6 February 2012

062 – A Tool and A Launch

recorded 24 July 2008

At Any Rate (00:00:32)
This episode takes a look at a tool I had seen trumpeted as a “copyright infringement assessment tool” PDTool, why I think it’s not a good tool and some much better alternatives for dealing with copyright infringement assessment as a new media person, Public Domain Music and the Podcasting Legal Guide.

4-AM (00:11:37)
This episode was also the official launch announcement of for http://4-AM.net, the official website for our a cappella group. A quick trip through the site, which took until the last minute before the show to get loaded (Ah the joys of downloading program patches when an app fails and conversion times) and it was ready to go by show time. Take a look, see what you think and let us know. Yay for it being launched!

Comments From the Podcast Gallery
Fellow Podcaster Kim Fenolio of the Girls NIght In Podcast shared comments in the show among the rest of the Podcast Gallery.

If you’d like to share your Comments from the Podcast Gallery, you can leave a voicemail at 630.492.0487 or send an e-mail to contact@WithAVoiceLikeThis.com and it will be shared on the show. Your viewpoint is always appreciated.

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061 – Hear Us Now, Pay Us Later?

recorded 10 July 2008

In this episode:

4-AM Update (00:00:40)
A brief update this week with special surprise. I talk about video posting and which services I’m looking at top use for the 4-AM website and then I give you a brief taste of our sound with a excerpt of  the Come See About Me arrangement we did as a group the previous week. I also slip it in at the end of the show to close it out for the evening.

At Any Rate (00:06:20)

MyAWOL – An upcoming web 2.0 service you might want to know about and watch (it’s an acronym for My Artists WithOut Labels). It’s going to be part Music database (to launch within the next month or so), part online music community for unsigned artists, part indie label, part online venue and more. That’s a tall order to fill, and it will be interesting to see how it all shakes out. I reference a TechCrunch Article and a Digital Music News Article to give as much information as possible.

Last.fm and Merlin – It would seem that Last.fm’s issues aren’t over after the fallout with Warner Music. according to the Hypebot.com Article and The Register Article, The global indie rights organization is stalled in certains aspects of their talks with last.fm and is warning its membership about the agreement currently in place. While this is to be expected when defining and redefining new delivery methods and revenue streams, among other things, there seems to be a of old school issues and mindsets on both sides here. There is a huge opportunity here, let’s see how it’s embraced. There’s probably another post in here somwhere as well.

Comments From the Podcast Gallery
Comments from fellow podcasters KimFenolio of Girls Night In, TVSeriesFinaleFan of The Plug show and SuperMom7000 of TV Talk.

You can always call 630.492.0487 and leave your comments via voicemail as well as send them in e-mail to contact@WithAVoiceLikeThis.com. I’d love to hear from you and play or read your comments on the show.

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059 – Mama Told Me Not To Go To Spain

recorded 26 Jun 2008

With minor apologies to Three Dog Night for the title, this episode of With A Voice Like This was all about:

4-AM update [00:01:27]
There was a lot to talk about here. Where the website is at, a new way of working up arrangements for the group, starting with the song Mama Told Me Not to Come and some of the fun things that happened with that. We also had a good talk about where we’re heading and what our focus is and I got the opportunity to show them how video streaming works on the web briefly.

Spain’s Digital Canon [00:17:00]
Yes, this is a further discussion about the new anti-piracy tax that Spain is instituting on July 1. It’s more in depth looking at possible reasons for Spain implementing it and what seems to be some of the pitfalls of the tax itself. I also got some feedback regarding Canada’s anti-piracy tariff. There are some interesting thoughts there. I’d love to hear some of your thoughts on what was said.

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Note: The day after I recorded this show, Gerd Leonhard released a post with video about the future of copyright. It’s very much worth a look and it’s nice to see that there are people out there who see that Copyrights still have their place, in a new form of course, but not throwing out all the protections with new technology. Another thing I think that the Copyrights would be useful for is a transistion framework, at least as they apply here in the U.S. Ah, what I wouldn’t give to have Gerd Leonhard on the show, I’d have a lot of things to ask and say.

Who Do You Want To Pay For Your Music?

Well, it’s happened. Spain has announced that beginning July 1, it’s instituting a special anti-piracy tax called the Digital Canon, according to an article on Billboard.biz. It puts a tax on gadgets that can copy, record or store sounds and images. Yes, I said store too.

Sounds like a new spin on the old sin tax. Except, with the standard things a sin tax applies to, you actually have to participate in the sin, e.g. gambling, smoking or consuming alcohol. This is more like saying “We’re instituting an anti-stabbing tax on all kitchenware and cutlery” (don’t worry, I’m sure spoons would have the smallest tax in that scenario). The tool has the capability, so you are taxed whether or not you use, or even intend to use it for that illicit purpose.

Now based on the article, all the monies collected are given to Artists’ Rights Organizations for distribution to the creators of the art as compensation for money lost from pirated works. There is no provision for how the money is to be distributed, it’s just given to the Rights Organizations. How would you decide to distribute the money? You’re getting a flat fee based on tools without any tracking what works are being pirated or used or anything. Yeah, let’s just leave it up to the old way of doing things, I’m sure that’s fair. It’s sounds like most of Spain feels that way…Or not.

But don’t worry about it,  that’s Spain and not here. That could never happen here. An under informed government is never forced to take carte blanche on an almost out of control situation based on special interest groups’ input. No, not here.

So, what do you think? Does any of this matter? If we’re going to be charged on the Internet, and all indicators point that way, is this how it should work? Is it important that the creators of the art be protected and compensated for their works?

Who do you want to pay for your music?

Update: It’s been brought to my attention that Canada has an anti-piracy tax on recordable media (e.g. CDs DVDs) and did have a separate tariff on mp3 players (e.g. iPods) that has since been revoked/repealed. I haven’t found creditable sources for this info, are there any Canadians who could shed some extra light on this?

058 – My View – Music And The Internet Part 2: The Implementation

This episode of With A Voice Like This is the conclusion of how I’d like to see things work in regard to music and the Internet and distribution of both responsibilities and money.

  • Some quick clarifications from statements made last show.
  • A brief recap of Episode 057‘s (Part 1) major points

Music and the Internet is a Virtual Venue

  • Performers perform (Streaming)
  • Consumers pay (e.g. cover charge, all inclusive charge)
  • Consumers can also buy recordings and other merchandise above entrance fees
  • Venues (ISPs,  applications) are responsible for reporting and payment

Database

  • With new code, all streams, downloads, etc. are tracked and put in a database (Who holds the DB TBD)
  • No more sampling needed, just a direct pull of tracks from the database

Collecting

  • Performance Rights Organizations (PRO) could still collect, but pay based on actual numbers, not samplings
  • No PRO could collect for non-members and keep money if the performers either don’t join, can’t be found or don’t claim their money
  • Artists, Authors, Lyricists and Publishers responsibility is to secure a code so they are credited and paid for their works or not paid by their choice.
  • Any music without the code is flagged in database and action taken (example of software recognition at EveryZing.com)

Comments From The Podcast Gallery

The Down side

This discussion is an overly simplistic layout of a very complex idea. Currently the Orphan Works Act almost passed in Congress and it seems very similar to what I’ve outlined here. You can hear it discussed at great length on Webcomics Weekly #38 from a visual artist’s point of view and its major weaknesses. I feel I’ve taken some of the things into account that were ignored in the Orphan Works Act and although not exactly the same, the pitfalls could be very similar.

On A Lighter Note

Here are examples of some voiceover work I had just recently done.

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