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- mp3 and the law Despite popular misconsception mp3s aren't illegal! MP3 is simply a medium in which to store music. It can be used to store or distribute music in a legal (eg: mp3.com), or an illegal way. Compare it to any other medium: a blank piece of paper can be used to take some notes, as can it be used to make illegal copies of a copyrighted work. mp3s for consumers: You are allowed to make a copy of any original piece of music which you have bought in order to store to it in any form. It's perfectly legal for you to buy an album, encode it in mp3, write this mp3 to a cd and listen to it on your computer mp3 player. Allowing others access to the music you bought the rights to listen to is not allowed, nor is lending or trading your mp3s. mp3s and artists: You are allowed to record your a piece of original music, encode it into mp3 files and put it on a website for the download. When your music clips are available for free, you do not have to pay any royalties to Thomson*. If you charge for mp3s, you are obliged the Thomson mp3 royalties. (1%, $15k minimum) mp3s and music broadcasting (eg. Internet Radio): You are allowed to broadcast mp3 streams and so long as you don't charge for them you wont have to pay any royalties to Thomson. If you charge an the mp3 stream, you will have to comply to the Thomson mp3 broadcasting royalties (2%, $2k minimum, since 2001).
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  in: Politics, Media & Current Events
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- June 22, 2003 at 11:12 am
  
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- A Technical Foundation To Building A Sound System: Part 1 Forward: This document is provided for the purpose of making publicly available the requirements necessary for the design, configuration, and operation of sound systems for the optimal reproduction of "underground" dance music. By implementing these principles, the experience of all participants in a dance music event or club will be substantially improved. This document is intended to be a practical entry-level reference source. Introduction: To many people, sound systems seem simple – some speakers and some amplifiers, and you're all set. In addition to this frequent perception, some defining elements of a good sound system are a matter of opinion. Any combination of low-grade speakers and amplifiers are enough to make some noise, but the accurate reproduction of music, with flat frequency and phase response across the entire audible spectrum, at high volume levels, is a science and art that still has plenty of room for improvement, and that will continue to evolve for centuries to come. Tradeoffs are made by all audio equipment manufacturers between accuracy in frequency and phase response, efficiency, equipment volume and weight, and materials and R&D costs. For many applications, such as a low-cost public address system or guitar amp, 1950's era technology works fine. On the other end of the spectrum there are audiophiles who insist on cables costing hundreds of dollars, or engineers who are particular about certain vintage gear over other models that may have nearly identical specs. The fundamentals of connecting various pieces of equipment together and operating a sound system are not covered here, as there are many other reference materials that explain the basics of sound systems. Due to the small size and non-mainstream nature of the underground dance music market however, sound schools, books, and other educational resources do not devote much attention to its unique needs. This document illustrates the main design issues for electronic dance music, and makes clear that its unique characteristics require a different approach to sound system design than is followed for most other music types. With an understanding of the principles covered here, you will be better able to set up a sound system that makes dance music sound as good as it can. The Real World It is very important to carefully review the motives, experience, and training of anyone you talk to about sound systems. Hype and marketing are the way most business gets done in consumer markets – particularly in the music world. When seeking out information, keep in mind that the credibility of various information sources is often less than ideal. The opinions of many people are biased toward their own financial interests, and/or their own lack of knowledge or experience in a given area. Only those who put the time into seeking out a wide array of information resources can achieve true quality and sophistication. There are many preconceptions that people have which can appear sensible on the surface, but that are often completely wrong in the context of underground dance music. In reality, most people in the mainstream audio world don't know much about the unique requirements of DJ's and of dance music. When you are getting advice from a salesman, sound guy, musician, electronics guru, engineer, friend, family member, etc., remember that setting up the best sound system you can for the money is not a simple thing, and the only people that know how to do it the best way are the people who have been doing it themselves for many years. Undoubtedly some readers will be thinking, "Why is anything a DJ knows important in setting up a sound system? They just play records..." The answer is, there are 2 kinds of DJs, those who are just trying to make a few dollars or who like to be the center of attention, and, those who have an intense passion for the music and for the underground dance music culture. Let's be a bit bold here and refer to the latter category as "DJs with class". If you want to do a club or provide sound in such a way as to have a bit of genuine class and sophistication in what you do, and in the clientele you attract, you must ensure that DJs with class like to play on your sound system or at your club. Most non-DJs do not know that some systems are much easier and more enjoyable to play on than others, and being a top DJ is not as easy as it looks. It takes talent, years of experience, and tremendous focus to mix records perfectly on numerous different sound systems, each of which often have various issues such as excessive turntable feedback, needles that skip from being bumped by dancers or from floor vibrations, booth monitor systems with output levels that are too low, too high, non-adjustable, or halfway blown-out, large sound delays resulting from speakers placed too far away or from echoes off of overly reflective surfaces, lost dynamic range and responsiveness due to over-compression, and various other issues that make it more difficult to play the best set a DJ can. If your system is designed to prevent these sorts of issues, DJs will like playing on it, the music will be better overall, and you will be that much more likely to be successful. As with most other things in the world, a club or event is only as good as its weakest link. The club/event markets in most cities are highly competitive, and if you want to be successful you can't have any weak links. In the underground dance music market this means you need to have a comfortable venue, good sound, good DJs, friendly and unobtrusive staff/bartenders/security/doorpersons, clean bathrooms for the ladies, reasonable cover charges, interesting and fresh decor and layout, professionally done promotions and marketing, and the list goes on. If all these elements are done properly, your success is almost assured. If any of them are missing or not right, you risk your entire investment. If you design your sound system as is suggested in the remainder of this document, it will indeed be "DJ friendly", and will be more likely to sound as good as it should. Many venue owners and promoters take it for granted, but a quality sound system is one of the most important ingredients in the success of clubs and events. A top quality sound system is also a great marketing tool, that can be a key differentiator between you and your competition, and that helps make clear to your market that you don't compromise when it comes to quality. We have seen 100's of clubs and club nights come and go in the past 15 years. Our view is that doing a club is an all or nothing thing. If you're not willing to put everything you can into it, to make it something really outstanding and exceptional, then why waste your time? It can take a lot of research, time, and travel to design the best possible system for your budget and your application. Even if you are fortunate enough to find an educated, talented sound specialist, he or she is likely not a DJ, or has not worked with dance music sound systems enough to fully understand the differences. Fortunately, the founder of Sunsonic has been a DJ since 1991, and is a degreed Electrical Engineer who has specialized in sound systems since 1993. After years of research, testing, and traveling, in early 2002 we upgraded our main rig to one of the highest technology systems available (Nexo Alpha Series), and are now San Diego's preferred sound provider for dance music events. This document © David X (United Records, Sunsonic Sound System) - http://www.unrec.com/ & http://www.unrec.com/sunsonic/sound2.htm
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  in: Free Parties & Teknivals
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- June 22, 2003 at 10:54 am
  
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- A Technical Foundation To Building A Sound System: Part 2 The Characteristics of Dance Music: Dance music has substantially different characteristics than many other types of music, and requires a different approach to designing and setting up medium to large scale sound systems. A comparison of several music types that illustrates some of these differences is as follows: See table... We have achieved clear definitions of the elements required to maximize the performance of sound systems relative to the characteristics and fundamental attributes of dance music, particularly the more "underground" (i.e. more sophisticated and innovative) varieties. This section discusses these elements and their overall role in a high-quality sound system, and the following sections address how these elements are best achieved. In the earliest and most primitive incarnations of music, drums and percussion were the first elements utilized, and thus were the construct and foundation of what became known as "music". The drum circle, probably the oldest form of group music making, still exists today and continues to offer its participants an experience of harmony, unity, and heightened experience. Examining the root nature of music, and the physiology of ourselves, it is obvious that dance is the most natural and explicit mechanism for interacting with music. Perhaps the defining element of "underground" music is its attempt to incorporate these root elements, and its primary dedication to the participant. Underground dance music thus shares with the earliest incarnations of music a foundation of percussion instruments (or their electronic emulation as may be the case). This is further evidenced by examining the earlier manifestations of present day dance music, such as Chicago House in the mid 80's, which was generally characterized by minimal percussive frameworks. Vocals and melody were important elements, but in general neither were present enough of the time to make them as obvious of defining elements as the percussive rhythms. A natural extension to the connection of dance music to percussion has evolved of its own in the relatively recent past: bass and subbass. Again considering the physiological mechanisms dance music directs itself towards, and looking at the properties of various sound frequencies, the connection is clear. As sound frequency becomes lower, its oscillation wavelengths become more closely coupled to the physical dimensions of the body than to the relatively small dimensions of the inner ear. It is for this reason that low subbass can be felt as much as heard. Thus, a direct physical interface is available that is an excellent tool in the arsenal of music producers and DJs. The effectiveness and embracement of bass and subbass is evidenced by the surfacing of entire new genres such as Drum & Bass. In the design and operation of sound systems, it is important to understand the intentions of an event or club, of the participants, and of those playing the music. One goal of many sound professionals frequently is simply to insure that the entire venue is supplied with high volume sound. Frequently, numerous arrays of speakers are deployed in various places in the venue to insure that there is literally nowhere to go where the sound is not loud. For certain events and styles of music, this approach closely matches the intentions of the producers, attendees, and musicians and/or DJs. Frequently this approach is entirely inappropriate however. The modern rave, as well as many superclubs that attempt to model the idealized rave atmosphere, are in part characterized by a large diversity of available experiences from which the participants can freely choose. The attractiveness and success of events are often determined in part by the level of variety and diversity that are present in the musical styles, entertainment, venue geography, visual design, time-space utilization, and in the creativity and innovation and new concepts that are brought forth. From this it is obvious that the sound system should fit precisely into this milieu such that it is maximally effective where desired, and yet completely absent perhaps from other areas. Well planned events and clubs often have "chill" areas, or areas with ambient music, to provide quiet and relaxing places, and to add contrast to the musical landscape of the venue. Some events and clubs may also intentionally position speakers such that within areas there are places to go where the sound is quieter, and more conducive to socializing, communication, dancing, or cooling off. These approaches always leave each participant more freedom to gravitate to the place that most suits his or her desires. This document © David X (United Records, Sunsonic Sound System) - http://www.unrec.com/ & http://www.unrec.com/sunsonic/sound2.htm
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- June 22, 2003 at 10:52 am
  
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- A Technical Foundation To Building A Sound System: Part 4 System Frequency Response Optimization: The frequency response of a sound system is not a constant function within any venue. Essentially there are two elements that determine overall frequency response of a sound system within a venue. Unsurprisingly, these two elements are the sound system itself, and the venue. A sound system that is set up according to the Sunsonic Criteria, and that employs well designed, high quality system components, will exhibit an acceptable, even frequency response. What this means is that the ratio of output level of the system to input level will be fairly constant regardless of the frequency of the input signal. However, there are a number of issues that make this all more complex than many sound equipment manufacturers would like you to think. Almost all sound systems have substantially different directivity at different frequencies. Very low frequencies have omnidirectional propagation characteristics, whereas higher frequencies can be more easily directed. This is simply due to the fact that to manipulate the directivity of a sound wave, a horn structure is required. The size of a horn structure required to implement a given directivity is proportional to wavelength, which is inversely proportional to frequency. To provide a high degree of directivity at a frequency of 20Hz for example, requires with a horn structure with a throat length of over 30 feet. The result with most sound systems is then generally that the full range cabinets are much more directive than the bass cabinets, so if one stands far from the speakers, along the axis of the horns in the full range cabinets, the bass will be much lower relative to the mids and highs. In contrast, if one were to stand near the speakers, but to the side, and hence not on the axis of the horns in the full range cabinets, the bass would be much louder than the mids and highs. So, in this type of system, there is already a large amount a variation in the frequency response of the system based simply on where the listener happens to be. The fix for this issue is simple: Use full range cabinets that have low directivity. This ensures all frequencies are radiated with fairly equal intensity across the entire view of the speaker cabinet. For very large sound systems, frequency response and SPL uniformity concerns become major design issues. However, upon review of the "Characteristics of Dance Music" Section in this document, it becomes clear that SPL uniformity is not always our goal. Thus these design issues, which can be very complex, are not much of an issue typically for underground dance music. In a sense then, the old principle of K.I.S.S. (Keep It Simple, Stupid) proves itself here to be true. This document © David X (United Records, Sunsonic Sound System) - http://www.unrec.com/ & http://www.unrec.com/sunsonic/sound2.htm
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- June 22, 2003 at 10:20 am
  
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- A Technical Foundation To Building A Sound System: Part 5 Phase Checking: Each speaker in a system should have consistent phase response, and be driven with a phase correct signal. Otherwise, cancellation will occur, as one driver may be pushing air while another is pulling. This can have very noticeable impacts on the system frequency response, bass SPL, stereo imaging, and overall sound quality. Systems that have multiple models of amplifiers, speakers, cables, etc., can easily have phase errors among different system components. This is mainly due to speakers, amplifiers, or processing components having differing polarity conventions due to design differences or wiring errors, or can be due to connection errors among system components. To avoid these issues, it is necessary to fully characterize the input-output phase relationship of each component in the system, all the way down to the cartridges on the turntables (which could have the cartridge lead wires reversed on one channel, but correct on the other, causing Left and Right channels to be 180° out of phase), up to the individual drivers in the speakers (which may have had a driver unit replaced at some point and the lead wires connected incorrectly, or a crossover replaced with a different design). It is suggested to enlist the help of an electrical engineer for this task, as this process can become complex. Ideally, the entire system will consist of entirely top-grade, perfectly maintained equipment and cabling, for which the phase specifications are very clear. This is often not feasible however, due to the limited budgets that many sound providers are constrained by. A simple method for checking whether a component is phase inverting or not is to connect a Signal Generator to the input, and observe input and output (simultaneously) on an Oscilloscope at various frequencies such as 20Hz, 600Hz, and 20KHz. If a Signal Generator is not available, use a Synthesizer or a test tone record. If an Oscilloscope is not available, use a Multimeter to read the AC Voltage on the input first (let's call this Vin), and then on the output. Then adjust the output gain until the output Voltage is the same as the input Voltage. Then measure the AC Voltage between the input and output (let's call this Vdiff). The magnitude of the phase difference is then approximately 180° times half of the ratio of Vdiff to Vin. In the case of measuring output from a speaker, use a microphone and microphone pre-amp as the input to the Oscilloscope or Multimeter. Feng Shui The layout and design of a sound system, and the positioning of speakers, lighting, dance floor areas, the dj, etc. should be designed with higher concerns in mind, such as the comfort of attendees, the design themes of the event or club, and particularly any spiritual or religious themes associated with the event, music, or attendees. As far as the underground dance community is concerned, this means the sound and lights must not be overbearing or intrusive, or otherwise obstructive to a positive, open environment. Copied below is an example of this relating to Feng Shui, from a promotional magazine published by New York's Club Twilo: "FENG SHUI – FOR THE NIGHTCLUBBER: Hang your mirror ball at least 12 feet from the dance floor. This will ensure that all the positive energy released through your scalp will have space to dissipate. Too many positive waves crushed into a small amount of air have the ability to generate a friction that may lead to sudden mood swings. Speaker stacks, as a rule, should only ever be placed on the dancefloor itself. Never hang from the ceiling or attach to a wall. Sound frequencies must be allowed to enter through your toes first, never through your ears. This will boost your chakra from below and elevate you mentally. Neon lights, strobes, and rotating pin spots should work on a cycle, and be evenly spaced. Lights that are placed too tightly together counteract with your aura and this leads to a negative feeling. Avoid this by measuring carefully. Remember to only mix pastels with pastels and primaries with primaries." These points make intuitive sense if you think of different clubs you have been to which were or were not designed along these lines. Perhaps the greatest design weakness of many club sound systems is the concept of hanging speakers at heights of 10 feet or more. These speakers cover the audience with more than enough mids and highs, while providing a disproportionately lower level of bass and subbass. By placing all speakers on the dance floor only, with a number of good bass-bins standing directly on the floor, and the full-range/mid-hi cabinets directly on top of the bins, the sound is then felt as much as heard, and the mids and highs are not so loud relative to the bass and subbass. For example, if you were to stand 20 feet from a stack of speakers, you would have basically the same view of the mid-hi/full-range cabinets as the bass-bins, and as such, the bass would remain proportionate in volume to the mids and highs. If however, the mids and highs are being radiated from above the audience in a direct path to your ears, several things occur: First, since bass bins are placed on the floor in almost all clubs, the bass is then partially blocked and absorbed by the audience, but the mids and highs are not. Second, the high frequency drivers used in most club systems are highly directional, whereas bass and subbass frequencies are omnidirectional by nature. As a result of these factors the bass and mids/highs become inconsistently matched in terms of volume, and at same time have less coherence and clarity. If you think back to times you've been really amazed by a sound system, more often that not it's because you heard it on a system providing a solid level of bass and subbass, that allowed you to really feel the music. As underground venues become more restricted by the political powers that be in many cities, clubs are increasingly where events/parties are held. Because club sound systems are typically permanent installs, they are more likely to employ overly complex and overbearing speaker placement strategies. (It may be a surprise to many, but there are people out there who don't go out to clubs much anymore because they are tired of sound systems that are too loud (mids/highs cranked up too high) and/or don't sound good.) Second, if it is a permanent install, the effects of such designs are long term as well. For those who work for or attend clubs where you have not had the opportunity to personally design the sound system, note that we do strongly suggest voicing your thoughts to the club management, owners, and promoters if they have one of these rock-concert style sound installations. Another advantage of placing speaker stacks on the dance floor, rather than in numerous elevated locations throughout a venue, is that the sound is then radiated from a smaller, closer array of locations. This insures that the timing between the sound sources is better aligned, and as a result, that the clarity of the system is maximized. Because sound travels at only about 1 foot per milliSecond in air, a difference of 50 feet for example between two speakers will cause a delay of up to 50 milliseconds between when a listener hears the signals from each. Combining multiple signals together with delays of that order is destructive to the transient response (a.k.a. "impact"), frequency response, and clarity of a sound system. In some large venues these timing differences can be so large that in some areas the sound from different speaker stacks (and/or wall reflections) combines such that it sounds like a constant trainwreck. The cure for this type of sound system is combining all the speakers into no more than 2 stacks, which are spaced no more than 30 feet apart. This document © David X (United Records, Sunsonic Sound System) - http://www.unrec.com/ & http://www.unrec.com/sunsonic/sound2.htm
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- June 22, 2003 at 10:19 am
  
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- A Technical Foundation To Building A Sound System: Part 6 Summary: This document clearly explains the principles that enable dance music to sound as good as it possibly can. We hope that these principles will be adopted as widely as possible in the pro-audio community. Keep in mind that networking and communication will always remain the primary means by which innovation, progress, and positive things are attained. We welcome any questions, comments, or feedback. Designing a really good sound system is a complex, scientific business. What you will usually hear at pro-audio retail establishments is fine if you are an average DJ playing average stuff. However if what you are interested in is THE best possible sound quality, you are going to need top quality equipment and you may need the assistance of an experienced engineer. Services, Contact Info: We offer a full range of services at reasonable rates, from system design and installation to project management and engineering services, including custom hardware and software development. We are also resellers for most brands of equipment and can get you the lowest prices you will find anywhere. We have wholesale accounts with a number of large pro-sound suppliers in our area, which allows us to leverage their inventory at no added overhead cost to us. As a result we can beat any price you will find anywhere on most pro-audio products. Please contact us at the details below for more information. Sunsonic: 8303 Clairemont Mesa Boulevard, 2nd Floor San Diego, CA 92111 US 858.571.6900 Tel 858.571.7400 Fax sunsonic@unrec.com This document © David X (United Records, Sunsonic Sound System) - http://www.unrec.com/ & http://www.unrec.com/sunsonic.
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- June 22, 2003 at 10:17 am
  
  [deleted]
- Fushion…Celebrate the Real Solstice Sat 21st June... SE Area Fushion Soundsystem with Trancemission vs Awakening DJs Lovely secluded location Totally free.... Call da numbers after 10.30pm
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  Fushion Julz
  in: Free Parties & Teknivals
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- June 20, 2003 at 11:17 pm
  
  Fushion Julz
- summer solstice! ello, haven't posted before, so greetings to you all ... anyone know of any parties wivvin easy driving distance of coventry? looking for beautiful green places and dirty techno in the midlands/oxfordshire/leicestershire/north wales/shropshire kinda areas.. cheers peeps ludo :D
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- June 20, 2003 at 8:02 pm
  
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- Solstice revellers warned off parties BBC News Summer solstice revellers heading for Stonehenge have been warned off holding any unlicensed "mass gatherings" after the event. Police in the neighbouring county of Hampshire say they will not tolerate any illegal parties after Saturday's solstice. Officers are to be out in force in the area between Basingstoke, Andover and the Wiltshire border to thwart any attempts to hold parties. Up to 30,000 people are already expected to gather during Friday in preparation for the solstice at Stonehenge. Superintendent Mark Chatterton, Andover's divisional commander, said: "We are not being killjoys, we are all in favour of people having a good time provided the event is properly licensed to ensure that it is safe for everyone. Speakers seized "Last month 25,000 people attended the Homelands Festival near Winchester - they enjoyed themselves in a safe and properly organised environment. "We will not stand for anyone setting up any sort of event that has not been through the safety and licensing process and there is nothing that meets that criteria in Hampshire around the solstice." The police have said that sound systems and speakers will be seized in the event of an unlicensed gathering. The Ministry of Defence, a major landowner around Andover, is also working with police to ensure that their sites are secure from occupation by solstice revellers. http://news.bbc.co.uk/1/hi/england/hampshire/dorset/3005674.stm
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- June 20, 2003 at 1:39 pm
  
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- Stonehenge’s summer solstice goes ahead BBC News Tighter controls are planned for an expected 23,000 visitors to Stonehenge for the summer solstice. New restrictions this year will mean visitors will not be able to get onto the site until 0200 BST and will be banned from bringing sleeping bags. The stones will be open from 0200 BST to 12 noon on Saturday 21 June, and access will be free. Visitors face random searches before entering the site. Dr Simon Thurley, chief executive of English Heritage, said: "We are very pleased to welcome people to Stonehenge to celebrate the summer solstice. Conditions of entry: No climbing on the stones No large bags, rucksacks or sleeping bags No fires, flaming torches, candles or fireworks No amplified music: acoustic only No dogs or pets No tents or garden furniture No glass or cans No bikes "We have set conditions of entry which are in accordance with our duty of care to the public and to Stonehenge." Kevin Carlyon, a self-confessed white witch, told the BBC: "I can see where they are coming from. "Plastic only is a good idea, for example, as people do try and scratch their initials into the stone with pens and so on." English Heritage says drunken, disorderly or antisocial behaviour will not be tolerated and that only small amounts of alcohol for personal use will be permitted. English Heritage reserves the right to refuse admission. http://news.bbc.co.uk/1/hi/england/wiltshire/2996450.stm
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- June 20, 2003 at 1:37 pm
  
  [deleted]
- strange birthday This bloke had quite a surprise at his birthday party!
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  Nomad
  in: Birthdays
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- June 19, 2003 at 5:45 pm
  
  Nomad
- solstice partyz in southwest???? hi party ppl !!!! im after some partyline numberz for sound systems that will be partying this solstice wkend in somersetdevon and bristol area.so if u can help?? leave me a message on this board or contact me at ciderfekt@hotmail.com thanx all!!! HAPPY SOLSTICE!!
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- June 18, 2003 at 5:51 pm
  
  [deleted]
- solstice party Solstice party!!!!! Near manchester and sheffield, 21st June D&B tekno GABBA!!!!!!!!! (little bit) call 07984698697/07091102463:p :p :p :p :p
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- June 18, 2003 at 11:47 am
  
  [deleted]
- fretekno: Yo dude, Don't miss this, All systems go! Solstace Teknoval multi rig site. . .21st June to 24th June North Wales location. . . Full greenfield midsummer gathering, phone mob no 07787976722 June 20th @10pm for site details, pass on msg to like minded folk. .peace an harmony. : )
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- June 16, 2003 at 10:49 am
  
  [deleted]
- Fretekno:Solstace Yo dude, Don't miss this, All systems go! Solstace Teknoval multi rig site. . .21st June to 24th June North Wales location. . . Full greenfield midsummer gathering, phone mob no 07787976722 June 20th @10pm for site details, pass on msg to like minded folk. .peace an harmony. : )
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- June 16, 2003 at 10:33 am
  
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