Berkeley CSUA MOTD:Entry 30522
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2017/11/22 [General] UID:1000 Activity:popular
11/22   

2004/6/1 [Computer/HW/Drives] UID:30522 Activity:high
6/1     Clear Channel really is the Great Satan.  Hard to summarize, but
        basically they're shutting down a perfectly good company making
        a perfectly great product (live CDs of the concert you just saw,
        purchased at a kiosk right after the show) by abusing the US
        Patent Office.  Go go invisible hand!
        http://csua.org/u/7je (rollingstone.com link)
        \_ obWDYHA?
        \_ Save Howie!!!
        \_ "As soon as I came out against Bush, that's when my rights to
           free speech were taken away. It had nothing to do with
           indecency," Howard Stern said on March 19, 2004.
           \_ Um, that's nice'n'all, but what does that have to do with
              the DiscLive patent issue?
              \_ Nothing, but it is more evidence that Clear Channel is
                 the Great Satan.
        \_ What idiotic thing does the patent cover?
           \_ The patent is here: http://csua.org/u/7jg (patent office link)
              From what I can tell from perusing it, the patent appears to
              be on any process that does the following:
              1) Record audio digitally
              2) Manually divide stream into "tracks" as it is streamed in
              3) When finished, send the tracks to multiple CD burners.
2017/11/22 [General] UID:1000 Activity:popular
11/22   

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Cache (2457 bytes)
csua.org/u/7je -> www.rollingstone.com/news/story?id=6066617&pageid=rs.Home&pageregion=single1&rnd=1085441305296&has-player=true&version=6.0.11.847
Clear Channel Limits Live CDs Company to block bands from selling instant albums In the past few years, fans leaving some concerts have discovered a souvenir far better than a T-shirt: a live recording of the show they just attended. and Billy Idol have sold instant concert discs, and the Pixies and the Doors plan to launch similar programs this summer. The recording-and-burning company DiscLive estimated on April 12th that it would gross $500,000 selling live discs this spring alone. But in a move expected to severely limit the industry, Clear Channel Entertainment has bought the patent from the technology's inventors and now claims to own the exclusive right to sell concert CDs after shows. The company, which is the biggest concert promoter in the world, says the patent covers its 130 venues along with every other venue in the country. "We want to be artist-friendly," says Steve Simon, a Clear Channel executive vice president and the director of Instant Live. But with Clear Channel pushing to eliminate competition, many fear there will be less money and fewer opportunities to sell live discs. "It's one more step toward massive control and consolidation of Clear Channel's corporate agenda," says String Cheese Incident manager Mike Luba, who feuded with Clear Channel last year after promoters blocked the band from using CD-burning equipment. The Pixies, who are booking a fall reunion tour with several probable Clear Channel venues, say Clear Channel has already told them DiscLive can't burn and sell CDs on-site. "Presuming Clear Channel's service and product are of equal quality, it may be best to feed the dragon rather than draw swords," says Pixies manager Ken Goes. "Still, I'm not fond of doing business with my arm twisted behind my back." Clear Channel doesn't plan to stop Phish, Pearl Jam, the Who or other bands that make live recordings available days after the show. It has also granted one-dollar licenses to a few up-and-coming bands to record and sell instant CDs of their own shows. But Clear Channel executives maintain that they have the right to stop anyone who tries to infringe on the patent. Many say this strategy prevents inventors from jumping into a marketplace and creating further innovation. "We'd like to see this industry opened up to everybody," says Erik Stubblebine, founder and vice president of Hyburn, a Phoenix company that has sold instant CDs for dozens of concerts in the past three years.
Cache (8192 bytes)
csua.org/u/7jg -> patft.uspto.gov/netacgi/nph-Parser?u=/netahtml/srchnum.htm&Sect1=PTO1&Sect2=HITOFF&p=1&r=1&l=50&f=G&d=PALL&s1=6614729.WKU.&OS=PN/6614729&RS=PN/6614729
September 2, 2003 System and method of creating digital recordings of live performances Abstract In one embodiment, the present invention provides an event recording system that has an event-capture module, an editing module, and a media recording module. The event-capture module captures an event signal, such as an audio signal from a sound event, and transforms the signal into a primary event file that is accessible as it is being formed. The editing module is communicatively connected to the event capture module. It accesses and parses the primary event file into one or more digital track files that can be recorded onto a recording media. Likewise, the media recording module is communicatively linked to the editing module for receiving the one or more digital track files from the editing module. The media recording module has a plurality of media recorders for simultaneously recording the one or more digital track files onto a plurality of recording media. This allows a plurality of recording media, with the entire event recorded upon each media, to be available shortly after the event has ended. Erik Parent Case Text This specification and application specifically references and incorporates by reference US Provisional Application No. Claims We claim as follows: 1 An event recording system, comprising: an event-capture module to capture an event signal and transform it into a primary event file that is accessible as it is being formed; Description TECHNICAL FIELD OF THE INVENTION The present invention relates generally to the field of producing digital audio and video recordings of live performances. BACKGROUND OF THE INVENTION The invention described herein represents a significant improvement in both the speed at which recordings of live performances can be mass-produced and in the costs of producing such recordings. Today, the usual medium for distribution of audio recordings is a Compact Disc or CD--which is simply a data storage device which contains audio information stored according to the Red Book standard. Typically, whenever recordings of a live performance are produced for public distribution (such as when a recording artist releases a live CD) the audio portion of the live performance is captured on some type of audio storage device such as an analog multi-track tape recorder. The resulting tape recording is then mixed, edited, and broken into discrete tracks at a recording studio. This process, often referred to as audio mastering, might include signal processing to optimize song levels to commercial (radio broadcast) standards, compression, normalization, equalization, fades, noise reduction, and any digital editing needed to maximize the sonic quality of the recordings. Typically, audio mastering takes place in a recording studio under the direction of a sound engineer. The process normally requires access to the entire, completed audio recording since many of the customary editing steps--such as normalization, equalization, or adjustment of peak levels--require a comparison of each song or discrete track to the rest of the recording. These global editing steps are also very time consuming. Digital processing of an audio file involves complex algorithms and can often take longer than the actual playing time of a given song or track. After the audio mastering process is complete, the resulting audio tracks are recorded onto some type of digital media and used to make a glass master with the information stored as pits and lands. The glass master is then used to make the actual CDs, which contain pits and lands corresponding to the original glass master and which are coated with a metallic surface to allow a laser to interpret these pits and lands as a digital signal. The entire CD production process can take months and cost tens or even hundreds of thousands of dollars. Obviously, this system is simply not practical for producing relatively small numbers of recordings of a performance or for producing the recordings quickly. It is also possible to record a live performance onto recordable optical media such as recordable compact disks (CD-R). Using this type of data disk, information can be written onto the disk after manufacture. CD-R drives capable of storing digital audio onto blank CD-R disks are readily available for use with personal computers. In the typical CD-R disk, a flat plastic substrate is plated with a metallic surface and covered with a dye layer. The dye has the property that when exposed to an appropriate, strong laser light, it changes state. A CD-R drive is capable of recording information onto the CD-R blank. Thereafter, the information can be read using virtually any type of CD drive, including drives or players intended solely for audio CDs. The use of CD-R disks to store the recording of a live performance would have a significant advantage over the use of traditional audio CDs in terms of manufacturing time. However, the time required to perform the audio mastering would remain unchanged. Further, since each CD-R blank must be recorded individually in a CD-R drive, the time required to produce significant copies and the sheer numbers of CD-R drives which would be required to produce a significant number of copies would still be commercially unacceptable. The invention described herein overcomes these shortcomings and--if widely adopted--has the potential to greatly impact two of the most significant problems facing the music and recording industry today. First, the invention could virtually eliminate unauthorized recordings of live concerts or performances--often referred to as "bootleg recordings." Although such recordings were relatively rare a decade ago, advances in technology have turned bootlegging into big business--and a big problem for the recording industry. Smaller and better recording devices, digital audio formats which allow unlimited copying with no loss of quality, and low-cost CD-R drives have combined to turn bootlegging into a multimillion dollar activity. Although exact numbers are difficult to determine (since bootlegging is an illegal underground activity in many countries) it is estimated that the entire bootlegging industry generates hundreds of millions of dollars annually. The Recording Industry Association of America estimates that the combination of bootlegged concerts and counterfeit recordings of released CDs cost the recording industry 300 million dollars annually in lost sales. In addition to the sales losses, bootlegs compete for shelf space and sale with authorized recordings in many record shops. Artists also cannot control the quality of bootleg recordings being released in their name. And of course, bootleggers do not pay royalties to the artists. And finally, the consumer may sometimes be deceived into buying a bootleg CD inadvertently. Some bootlegs have copycat packaging or misleading descriptions, and often there is no indication that the recordings are unauthorized. The invention described herein has the potential to virtually eliminate the problem of illegal bootlegs. Obviously, bootleggers would have very few customers if higher quality legal recordings of the concerts were available. A second problem addressed by the invention, is the highly publicized problem of online music trading. The use of file-swapping programs like Napster allows literally millions of individuals worldwide to freely trade music rather than buy it. As on-line trading of music becomes more common, performing artists and record companies may have to derive a greater percentage of their income from live performances. In addition to the revenue generated by ticket prices, a large portion of that income will likely come from concert merchandise, such as the T-shirts and posters now available at nearly every live performance. A tremendous market already exists for this sort of concert merchandise. It is estimated that the top 100 concert tours in the US alone generate $400 million in music merchandise, not including the price of admission. Some musical performers average as much as $15 per person in merchandise sales. The invention discussed here has the potential of further enhan...