Singingfish Introduces Paid Inclusion Search Engine for Streaming Audio and Video

When you search for audio or video content using the popular RealOne media player from RealNetworks, or through Microsoft’s Windows Media Player, the results are provided by a search service called Singingfish.

Singingfish is a Seattle-based firm that presents itself as the world’s leading audio and video search engine.

The Singingfish database already includes “tens of millions” of content items in streaming, live and on-demand audio and video media formats. Now the company plans to expand and enhance it index by offering content owners (and advertisers) a paid inclusion program.

Paid inclusion is a somewhat controversial practice in the Web search field. It allows advertisers to pay a fee to ensure that their content is listed in search engine results, rather than trusting to the technology of the search engine to find their material through the normal process of traversing and polling the Web by following links.

In spite of controversy, which has led to consumer protests and even a U.S. Federal Trade Commission investigation in the past, paid inclusion has become an accepted way of doing business for nearly every significant search site, including leading portals such as Yahoo, Lycos and MSN.

There are various models of inclusion, ranging from straight-forward advertising on a “pay-per-click” basis (Google, Overture and others), where the paid results are generally segregated from regular search results and given extra prominence (listed first, or in a separate highlighted area); to a simpler fee-for-service, where the content owners’ payment merely ensures that the content is present in the search engine database, but placement in the results depends on the normal relevance-ranking process of the search site (Yahoo, Lycos, AltaVista, Teoma).

The controversy over the practice has to do with the relevance and credibility of search results. If advertisers are paying to get their content listed at the top of the page, is the search engine still doing its job of finding the best results for each search?

The benefits of paid inclusion for both publisher and end user are clearest in the case of content that is difficult to index through typical search engine technology. For example, a large online store such as Amazon or Musicians’ Friend, or a news provider such as New York Times or CNET News, may have many thousands or even millions of pages of content that would never be found by a search engine – because the pages are generated ‘on the fly’ in response to specific visitor requests and browsing at the site.

Audio and video media content falls into this category of difficult-to-index material, so there is a compelling case for Singingfish to offer paid inclusion.

Just like an Amazon or New York Times, a streaming media service may have many thousands of items available on demand, but a search engine will never locate and index them. This is even more the case with audio and video, as opposed to text-based content, because it is difficult or impossible for a search engine to obtain key information such as title, artist or author from an audio or video file or stream.

Singingfish says its research shows that over 20 percent of all Web search queries are best satisfied with audio and/or video results. With paid inclusion, the company says it will be able to direct end-users’ search queries instantly to their specific content in a relevant and meaningful way. Singingfish already indexes tens of millions of streaming media files in categories that include music, sports, news, TV, radio and business.

“We’ve discovered that rare three-way win where the consumer, advertiser and portal all benefit,” comments Karen Howe, CEO of Singingfish. “The advertiser has a powerful new medium for driving key messages, the consumer wins by getting access to the streaming content they were looking for plus relevant information from the advertiser; and finally the portal benefits from offering a useful service to consumers who don’t have to leave their portal to find audio and video content.”

Paid inclusion allows an advertiser to pay for streaming media files they select to be indexed by the Singingfish search engine. While this does not guarantee placement, it does allow their content to appear in the search engine’s results for relevant queries.

Singingfish Paid Inclusion also gives the advertiser added promotional value by providing two links – the stream itself, as usual, and also an associated “landing page.” This gives the content owner total control over the landing page, which can (for example) expose the visitor to a related product or service. If a customer decides to go further than the initial audio/video stream they clicked on – the result can mean significant and immediate return on investment to the advertiser.

The Singingfish Paid Inclusion program is sold and managed through Marketleap, a firm that has deep experience with similar programs, including the Inktomi paid inclusion program (recently taken over by Yahoo) that is used by numerous major search portals such as Hotbot and MSN Search.

Listings submitted through the paid inclusion program can include data on bitrate, format (MP3, Real, WMA, Quicktime), language, category (from among many hundreds), duration, release date, performer, and medium (audio, video), in addition to the obvious search info such as title, author, description and keywords.

If you want your content listed by Singingfish, but you don’t want to pay for the service, Singingfish also offers a free submission process.

Singingfish Web Site

Singingfish Paid Inclusion

HBO Pushes Dolby Digital Surround Audio with New Season of Six Feet Under

HBO is demonstrating a growing commitment to high-quality audio broadcasting by adding another high-profile show to its growing schedule of programs featuring Dolby Digital 5.1 surround sound.

The upcoming season of Six Feet Under will begin broadcast in Dolby Digital 5.1 on HBO, beginning March 2. Technicolor Sound Services provides the editing and sound mixing for Six Feet Under.

“HBO has a commitment to the highest quality viewing experience for its customers, which is why we broadcast so much of our programming in Dolby Digital 5.1,” says Bob Zitter, senior vice president of Technology Operations for HBO. “That includes many Hollywood theatricals, most HBO Films, and HBO’s original series programming like The Sopranos and now Six Feet Under.”

Bruce Graham, senior vice president, Technicolor Sound Services adds: “Dolby Digital makes a big difference in the viewing experience. The clear, 5.1-channel surround audio allows the viewer to experience the show as the producer intended. We are really able to deliver the artistic integrity of the show.”

Six Feet Under won two categories at the recent Grammy Awards presentation in New York, for the musical soundtrack work of composer Thomas Newman. Mr. Newman’s “Six Feet Under Title Theme” (available on the album “Six Feet Under – Music From The HBO Original Series”) won the awards for Best Instrumental Composition and Best Instrumental Arrangement.

“Dolby Digital is an essential element to digital television, cable, and satellite broadcasting. More and more customers are expecting Dolby Digital surround sound when they watch TV and more and more broadcasters are meeting their customers audio demands with Dolby Digital,” says Tom Daily, director, marketing, Dolby Laboratories.

“Surround sound home theater systems have become very commonplace in homes and viewers want to utilize them whenever they watch TV.”

Dolby Laboratories Web Site

Secret Sound Adds All-Digital Lexicon 960L to Complement Extensive Pro Tools System

Composer/producer Chas Sandford is enthusiastic about computer-based digital recording. His personal studio, Secret Sound, is built around a massive Digidesign Pro Tools HD 7 system, with 48 channels of 192 kHz I/O and a 32-fader ProControl system with Edit Pack.

When it comes to reverb, though, Mr. Sandford finds that software plug-ins just won’t do. “A lot of plug-ins are great,” he says, “but on any digital audio workstation system it’s hard to allocate the processing power needed to make great, dense-sounding reverb effects.”

His solution is Lexicon. In January, Mr. Sandford installed a Lexicon 960LD Multi-Channel Digital Effects System at Secret Sound. He has been an ardent fan of Lexicon reverbs for many years, and feels that only the 960L could offer the classic reverbs and other audio effects he wants, while still matching the performance of Secret Sound’s all-digital environment.

Secret Sound has served as production venue for many top artists, including Chicago, Stevie Nicks, and Roger Daltrey. It has gone through several re-fits, both in its original location in Los Angeles and more recently in the Nashville area. Through the re-locations and re-designs, Mr. Sandford has stuck with Lexicon.

“No other outboard processor sounds as natural as a Lexicon. So as my recording system evolved and grew, I knew I wanted a 960L to keep up with it,” says Mr. Sandford. “The 960L does the dense-sounding reverb effects I need, and since Lexicon made a version without the analog I/Os, I can access that kind of DSP quality at a more cost-effective price.” (The 960LD is identical to the 960L, except that it provides digital-only inputs and outputs, no analog).

Dave Malekpour, president of Professional Audio Design, which supplied the Lexicon 960LD for Secret Sound comments: “No other system has ever achieved what Lexicon algorithms have. Engineers and producers can spot a Lexicon reverb on a record in a second. So it makes sense that when you’re working in an all-digital environment, especially one as complex and large as what Chas has at Secret Sound, you’d want a 960L, which can give you both the digital interface you need and the great-sounding effects that you want.”

The addition of the Lexicon 960LD at Secret Sound also had something of a back-to-the-future effect for Sandford. “I plugged it in and used it on some older recordings and it just brought new life to them,” Sandford remarks. “It’s just an awesome machine.”

Lexicon Web Site

Z-Systems New z-256.256r Detangler Pro Router System Tames Complex Digital Audio Routing

Z-Systems has introduced the latest addition to its highly-regarded series of Digital Detangler Pro™ Audio Routers.

The new z-256.256r Detangler Pro enables recording studios and post facilities studios to integrate and reconfigure their digital audio workplace. The unit accommodates up to 256 stereo/two-channel inputs, routing in any combination to a total of 256 outputs.

Asynchronous sources and destinations can be either 24-bit AES/EBU or S/PDIF format, at sampling rates to 192 kHz, and beyond. I/O crosspoint assignments can be selected via a dedicated serial port, using either Z-Systems’ dedicated hardware remote or networked Mac OS and Windows control software. The z-256.256r is modular in increments of 16×16.

“Our z-Series Digital Audio Routers are designed to eliminate the problem of interconnecting converters, effects processors, recorders, workstations, etc., that operate at different sampling rates and use different digital I/O formats,” explains Z-Systems president Glenn Zelniker.”

The remote control and computer interfaces allow the creation of multiple I/O presets, or salvos, that can later be recalled for instant reconfiguration.

“There are many different ways a studio or large installation might need to interconnect a number of digital sub-systems, recorders and playback sources,” Mr. Zelniker continues. “For example, a specific source might need to be connected to a targeted DAT machine, a workstation, a hard-disk recorder or a D-to-A converter.”

“Furthermore, if a single source needs to feed multiple destinations at the same time – for example, an A/D converter connected to several recorders, a workstation and a D-to-A converter for monitoring – daisy-chaining these destination devices can be unsafe and unreliable. The new large-format z-256.256r solves these and other problems.”

Rear-panel D-sub connectors require breakout cables identical in pin-out to the DB25-to-XLR breakout cables used by TASCAM DA-Series MDM Eight-tracks and related units. Z-Systems supplies pin-out designations or pre-fabricated AES/EBU breakout cables.

Z-Systems Web Site

Outlaw Audio Debuts 200-Watt, $299 Mono Amplifier

Outlaw Audio has introduced the Model 200 “M-Block” single channel amplifier with a power rating of 200 watts into 8 ohms, and a remarkable low Web-direct price of just $299 (US).

While audiophiles have long appreciated the inherent channel-isolation benefits of single-channel amplifiers, these “mono-block” amplifiers are typically very expensive components available only in the most exclusive high-end audio salons. The Outlaw Model 200, which is sold only on the internet, presents a very affordable way to add extra channels to a home theater, power multiple remote-zone speakers, bi-amp premium audiophile speakers, or create a high-performance two-channel music system.

The Outlaw Audio Model 200 M-Block uses a proprietary hybrid Class A/B/Class G amplifier design that is conservatively rated at 200 watts into a 8-ohm load, 20 Hz – 20 kHz, < 0.05%THD, or 300 watts into 4-ohms. The short-term dynamic power rating is 300 watts into 8 ohms. This amazingly compact amplifier is just 1-3/4 inches high, or one rack-unit in pro-audio jargon, while its footprint matches conventional 17 inches wide components.

Compared to conventional two-, five-, and seven-channel amplifiers, the Outlaw Audio Model 200’s mono configuration provides inherently perfect isolation between channels and a separate power supply for each channel. The Model 200 uses a large-diameter pancake toroidal transformer with a 400VA rating, and two filter capacitors with a combined rating of 20,000 µF to ensure a steady current supply no mater what the input signal.

The Model 200 operates as Class A/B power up to 80 watts, transitioning within 2 microseconds (2 millionths! of a second) to Class G above that. This allows a remarkable combination of signal quality, high power levels, high efficiency, and low operating temperatures without the use of a cooling fan. The transition to Class G is absolutely inaudible, because the 2 microsecond transition lasts about 1/25th the duration of a single cycle of 20 kHz audio. For the Class A/B operation mode the output stage uses four 15-amp bipolar transistors, while the Class G operation employs two 40-amp high-power MOSFETs.

Since the unit is designed to always be either on or in stand-by mode, there is no front-panel power switch. The rear-panel Master Power Button provides the safety switch required to remove the unit from an AC power source. In the standby mode the Model 200 is turned on or off by a standard 6-35VDC trigger signal applied to a rear-panel jack, or when the “music sense” circuit detects the presence of an audio signal at the input jack. When the audio signal stops for 10 minutes, the amplifier automatically turns off.

The front panel has a three-color LED status indicator that glows Outlaw Green when the unit is on, yellow when the unit is in standby, and red if the unit goes in the protect mode. The input signal transits a gold-plated RCA input jack, with the output signal connects via high-quality five-way binding posts.

The Model 200 is available immediately, direct from Outlaw Audio, for $299 (US).

Model 200 Technical Specifications

* Power Output (FTC Continuous RMS):
– 200 watts @ 8 ohms, 20 Hz 20 kHz, < 0.05% THD
– 300 watts @ 4 ohms, 20 Hz 20 kHz, < 0.05%

* Short Term Dynamic Power Output:
– 300 watts @ 8 ohms

* THD Signal to Noise: 100 dB (unweighted)

* Input Impedance: > 10K Ohms

* Gain: +27dB (1.7V sensitivity) for full output

* Input Connectors: RCA Jack

* Output Connectors: Five-Way binding posts

* Power Consumption: 600 watts maximum, < 3 watts standby

* Weight: 18 pounds

* Dimensions (H/W/D):1.75″ x 17″ x 11.5″

Outlaw Audio Web Site