Archives for 2003

RealOne Music Does MusicNet a Disservice – Will AOL Music Be Better?

Previous: Rhapsody Does it Better

Nearly everything Rhapsody does right, RealOne Music does wrong. Even the basic data in the index is inconsistent (artist names spelled in 2 or 3 different ways etc.) and frequently inaccurate (wrongly-spelled titles, titles linked to the wrong download files). It doesn’t help that you can’t test the audio associated with entries except by using up one of your paid credits (either a download or a one-shot streamed play), as there is no sample/audition feature in the service.

The most bizarre thing about the search functions in RealOne Music is the way clicks from result listings are handled. As with Rhapsody, results show track title, artist and album, with highlighted links. But when you click on a link, all you get is another search using the linked words (e.g. the track title) as search terms. Strangely, the new linked search often doesn’t include the current result (from which you searched on precise words by clicking) in its results!

I have spent a lot of time searching around RealOne Music, and I have yet to discover a way to retrieve an album detail page (and thus, access to all the tracks on an album) by searching. Even clicking on an album title just brings up another page of search results.

I won’t go into chapter and verse about the glaring flaws in the search functions of RealOne Music, they are overwhelming. The ultimate example of search engine failure: several times, I tried to find an item I had noticed in passing while browsing, and I was unable to locate the item by searching — I knew it was in there, but it could not be found.

If this is the way paid music search and retrieval had to be, I’d say “Give me Kazaa!” Fortunately, there is Rhapsody (not to mention MusicMatch and Emusic, both of which provide useful alternatives). It will be interesting to see how far America Online’s make-over of the MusicNet service will go towards dealing with the RealOne version’s glaring inadequacies.

Next: Back to the Overview

Also:

AudioWorld’s Full Review of Rhapsody (Feb.19 2002)

AudioWorld’s Full Review of RealOne Music (Feb.19 2002)

Searching for Music Online the Major Label Way

Napster, the pioneering peer-to-peer file-sharing service that revolutionized the music industry and the online music landscape, was as much a search engine as a way to acquire free digital music files.

The big business players of the music industry finally rolled out their own online music services last year, aiming to fill the void of consumer demand they created by destroying Napster and its relatives.

Most of the news about the paid subscription services (MusicNet, Pressplay, Rhapsody) is flat-out bad: rip-off pricing and usage restrictions, second-rate sound quality, buggy software, poor selection. But there is a silver lining, in that the new services are a big step forward in music search capabilities — at least in theory.

How We Used to Search — Peer-to-Peer

You probably know how Napster and its P2P file-sharing successors like Kazaa work: you install the desktop application, log on to the service, then search for music or other media files of interest by song title or artist name. Just as if you are using a search engine, they retun lists of available files with file names that match your search terms. Then the software makes it easy to download files from the results list with a few clicks.

As search methods go, this is a rough and un-sophisticated approach. Getting results depends largely on the scant and unreliable information embedded in file names. You can gather a little extra insight from other data drawn from the file properties, such as duration and encoding bit rate: for example, you might distinguish between alternate recordings of a particular title and artist by checking the duration, perhaps comparing this information with data from some other reliable source.

Some of the post-Napster alternatives go a little farther, for example by offering classification tidbits derived from the descriptive tags (genre, more complete artist and title info) embedded in MP3 files. In my experience, however, this counts for little, as tag data is typically too sketchy and unreliable.

In a way, the unpredictability of the search process is part of the allure of P2P file sharing. It may be difficult to find exactly what you are looking for, but along the way you might discover all kinds of unexpected musical treasure.

Of course, you might also waste a great deal of time in a frustrating search.

How We Can Search Better

This is where the licensed online music services have a huge opportunity.

Each service has full data for its catalog of content, and can potentially make the data accessible through powerful search technology.

Not only that, but as a by-product of the digital rights management process (copy inhibition and protection), each service also provides its own custom-built application for accessing the content, so the search method can be tailored precisely to the structure of the data.

To the paying subscriber, this should mean it’s easy to find and access music, either known content through precise field searching, or new and unfamiliar selections through style, mood, tempo or other classification matching and comparison.

In Reality… RealOne Music and Rhapsody

To see how the reality of major-label online music services is playing out, consider the two offerings that illustrate the best and the worst of the breed.

The worst of the lot is RealOne Music, offered by RealNetworks as the first outlet for the MusicNet download service it is operating with backing from Warner Music, EMI and Bertelsmann Music (BMG).

The best is represented by Rhapsody, the on-demand subscription service built on Listen.com’s multi-channel radio-style streaming audio service, with major-label content from EMI, Sony Music and Bertelsmann.

RealOne Music and Rhapsody each provide search interfaces that query against both their paid subscription content, and a broader universe of free content and information. Each also provides a database of artist and composer biographies, album reviews, and a recommendation engine that suggests similar artists as you browse through the catalog.

The experience provided by the two services is vastly different, however. To put it bluntly, Rhapsody’s search and browse interface works, RealOne Music’s doesn’t.

Next: A closer look at Rhapsody

Also:

AudioWorld’s Full Review of Rhapsody (Feb.19 2002)

AudioWorld’s Full Review of RealOne Music (Feb.19 2002)

Universal Audio’s 6176 Channel Strip and 2192 Dual D/A & A/D Converter Win EQ Blue Ribbon Awards

Universal Audio, manufacturer of vintage audio hardware and DSP software plug-ins for digital audio workstations, will receive Blue Ribbon Awards from EQ Magazine for 2003 for its 6176 Channel Strip and 2192 Dual D/A & A/D Converter.

The 6176 combines two of Universal’s most successful products – the 2-610 tube-based mic/instrument preamplifier, and the 1176LN compressor – into a single “channel strip” product.

Universal's 6176 combines the quality and character of the 2-610 mic pre with the tone, lightning-quick attack and release times of the legendary 1176 compressor

The 2192 is a single rack unit analog-to-digital and digital-to-analog converter with simple front-panel controls. It supports sample rates up to 192KHz, and transcodes between AES/EBU, S/PDIF and ADAT digital formats in realtime, with single- and dual-wire AES modes.

Universal Audio's 2192 offers tremendous flexibility in signal routing and monitoring

EQ Magazine’s Blue Ribbons are presented in 22 categories, with the winners selected by EQ’s panel of editors and industry experts. Winners were chosen from the new products introduced at the Fall 2002 AES show and between the months of September and December 2002.

Universal Audio Web Site

More Universal Audio 2192 Info

More Universal Audio 6176 Info

Sonic Solutions AuthorScript Engine Powers Disc Burning in New MusicNet on AOL

America Online’s version of the MusicNet music subscription and download service, which launched today on AOL’s subscribers-only network, uses the AuthorScript SDK and AuthorScript Burn Engine by Sonic Solutions to power its CD burning features.

Support for CD burning in MusicNet on AOL allows members who browse and purchase music tracks from the vast MusicNet on AOL catalog to burn them safely and legally, directly to CD.

“We chose Sonic’s technology for our CD and DVD burn engine to enable CD burning in our new MusicNet on AOL service because they offer a proven solution that supports a range of recording and playback devices,” says Kevin Conroy, senior vice president and general manager, AOL Entertainment.

AuthorScript is the technology underlying Sonic’s media authoring applications, which have become the Hollywood standard for commercial title production. The AuthorScript API (Application Programming Interface) is a collection of C++ libraries that takes care of all of the low-level processes for converting video, audio, pictures, and graphics into a CD, DVD, Video CD, or Super Video CD disc.

The AuthorScript Burn Engine is an API (Application Programming Interface) that allows developers to quickly and easily add CD and DVD burning to most any software application. AuthorScript handles all of the low-level processes for converting and writing to CD and DVD media; this frees developers from having to tackle the complexities of device control and support and reduces the time to market.

Sonic recently added CD-ROM, DVD-ROM and audio mastering capabilities to AuthorScript via the award-winning Primo SDK technology that Sonic acquired from VERITAS in December 2002. AuthorScript, coupled with the newly-integrated VERITAS technology, offers the most complete set of data, media, and audio formatting and burning modules of any engine on the market. AuthorScript licensees include Adobe, Easy Systems Japan, Microsoft and Sony.

“With the explosive growth of CD and DVD recording, consumers have an almost insatiable appetite for burning their own audio and data discs,” said Mary Sauer, Senior VP of Business Development at Sonic. “AOL is the world’s premier online media company, and with Sonic’s AuthorScript SDK, AOL has the ability to integrate and deliver the most robust CD and DVD burning capabilities, as they have with the new MusicNet on AOL music subscription service.”

AuthorScript Burn Engine Features

  • ability to record Redbook audio CDs, single-session and appendable data CDs and DVDs, Video CDs, Enhanced and Mixed-mode CDs, and writing to and from disc image files
  • extensive drive format support including CD-R/RW, DVD+R/RW, DVD-R/RW and DVD-RAM
  • full functionality on double-byte and single-byte character set operating systems, including Windows 98SE/ME, Windows 2000 and Windows XP

Sonic Solutions Web Site

Grammy Broadcast’s Surround Audio Production Relies on Effanel and Lexicon

The CBS telecast of the 45th Annual Grammy Awards from Madison Square Garden on February 23 marked a major step forward in audio production for television: the broadcast was the first-ever network broadcast prime-time awards program to be heard in 5.1 surround audio. CBS distributed Dolby Digital CD-quality surround sound in a number of major markets on its High Definition Television Network.

The 5.1 mix was supervised by the legendary Phil Ramone, chairman of The Recording Academy’s Producers & Engineers Wing; and Hank Neuberger, Advisory Council member of the P&E Wing. Randy Ezratty, president of Effanel Music, was the official 5.1 sound designer, music mixers included John Harris and Jay Vicari, and the production mixer was Ed Greene.

The HDTV/5.1 broadcast was mixed and monitored by a combination of top-tier remote facilities, including Effanel Music’s renowned L7 remote recording truck and Effanel’s new OSR1 truck, along with All Mobile’s “Resolution” high definition production truck.

The Effanel L7 mobile unit handled the 15-plus music performances during the show. The truck’s AMS-Neve Capricorn digital console allowed the audio teams to generate both a purpose-built stereo mix and a separate 5.1 mix simultaneously. The stereo mix from L7 was routed directly to one of the stereo control rooms in the All Mobile Resolution production truck, staffed by production mixer Ed Greene. The 5.1 mix from L7 was fed to Effanel’s new OSR1 mobile recording truck, where Mr. Ezratty added other mono and stereo elements and sweetened the surround audio. He then relayed the final 5.1 surround mix to the All Mobile Resolution truck where it was sent over fiber-optic cable for broadcast.

A Lexicon 960L multi-channel digital effects system was a key piece of gear for the surround mix production.

As Randy Ezratty explained prior to the event:”The 960L is being used on the 5.1 broadcast to enhance the room microphones that we are already using in Madison Square Garden. There are some room anomalies in that space that we do want, and some we would like to minimize for the sake of musicality. Because the 960L has an extensive number of 5.1 surround halls and room presets, we can use those programs and ‘feather’ them into the 5.1 mix.”

“In addition, I’m using the 960L’s LOGIC7® algorithm on some of the stereo pre-taped elements. Using LOGIC7 on a few of these prerecorded stereo snippets will help keep the continuity of a 5.1 show as well as increase the audio’s impact.”

“The 960L room programs are superb and we have had a tremendous amount of experience with them,” continues Mr. Ezratty.

“Because it’s a live show and we’re going to be thinking on the fly, I need to use equipment with which I’m very familiar. Effanel has used the 960L on many previous projects, including DVDs for Tony Bennett and U2. It’s really the tool of choice for a project like this.”

Lexicon Web Site

Effanel Music Web Site

More Grammy Awards News