Benga’s latest video was released early last month and made the blog rounds, but it’s worth considering as we continue our ongoing thread on visual music and how sound can go from invisible to tangible. A stunning video whets fans appetite for the upcoming Benga full-length Chapter 2, constructing a wave shape in physical form as a series of vinyl records. Using some 960 hand-cut vinyl records, the track’s waveform materializes in stop motion-filmed animation.

Physical as it may be, the inspiration, say the creative team, was SoundCloud. UK-based creative team Us, consisting of Christopher Barrett and Luke Taylor, explain:

When we were asked to pitch on the promo they sent us the track as a ‘Soundcloud’ link, we usually get it sent as an MP3. For the first time we were not just listening to the track we were also watching it. There was something mesmerising about this in its simplicity. This ignited the idea to create a real life three dimensional waveform. We started to think about the fact that a vast amount of our music is consumed online and has lost a sense of physicality this lead us to the idea of using vinyl records. We also loved the way it related to Benga as an artist who’s background comes from using records as a DJ or producer.

The maths worked we would need 960 records to create 1 minute and 20 seconds worth of wave form. Each one had to be individually cut to a specific size, hand labeled, hand numbered and then finally polished. This prep took 7 full working days and then the animation process took around 30 hours.

No 3D printers here: the process of making the individual, differently-sized records sounds painstaking. Us tells Creative Review:

To animate the wave form, we built it and then carefully removed each individual record. This had to be done very gently as any shift in the position of the sculpture would result in the failure of the animation and as we had to literally destroy each piece of vinyl to get it off, there was only one chance to get it right. Once the sculpture was finally built, the animation process took about 30 hours.

As you can see in the behind-the-scenes photos, actually working those records onto the pipe involved removing the far end, making this still more challenging (though adding a great deal to the impact of the effect).

This is all quite similar to another radial, sample-by-sample waveform made of physical circles we saw earlier this year:
Voice Messages Become 3D Paper Waveform Sculptures: Paper Note

Making a waveform view in the digital realm is dead-simple. But something about going to physical media makes that decision more than just afterthought, as though these creators really are touching frozen sound.

Having Benga as your soundtrack doesn’t hurt, either. You can grab this single on iTunes.

Full credits:

Directors – Us
Producer – Liz Kessler
Line Producer – Connor Hollman
DoP – Matt Fox
Gaffer – Ben Fordesman
Editor – Vid Price
Grade – Mark Horrobin
Animation – Alice Dupre
Structural consultant – Jorge Betancor
Runners – Tayo Rapoport, Paul Mckelvie, Chaelyn Allcock
Production Company – A+
Commissioner – Dan Millar
Management – Phil Hutcheon / Andrew Foggin

Behind-the-scenes photos courtesy Us.

See the full project page for lots of additional images and details:

http://www.weareus.co.uk/projects/benga-i-will-never-change

Thanks, Andrew Cavette!

Well, that happened. It’s a surreal episode that seems not to have any clear winners, as the US government on one side and hackers on the other face off over what is and isn’t freedom online. The mystery is, what will be the long-term outcome for people making content – or, for that matter, do these kinds of dramatics even really have any logic in your work at all?

While the music tech industry was holed away in the palm tree-lined walls of the Anaheim Convention Center, it seems full-blown war broke out over content on the Internet, in a surreal collision of players. Remember that bleak future painted by opponents of new US anti-piracy legislation, one in which your ability to upload your own content might get caught in the crossfire? It turns out it doesn’t necessarily require new laws, and it could look something like this:

MegaUpload file sharing site shut down for piracy by Feds [LA Times]

And then, in spectacular fashion, the hackers strike back…
Anonymous downs government, music industry sites in largest attack ever [RT]

Updated: The raid successfully stopped MegaUpload from operating … erm, except that it’s now right here, via a direct IP address and other sites appear to be phishing scams, so stay away.

It’s hard to imagine a more heated showdown. The US Department of Justice is behind the raid on MegaUpload, and just happened to time their crackdown the day after sites like Wikipedia blocked out content in protest of more restrictive rules in Congressional legislation, rules that claim to target just this kind of site. (MegaUpload was often named specifically, and – in fairness – had run rampant with pirated files. The authorities may have chosen the date as the founder’s birthday party, unrelated to yesterday’s blackout.) But that’s almost not the oddest thing about this story: it places a site endorsed by a number of high-profile musicians opposite labels like Universal Music Group. And don’t forget reports that the CEO is using an alias and is married to Alicia Keys, for added potential drama.

Now, clearly, MegaUpload was a venue for a significant amount of copyright infringement, and it’s inarguable that its owners benefited from that infringement. But artists themselves are already crying foul, partly because a service they used is unavailable. For instance, online radio station SOMA FM protests via Twitter:
“FBI shuts down megaupload .com, claiming no legit users. However lots of indie artists used it to send us (SomaFM) their new music.”

Show of hands. Are you now thinking:
1. I’m relieved! Now that the Federal government is cracking down on these sites, I can at last have the financial security as a musician of which I’ve always dreamed! Clearly, this will help drive more money into sales of music and other creative content, and we’ll all benefit!

2. Great. This will really mean is the next time I try to upload something, there will be all kind of annoying restrictions imposed voluntarily by services to avoid getting shuttered, all because people had to upload Adele albums. I’m just trying to send a darned demo.

3. Who was using MegaUpload, anyway?

Tally to follow.

In the meantime, these fireworks with Anonymous are sure entertaining to watch.

One alternative possibility occurs to me. Because it’s clearly possible to shut down MegaUpload without the benefit of damaging legislation, the MegaUpload closure actually makes an excellent case against the need for restrictive new laws. In other words, you can shut down an obvious infringer like MegaUpload, while leaving loads of other sites that support user content, and you didn’t have to change US law. So, even though Anonymous scored a dramatic protest, the raid itself might actually make a good case against new, tougher laws.

Downpressor, via Twitter, remarks “I’m not sorry to see sites like that go down.” And that’s the crux of this – a large number of parties actually do agree that some sites ought to go away through some sort of enforcement action. After the explosive saga here settles down, the upshot may be that this is left to enforcement mechanisms within the bounds of existing law, and not the kind of radical new laws recently proposed.

MegaUpload itself, though, may prove to be a bit divisive, because it will be seen through the eyes of some users who used it legitimately, even if those activities were a minority.

It’s been called, bluntly, “Internet censorship” by opponents. And now, US legislation that claims to curb piracy faces mounting challenges as that opposition grows, particularly as the White House warns it will block the bills.

Today, even as a flood of delightful new music toys become available, it’s worth pausing to consider why this matters – and, if you vote in the United States, to call your Senators and Representatives (again, if needed).

Many of us who create music believe the dynamic, user-driven nature of the Web is our best chance at a bright future. Free and open Internet communication is part of the fabric of societies around the world, and for music, offers a chance to share what we do, to discover new work, and to build our musical lives. They can be the basis of some of the most vibrant businesses that support musical practice, as well as contributing intangible but invaluable creative, technical, and spiritual input into what we make.

I wanted to collect today some of the best writing on the topic, from people who know this issue far more intimately than I do. Thanks to readers for their tips on this, as well.

Essential Reading

Ars Technica has some extraordinary coverage today. In particular, see:
Even without DNS provisions, SOPA and PIPA remain fatally flawed [Ars Technica] (goes into very detailed specifics of the legal issues)

What does SOPA mean for us foreigners? [Ars Technica] (The answer might surprise you: one of the flaws with SOPA is that the definition of “foreign” doesn’t even make sense. But in short, you don’t have to be in the US to be impacted by this legislation; foreign sites are specifically singled out for action. Do read the whole article; another huge, detailed report.)

How PIPA and SOPA Violate White House Principles Supporting Free Speech and Innovation [Electronic Frontier Foundation]

Google and Facebook and the like have come under attack as big corporations that benefit from Internet use and, some critics argue, from piracy. Why should they be using their deep pockets to talk about this issue? Google’s take today I think responds to that neatly. They have a beautiful infographic of a megaphone that counts all the critics – including law and Constitutional experts and human rights and pro-democracy groups – opposed to this legislation. And while I don’t know that Google always lives up to the “don’t be evil” mantra, I think digging into your deep pockets in this case is perfectly appropriate and defensible.
https://www.google.com/landing/takeaction/

The best report-in-a-nutshell comes from The Verge, and lawyer-journalist Nilay Patel:
Why The Verge and Vox Media are opposed to SOPA

In brief:

• Sites that host user-contributed content are threatened by weaker safe harbor rules and high compliance costs.
• Overzealous compliance by search and payment providers could make life miserable for the rest of us.
• Significant flaws in due process and seizure.

Those kinds of problems threaten the whole Internet ecosystem of user-contributed work and threaten democracy and the course of law. (Uh, other than that, no problem here.)

Musicians Take a Stand

The evidence at hand makes it all the more disturbing to see groups of labels, content companies, and so-called artist advocacy groups using our name – the musical community – to claim this legislation is somehow good for us. Unfortunately, the analysis of people working in law and policy outside the content industry tell us otherwise.

At least one artist and regular CDM reader and friend, TRICIL, is blacking out his own artist site. Here’s what he had to say:

You may have heard of America’s ludicrous Stop Online Piracy Act bill that’s being brought forth for legislation.

In concert with Wikipedia, Boing Boing, and a host of other sites, I’ve “blacked out” tricil.net in protest for the next 24 hours.

For my fellow Americans, you can take action by visiting http://tricil.net and clicking the “CENSORED” bar on the top right to email your local congressman and spread the word. This will also “uncensor” my site, but you can put the bars back and take a screenshot if you’d like.

If the bill passes, sites like Vimeo, YouTube, SoundCloud, and my own are all at risk. I’ve taken my material off of those sites for the next 24 hours to show what effect this legislation could have on independent artists.

Read more at americancensorship.org

Thank you for taking a stand with me,

TRICIL

Watch the Reasons Why It’s Bad

Clay Shirky has a great video out for TED:

CDM Under These Rules

I won’t be blocking out CDM today, as instead, I’d like to continue the conversation. But what could happen to a site like this one?

• We could be targeted by a unfair compliance issue because of a complaint about content on this site – without fair protections and due process to allow us to respond.
• We could see sites we rely on – from SoundCloud to Vimeo to YouTube – face restrictive rules and compliance that would threaten their livelihood, and strangle channels through which musicians and artists make their work known.
• In a severe case, a compliance issue could literally shut down the site forever, especially given our limited resources.

But that said, I’m less concerned about a threat to CDM as the rest of the Internet on which we rely, the dynamism that made this site worth producing in the first place. And as a citizen of the United States and a citizen of the Internet, I’m morally and ethically concerned about laws that deviate from Constitutional rule of law and common sense.

If you’ve found other reading on this issue or other ways to take action, I’d love to hear them.

Previously:
Opinion: US Internet Censorship Could Cripple Online Music Web; Where to Find Out More, Where to Act

And yes, you acted – and your action made a difference, as the opposition grows in strength and the legislation withers. Winning battles can sometimes be a good thing.

Any one of us, myself included, may break at any moment into armchair analysis of the music scene. But it’s worth asking an expert. Taste-setting, deeply influential DJs Pete Tong and Gilles Peterson of BBC Radio 1 recently stopped by National Public Radio’s thoughtful music program, All Songs Considered. Joining the American hosts, the BBC stars play favorite tracks and weigh in on the connections in electronica and club music in the US and the UK. The timing was appropriate: with DEMF taking over Detroit, that same world scene was returning to the cradle of the techno genre. But the message might surprise you: according to Tong and Peterson, the US is in a full-blown dance resurgence. It’s about time.

This isn’t the first time England has exported back to America tastes America helped define. Just ask the Beatles, who were able to market folk and country traditions, Everly Brothers harmonies and practicing guitar licks, more successfully than American artists had been in their own country.

Imagine what is possible now. Today, you can almost certainly have an easier time tuning into BBC Radio 1 from anywhere on Earth than you can a terrestrial radio station just a few miles away. Electronic dance music, while it may draw its roots from the likes of Juan Atkins and Frankie Knuckles in Detroit and Chicago, is arguably a hybrid, global and transnational by definition, and both American continents alongside Europe, Africa, and Asia, continue to forge its style.

All of this makes it more noteworthy that Tong and Peterson are finding the US increasingly fertile ground. Outside the over-saturated UK, BBC Radio 1 DJs are doubly superstars. These Radio 1 legends report that the act of gigging in the US – fueled by demand in the unfairly-dubbed “flyover states” – is better than ever, and even better than anywhere else. (Where but the US, they say, can you do a 7-day-a-week tour?)

In just those places, people are rediscovering classics like Lil’ Louis’ “French Kiss.” And in turn, those records may come to mean something new and refreshed, transported into new contexts.

In making their argument, and tracing some exemplary records, these two also make a case for a dance music more informed by tradition than flavor-of-the-month trend. It’s fitting that older records are finding new audiences, or that new styles are more conscious of their antecedents. The program also offers some perspective on English club culture, and without hopping on a soapbox, suggest the US may have paid a cultural cost for societal squeamishness about difference and homosexuality. Beyond what gets gigs or prompts dancing in the club, that suggests a grander societal significance to all these great records.

But Americans looking for some hope, I think the message of this recording is as clear as the title of the last song: “Coming Home.”

Let’s turn it over to Flying Lotus…

It’d be unfair to allow the UK side to monopolize this conversation, so let’s look at one of the US artists who has helped lead the US dance resurgence. Flying Lotus, himself popularized by BBC Radio 1, has been a tremendous force in supporting the blossoming scene around Los Angeles.

I think he can say as much musically as any other way, so take a listen to his recent podcast for Stones Throw records. Pulling some surprising cuts into the mix, he spins a dreamy, future-retro, soulful-spectacular world. As out of a parallel analog reality, warm and fuzzy vinyl crackles through a gauze-covered lens, but paints a futuristic landscape.

Perhaps Steve Ellison was assembling this deliciously-curated wonderland in a trance, because there’s absolutely no track list. (I’m holding out hope that maybe he’ll reveal their provenance; we’ll see.)

But a future portal opened by the past, steeped in soul and jazz, seems just the kind of universe that could give electronic dance music a second renaissance. So, I’ll best shut up at this point and let you listen.

Good listening

Hear the whole NPR program, and find additional commentary and track selections:

Pete Tong And Gilles Peterson On Dance Music, UK And American Style [NPR Music: All Songs Considered]

This Week On All Songs Considered: America In The Grips Of Dance Fever [All Songs Considered Blog]

And be sure to subscribe to Stones Throw’s podcast, picking up episode 66 for Flying Lotus:

More FlyLo — a full live set, also via NPR Music:
Sasquatch 2011: Flying Lotus, Live In Concert

Want to see hundreds of pieces of music kit from keyboards to oscilloscopes, plus some 1500 mini-Theremin toys for students, coupled with US-wide education to help introduce young people to science? That’s the idea behind a grant proposal by the Moog Foundation. The Foundation’s MoogLab teaches science through sound – a worthy cause. Not only was Bob Moog’s life in electronic music ignited by discovering the Theremin, but many of today’s generation of scientists and thinkers were raised on electronic sound kits a few short decades ago. Without the same exposure to science and sound, young boys and girls may not get on the same path.

If you like the idea, the project needs votes. Michael Gallant (formerly an editor Keyboard Magazine, still a contributor) writes with this update:

We are up for earning a $250K grant to take electronic music instruments into schools to teach under-served kids science via the Moog Foundation’s MoogLab program. The catch is that we’re ranked #92 now by public vote and we need to be #1 or #2 by the end of December in order to win the funding.

Voting is daily; that is, vote early, vote often. Voting every day in December gives the project you want better chances.

More information:
http://www.refresheverything.com/bobmoogfoundation

The Refresh Everything grant aside, I’d love to hear more discussion of how to bring electronics and sound to young people around the world – your ideas are certainly welcome.

The monome is coming to your town. Unlike tours organized by commercial product vendors, a grassroots effort by monome users pledges to share the music made with the monome and give back to a larger community.

It’s hard to explain the monome. It’s part tool, part lifestyle. And its openness comes in large part from the community of artists who use it, and embrace the controller’s sustainable production and unique design. In fact, it’s hard to explain just what a monome is: this USB-connected grid of light-up buttons is, by design, a blank canvas. It’s what the community has brought to that canvas that has made the monome a surprise revolution. That passion sometimes even makes it an object of ridicule – but let the monome artists show your their chops and love, and all but the coldest hearts melt.

Organizer Frank Rose shares some thoughts on the monome tour.

And since it is as much about the users and their music, we’ve got some music for you to hear. (If you’re using Chrome/Chromium, you can easily queue up all these tracks using the wonderful ExtensionFM – anyone have something similar on Firefox?)

The tour kicks off in Boston, but eventually leaves American shores for Canada, Austria, and Spain – and more dates around the world are in the works. (Got a lead on a venue in your town? Give a shout.)

09.03.2010 – Boston, MA
09.04.2010 – NYC, NY
09.06.2010 – Daytona, FL
09.07.2010 – Houston, TX
09.11.2010 – Boulder, CO
09.12.2010 – Denver, CO
09.13.2010 – Sante Fe, NM
09.15.2010 – San Diego, CA
09.16.2010 – Fullerton, CA
09.17.2010 – Los Angeles, CA
09.18.2010 – Santa Cruz, CA
09.19.2010 – San Francisco, CA
09.21.2010 – Portland, OR
09.22.2010 – Seattle, WA
09.24.2010 – Toronto, ON
10.01.2010 – Edmonton, AB
10.16.2010 – Linz, Austria
11.05.2010 – Barcelona, Spain

Each city has a different lineup (which to me is part of the appeal), and dates are changing, so keep your eyes on their site for the latest:

http://monometour.com/

There are workshop/build days in Boulder and Santa Fe, as well.

The tour also will be accompanied by a compilation 2-disc, 33-track, international music release, all made with monome and initially available only at the tour stops – so go hear some live music.

Frank Rose shares more details with CDM:

We created a compilation that will be available exclusively at tour dates and if there’s any left over, I’ll sell them on the website. Proceeds will go to the performing artists. Any profit afterwards, in the community spirit, will be given away to some deserving charity. 33 songs on 2 discs, featuring only monome community members including Daedelus and Edison.

Schpligidy (Tanner Christiansen) brought up the idea of putting together a tour in April. Tanner got busy, and I took up the role of energizer and got the ball rolling. People signed up to play, others volunteered to organize events in their town. I don’t have alot of experience booking shows so I went forward, as I do with most things, just winging it. It’s worked out fairly well, with some bumps.

The goal is really just to tour and have fun. I think the result, for me anyways, is that I’ll actually meet some of these folks I’ve only talked to online. Of course, we all want to share our own personal creations with a greater audience. The monome is just a thread that all of us have in common. It’s used more as a vehicle for the tour rather than a mechanism for proselytizing.

I’ll get to catch up with the NYC lineup: Portable Sunsets, Makingthenoise, NO SIR E, The Alpha Nerd, Watson, %, Galapagoose, Cigarette Operahouse.

Hear the music…

Note that TheAlphaNerd’s music is all available free, via a Creative Commons license.

Jittery Fingers by TheAlphaNerd

Watson – Fields at Home by watson

MicrowavedBulletsDon’tKillAliens PeopleDo by _raja_

Go to sleep slowly (short mix) by noiseflowr

Noiseflowr also has a remix of the lovely Caribou Sun track:
Caribou – Sun (noiseflowr organistic mix) by noiseflowr

More tracks, for listening exclusively on SoundCloud:
http://soundcloud.com/pauk/electric-jazzmine

http://soundcloud.com/cigarette-operahouse/double-queen

And for access to everything in the monome community:
http://monome.org/

An ASCAP legislative fundraising letter revealed last week that the American performing rights organization is invoking fears of the Electronic Frontier Foundation, Public Knowledge, and Creative Commons in order to raise money. ASCAP appears to be repeating, now in the more heated language of fundraising, arguments it has had with the Creative Commons license in the past. For its part, Creative Commons insists most of its licenses don’t preclude performing rights bodies like ASCAP from collecting funds.

In the letter, sent on behalf of ASCAP’s Political Action Committee (PAC), the ASCAP Legislative Fund for the Arts, the PAC argues to its members that that these organizations undermine the value of music:

Many forces including Creative Commons, Public Knowledge, Electronic Frontier Foundation and technology companies with deep pockets are mobilizing to promote “Copyleft” in order to undermine our “Copyright.” They say they are advocates of consumer rights, but the truth in these groups simply do not want to pay for the use of our music. Their mission is to spread the word that our music should be free.

This is why your help now is vital. We fear that our opponents are influencing Congress against the interests of music creators. If their views are allowed to gain strength, music creators will find it harder and harder to make a living as traditional media shifts to online and wireless services. We all know what will happen next: the music will dry up, and the ultimate loser will be the music consumer.

Attacks on Creative Commons by ASCAP are nothing new. The organization argued in a 2007 essay (and subsequent report) that elements of the license, which is applied to copyrighted works, meant “artists should give up all or some of their rights.” As noted in a rebuttal by Creative Commons’ Laurence Lessig, some of those claims were incorrect. Among other items, ASCAP said that the “licenses ask creators to waive the ability to collect royalties,” which isn’t true of the non-commercial CC licenses.

The claims in the fundraising letter were more bluntly inaccurate. Creative Commons’ licenses are all built on copyright, and as non-exclusive licenses, they do not in any way prevent artists from being paid for music. They don’t even, as the organization observed three years ago, preclude ASCAP license collection – at least not on works licensed with the non-commercial provision.

Creative Commons licenses do reserve fewer rights for the creator, by definition. All the licenses currently in use include provisions to allow works to be freely distributed via peer-to-peer file services, and depending on the license chosen, may open up other possibilities for use and remixing. But nowhere does the letter acknowledge that an artist must choose to license their work; unlike Copyright, CC licenses are not automatic, nor is the CC organization advocating that they should be. Creative Commons spokespeople have previously told CDM that they aren’t even suggesting that CC licenses are the right choice for everyone in every circumstance. As advocates of their own license, on the other hand, they have explicitly said that their hope is that the license will help artists make money, not that all music “should be free.”

The blog ZeroPaid covered the initial controversy and criticized ASCAP’s take on Creative Commons as an attack on creator choice:

Creative Commons is a middle-of-the-road approach when it comes to copyright and enables creators to tell consumers, in plain language, what they can and cannot do with their content. In short, it’s an option for artists. Any attack on Creative Commons is an attack on an artists right to choose what they feel is appropriate for their chosen distribution channel.

ASCAP Declares War on Free Culture

Creative Commons responded on the same site:
Creative Commons Responds to ASCAP

Additional coverage:
ASCAP Claiming That Creative Commons Must Be Stopped; Apparently They Don’t Actually Believe In Artist Freedom [Techdirt]

ArtsJournal blog Mind the Gap observes that the fictional characters on Glee are in conflict with current US Copyright Law, and expresses surprise that the black-and-white claims of ASCAP’s fundraising letter would target the EFF, Creative Commons, and Public Knowledge. He asks if any card-carrying, royalty check-cashing ASCAP members would share how they feel, and they do – largely to express frustration with ASCAP.
The Right Balance on Copying [Mind the Gap]

ASCAP membership dues can go toward advocacy; only the ASCAP Foundation is a 501c3 charitable organization; the latter supports education and talent development. I’m curious, then, what royalty-check cashing ASCAP members think of these issues, as well.

Thanks to Jason Phoenix for the tip, and incidentally to my friend Mike Rugnetta, whom I was surprised to see pop up in the stories. (Internet: population, one dozen?)

The Tenori-On, the grid-based musical instrument with whimsical sequenced lights created by Toshio Iwai, has been gradually becoming more affordable. The original model, complete with its rounded metal case, has already been cut to US$999 here in North America. Now, Yamaha announces that it is making an “Orange” version which also slices costs. A plastic case stands in for the metal one, the lights are orange instead of white, and lights appear only on one side. Yamaha says this is for “home use” — that is, you don’t need the device lighting up on the other side if no one’s watching you. Unfortunately, by removing this novelty and eliminating the Tenori-On’s fantastic battery power option, I suspect Yamaha may also be slicing out some of the appeal of the device.

In the UK, MusicRadar reports the device will ship at £649. Here in the US, I’ve confirmed with distributor Keyfax that the price will be $699. Now, unlike other recent grid rivals (Launchpad, APC40, Ohm64) and the monome, the Tenori-On is capable of making sound. But I’d be inclined to either spend the extra $400 and make it light up on both sides and use it in bed sans wires or skip the idea altogether. I’m curious to know if others feel the same way.

MusicRadar also gets the scoop from Yamaha in the UK that a firmware upgrade is due for the Tenori-On fixing its somewhat problematic MIDI sync:

We’re told that this will address a number of areas, including syncing of the Tenori-on to DAWs and also the MIDI sync implementation.

Yamaha announces ‘more affordable’ Tenori-on Orange [MusicRadar]
Tenori-On product page [Yamaha worldwide]
Tenori-On USA [Keyfax]

It’s worth poking around the store if you do own a Tenori-On. Those brave early adopters can now make the instrument a pretty practical addition to a live set, with a nice case, stand, and (finally) stand mic stand adapter to feature it in your sets. And in another nod to the design, the Tenori-On recently entered the permanent collection of the Museum of Modern Art in New York.

In the meantime, I’m still curious to see if someone mashes up a synth engine and monome to make a computer-less monome.

Today was full of good news for people interested in carrying pads in the palm of their hand.

Fans of the Nintendo DS in North America, the Korg DS-10 Plus synthesizer for Big N’s game system is now coming to your side of the Pacific Ocean. (That also bodes well, I think, for other parts of the world.) The DS-10 I think really deserves some credit for making a straight-up music title a hit on gaming platforms, and its success certainly surpassed my own expectations. It’s not a game, it’s not an interactive experience, it’s not a music game – it’s actually a synth and music workstation that happens to run on a game platform. The DS-10 Plus beefs up the original’s features, though it now has a commercially-available rival in the form of Rockstar’s Beaterator for PSP.

In Plus for both the DS and DSi:

• MUTE/SOLO built into the SONG mode
• EDIT/PLAY enabled for all modes within the SONG mode

Apparently DSi-exclusive (as I had speculated in the original story on the new edition):

• Twice the analog synths (4 of them, instead of 2)
• Twice the drum machines (8 instead of 4)
• Twice the tracks (12 instead of 6)
• Expanded song mode: programmable track mute, realtime editing (that is, edit parameters inside the song mode
• Two effects layers instead of just the usual effects routing (the equivalent of running two instances of DS-10)

(Previously: Korg DS-10 Plus Coming, with Beefed-Up Features for Nintendo DSi)

I’m also pleased that, if the Joystiq story confirming North American distribution is correct, only the extra effects layers require the newer-model Nintendo DSi. It sounds as though the rest of this functionality works just fine on other DS models.

Correction: As Liam notes in comments, and as I’ve clarified above, many of the new features are indeed DSi-exclusive. That means this is probably worth upgrading if you have a DSi, and a reasonable purchase if you don’t already have DS-10, but something you’ll ignore if you have a pre-DSi system and the earlier DS-10 title. Joystiq apparently mis-interpreted the press release, which is easy enough to do; it’s confusingly written.

XSEED press release

Via Joystiq’s David Hinkle:
XSEED bringing Korg DS-10 Plus to North America

Policy, intellectual property, and changing business models remain hot threads to follow on this site as we watch the transformation of music distribution in the electronic age. This time, we welcome a new contributor to look inside the issues. Surprise: one radio host sides with the record industry, and the issues may not be as clear as you think. Jo explains. –Ed.

Imagine this:  A track from your new record is being played out on the radio — nonstop. All the major indie stations in Los Angeles, New York, Chicago, Miami and Atlanta have picked it up. At this point, I’m sure you’ve already ordered a fancy synth that you plan to pay for with your big check. But there is a problem: You did an acoustic version of Jimmy Edgar’s “My Beats.” So who gets paid? Jimmy Edgar. Guess who does not get paid? You!

The Performance Rights Act is a bill before the US Congress that would require terrestrial radio stations to pay royalties to the performer of a track. It is being supported by artists like Billy Corgan (who recently testified on behalf of the artists’ rights group, the musicFIRST coalition) Don Henley, Jay-Z, Billy Idol, as well as the Recording Industry Association of America (RIAA). Aside from the issue of “fairness,” the United States is one of the few countries that does not require payment to the performing artist when her track is played on the radio.

Celia Hirschman, host of “On the Beat” on Los Angeles’ KCRW public radio, a broadcast on changes and trends in the music business, says she agrees with the act. (Celia notes these are her personal views, and do not necessarily reflect the position of KCRW.)

“For decades, the laws have favored a free license to play artists’ music on radio,” says Hirschman. “This was ratified by Congress and basically accepted by all concerned…This free pass no longer makes any sense, especially for commercial radio. A reasonable compulsory license fee for all radio, with lower rates to non-commercial is an equitable solution for artists and labels.  Commercial radio stations earn their income by selling advertising because of their programming content.  It’s only fair that the content providers are compensated.”

“This free pass no longer makes any sense.”

Celia Hirschman, host of “On the Beat” on KCRW

Opposing the bill is the National Association of Broadcasters (NAB) who claim the legislation amounts to a “tax” and will force many radio stations to go bankrupt. Additionally, opponents of the bill point out that many artists were first discovered because of radio exposure, which translates into sales (ticket sales, album sales and merchandise) and promotion of their brand. If the station goes under, so does the performing artists’ potential income.

Dennis Wharton, EVP of NAB, claims that the RIAA “relies on cherry-picking international examples that paint a distorted picture of copyright law.” “The US protects sound recordings for 45 years longer than Canada and many countries in Europe, says Wharton. “If it’s “international parity” that RIAA is looking for, they ought to examine the entire landscape.”

In fact, the international landscape is not equal.  Many countries in Europe run stations owned or subsidized by government funding. The foundation of our copyright laws are different as well. In the United States, we use the term “copyright” whereas many European countries use a term equivalent to “author’s rights.” “Copyright” reflects an attitude that is concerned with the restriction of uses for economic reasons, whereas the term “author’s rights” reflects an attitude that is concerned with the extension of the author’s intellect and self.

I recently spoke with Brian Lee Corber, an IP attorney who has closely followed the Performance Rights Act. In his opinion the bill will not pass. “Collecting royalties for the songwriter is already inaccurate; it’s based off of surveys. Logistically, collecting royalties for the performer is even more complicated…what happens when the performer is an orchestra?” Corber feels this logistical nightmare may make it difficult for the legislature to justify passing this bill.

As a reaction to the Performance Rights Act, NAB is backing the Local Radio Freedom Act which calls for no tax or fee for the performance of a sound recording on the radio. As of March 24th, 9 more lawmakers signed onto the Local Radio Freedom Act, making the total number of co-sponsors 158.

For More Information:

Music First Coalition: www.musicfirstcoalition.org

National Association of Broadcasters: www.nab.org

KCRW: www.kcrw.com/etc/programs/ob

Sources:

Dougherty, F. Jay. Copyright Law Class at Loyola Law School, March 24, 2009.

“Mr. Corgan goes to Washington for a Bigger Piece of the Radio Pie”

http://blogs.suntimes.com/derogatis/2009/03/updated_mr_corgan_goes_to_wash.html

“NAB disputes RIAA Claim Ahead of Performance Rights Hearing”

http://radioink.com/Article.asp?id=1206143

“NAB, musicFIRST go Head-to-Head on Royalties”

http://www.fmqb.com/Article.asp?id=1235167

“Smashing Pumpkins Singer, Billy Corgan Testifies Before Congress”

http://www.opposingviews.com/articles/news-smashing-pumpkins-singer-billy-corgan-testifies-before-congress

Los Angeles-based CDM contributor Jo Ardalan is the Managing Director and Founder of Fixed Noise, a community-based company specializing in audio software development, artist management and business development in tech and entertainment.

She’s a veteran of Waxploitation and Native Instruments, an experienced sound designer and engineer, and consultant.

And she has a Reaktor tattoo.