Blogia
Transistor kills the radio star?

3.4.3 Canais de streaming

Social.fm fecha

«Social.fm, the company formerly known as Mercora, has closed down. The service, which allowed users to stream their music collections to each other, cites no reasons for shutting up shop. Mercora was announced in 2003 by McAfee founder Srivats Sampath, and we first covered it the following year (report here). Mercora's subscribers were permitted to stream playlists to each other with certain restrictions: Users couldn't announce what they were going to play in advance, request songs from peers or repeat song sequences in a time period, for example. The company was licensed from the start, however, creating a back-end database, identifying material being played, and paying US internet streaming royalties. Ominously, last year the company ditched the subscription model and adopted a me-too name: Social.fm. Rival discovery services such as Pandora and Last.fm offered the instant artist/song lookup, while Imeem simply launched first, and worried about getting licenses and revenue later. The jury is out on whether any of these services are in themselves a viable, standalone business, or if they can only continue by being cross-subsidized by someone who is.The problem is that when competing with free music subscription revenues are hard to find, and the low CPMs commanded by music advertising mean that for an ad-supported model a smidgen of money is spread around so thinly you could measure it in microns. MusicAlly last week calculated that Last.fm's most-streamed song (Coldplay's Viva La Vida with over 130,000 plays) would have returned just over £30 in royalties to the band, had they signed up for Last.fm's Artist Royalty Program.So increasingly, a lot of the web music services are beginning to look like "features" of somebody else's business. But whose? »

fonte: ORLOWSKI, Andrew, «P2P radio goes titsup Farewell then, Social.FM, The Register, 4th August 2008

Mais música a partir da net

Economize espaço no seu disco rígido, não gaste dinheiro e ainda descubra novos cantores e bandas por meio de ferramentas que têm foco em música. Com buscadores, como o Mix Turtle, e portais, como o StumbleAudio, vai ser difícil não encontrar exatamente aquilo que você quer ouvir. O novíssimo StumbleAudio (www.stumbleaudio.com), lançado neste mês, pode fazer a alegria dos órfãos do Pandora (www.pandora.com), que hoje só está disponível para usuários dos Estados Unidos. Para usar a ferramenta, acesse a página e escolha se quer começar a ouvir música por artista ou estilo. Você pode colocar o nome de uma banda na caixinha de busca "I Like" ou, então, escolher entre diversos estilos, como folk, rock e pop. Se você gostar da música, clique em um polegar verde que aponta para cima. Se não, no polegar vermelho que aponta para baixo. Assim, a ferramenta começa a entender do que você gosta. O destaque do StumbleAudio, que conta com mais de 2 milhões de músicas de 120 artistas, é que ele toca músicas na íntegra. Outro aspecto positivo é que o catálogo é focado em artistas alternativos, que lançam o próprio disco ou têm apoio de gravadoras pequenas. E, sim, eles são pagos pelas execuções de suas músicas, diz o site.

Busca

Para procurar músicas aleatórias, tente o Mix Turtle (mixturtle.com). O site também cria seleções a partir do que você escuta. Se quiser fazer sua própria seleção de músicas, tente o Favtape (favtape.com), que cria seqüências a partir do que você ouviu no Last.fm. Há, ainda, opções como o Hype Machine (http://hypem.com/) o Elbo.ws (elbo.ws), que funcionam com agregadores de blogs de MP3. E para descobrir músicas que tocam em seriados da MTV, tente o Soundtrack (soundtrack.mtv.com/Soundtrack), que se propõe a ser uma guia de música na TV.

fonte: 03/08/2008 - 09h23 Procure por músicas, receba dicas e crie seleção na internet  DANIELA ARRAIS
da Folha de S.Paulo  

Last.fm deve aos musicos?

«Bandas acusam Last.fm de não pagar direitos de autor

 

Bandas britânicas como os Arctic Monkeys, Editors e Basement Jaxx estão a acusar a rádio digital Last.fm de dever «quantias substanciais» em direitos de autor. Isto depois de conversações entre a empresa pioneira no mercado da Internet e a Merlin, associação britânica que representa as editoras independentes se terem revelado infrutíferas. Segundo o Independent, as editoras dizem que esta situação não é aceitável e já foram aconselhadas a procurar apoio legal para resolver a questão.

É a segunda vez no espaço de um mês que a Last.fm é acusada de não respeitar direitos de autor, depois de em Junho o grupo Warner Music ter mandado retirar milhares de faixas do sistema, entre as quais canções dos Led Zeppelin. Actualmente a Last.fm chega a 21 milhões de utilizadores em todo o mundo e tem nos seus sistemas 3,5 milhões de faixas áudio.

15-07-2008

 

Last.fm paga directamente a artista

«What Last.fm is doing here is creating an alternative to the official royalty-collecting organization for musicians (i.e., SoundExchange). Last year, the royalty rates for music streamed over the Internet were raised, making it more difficult for ad-supported music startups to stay in business. Last.fm got bought by CBS, so it's not in danger of going under. And for any song owned by a label or artist who participates in SoundExchange, Last.fm continues to pay the going Internet radio royalty rate. But it is beginning to bypass Sound Exchange by giving new, unsigned artists an alternative

Since it is Last.fm's program, it controls the royalty rates it pays out, which it can adjust according to how much advertising revenues these songs generate. Now, does anyone actually want to listen to these songs and ill musicians shift over in massive numbers from the labels to this sort of direct arrangement? That is what will determine how disruptive this really is.

fonte: Erick Schonfeld  Who Needs Music Labels? Last.fm Starts Paying Royalties To Unsigned Artists TechCrunch.com
Wednesday, July 9, 2008

115 sites de música

(em várias categorias - a taxinomia é fraca - e respectivos links)

Listen or download free music

Lists and reccommedation sites

Lyrics

Music blogs

Music communitiesMusic delivery and distribution services

Music encyclopedias

Music portals

Online radio

Mais novos canais de música na net

«Change is the only constant in the music business, and that goes double for the digital music business. Nonetheless, we've assembled a list of the 10 hottest digital music websites in the world. Criteria were simple and admittedly subjective: Sites were chosen based not only on what they currently do for music fans, but also on their potential to impact the future development of the music industry. Based on how things go with the first iteration, this list could be updated periodically and opened for voting.Without further ado, here's are Wired.com Listening Post's top 10 hottest digital music websites:

Imeem

IVideoSongs

Omnifone

MOG

Muxtape

(e outros)

Os canais de streaming e o modelo de negocio

a publicidade visual é compativel com a função secundária que a música incentiva?

Essencialmente – e independentemente de todos os imponderáveis – o modelo de negócio assenta na publicidade. Visual (de vários tipos) mas não áudio, como o Pandora teve oportunidade de constatar, ao lançar uma experiência com «spots» de nove segundos: «[Pandora] is now coming under fire from fans who aren't pleased with the service's recent addition of in-stream audio ads»[1]. A experiência foi rapidamente abandonada e restam os anúncios visuais. Já em 2008 um novo serviço, We7, começou a oferecer a possibilidade de fazer «downloads» com publicidade áudio acoplada, mas ainda é muito cedo para tirar conclusões. Ao nível do «streaming» parece claro que «unlike terrestrial radio, where you're hearing ads every few songs, you're not going to get any interruptions of your songs. You're just going to have ads to look at when you go to the websites»[2].



[1] McSWAIN, Daniel, «Pandora's problem: fans won't tolerate in-streaming advertising», RAIN, 11/01/07 [http://www.kurthanson.com/archive/news/011107/index.shtml]

[2] BALKIN, Adam, «Make your own free online radio station», News 10 now, 29/02/08 [http://news10now.com/content/features/111406/make-your-own-free-online-radio-station/Default.aspx]

A adesão das editoras aos serviços de streaming

Editoras de música apostam na net e no streaming

«Major labels are continuing to invest in emerging digital companies, part of a broader diversification strategy.  Over the weekend, sources pointed Digital Music News to a Universal Music Group stake in Uber (uber.com), a startup that allows users to instantly create multimedia websites and blogs. (...) But Universal Music Group is not the only major investing in startups.  Just recently, Warner Music Group invested $20 million in Lala (lala.com), a company that offers ubiquitous access to music collections and is launching a novel, per-stream purchasing proposition» fonte: «Universal Music Keeps Investing; Uber Stake Surfaces», Digital Music News, 4/06/08

EMI Starts Supporting Ad-Supported; Qtrax + Spiralfrog: «The experiment that is ad-supported music received a powerful nod this week from EMI Music.  On Tuesday morning, the company licensed its catalog to Spiralfrog, and later in the day, the company announced an agreement with Qtrax.  (...) The Qtrax license covers both streams and downloads.  The DRM-protected downloads can be ported onto three compatible players, though users must visit the Qtrax destination at least once every 60 days to keep the songs alive.
Both Qtrax and Spiralfrog have been trudging through difficult and expensive licensing processes, perhaps a strong advertisement against legitimate licensing paths.  In the case of Qtrax, a blowout launch in January simply blew up, thanks to missing major label licenses. Spiralfrog has also experienced its ups and downs, though both are pushing forward with their steadily-expanding catalogs.  On Tuesday, Spiralfrog pointed to a monthly unique user base of five million, quoting data from Nielsen//NetRatings. fonte: EMI Starts Supporting Ad-Supported; Qtrax + Spiralfrog, Digital Music News, 4/06/08

08/05/2008

Editoras permitem downloads legais? (modelo de negócio)

«Some of the biggest music labels could soon allow free legal downloads, after an ambitious ad-funded file-sharing service, Qtrax, signed a deal with Universal, the world’s largest record label and home to U2, Kanye West and Mariah Carey. (...) When it emerged that several deals were not yet fully in place or had lapsed, analysts expected the service to disappear in the ensuing backlash. But it has since signed deals with Beggars, the UK’s largest independent label, home to Dizzee Rascal and the White Stripes, and the publishing arms of EMI and Sony/ATV.The contract with Universal is the first with a major label to cover both publishing and recording rights, meaning that it should be able to offer music by its artists within the next month or so. The Universal deal is initially understood to cover only the US. Qtrax is just one of several sites trying to make money from the concept of free, ad-funded downloads and streaming. Earlier this year We7, backed by Peter Gabriel, began offering downloads with embedded audio adverts and signed a deal with Sony BMG to offer its catalogue on a streaming basis. Other sites such as Imeem and Last.fm have also signed deals with leading labels to offer streaming services that act as vast, ad-supported online jukeboxes. Adverts are displayed during the search and downloading processes. Spiralfrog, a New York-based site that has been striving for two years to establish a user base in the US and Canada, also has a deal with Universal. Qtrax has promised that tracks downloaded through its browser can be kept by users for ever as long as they regularly log in to renew the rights management software. It will also enable iPod users to transfer the tracks to their audio players, which could hit sales of downloads through Apple’s iTunes Music Store. In addition to sites offering ad-funded music, labels are also exploring new licensing models for subscription-based or bundled offerings such as Nokia’s Comes With Music and MusicStation and beginning tentative discussions with internet service providers about packaging music downloads into monthly broadband subscriptions» (fonte: Universal to allow free music downloads, Owen Gibson, The Guardian, Thursday May 8 2008»)

26/03/2008

 

O site de musica das varias majors (Imeem.com)

«In a major increase in the availability of legal free music, the world's largest record label has agreed to let users of a fast-growing website listen to its entire catalog of digitized music files.
Universal Music Group struck the deal with Imeem.com, a music-oriented social networking site, in exchange for a cut of the revenue from advertising viewed while its songs are playing.
The deal by the label for artists including U2, Amy Winehouse and Black Eyed Peas brings the last of the four major record companies to Imeem, which lets users listen while on the site but not download their own copies.
Each play of a song will net Universal a guaranteed minimum of a fraction of a cent, even if no ads are viewed, a person familiar with the arrangement said Sunday. That clause is believed to be the first of its kind for any ad-driven deal with a label.
"We're embracing the ad-supported business model. These are our crown jewels: on-demand, full-length tracks," said Universal Executive Vice President Rio D. Caraeff. "Imeem is the largest deal we have struck to date."» fonte : «Universal Music Group, Imeem strike deal», By Joseph Menn, Los Angeles Times Staff Writer, December 10, 2007
12/12/2007 18:59

Sobre o streaming

«How Streaming Works
A very simple analogy to illustrate how streaming works is be that of taking a bath (a 'download') in contrast to a shower (a 'stream'): when taking a bath it's necessary to fill the tub with water to the desired level before getting in, whereas with a shower you can turn on the water and get in straight away!

Typically with a shower the flow rate (or data) is lower but you can actually finish sooner as you don't have to wait so long at the beginning.

With streaming, content can be played even while the data packets are still being sent over the network, so there is no need to wait until a complete file has been fully downloaded. Therefore a song or movie can begin to play after only a very short delay (a few seconds in most cases).
And unlike a download no file is ever stored on the device; instead it has "streamed" through in its entirety but can easily be viewed again by repeating the process. Usually the stream requires consistent throughput (i.e. a steady network without too many variations) to give a good user experience, although some mobile streaming systems such as Vidiator's Xenon Streamer maintain the streaming quality even in varying network conditions that are inherent in wireless networks.

Benefits of Streaming to the Consumers
The key benefits of streaming to the consumer are that it requires no storage on the mobile and allows access to a vast library of content with minimal delay to start playback.
Some streaming servers including Xenon support user-created playlists, to play songs in the desired order or in a randomized shuffle mode. A music streaming service can be considered a network-based MP3 player giving the consumer their own personalized listening service.
With all these advantages, one may wonder why downloading still dominates the mobile music services available today?»

Bank, Roland, Music strategies - To stream or to own? 3/07/08, Mobile Europe

Do Pandora

Pandora grew out of the Music Genome Project. The idea with this project is that the system will monitor your likes and then create a custom station which will match those likes. In my testing it seems to work reasonable well. A nice thing about this website is that you can type in a music type as well as an artist and it will attempt to build a station to your likes. For example if you like Piano music, you can type in Piano and it will create a station of piano music. In some competing sites you would have to select a piano music composer in order to get the same result.

Para a caracterização dos sites de musica

«Free legal streaming music is a great thing to enjoy when you are searching for a particular song, working, or just plain relaxing. Listed below are some of the more interesting live streaming music sites that are definitely worth checking out. Some of the sites below operate as live streaming radio stations, and some allow you to program your own virtual station, or even to search for a specific song or artist. Check out all of them, since they are all free!

Os canais de streaming têm muito mais do que música

É que o elemento sonoro, o áudio, não tem competências suficientes para ser – por si só – um conteúdo primário. E a música, elemento-chave, é quase sempre sinónimo de companhia, de acumulação.

Por trás das técnicas, os projectos sociais

»Por trás das técnicas agem e reagem as ideias, os projectos sociais, as utopias, os interesses económicas o leque inteiro dos Iogas do homem em sociedade» (Levy, 2000: 24)

Para dividir a oferta de música atraves da net

A oferta divide-se em duas grandes categorias:

1) streaming (ouvir sem possuir)

2) download (ouvir, comprando)

Podemos dividir a oferta de streaming entre os serviços que

1.1) não permitem construir playlists (a música não pode ser 'guardada' para voltar a ouvir)

1.2) permitem construir playlists (a música playlist pode ser ouvida especificamente)

Podemos a seguir dividir os serviços de download em:

2.1 download com publicidade

2.2 download com subscrição (global ou música a música)

A partir do momento em que o cliente pode escolher, quer escolher

«O desenvolvimento da tecnologia nas últimas décadas tem seguido em paralelo a instalação de um novo quadro estratégico. Hoje em dia, existem mais produtos nas lojas e nos armazéns de todo o mundo do que aqueles que alguma vez serão vendidos. Desde os anos 70/80 que a oferta de produtos e serviços ultrapassa estruturalmente a sua procura. Este status quo tem vindo a determinar uma mudança de poder nos mercados, das empresas para os clientes. É por causa desta mudança de fundo que na competição empresarial as preocupaçàes da gestão evoluíram das indústrias para os segmentos, dos segmentos para os nichos, e dos nichos para a singularização. Porque o cliente pode escolher entre o mar de produtos e de serviços à sua disposição, as empresas centram-se cada vez mais na singularização.» (Ilharco, 33) 

Caracterização destes canais

«A su autonomía personal en la gestión, se suma la flexibilidad de una tecnología uItraligera que no conoce otros límites que la imaginación de sus creadores. Los usuarios crean sus propias radios, se emancipan de las emisoras convencionales y establecen nuevas formas de relación mediática entre ellos. Las radios semánticas ofrecen al usuario la creación de un perfil tipo de temas y grupos afines a sus gustos musicales. Desde el año 2000 existen servicios para escuchar música en streaming de acceso libre y también modalidades de pago, con acceso a toda la fonoteca de la empresa» (Toral e Murelaga, 2007: 63) 

As potencialidades no futuro mais imediato

«Es cierto que todavía es una experiencia marginal en comparación con las audiencias que mueve la radio convencional. Es también una práctica muy reducida en comparación con el intercambio de archivos musicales, pero este paisaje sonoro emergente no se limita a la escucha. Los usuarios no necesitan de las emisoras de radio para crear y compartir sus propios relatos y programaciones, descubriendo una nueva galaxia sonora cuyos primeros hallazgos escapan a todos los dictados y previsiones que las cadenas de radio establecidas y los expertos habían prefabricado» (Toral e Murelaga, 2007: 64)

Canais de streaming vs rádio (relação)

«Una nueva generación de radios individuales de masas - individuales por su producción - y de masas por su distribución potencial (Castells: 2006), exploran el futuro de esta radio interactiva, al tiempo que se produce una migración de las grandes estructuras radiofónicas hacia nuevos grupos y conceptos de radio muItimedia. Este proceso puede provocar la obsolescencia de las estructuras más pesadas de la radio establecida, así como de sus modos de producción, consumo y distribución, en favor de una miríada de nuevas radios  personales que nacen y desaparecen como estrellas fugaces, al albur de los deseos de sus propios creadores» (TOral e Murelaga, 2007: 63)

O erro de chamar a isto projectos radiofónicos

«se ha abierto un horizonte impredecible de usuarios y emisoras personales que se autoorganizan de forma horizontal. Son proyectos radiofónÍcos que se han emancipado de la radio establecida para crecer en forma reticular y multiplicarse de forma sorprendente a la vez que caótica. (...) han convertido la red en un tubo de ensayo donde ahora mismo se está produciendo una auténtica ) una auténtica eclosión radiofónica que puede cambiar el panorama de este medio y también su desarrollo futuro.» (Toral e Murelaga, 2007: 63) 

Rádio distraída com os canais de streaming

«Los grupos de comunicación maduran con lentitud el desarrollo interactivo de sus emisoras de radio en Internet, y ponen a punto nuevas líneas de producción para sus factorías radiofónicas que abandonan la exclusividad sonora. Mientras esto sucede en los grandes portales de la comunicación de Internet, en los márgenes de la red emerge una nueva constelación de archivos sonoros y listas musicales personales que crecen y se transforman en programaciones embrionarias. Al ritmo de Internet, estos proyectos desarrolIan un crecimiento orgánico que les permite adquirir una resonancia extraordinaria, creando nuevas redes emergentes de radio» (Toral e Murelaga, 2007: 62)