EFF, in Response to ASCAP, Says They Want to Find Ways of Getting Artists Paid

What’s the future of musician income? Crispin guitarist AJ looks on. Photo (CC-BY-ND) billaday/Bill Selak. An ASCAP Political Action Committee fundraising letter that seeks to vilify advocacy positions of organizations like Creative Commons has been circulating the Web. As I noted in a separate story, it’s not exactly news that ASCAP has taken issue with the licenses Creative Commons advocates. Now, however, ASCAP’s legislative advocacy arm also argues in the letter that the advocacy organization Electronic Frontier Foundation is also an enemy of artists getting paid. The EFF hasn’t made a public statement about the issue, but in a response …

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ASCAP Attacks Creative Commons, Advocacy Groups as Anti-Copyright, Anti-Artist

Vintage image (CC-BY-SA) Ioan Sameli, as licensed by us pinko commies at CDM. An ASCAP legislative fundraising letter revealed last week that the American performing rights organization is invoking fears of the Electronic Frontier Foundation, Public Knowledge, and Creative Commons in order to raise money. ASCAP appears to be repeating, now in the more heated language of fundraising, arguments it has had with the Creative Commons license in the past. For its part, Creative Commons insists most of its licenses don’t preclude performing rights bodies like ASCAP from collecting funds. In the letter, sent on behalf of ASCAP’s Political Action …

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Roger Linn Imagines a New, Multi-touch Instrument, And — HELP!

We’ve lived so long with a musical world dominated by the piano keyboard that it can be hard to look beyond it. But for some time, musicians have desired a set of common requirements for what might replace it: The ability to hit specific pitches in a convenient layout, perhaps one more convenient than the piano, but also… The ability to express pitch between pitches (as most other instruments provide) Continuous pressure for expression, not only when a note is struck, but as it is played (again, as on most other instruments) I’ve been talking to Roger Linn for a …

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Updated: MPEG LA Pool Planning to Torpedo OGG Theora, Says Jobs

RichardL notes some potentially major news this afternoon. Shortly after my post, Steve Jobs himself reportedly answered an open letter written by free software advocate Hugo Roy. Hugo’s letter contained suggestions about whether a standardized unencumbered video codec needed to accompany the video tag in order to be truly “open.” The original post, on “hugo’s blog”: Open Letter to Steve Jobs Jobs’ response, as quoted by that blog: From: Steve Jobs To: Hugo Roy Subject: Re:Open letter to Steve Jobs: Thoughts on Flash Date 30/04/2010 15:21:17 All video codecs are covered by patents. A patent pool is being assembled to …

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Of MIDI, iPhones and iPads, and a Restrictive Future for Hardware?

For years, in music technology and computing, we’ve relied on an idea so ubiquitous, we take it for granted. That notion is that you can use things together, and they work. At its soul, MIDI gives us the power to assemble different sounds, to record ideas. It means the investment you make in one device, whether a soundmaker or computer, can be expanded. Just brought a new gadget home? Plug it into the old gadget, and use them together. There’s another notion, even more fundamental, underneath that idea: if you save up your pennies and buy gear, you get to …

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CDM and Creative Commons “Non-Commercial” Images

(CC) Giulio Zannol. Sampling and online reuse are enormously common in our culture today. But if you really believe in making some of that culture freely accessible, it follows you must also make free licenses explicit. Simply taking something because it’s there isn’t fair to the person who created the content, whose rights should come first, and it doesn’t help advance the cause of free content. If we want content to be more freely accessible, we need to give first priority to those materials explicitly licensed for free use. All of that is to say, we need to obey the …

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Meet the Digital Vinyl Systems That Predated N2IT’s Patent

It’s something we take for granted now, but not so long ago, the only way to scratch and cue records was with analog vinyl. Now, of course, simulating those behaviors using digital records on turntables connected to computers is commonplace. But that hasn’t stopped the question of who owns the technology from spawning legal disputes. Most recently, a suit brought by patent claimants N2IT against M-Audio was dismissed. You can read the history from the time N2IT, a two-person company, launched their first commercial digital DJing (for BeOS, no less) back in the late 90s. In patents, “first” is everything. …

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As the Turntable Turns: Digital Vinyl Survives, Real Technics 1200 Dies (Or Not)

Rick Harrison. The legal wrangling over patents and who owns digital vinyl technology continues. The latest development: the court has dismissed N2IT’s claim against M-Audio, as covered by djtechtools. Before you strike this as a victory in the M-Audio column, it’s possible the parties settled out of court. Based on my limited legal background, I tend to agree with Ean Golden at djtechtools: this does seem to diminish the likelihood of N2IT successfully pursuing a new case against Serato. (In the Netherlands, it’s not possible to buy Serato, because there is would violate Dutch patent law, in the country in …

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Help EFF Save Web Content: Prove Podcasting and Media Patent is Wrong

Act now, or this puppy is in grave danger. Podcasting pug photograph (CC) zoomar. Patenting the use of all episodic media on the Web might sound absurd, but the US Patent and Trademark Office has granted just such a patent, to a company called VoloMedia. It’s a significant issue, one that could threaten the freedom of all media distribution online. Wherever you are in the world, you can help. Intellectual property law was created in order to protect genuine inventions and innovation from exploitation. But predatory patents, based on bogus claims and attempting to stake out broad rights, threaten to …

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