nk497 writes "The UK is finally set to legalize format shifting, making it legal for the first time to rip songs or films from CDs and DVDs. Ripping is technically illegal under copyright protection laws, despite most industry lobbyists agreeing it was time for a change. The rules look set to be modernized as the government endorses a recent intellectual property report, which also called for the government to ditch plans to require ISPs to block illegal file-sharing sites without a court order."

Hugh Pickens writes "Mike Barthel reports on a technique called brick-wall limiting, where songs are engineered to seem louder by bringing the quiet parts to the same level as the loud parts and pushing the volume level of the entire song to the highest point possible. 'Because of the need to stand out on radio and other platforms, there's a strategic advantage to having a new song sound just a little louder than every other song. As a result, for a period, each new release came out a little louder than the last, and the average level of loudness on CDs crept up (YouTube) to such a degree that albums actually sounded distorted, as if they were being played through broken speakers.' But the loudness wars may be coming to an end. Taking advantage of the trend towards listening to music online — via services like Pandora, Spotify, and Apple's forthcoming iCloud — a proposal by audio engineer Thomas Lund, already adopted as a universal standard (PDF) by the International Telecommunications Union, would institute a volume limit on any songs downloaded from the cloud, effectively removing the strategic advantage of loudness. Lund's proposal would do the same thing for any music you could buy. 'Once a piece of music is ingested into this system, there is no longer any value in trying to make a recording louder just to stand out,' says legendary engineer Bob Ludwig, who has been working with Lund. 'There will be nothing to gain from a musical point of view. Louder will no longer be better!'"

hype7 writes "The Harvard Business Review, of all places, is running a story suggesting that Spotify may have to rely on a bait & switch strategy — or might have one forced upon it by the record labels. From the article: 'Spotify gets all its content from the same place everyone else does – the same industry that has forced price increases on other online services once they have become successful. That appears to be at least partly what happened with Netflix last week. At least in the case of the existing a la carte music services, if you don't like the new price, you don't have to buy the new track. In Spotify's world, if you don't like the new price, there goes your music library. Or, if Spotify tries to stand up for its users, the labels can just pull the songs and those songs simply disappear.'"

Andy Baio of Waxy.org recently organized a chiptune tribute project for Miles Davis' acclaimed Kind of Blue album. What was intended as a creative labor of love turned into a nightmare for Baio when a copyright claim demanded exorbitant sums while glossing over fair use. He writes, "I went out of my way to make sure the entire project was above board, licensing all the cover songs from Miles Davis's publisher and giving the total profits from the Kickstarter fundraiser to the five musicians that participated. But there was one thing I never thought would be an issue: the cover art." Despite strongly believing that his pixelated version of the original cover art fell under fair use, Baio eventually decided his cheapest option was to settle out of court, paying the original photographer $32,500. "Anyone can file a lawsuit and the costs of defending yourself against a claim are high, regardless of how strong your case is. Combined with vague standards, the result is a chilling effect for every independent artist hoping to build upon or reference copyrighted works."

An anonymous reader writes "The introduction of HTML5 and super-fast JavaScript engines to the latest web browsers has brought with it a wealth of new functionality. The focus seems to have been put on the ability to play video in a browser without Flash, or making games. But a project born out of a Music Hackday in Berlin is just as exciting. It's called jsmad and is a pure JavaScript decoder that allows you to play MP3s in a browser without Flash. So, for example, a music artist could create a website and upload songs for visitors to listen to without need of any plug-ins. Alternatively, why not have an MP3 jukebox that can play songs off your hard drive or Dropbox folder just by loading a website? You can try out the decoder by visiting the jsmad.org website where there is a sample song, on the same site you can browse for your own local file to play. Be warned, it only works in Firefox 4+ at the moment, but Chrome support is coming and already works in some cases." Another reader tips news of a JavaScript PDF viewer.

itwbennett writes "Now in its second day of productivity destruction, Google's Guitar Doodle is still making music, beautiful music. Here's a roundup of some of YouTube's best, from beginner favorite Seven Nation Army to an ambitious version of Paint it Black, and, yes, Stairway to Heaven."

An anonymous reader writes "State lawmakers in Tennessee have passed a groundbreaking measure that would make it a crime to use a friend's login — even with permission — to listen to songs or watch movies from services such as Netflix or Rhapsody. The bill, which has been signed by the governor, was pushed by recording industry officials to try to stop the loss of billions of dollars to illegal music sharing. They hope other states will follow."

Last week you asked some questions of musician and programmer Jonathan Coulton. He's answered your inquiries about the music industry, video games, and being an ex-code monkey. Read below to see what he had to say.

fysdt writes "Google Inc is set to launch an online music locker service to allow users to store and access their songs wherever they are, similar to one launched by Amazon.com Inc in March. And like the Amazon Cloud Drive player, Google music service is being introduced on Tuesday without any prior licensing deals with major music labels, following months of fruitless negotiations."

suraj.sun writes with this quote from Ars Technica: "Alki David, the wealthy film producer and entrepreneur behind sites like FilmOn, has sued CNET and its owner, CBS, for providing hundreds of millions of downloads of LimeWire P2P software over the last decade. He argues that CNET had 'direct participation in massive copyright infringement on peer-to-peer systems, such as LimeWire, that are used to copy and distribute songs, films and other artistic works,' and that CNET's Download.com was the 'main distributor' of the software. P2P software isn't illegal, though companies that use it to induce or encourage copyright infringement can be held liable. The principle, most famously articulated by the US Supreme Court in the Grokster shutdown, was extended to LimeWire last year when a federal judge shut down most of the company's activity."

yogidog98 writes with this excerpt from a Reuters report: "Apple Inc has completed work on an online music storage service and is set to launch it ahead of Google Inc, whose own music efforts have stalled, according to several people familiar with both companies' plans. Apple's plans will allow iTunes customers to store their songs on a remote server, and then access them from wherever they have an Internet connection, said two of these people who asked not to be named as the talks are still confidential."

theodp writes "Over the weekend, Microsoft released the beta of TouchStudio, a free Windows Phone app that allows one to write programs for a phone on the very same phone, no computer required. According to the Microsoft Research project page, the work-in-progress TouchStudio aims to bring 'the excitement of the first programmable personal computers to the phone.' Among the code examples provided is a four-liner that scans a phone's music collection for songs less than three minutes long and produces a fairly slick, clickable playlist complete with track info and artwork. Easier than iPhone SDK programming, no?"

Krystalo writes "Google employees have begun testing Google Music internally. Talks with at least some of the top publishers and the four largest record labels are still ongoing. The delays are largely due to the fact that Google is negotiating for cloud music rights and not just the authorization to distribute the songs themselves. The search giant wants to be able to store users' existing music libraries on the company's servers. Labels are in similar discussions with Apple."

An anonymous reader writes "Like many slashdotters, I have several TB of digital media: music, books, movies, tv shows, games, comics, you name it. I've put it all in a few HDs, but handling it all has proven to be less than optimal. I'm covered when it comes to music, since [pretty much any music player/library manager] allows me to quickly find songs by interpreter, album, genre... For everything else, all I have is a series of hierarchical folder structures, but hierarchies have limitations. I can find Blade Runner easily, but what if I wanted all of Scott Ridley's films? Where is 'Good Omens', in the Terry Pratchett folder or in Neil Gaiman's? Furthermore, in a collection with hundreds of similar items, it would help to have some extra clues such as covers (for comic books) or synopsis for TV shows' episodes. Do you have any software to help you handle digital media libraries? Specialized software (say, something that only work for comics, something else for movies), or generic media libraries? Opensource alternatives are preferred, but commercial software is fine as well."

ideaz tips this Bloomberg report: "Microsoft Corp. will cease introducing new versions of the Zune music and video-player amid tepid demand, helping the company shift its focus to mobile phones, according to a person familiar with the decision. The company will concentrate on putting Zune software onto mobile phones such as those running Microsoft’s Windows operating system, said the person, who declined to be identified because the decision hasn’t been announced. Zune software lets customers buy songs and movies, as well as pay a monthly fee to stream unlimited music."

Hugh Pickens writes writes "Bloomberg reports that Apple is in talks with record companies including Vivendi SA (VIV)'s Universal Music Group, Sony Music Entertainment, Warner Music Group Corp. (WMG) and EMI Group Ltd. to give iTunes music buyers easier access to their songs on multiple devices. The deal would provide iTunes customers with a permanent backup of music purchases if the originals are damaged or lost and would allow downloads to iPad, iPod and iPhone devices linked to the same iTunes account. The negotiations come as iTunes is facing competition from new Web-based services such as Spotify Ltd., Rdio Inc. and MOG Inc. that focus on letting customers listen to songs from anywhere with an online connection, instead of downloading tracks to a hard drive. 'Long-time iTunes users know that one of the more obnoxious differences between music and app downloads on the iTunes Store is the fact that apps can be re-downloaded a seemingly infinite number of times,' writes Jacqui Cheng. 'In contrast, users can only download music tracks once — if you find yourself without backups and your music disappears, you must beseech the iTunes gods to let you re-download all your music—a once-in-a-lifetime opportunity, should they hear your prayers.""

Barence writes "Apple and music labels are reportedly in discussions to raise the audio quality of of the songs they sell to 24-bit. The move could see digital downloads that surpass CD quality, which is recorded at 16 bits at a sample rate of 44.1kHz. It would also provide Apple and the music labels with an opportunity to 'upgrade' people's music collections, raising extra revenue in the process. The big question is whether anyone would even notice the difference between 16-bit and 24-bit files on a portable player, especially with the low-quality earbuds supplied by Apple and other manufacturers. Labels such as Linn Records already sell 'studio master' versions of albums in 24-bit FLAC format, but these are targeted at high-end audio buffs with equipment of a high enough caliber to accentuate the improvement in quality."

Hugh Pickens writes "The Guardian reports that Britain's two biggest record labels, Sony and Universal, plan to beat music piracy by making new singles available for sale on the day they first hit the airwaves hoping the effort will encourage young people to buy songs they can listen to immediately rather than copying from radio broadcasts online. Songs used to receive up to six weeks radio airplay before they were released for sale, a practice known as 'setting up' a record. 'What we were finding under the old system was the searches for songs on Google or iTunes were peaking two weeks before they actually became available to buy, meaning that the public was bored of — or had already pirated — new singles,' says David Joseph. Sony, which will start the 'on air, on sale' policy simultaneously with Universal next month, agreed that the old approach was no longer relevant in an age where, according to a spokesman for the music major, 'people want instant gratification.'"

BBird writes "Deutsche Welle reports: 'Up until this year, preschools could teach and produce any kind of song they wanted. But now they have to pay for a license if they want children to sing certain songs. A tightening of copyright rules means kindergartens now have to pay fees to Germany's music licensing agency, GEMA, to use songs that they reproduce and perform. The organization has begun notifying creches and other daycare facilities that if they reproduce music to be sung or performed, they must pay for a license.'"

revealingheart writes "As 2010 comes to a close, it could be remembered as the year pay-what-you-want pricing reached the mainstream. Along with the two Humble Indie Bundles, YAWMA offer a game and music bundle, and Rock, Paper and Shotgun reports on the curiously named Bundle of Wrong, made to help fund a developer who contracted pneumonia. More examples include when Reddit briefly let their users donate an amount of their choosing for upgraded accounts when they were having financial difficulties; the Indie Music Cancer Drive launched Songs for the Cure for cancer research; and Mavaru launched an online store where users can buy albums for any amount. Can pay-what-you-want become a sustainable mainstream business model? Or is it destined to be a continued experiment for smaller groups?"