with a big difference! It’s just a pitch-only Theremin, so it only has a second antenna. The volume (VCA ) antenna is missing, making it easier to play.
His position model’s behavior is not the only thing that makes this unique. You may change the volume and sound on the Stylophone Theremin through a comprehensive control panels. Analog or digital, not 100 % evident. But I think it’s digital.
The website features three components: good generation/play, a pause, and a slider/trigger. You can adjust the angle of the slide and the antenna in the first. The synth consists of a two-wave oscillator ( sine/square ), a decay envelope, a vibrato effect, and a drone mode. The update switch allows for FM.
With the transmitter and the slider, which have fixed pitches, it can be played traditionally empirically. Since you have a” slider mixer”, you may definitely enjoy both side up. With the cause option, you can also play sound without using the transmitter.
Additionally, you can way the noise into a pause with period and feedback controls. According to Dubreq, it even hosts a built-in speech and can be mounted on a speaker stand. A microphone socket and a key output are provided on the link side.
The creators promise quick, moving empirical sound. ” Wave your hand around its antenna, move its slide from side to side, and go over the border with mad modification, wobbly vibration, and crunchy echoing wait for crazy, quirky, sci-fi sound development”.
Second Idea
It takes years to learn how to play a true Theremin, and to practice with it artistically requires times. That’s why some demos usually sound very empirical. I like the idea of simplifying the design by eliminating the level antenna.
The ability to adapt sound is excellent as it turns the” Theremin” into a more versatile-sounding equipment. However, a screen is missing. Sometimes we will see it in an MK2 edition. Even thumbs up for the cost. All in all a beautiful, interesting Synthesizer.
Stylophone Pitch Theremin is available immediately for roughly$ 110, 100€ or £90. Without making a payment upfront, you may pre-order items from the official site.
