ProTools has been considered the most expensive because it costs more. the protocol doesn't add expense. The TDM hardware is required for the professional versions, and it adds more DSP power to the computer through PCI cards. They write the software for one processor so that they don't have to worry about compatibility issues. ProTools is THE standard in professional recording studios, and no one else even comes close in terms of number of professional installations. VST plugins are used by more programs, but they are limited in the precision of the math, and limited by the CPU power of your computer.
Their software only runs on their harware, and they are used by more creative professionals. This sounds more like ProTools is the Apple of music software.
I can't imagine anyone wanting to underwrite songwriting liability insurance, and I haven't heard of such a thing (I.A.N.Omniscient). I think typically that the songwriter signs a contract with a clause indemnifying the publisher from damages (I promise that I wrote the song, and if i copied it, my bad). This would allow the publisher to seek remedy from the songwriter if an infringement case were successful.
Are you aware of a similar case, Selle v. Gibb ( here or here)?
The same song written by two people, yet found not to infringe due to lack of access.
I took a course on copyright law at Middle Tennessee State University as part of the Recording Industry major, and it is one of the most fascinating classes I have taken.
on most major label releases, the publishing rights are also owned by a subsidiary of the label. so they force the writer to agree to a reduced rate (about 75 percent if i remember) and limit that to 10 songs per album. So while it appears that for 15 songs, the publisher would get 15*8=$1.20, they get 10*6=$0.60. and the publishing company only gives half of that to the writer. So if you wrote all 15 songs on your album, as songwriter, you get a whopping $0.30 per album. (Unless you for your own co-publishing company and split that publisher half in half, then you'd get $0.45 per album.) Raking in the dough.
I've used Digital Perfomer and ProTools quite a bit. And I love Digital Performer. MOTU started Performer as MIDI only, then many years ago crossed over into digital audio with Digital Performer.
The interface is beautiful and flexible, and it works with lots and lots of hardware. And while you'll see Trent Reznor listed on the digidesign site as a ProTools user, a friend of mine worked for him and much of the project was done in Digital Perfomer.
"Something that is digital is either all there or none there."
I would agree if you used the word "binary" instead of "digital". Dictionary.com defines "digital" as "Expressed in numerical form, especially for use by a computer." Something that is digital is either not there at all, or there in some discrete quantified amount. The number of calendar days in a month (don't bring up astronomy please...) can be expressed digitally. There are 28, 29, 30, or 31.
Your comment gives a very good explanation of some of the problems of transferring binary information. This is what I agree with in my statement that cables can make a difference in the transmission of digital signals. But you leave out the whole idea of error correction. If a few bits of my CD get misread by the laser (due to dirt or whatever, like you mention), I don't get static, and the CD doesn't stop. I get the best guess of the error-correction software that comes between the laser and the D/A convertor.
Transmission of digital signals is not a binary case situation as you describe. Sometimes you get most of the signal with a few dropouts. Sometimes DirectTV signals get blocky in bad weather.
And light can be represented as a discrete number of photons hitting some surface in some period of time (no half photons!), which is digital. And electricical current is discrete electrons traveling through a conductive medium. If you conted them, you would get an integer number. So that's also digital.
This seems to be nothing more than plotting the popularity of certain words or phrases and then taking the first derivative. This is like building a speedometer for your car with a GPS and TI-82.
Of course this is spun as something new for marketers. I doubt that they will ever find an algorithm for 'cool'. If you are marketing to kids, just hire some kids to do your marketing. duh.
The title is "Sandy Becker Calls BINGO". The fronts lists it as RCA Victor LBY-1034. The cover is red and yellow with a bingo card pictured. On the back is listed another "secret spiral" record, "LBY-1025 - Mel Allen's Baseball Game". The Copyright is listed as "1959 by DeSylco, Inc., Washington, D.C."
The label on the disc is blue, and the imprint is "RCA Victor Bluebird". On the label, it says "sandy becker's bingo" and "this is a Secret Spiral Record (K1CP-5272). Engraved in the vinyl is "KICP-5272-25"
Right now, there isn't enough good content on TV for me to justify paying for cable. Or even leaving the antenna hooked up. When I heard that an acquaintance was the musical guest on Leno last night, I had to go to the basement to find some rabbit ears. My TV is for X-Box, Dreamcast, VHS, and DVDs. All I care about right now is how good my DVDs will look. But the X-Box seems like a not-so-good DVD player - lots of MPEG artifacts.
Do DVDs look better on HDTV? Or just when played on a progressive-scan DVD player?
Re:Experimental Noise Has Been Here Already
on
Soundless Music?
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· Score: 1
"And the frequency range of CDs stops at 22050Hz = 22KHz, as well as turning into more-or-less square waves by then too."
The frequency range of CD's is actually a bit lower than that, due to analog anti-aliasing filters used before the A/D conversion. If any frequencies above the Nyquist frequency (22050Hz for CDs) get to the A/D convertor, they get converted falsely at a frequency that much *lower* than the Nyquist frequency. Which sounds horrific. So most A/D conversion chains have hefty brick wall analog filters to knock out any frequencies above about 20kHz, just to be safe.
Those analog filters cause phase shifting in the nearby upper frequencies. This is why higher sampling rates make music sound better in spite of Nyquist. At a 96kHz sampling frequency, those analog filters can be more gradual and at a less audible frequency (about an octave higher) so that the phase shifting is at inaudible frequencies.
I think the Monty Python album was promoted as being "three- sided".
I bought an album at a thrift store yesterday that was similar. It was produced sometime in the 1950's or 60's for the purpose of playing bingo at home. The record came with cards, and the audio was someone calling out "B-2, N-34" etc. The cool thing is that there are 4 intertwined spirals so that when the needle drops, you get one of 4 possible tracks.
most major label acts have signed a contract that grants the label exclusive rights to market recordings during a period of time. So, it seems that Clear Channel would need the approval of the label in order to market these recordings. Of course, since clear channel has a virtual monopoly on radio play in the US, that increases their leverage in negotiating with the labels.
Re:Worldwide Copyright Act?
on
Copyright!
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· Score: 1
Copyright is the US was based upon the British Statute of Anne. Through some agreement, most large countries honor each others' copyrights, but some works are registered in more than one country. Copyright is not a US invention.
Slashdot Mirror
ahh, I'm also on Win98SE. too bad the authors have no online support or anything.
I had the same problem. Some kind of firewall/ ports issue? or just crappy software?
Their software only runs on their harware, and they are used by more creative professionals. This sounds more like ProTools is the Apple of music software.
Are you aware of a similar case, Selle v. Gibb ( here or here)? The same song written by two people, yet found not to infringe due to lack of access.
I took a course on copyright law at Middle Tennessee State University as part of the Recording Industry major, and it is one of the most fascinating classes I have taken.
on most major label releases, the publishing rights are also owned by a subsidiary of the label. so they force the writer to agree to a reduced rate (about 75 percent if i remember) and limit that to 10 songs per album. So while it appears that for 15 songs, the publisher would get 15*8=$1.20, they get 10*6=$0.60. and the publishing company only gives half of that to the writer. So if you wrote all 15 songs on your album, as songwriter, you get a whopping $0.30 per album. (Unless you for your own co-publishing company and split that publisher half in half, then you'd get $0.45 per album.) Raking in the dough.
article at MTV News
The interface is beautiful and flexible, and it works with lots and lots of hardware. And while you'll see Trent Reznor listed on the digidesign site as a ProTools user, a friend of mine worked for him and much of the project was done in Digital Perfomer.
"Something that is digital is either all there or none there."
I would agree if you used the word "binary" instead of "digital". Dictionary.com defines "digital" as "Expressed in numerical form, especially for use by a computer." Something that is digital is either not there at all, or there in some discrete quantified amount. The number of calendar days in a month (don't bring up astronomy please...) can be expressed digitally. There are 28, 29, 30, or 31.
Your comment gives a very good explanation of some of the problems of transferring binary information. This is what I agree with in my statement that cables can make a difference in the transmission of digital signals. But you leave out the whole idea of error correction. If a few bits of my CD get misread by the laser (due to dirt or whatever, like you mention), I don't get static, and the CD doesn't stop. I get the best guess of the error-correction software that comes between the laser and the D/A convertor.
Transmission of digital signals is not a binary case situation as you describe. Sometimes you get most of the signal with a few dropouts. Sometimes DirectTV signals get blocky in bad weather.
And light can be represented as a discrete number of photons hitting some surface in some period of time (no half photons!), which is digital. And electricical current is discrete electrons traveling through a conductive medium. If you conted them, you would get an integer number. So that's also digital.
Of course this is spun as something new for marketers. I doubt that they will ever find an algorithm for 'cool'. If you are marketing to kids, just hire some kids to do your marketing. duh.
The label on the disc is blue, and the imprint is "RCA Victor Bluebird". On the label, it says "sandy becker's bingo" and "this is a Secret Spiral Record (K1CP-5272). Engraved in the vinyl is "KICP-5272-25"
But isn't light made up of discrete photons, and therefore digital?
But yes, cables can make the signal bad, even with digital (fibre OR copper).
My TV is for X-Box, Dreamcast, VHS, and DVDs. All I care about right now is how good my DVDs will look. But the X-Box seems like a not-so-good DVD player - lots of MPEG artifacts.
Do DVDs look better on HDTV? Or just when played on a progressive-scan DVD player?
Those analog filters cause phase shifting in the nearby upper frequencies. This is why higher sampling rates make music sound better in spite of Nyquist. At a 96kHz sampling frequency, those analog filters can be more gradual and at a less audible frequency (about an octave higher) so that the phase shifting is at inaudible frequencies.
I think the Monty Python album was promoted as being "three- sided".
I bought an album at a thrift store yesterday that was similar. It was produced sometime in the 1950's or 60's for the purpose of playing bingo at home. The record came with cards, and the audio was someone calling out "B-2, N-34" etc. The cool thing is that there are 4 intertwined spirals so that when the needle drops, you get one of 4 possible tracks.
most major label acts have signed a contract that grants the label exclusive rights to market recordings during a period of time. So, it seems that Clear Channel would need the approval of the label in order to market these recordings. Of course, since clear channel has a virtual monopoly on radio play in the US, that increases their leverage in negotiating with the labels.
Copyright is the US was based upon the British Statute of Anne. Through some agreement, most large countries honor each others' copyrights, but some works are registered in more than one country. Copyright is not a US invention.