Distributing Your Self-Funded Album: All About Cdbaby
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What's the Download® Music Survival Guide
WHAT’S THE DOWNLOAD® MUSIC SURVIVAL GUIDE Written by: The WTD Interactive Advisory Board Inspired by: Thousands of perspectives from two years of work Dedicated to: Anyone who loves music and wants it to survive *A special thank you to Honorary Board Members Chris Brown, Sway Calloway, Kelly Clarkson, Common, Earth Wind & Fire, Eric Garland, Shirley Halperin, JD Natasha, Mark McGrath, and Kanye West for sharing your time and your minds. Published Oct. 19, 2006 What’s The Download® Interactive Advisory Board: WHO WE ARE Based on research demonstrating the need for a serious examination of the issues facing the music industry in the wake of the rise of illegal downloading, in 2005 The Recording Academy® formed the What’s The Download Interactive Advisory Board (WTDIAB) as part of What’s The Download, a public education campaign created in 2004 that recognizes the lack of dialogue between the music industry and music fans. We are comprised of 12 young adults who were selected from hundreds of applicants by The Recording Academy through a process which consisted of an essay, video application and telephone interview. We come from all over the country, have diverse tastes in music and are joined by Honorary Board Members that include high-profile music creators and industry veterans. Since the launch of our Board at the 47th Annual GRAMMY® Awards, we have been dedicated to discussing issues and finding solutions to the current challenges in the music industry surrounding the digital delivery of music. We have spent the last two years researching these issues and gathering thousands of opinions on issues such as piracy, access to digital music, and file-sharing. -
My Friend P2p
MY FRIEND P2P Music and Internet for the Modern Entrepreneur Lucas Pedersen Bachelor’s Thesis December 2010 Degree Program in Media Digital Sound and Commercial Music Tampereen ammattikorkeakoulu Tampere University of Applied Sciences 2 ABSTRACT Tampere University of Applied Sciences Degree Program in Media Digital Sound and Commercial Music PEDERSEN, LUCAS: My Friend p2p – Music and Internet for the Modern Entrepreneur Bachelor’s thesis 81 pages December 2010 _______________________________________________________________ The music industry is undergoing an extensive transformation due to the digital revolution. New technologies such as the PC, the internet, and the iPod are empowering the consumer and the musician while disrupting the recording industry models. The aim of my thesis was to acknowledge how spectacular these new technologies are, and what kind of business structure shifts we can expect to see in the near future. I start by presenting the underlying causes for the changes and go on to studying the main effects they have developed into. I then analyze the results of these changes from the perspective of a particular entrepreneur and offer a business idea in tune with the adjustments in supply and demand. Overwhelmed with accessibility caused by democratized tools of production and distribution, music consumers are reevaluating recorded music in relation to other music products. The recording industry is shrinking but the overall music industry is growing. The results strongly suggest that value does not disappear, it simply relocates. It is important that both musicians and industry professionals understand what their customers value and how to provide them with precisely that. _______________________________________________________________ Key Words: Music business, digital revolution, internet, piracy, marketing. -
Christopher Soghoian Student Fellow Berkman Center for Internet & Society Harvard University 23 Everett Street, Second Floor Cambridge MA 02138
Comment of: Christopher Soghoian Student Fellow Berkman Center for Internet & Society Harvard University 23 Everett Street, Second Floor Cambridge MA 02138 Represented by: Phil Malone Director, Cyberlaw Clinic Arjun Mehra Clinical Student, Cyberlaw Clinic Harvard Law School Berkman Center for Internet & Society 23 Everett Street, Second Floor Cambridge MA 02138 Office of the General Counsel U.S. Copyright Office James Madison Memorial Building, Room LM-401 101 Independence Avenue, SE. Washington, DC 20559-6000 December 2, 2008 Re: RM 2008-8 -- Exemptions to Prohibition on Circumvention of Copyright Protection Systems for Defunct DRM and Copy Protection-Based Stores I. PROPOSED CLASS OF WORKS We respectfully request an exemption to DMCA §1201(a)(1)(A) for lawfully purchased sound recordings, audiovisual works, and software programs distributed commercially in digital format by online music and media stores and protected by technological measures that depend on the continued availability of authenticating servers, when such authenticating servers cease functioning because the store fails or for other reasons. We also request a separate exemption for the same class of works even prior to the failure of the servers for technologists and researchers studying and documenting how the authenticating servers that effectuate the technological measures function. The technological measures at issue include digital rights management (DRM) technologies and copy protection mechanisms encoded into purchased music, videos, and software, which are sold with a set of permissions and require authentication with remote servers in order to allow users to fully exercise those purchased rights, including the ability to access the works on other devices, or in some cases, to allow continued access to the works on the same device. -
Cover Your (Data) Bases What Musicians Need to Know About Music Metadata to Get Paid for Their Music
Cover Your (Data) Bases What musicians need to know about music metadata to get paid for their music Digital download sales, royalties from streaming music services, revenue sharing from YouTube—in addition to physical retail and online retail sales of CDs—all hinge on coded information. It’s important that artists use every means available to establish their connec- tion to their recorded works, and to incorporate into their project all of the essential data tools for selling their recordings. We originally wrote about metadata in 2007; Mike Petillo has done a careful update of this important topic. June 2014 Airshow, Inc www.airshowmastering.com UPC, ISRC, CD Text and Online Music Along with the traditional tracking of physical sales from retail Databases outlets, UPCs are now used to compile sales data on digital down- A lot of the information on a music recording isn’t music. Digital loads; having a UPC assigned for a new release is now mandatory delivery and online sales can’t happen without some coded data, before selling your music online via stores like iTunes and Amazon commonly called “metadata,” which is the information about the MP3. music. The multitude of ways in which fans listen, often across Where does it come from? various devices at home, work, in their cars and on their phones, Allocation of UPCs is officially managed by GS1, a global, non-prof- allow artists new opportunities to share info about their music and it organization that governs manufacturing and supply chain draw listeners closer. standards. In order to receive their own special UPC prefix code, companies must become a member of the organization. -
Authorizing Your NW-HD1 Network Walkman™ Player on Multiple Pcs
Authorizing your NW-HD1 Network Walkman™ Player on Multiple PCs Tracks managed by SonicStage® software (tracks recorded from your CDs, imported from your PC’s hard drive, and/or tracks purchased and downloaded from the Internet1) can be transferred to your NW-HD1 Network Walkman player. By authorizing your device, you will be able to share your music collection on up to three PCs2. The authorization process is powered by Sony’s Connect music service. An Internet connection is required. “Authorize” Your Device Automatically: The first time you launch SonicStage software and connect your Network Walkman device, a dialog box will appear, asking if you want to “Authorize” your device. 1. Click “Yes” to authorize your device to share content on additional PC(s). The Connect music store screen will appear. Note: If you choose “No” your device will be registered locally. You will only be able to transfer your content to/from the locally- registered PC. To authorize your device later, see “Authorize Your Device Manually” instructions below. 2. Follow the on-screen steps. Note: You are not obligated to purchase music from the Connect music store, and you do not need to provide your credit card information in order to complete the device authorization process. 3. Your device is now ready to share content on up to three PCs. Note: SonicStage 2.1 or higher must be installed on the additional PCs. 4. When you connect your device to the 2nd or 3rd PC and launch SonicStage software, a prompt will appear. Follow the on-screen instructions to authorize your device on the additional PC(s). -
IFPI Digital Music Report 2010 Music How, When, Where You Want It Contents
IFPI Digital Music Report 2010 Music how, when, where you want it Contents 3. Introduction 4. Executive Summary: Music – Pathfinder In The Creative Industries’ Revolution 8. The Diversification Of Business Models 10. Digital Music Sales Around The World 12. In Profile: Pioneers Of Digital Music 18. Competing In A Rigged Market – The Problem Of Illegal File-Sharing 20. ‘Climate Change’ For All Creative Industries 24. Graduated Response – A Proportionate, Preventative Solution 28. The World Of Legal Music Services 30. Consumer Education – Lessons Learned Music How, When, Where You Want It – But Not Without Addressing Piracy By John Kennedy, Chairman & Chief Executive, IFPI This is the seventh IFPI Digital Music in new artists, we have to tackle mass legislation to curb illegal file-sharing. Report. If you compare it to the first piracy. Second, we are progressing towards Another clear change is within the music report published in 2004, you can an effective response. The progress is sector itself. It was, until recently, rare see a transformation in a business agonisingly slow for an industry which does for artists to engage in a public debate which has worked with the advance not have a lot of time to play with – but it is about piracy or admit it damages them. of technology, listened to the consumer progress nonetheless. In September 2009, the mood changed. and responded by licensing its music Lily Allen spoke out about the impact of in new formats and channels. On page 20 of the Report, Stephen illegal file-sharing on young artists’ careers. Garrett, head of the production company When she was attacked by an abusive In 2009 globally, for the first time, more Kudos, refers to a “climate change” in online mob, others came to her support. -
How to Share Your Release with the World
MusicNSW’s Industry Essentials How to share your release with the world Prepared by GYROstream for MusicNSW Did you know more than 22,000 songs are uploaded to streaming services every day? Getting your music online can seem like a complicated task. It doesn’t have to be though. Below are some tips and tricks to help you navigate the best distribution path for you and your new tunes. What are digital music aggregators / distributors? Digital aggregators (also known as digital distributors) are companies that provide a means to distribute your music globally through digital music stores and streaming platforms. You can’t just upload a track directly to Spotify or Apple Music and have it streamed globally, you need to use a digital music aggregator. If you’re signed to a label, it’s more than likely they’ll distribute your music to Spotify, Apple, iTunes, YouTube Music and more for you, but if you’re independent, you can have exactly the same access to these platforms by using a digital aggregator. Aggregators make their money by charging upfront fees and/or charging a percentage of revenue earned from the streaming and download purchases of your music. In some cases, aggregators will also charge an ongoing annual fee to keep your content online. Who do they distribute to? Nearly all distributors will get your music to Apple, Spotify, Deezer, Youtube (ie. the major western platforms), which together cover a large portion of music listeners worldwide. Where things might differ is for the highly localised services that cater to their specific regions - eg. -
PDF Guide of How to Convert DRM Protected M4P To
How to convert DRM protected M4P to MP3 Website: http://www.tuneclone.com Apple reserves the right to change at any time what you can do with the music you purchase at the iTunes Music Store. As the table below shows, there are many other ways that Apple's DRM limits what you can do with a song you "own". iTunes Music Store Restrictions • Restricts back-up copies: Song can only be copied to 5 computers • Allowed only 7 times to burn the same playlist • Limits portable player compatibility: iPod and other Apple devices only • No remixing: Cannot edit, excerpt, or otherwise sample songs Create unprotected copies of copy-protected audio files Tired of DRM-protected file formats like WMA, M4P, AA, M4B, MP4 getting in your way? TuneClone comes to the rescue! Just import protected WMA, M4P or any protected music files or protected M4B audio book files into TuneClone. TuneClone automatically converts the music you have purchased online as you are burning it to a virtual CD-RW drive as unprotected audio (MP3,WAV and WMA) you can use anywhere. You can easily get unprotected MP3, WMA or WAV files ready for use on the virtual CD. How to create unprotected copies from copy-protected audio files? This guide lets you convert iTunes .M4P to MP3 with TuneClone. • Step1. Download TuneClone from http://www.tuneclone.com and install it. It works under Windows XP with SP2. A virtual CD Burner will be installed. This virtual CD-RW will be used to convert music files. • step2. Set the default CD Burner to "TuneClon CD-RW" at iTunes. -
Copyright Compliance and Electronic File Sharing of Media
Copyright Compliance and Electronic File Sharing of Media Kean University Policy on Electronic File Sharing of Media University computing resources are the property of Kean University, and are provided to current students, faculty, staff members, visitors, and agencies as a privilege rather than a right. Users must comply with all local, state and federal laws, including, but not limited to, laws regarding libel, harassment, privacy, copyright infringement, theft, and threats. All of Kean University’s policies extend to computer use. All persons who use University computer resources have the responsibility to respect and follow the policies set below and to honor the ethical norms associated with the highest standards of professional conduct. Downloading, copying and sharing material, such as music, movies, games, and applications, for which the copyright holder has not given permission is a violation of Federal copyright law (www.copyright.gov), the Digital Millennium Copyright Act (a federal law which protects the interests of copyright holders in regard to digital media) as well as, the Kean University Acceptable Use Policy (http://www.kean.edu/~ocisweb/PDFfiles/Computer%20Related%20Acceptable%20Use%20Poli cy.pdf). More recently the Federal government amended the Higher Education Opportunity Act of 2008 to explicitly outline the process colleges and universities must employ to combat the unauthorized use of copyrighted materials. Higher Education Opportunity Act 2008 Effective July 1, 2010 all colleges and universities that receive Federal funding for Title IV Programs must be in full compliance with the Higher Education Opportunity Act of 2008 (HEOA), Public Law 110-315, also referred to as H.R. -
Dogfight Download Mac
Dogfight download mac click here to download Dogfight for Mac is free to download from our software library. The bundle id for this application is www.doorway.ru This Mac app is a. Take to the skies in a range of classic Airfix model planes. You can fly everything from vintage WW1 fighters to modern superjets as you buzz. Update Submitted (v): Fixes Level 4 door bug. Fixes Level 3 Infinite film bug. Stops IPhone 3G / Ipod touch 2nd Gen Uses downloading App. What is Dogfight City? Please contribute to MR: Fill in Dogfight City description now! Download Dogfight City for Mac. www.doorway.ru ( KB) System -. Welcome to Dogfight Elite, the multiplayer airplane combat simulator. You can download it from the Apple store or from Google Play, Amazon, Windows Here's a roundup of the top ones you can download today, with They're not only great games, they're some of the best Mac games you can find. is in multiplayer dogfighting combat, which has been the series' strength. Piloting a wide range of aircraft, players engage in aerial dogfights and dangerous fighter missions across the major theaters of war during WWII. Dogfight Elite for MAC free Download Direct Link noDVD by GOG Dogfight Elite is a World War I and World War II massive combat airplane. Dogfights Enhanced Graphics gives players fast-flying combat aerial , Download the MacGameStore App to compare your Mac's. By GamesNostalgia: Dogfight Simulator is a freeware version of the classic dogfight abandonware, freeware and classic games download for PC and Mac. Dogfight Elite is a World War I and World War II massive combat airplane simulator. -
Building Awareness for New Music Through Radio Promotions
University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 5-2016 Jamalar Agency: Building Awareness for New Music through Radio Promotions LaWanda J. Smith University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation Smith, LaWanda J., "Jamalar Agency: Building Awareness for New Music through Radio Promotions" (2016). Arts Administration Master's Reports. 202. https://scholarworks.uno.edu/aa_rpts/202 This Master's Report is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Master's Report in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Jamalar Agency: Building Awareness for New Music through Radio Promotions An Internship Academic Report Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts In Arts Administration By LaWanda J. Smith BCJ Loyola University -
Music Aggregators and Intermediation of the Digital Music Market
International Journal of Communication 9(2015), 254–273 1932–8036/20150005 Music Aggregators and Intermediation of the Digital Music Market PATRYK GALUSZKA1 University of Lodz, Poland This article demonstrates that, contrary to popular belief, the advent of the Internet has not made intermediaries in the music market obsolete. Individual artists and independent record labels who want to sell their music in digital music stores must deliver their records via third-party companies called music aggregators. Drawing on the concepts of new institutional economics, the article demonstrates that the emergence of music aggregators is a market response to the high level of transaction costs and bargaining asymmetry associated with selling digital music online. The conclusion suggests that the major music conglomerates may seek ownership links with music aggregators, leading to the emergence of vertically integrated companies, which may have profound consequences for cultural markets. Keywords: music aggregators, disintermediation, streaming services, digital music, Spotify, record labels Introduction It is difficult to overstate the influence of the advent of the Internet and digitalization on the functioning of cultural industries. Numerous academics and journalists have described what has been happening to the music, film, book publishing, and other cultural industries since 1999—the year when the first massively popular peer-to-peer (P2P) network—Napster—shook their foundations (e.g., Rogers, 2013; Wikström, 2010). Nevertheless, although 15 years have passed, researchers still have quite divergent opinions about the consequences of these changes for artists, businesses, and the consumers of cultural products. One argument that has been put forward claims that communication technologies help democratize creativity by allowing more equal access to technologies and distribution networks (e.g., Fox, 2004; Frost, 2007; Kasaras, 2002; McLeod, 2005).