We’ve all seen newspeople interviewing the “average guy on the street” with this sort of device affixed to the handle of their mic:

Ever wanted to add a veneer of professionalism to your otherwise ameteurish audio/video production? It’s easy! Here’s how:

If there’s one thing I’ve learned since coming on board to help Peter with CDM it’s this: The kids love a portable recorder. The Edirol R09 and Zoom H2/H4 articles are among our most popular ever.

Now Korg are supplementing their existing multi-track digital recorders with the 20GB, pocketable MR-1 (US$899 MSRP), and the 40GB, tabletop MR-1000 (US$1499 MSRP).

Shipping right now, these are “1-Bit” recorders, recording “DSDIFF, DSF, and WSD 1-bit formats, as well as multi-bit PCM format (BWF) with resolutions up to 24-bit/192 kHz”. If you’re like me and thought that more bits was better, Korg have helpfully provided a PDF entitled “Future Proof Recording Explained”, to clear up any misconceptions you had about the usefulness of more bits. The executive summary: When you’re sampling really really fast, the only numbers you need are 1 and 0, to indicate whether the sample is up from last time, or down. That’s my only insight on the science part for now, people who understand more feel free to debate the 1-bit revolution in comments.

Hardware Features

MR-1

• 20GB internal drive (6 hours @ highest quality 1-bit, 20 hours @ CD quality, MP3 support apparently available mid-2007)
• Ability to plug in external FAT32 USB hard drive for expanded recording space
• USB 2 transfers
• Rechargeable lithium polymer battery (no word on battery life) or AC power
• Dual balanced mini phone plug inputs
• 2 track simultaneous recording and playback
• Includes stereo electret condenser mic
• Backlit LCD
• Dimensions: 64 (W) x 120 (D) x 24 (H) mm / 2.52″ (W) x 4.72″ (D) x 0.94″ (H)
• Weight 200g (7oz) with batteries
• More specs (including plenty with dB and Hz for the audio nerds)

CDM’s man in San Fran, Lee Sherman, is on-hand at the WWDC keynote to bring us the latest. We’ll know if there’s anything music-related, or anything related to an upcoming apocalypse (like Apple’s switching to Intel, or pre-installing Windows, or Dell is pre-installing OS X, or Apple is marking all machines with the mark of the beast or something.) And we’re not just copying and pasting from IRC — you can expect our usual spin and distortion.

It’s like you’re there: Hit reload on your browser for the latest. And, for the full keynote effect, get several thousand friends, about 1/2 huddled over their laptops, onto uncomfortable chairs in an auditorium.

(read more)

Live from WWDC: Steve Jobs has announced that podcasting will be built into the next version of iTunes, and the iTunes Music Store will incorporate a podcast directory. Jobs calls the tech “Wayne’s World for radio” but notes that, of the 8,000 podcasts available, it’s not just amateurs. This is the “hottest thing going in radio,” says Apple’s chief.

Even Apple is getting in on the act: Apple will produce its own new music Tuesday podcast.

CDM contributing editor Lee Sherman contributed live from the WWDC keynote for this report.

Podifier, the free Windows podcasting app, has hit 1.0. Drag and drop MP3 files, enter an FTP site, and you can instantly create a RSS 2.0 podcast feed. It’s perfect for creating podcasts like the brilliant Fake Science Lab Report.

So, have you started podcasting yet? Send us the links, and let us know which app you prefer? (Anything for Mac?)

Updated: Wil Wheaton writes us in agreement that "$20 a year is
entirely reasonable, and it doesn't make it cost-prohibitive for
hobbyists to pay the fee." Of course, that still raises the question of
how to handle other rights that may apply and could be more costly –
those not administered by ASCAP. And I agree with Wil: podcasting could
be a fantastic promotional tool for music that could be crippled by
overzealous license fees from music labels.

Boing Boing certainly seems to have an axe to grind with ASCAP — after Wil Wheaton blasted ASCAP
for adding podcasting to their interactive license (and later tempered
his reaction, which didn't seem written for publication), Cory Doctorow
last week pointed to a campaign targeting ASCAP for "enforcing" license fees for Happy Birthday. Seems like the target for ire there is mega-media company Time Warner that owns the copyright, not ASCAP, or the copyright law that would allow the renewal.

I'm all for discussion, but let's get the facts straight first. Going
after ASCAP isn't going after the "corporate music industry" — it's
going
after 200,000 members who are song writers, composers, lyricists and
publishers, the
only performing rights group in the US controlled by its members. That
includes everyone from Dr. Dre to classical composer Jennifer Higdon.

ASCAP isn't "hunting down" podcasters, either. I dug up some info on
how ASCAP is handling licensing. (Apologize for the lag with the
original post, but this took some time.) The inclusion of podcasting in
ASCAP's latest interactive licensing agreement is an acknowledgment
that the medium could take off and make money — and that's good news.
It's mentioned in license agreements that include not only podcasting
but technology like Flash files and Internet jukeboxes, too. (read more)