Tag: online music library

A lot of Millenials are preferring to use Spotify or similar “online jukeboxes” as their main music source, having the music play out of a wireless speaker or a network-capable audio system that supports these services.

What are these online jukeboxes?

Spotify – the preferred only music source for many Millenials but can be used as a music discovery tool

These “online-jukebox” music services all work work primarily on a subscription basis where you don’t effectively own your music library, rather you stream down the music from these services after you pay a nominal amount per month or year to use these services. Some of them offer a free ad-supported variant of their music service, usually as an on-ramp to the main subscription-funded service.

But some of us, like myself, use the above-mentioned “online jukeboxes” more as a music-discovery tool so we can identify musical content that can fit in to our library. Examples of this include playing playlists that convey particular musical styles or moods, or discovering and “trying out” artists, albums and tracks that pique our interests.It includes situations where a company may offer a branded playlist with songs that represent what they are about.

In my case, I showed some interest in one of the “yacht-rock” playlists on Spotify and there had been a few songs that piqued my interest, some of which would be hard to find on CD in Australia. What I had done was to visit one of the transactional download-to-own music stores that is run as part of a platform’s app store and subsequently bought these songs as audio files that I could download. This meant I could add them as part of a personal playlist that existed on a microSD card as well as on a NAS that is available on the home network.

How can the “download-to-own” music services fit in

iTunes – still going strong as a download-to-own music store

The way some of us add this content to our libraries is through a transaction-based “download-to-own” service like iTunes or Amazon Music. Increasingly most of the app stores associated with particular regular-computing or mobile platforms like the Windows Store and the Google Play Store are adding “download-to-own” music as part of their offerings.

Such services allow us to buy songs or albums as common media files to download to our computers or NAS drives, with a similar experience to buying the physical media where we effectively own it, but in a digital form. There used to be many of these services before the subscription-based music-streaming services took over the online music marketplace.

Microsoft Store -Microsoft’s latest entry in to the “download-to-own” scene, providing music as MP3 files

What used to be an advantage was for these services to sell most of the songs as single tracks rather than require the user to buy a complete album. This was very similar to the era of the 7” 45rpm single where people could buy these records for cheap if they are after a particular song. This appealed to people who were buying to build up playlists of particular songs typically to set a particular mood.

There is also the value that you are not dependent on whether the content you like is still available at the online streaming music service or whether you have burnt up your mobile download allowance by streaming your music while on the road. Some of the online music services provide for offline listening but the files that are stored are kept in a proprietary form that can’t be readily played with anything other than the software provided by the online service.

Viable niches that these services can answer

Some of these services still exist but could be taken further to support a range of viable niches whether in the form of content types or audio-reproduction standards.

Answering new and upcoming talent

The typical answer to this issue is to offer these services as an “on-ramp” for upcoming talent like new musicians, basement bands and DJs. Here, these artists who typically have a handful of content but aren’t discovered could be able to sell their content through these services. They offer a simplified “on-ramp” for this kind of talent and may even provide the promotion that it needs to be exposed.

You may find that some of these “download-to-own” music stores will have their “artist and repertoire” teams who “suss out” local gigs, buskers and community radio to hunt down the new talent whose material they can sell.

Supplying particular kinds of content

To the same extent, there are some suppliers who sell particular kinds of “download-to-own” music that suit particular tastes.

Beatport – the dance-music download-to-own store

One of these is Beatport who sell electronic dance music to DJs and those of us who like that kind of music. This is similar to how some dance-music record stores like Central Station Records in Australia existed, catering to this user class and were pulling out the stops to hunt down the latest beats.

Sometimes some record labels that specialise in particular kinds of content may run their own shopfront instead of or alongside the traditional distribution channels. It may be seen as a way to bypass import controls that some distributors and retailers value highly for controlling what is available in certain markets. As well, this approach effectively provides direct access to the talent the labels represent.

High-quality file-based audio

Another way would be that file types that represent high-quality audio could be available either as a standard or premium option. This can appeal for those of us who value high-quality audio or regularly use a top-notch hi-fi system. As well, there could be the ability to obtain high-quality masterings of the recordings that are available, including the ability to obtain a version prepared with or without high dynamic range.

Here, such recordings can be seen as a premium option for those of us who want something that is more special than what the online streaming services offer. An example of this has been the PonoMusic store that Neil Young started out with but is undergoing some renovation.

How can they complement Spotify and co?

But to continue making sure that these services maintain popular appeal, “download-to-own” music stores that want to cover a large market base have to have access to the current and back catalogue offered by most, if not all, of the major labels across the world. This includes being able to sell these recordings in to other countries, which may raise concern with music labels who don’t like the concept of parallel-importing of content in to other markets.

Similarly, they could partner with the likes of Spotify to offer the recordings that these subscription-based “online jukeboxes” provide for playback as a premium download-to-own option. For example, a media-management program that works with a “download-to-own” store and one of the “online jukeboxes” could offer a “buy this playlist offline” function where you can effectively buy your own copy of a playlist. Here, it would check which of the songs are downloaded or “ripped” from your CDs, then allow you to buy the remainder of the playlist from the “download-to-own” stores.

Conclusion

What has to happen is that, like the way radio and packaged pre-recorded music complemented each other, the download-to-own music services and the “online jukeboxes” of the Spotify kind need to be positioned in a manner to complement each other in the file-based music world.

In Part One of this series about the Consumer Electronics Show 2015, I covered the trends associated with personal computing while I covered the “Internet Of Everything” and connected living in Part 2. This part now touches on home audio and video entertainment technology which is being more about 4K ultra-high-definition video and high-resolution file-based audio.

TVs and Home Video

One of Sony’s ultra-slim 4K UHDTVs being shown in Vegas

The 4K ultra-high-definition TV technology is starting to mature with more manufacturers running even 10 models with this resolution. But they are improving on this with cost-effective high-quality display technology with LG using Quantum Dot technology and Samsung using SUHDTV nanocrystal technology. As well, a lot of manufacturers are running with more of the curved or bendable 21:9 TVs in their lineup.

Sony have premiered their XBR900C series 4K UHDTVs available in 55” 65” and 75”, and being 4.9mm thick. They also are implementing the X1 processor for optimumly real colours across all their current 4K TV range. They also launched an ultra-short-throw 4K UHDTV projector at US$10000 which is bringing 4K closer to the bar.

Samsung is supplying a range of flat and curved 4K TVs with screen sizes ranging from 48” to 88”. These will appear across three model lines – the JS9500, the JS9000, and the JS8500 and is in addition to a curved 105” set which has the new nanocrystal display technology.

LG’s 4K OLED curved TV

LG are running with 8 different 4K model lineups that are targeted at every price and room Sharp are implementing the Quattron yellow-dot technology in their 4K sets while TCL are putting their foot in the door for 4K UHDTV technology.

Another important trend is the control software for the smart TVs. Sony, along with Sharp and TPV Philips are intending to implement the new Android 5.0 operating system while Samsung is intending to run with Tizen and LG to implement a newer iteration of the WebOS operating system. Razer is even working on a games console that runs the Android 5.0 operating system. Panasonic are implementing the Life+ Screen smart-TV platform which is based on the Firefox OS operating system. In each effort, the companies are using established open-source operating-system code as part of their smart-TV platforms.

Dish Joey set-top box – the first set-top box to support 4K UHDTV

Let’s not forget what will appear on these sets Dish Network are ready for 4K content with the first 4K-capable set-top device in the form of the Joey set-top box. These can connect to 4K UHDTV sets with HDMI 2.0 and HDCP 2.2 . As well, they are offering a Sling IPTV service along with music-focused upgrades to their service delivery.

This is also being brought on by the UHD Alliance which is a group of big-name TV manufacturers and Hollywood content providers who are working together to provide high-quality 4K UHD video content. They have goals not just for high resolution but high dynamic range, a wider colour gamut and immersive sound as part of the content from creation to viewing on the customer’s TV set.

It has been augmented by the Blu-Ray Disc Association announcing that they were to start work on the Ultra HD Blu-Ray Disc specification. Panasonic have put a fair bit of input in to it and have even shown a prototype Blu-Ray player that plays 4K UHDTV content. As well, the Secure Content Storage Association have defined a secure-content-storage specification for consumers to store premium content on a hard disk or NAS and have established a “best-case” principle for selling 4K video content. This is where a customer buys a 4K-grade copy of content and they can have the best resolution that the playback equipment they are viewing it on can offer.

Cognitive Technology is working on a “Smart TV” content recommendation engine and wanting to partner with TV manufacturers and content studios to improve the concept of machine-assisted content recommendation.

As for the PlayStation Experience, Sony is providing the PlayStation Now streaming game service for the Smart TVs and their PlayStation consoles and offering at least 100 PS3 games to this service. This is in answer to them selling 10.5 million PS4s since model introduction and 4.1 million of them being sold through the past Christmas shopping season.

The doyen of streaming movies, Netflix, is working on a “Netflix Recommended” scheme for TV sets. The goal is to have certified TVs to switch to Netflix as quickly and as easily as changing TV channels. Here, the TV would have to have a dedicated Netflix button on its remote control, a suspend/resume function and to have Lilyhammer showing on Netflix within 2-3 seconds. This effort is being focused on the US market but will be rolled out around the world.

DirecTV are heading towards toe “over-the-top” path with the Yaveo Hispanic IPTV service. This will feature programming that has Latin-American Spanish dialogue and concepts focused at the Latin-American community.

Imaging

Sony FDR-AX33 4K HandyCam camcorder

This year, there has been an increase in the number of consumer-grade video-cameras that can natively film in 4K UHDTV. Sony have put up a 4K lightweight handheld Wi-Fi-enabled Handycam along with a GoPro-style “action cam” that surprisingly works in this format. These implement various “steady-shot” so you can take better footage with the camera hand-held. The action cam can shoot 4K footage at 30 frames per second and also implements an ultra-wide-angle lens.

Panasonic has used this show to get their fingers wet with 4K UHDTV imaging and launched their first 4K camcorder which can also do high-dynamic-range filming. They also released the Lumix CM1 Android-powered digital camera which has a 1” sensor.

Kodak is now on to lens-style cameras that attach to smartphones like what Sony initially offered. But these are more lightweight than the Sony models so you can stuff them in your coat pocket without them being too bulky and use a Wi-Fi link to the host device and implement NFC-based setup for Android phones.

Networked Audio technology

LG Music Flow Wi-Fi multiroom speakers

There is still a lot of interest in the networked audio technology whether in the form of music and home-theatre systems or in single-piece wireless-speaker setups.

LG are advancing a range of new Wi-Fi speakers that are directly targeted to answer Sonos’s market dominance. This include a battery-powered portable model along with their speaker range based around the Music Flow concept. It uses a mix of technologies that are similar to Sonos, Spotify Connect and Google Cast. It also implements Bluetooth NFC-based “touch-to-play” experience and allows you to create room zones with stereo/surround speaker clusters and a party-mode with music around the house. They come in the form of the H3. H4 Portable and H5 which are similar to the Sonos Play:1 and Sonos Play:3 but can run at a louder volume without distorting and clipping. The H6 Soundbar negates the need for a hub device and has its own bass abilities without the need of a subwoofer. LG is to field a variant of this soundbar to snap at the heels of the Sonos Playbar.

Technics R1 hi-fi system symbolising the return of the hi-fi brand

Panasonic is using the CES 2015 to exhibit its line of Technics hi-fi components Stateside. This is to capitalise on the Technics name that was associated with some highly-capable hi-fi components through the 70s, 80s and 90s with memories of some classy amplifiers, turntables, CD players and cassette decks; and was reintroduced in to Europe during the IFA 2014. Here, they have the R1 Reference Class System with the SU-R1 network media player / control amplifier feeding the SE-R1 150w/channel digital  power amplifier which has those large power meters that Technics power amplifiers were known for and driving the SB-R1 3-way six-driver floorstanding speakers; along with the C700 Premium Class system which has a ST-C700 network media player / tuner serving the SU-C700 45w/channel integrated amplifier driving the SB-C700 coaxial 2-way 2-driver bookshelf speakers. It would be interesting to see how this renaissance picks up in areas like New York City – whether it has the same vim and vigour as what existed in the early 80s where hi-fi was really valued.

Samsung have launched their WAM-7500 and WAM6500 360 degree speakers which implement  Ring Radiator Technology. This leads to sound that is diffused around the listening area, but they have the look that would make them blend in to a “retro-future” environment typical of a 1960s or 1970s space-fiction movie. They can connect to regular AV gear, or be wireless speakers that support Wi-F home-network connectivity along with, Bluetooth connectivity. The WAM6500 is the portable one of the bunch while the WAM7500 is intended to exist on a table or bench.

They are also launching the Milk Music “online-radio” service as a music service that can work with their multiroom systems.

One of the main drivers has been Google Cast which is an app-based content-streaming technology that uses the home network to “pull up” content from your smartphone on TVs and stereo systems in a similar vein to Apple’s AirPlay setup. Here, it has been pitched at the Android TV platform but the audio aspect has been pitched at a few home-audio devices offered by different companies. This is also run alongside the Google Nexus Player which is based on the Android TV platform.

Cambridge Audio are releasing a range of network-audio devices that are manageable on their front panel or through a mobile-platform app. These use a highly-optimised digital-analogue path with Wolfson WM8740 DAC circuitry and can support sources from the home network via AirPlay, DLNA / UPnP AV, or online sources like Spotify Connect. The CXN is a network audio player that provides these services to an existing sound system while this function is integrated in to two 7.1 channel bridgeable surround-sound amplifiers – the CXR-120 rating at 60 watts / channel or 120 watts / channel when bridged to stereo; and the CXR-200 which comes in at 120 watts / channel or 200 watts / channel when bridged to stereo.

Sony NW-ZX2 Audiophile-Grade Android Walkman music player

Sony have launched a pair of S-Trainer street-style headphones as wireless music players but also have sensors to help you with your workout. But they have focused on High Resolution Audio by releasing the NW-ZX2 Android Walkman MP3 player capable of playing Master-Grade audio files and has 128Gb storage on board infinitely expandable with a microSD card.

Sony STR-DN1060 4K-ready network surround-sound AV receiver

They also released the HT-ST9, HT-NT3 and HT-XT3 soundbars with some being connected to the home network and the STR-DN1060, and STR-DN860 network-capable home-theatre receivers. These are all capable of working with High Resolution Audio which is, again the “Master Grade” audio content worked at 24-bit 96kHz or greater sampling rates, said to be close to the sound of the master tapes.

Massive are fielding a set of Doctor Who Bluetooth speakers which look like either a Dalek or a TARDIS. They have the classic effects associated with this show such as the “Exterminate” call or the TARDIS’s cloister bell. This is also alongside a pair of headphones with some Doctor Who iconography..

Gibson (who now have Philips Audio, Onkyo and TEAC) is now selling the Trainer exercise supra-aural Bluetooth headset as a way of being noticed that it has consumer-audio prowess rather than just Les-Paul-style musical-instrument prowess. This headset has an LED so you can be noticed at night and it also has a button to “duck” the audio so you can hear what is going on around or to talk with someone else. As well, the earpads are designed to be washable.

Audio Technica have refreshed their headphone lineup with some waterproof “sports-grade” intra-aural devices including a headset. They even pitched a set of intra-aural earphones that are “up-to-snuff” for audiophile applications. They also launched a set of noise-reducing headphones with one that could be sold in Europe for EUR€100 and a pair of gaming headsets – one being open-backed and one being closed-backed for different frequency response characteristics, but these headsets are pitched at the same price.and can serve as wired mobile headsets. Let’s not forget their other point of prowess with record-playing equipment where they released an entry-level fully-automatic turntable equipped with their own cartridge.

The final part of this series will cover some computer and smartphone peripherals of not but will also cover how the home network is to evolve courtesy of some new connectivity-technology improvements.

Article

Will Streaming Music Ever Be A Sustainable Business? | Gizmodo Australia

My Comments

Spotify, one of the most popular online music-streaming services

As people cotton on to the likes of Spotify with its business model of free ad-supported desktop streaming and premium all-device streaming, we end up wondering which direction the trade in recorded music would go.

Some people reckon that use of these music services would displace the concept of buying music whether as CDs or vinyl from a physical store or online; or as “electronic hard-copy” files (MP3s, FLAC files, etc) from an online outlet like iTunes.

For me and most other readers, I get hold of music on a “to-own” basis where we prefer to buy a CD or record, or download music as an “electronic-hard-copy” format like MP3. Personally, I use Spotify as a tool to discover music of interest or give that album that I am thinking of a “test run” before heading to JB Hi-Fi to buy the CD or visiting BigPond Music or iTunes to “pick-up” the files.

The article was placing in to doubt the ad-supported or subscription-driven business models that these places use and whether they are really sustainable as far as the business is concerned. As a music consumer, I would like to see the development of an ad-supported or subscription-driven streaming service that is augmented by the ability for one to buy the tracks or albums as 320kbps MP3s or high-grade FLAC / WMA files on a “download-to-own” basis. This kind of service could be extended by the ability to buy CDs, SACDs or vinyl records through the service and have them shipped out to them.

Such a service could be offered by a pure streaming-content provider like Spotify through a partnership with someone like Amazon, iTunes or Deezer; and they could provide a “points model” or subscription rebate to support those who wish to buy the music as well as stream the new titles.

The streaming services can work alongside the “to-own” model of acquiring music and video material by allowing discovery and test-run opportunities for those of us who are thinking of newer content

Beethoven ….. Mozart ……. Schubert ……. Wagner ……… Handel …….. Vivaldi ……. How can you have them in your online music collection?

You may already have established a music collection centred around classical music and / or opera; with at least a few of those Deutsche Grammophon recordings or are just cottoning on to the Great Classics as a break from the regular popular music. Yet you want to add the music in to your digital collection for use on your iPod / portable MP3 player or to play through your DLNA-based home media network. The main problem you will end up with is how to locate a specific work or movement / aria / chorus in your collection; or material by a specific composer.

It may not appeal to those of you who prefer to listen to classical music from an LP or CD through very fine equipment, especially from audiophile-quality recordings or boutique labels; but those of you who are used to and don’t mind listening to classical music from the radio or cassettes or or play classical LPs and CDs through commonly-available equipment may be accepting of this practice.

Most music-management software pitched at classical-music enthusiasts works on a presumption that the music collection is exclusively focused to this genre. But the reality for most music collections is that there is a mixture of the classical-music genre as well as jazz and popular music existing in the collections. It also includes situations where there are recordings that feature a performer performing a collection of classical and other pieces, recordings featuring highlighted works by a particular composer or “themed” classical-music albums with pieces based on a common theme like a “Most Favourite Selection”; music mood or composition era.

How will you be integrating classical music in to your digital music collection

You may buy the music as MP3 files from an online music download service like what is currently being offered by Deutsche Grammophon or may simply buy classical-music CDs and “rip” them to your computer’s hard disk. In some cases, you may copy music you have on legacy analogue media like LPs to your hard disk.

What standards to implement

Unlike most contemporary popular music, this kind of music demands high quality recording and playback and is more so if you take this genre more seriously. The preferred order for storing the music in your master collection when you “rip” from CD or record from analogue media would be:

1. FLAC or similar lossless codec at best bitrate available
   This may have compatibility problems with most of the portable media players on the market, because they don’t have native support for this codec. Some DLNA-based media-player components, usually those hifi components made by companies who make equipment for discerning listeners may support this codec natively. If you wish to work with this codec, make sure that the media server or “jukebox” program that you use can transcode from this format to LPCM for DLNA applications or MP3 at 320kbps, AAC at 200kbps or WMA at 192kbps for portable media player applications. Most such programs that rip to these codecs can support these transcoding requirements
2. AAC at 200kbps or WMA at 192kbps
   These offer a tradeoff between good quality sound and storage efficiency and most devices on the market do support either of these codecs natively. It may still be worth it to check if the media server or “jukebox” program can transcode as mentioned above.
3. MP3 at 320kbps
   This is the codec that is often used for digital media but the only problem with it is that it is not efficient. It is also the preferred codec that is used when you download music via an online store.

The metadata issue

How does a person refer to a particular piece of classical music?

The works can be further differentiated by the performers who had a part in performing the work, such as a solo performer, orchestra (with a particular conductor), opera company or theatre.

Organising the Metadata

This is made more difficult because most music metadata is organised based on most popular music where the concept of an album is a collection of songs by one or more artists.

You will have to organise the metadata manually whenever you add a recording of a complete work to the music collection. This is more so where you buy a recording with multiple multi-movement works like nearly all concerto and sonata CDs and an increasing number of symphony CDs. Some of these recordings may have a multi-movement work plus a few single-movement works rather than two or more multi-movement works. This may not be of issue when you have recordings which are a selection of single pieces and/or key movements, arias and choruses from larger works.

You could give each work its own “album” name and make sure each movement in the work is given a track number that is consecutive to how the movements are meant to be performed. Another good practice would be to change the movement’s or part’s  “title” field to <<movement number>>-<<movement’s full name within work>>. There are some works that have a highlighted part within one of the movements, such as the 4th movement in Beethoven’s 9th Symphony. Here, the “Ode To Joy” chorus will typically be its own track and may be numbered “5” in the album track order, even though it is part of the 4th movement. You may still have to have this part being numbered as “5” in the album track order and the title’s movement number being “4a” so as to properly place it as part of its parent movement.

Also, if you are dealing with a suite of multi-movement works like Vivaldi’s “Four Seasons”, you may have to have each work, such as the “Spring” concerto as its own album. Similarly, long-form musical-theatre works like operas and ballets that are performed over multiple acts may need to have each act as its own album.

As well, you will need access to the “Composer” field for modifying and searching so you can integrate the composer as a key domain. This should be kept consistent in respect to the name of the composer. Try to avoid using name variations across different works by the same composer; and especially avoid referring to a composer by surname only. This can be more of an issue with works by Johann Sebastian Bach who was a very prolific composer; as well as the works composed by his sons such as that popular “Musette” piano piece. As for genres, the music should be listed under the “Classical” genre or similar genres.

Searching for the music

You may have to search amongst the “Album” metadata in the “Classical” genre to find works. As well, you should have access to the “Composer” metadata field – Windows Media Connect, Twonkymedia, Asset UPnP and other good servers provide for this. Musical theatre works like opera could have each act as its own work e.g. “La Traviata Act 1”, “La Traviata Act 2”.

You may need to search based on composer then work methodology if you are after a particular work. If you want to run a sequence of works, you will need to add the works to a “now playing” queue in your DLNA media player or controller. A good idea is to use playlists for keeping suites of multi-movement works like Vivaldi’s “Four Seasons”, or particular musical-theatre works together for sequential playback.

What needs to be done for music metadata management to cater for classical music

Data structures and fields in the databases need to exist to encompass the structure of classical music; primarily works, parts of long-form works (acts, etc) and suites of works. There also need to be data views that work commensurately with classical music’s structure i.e. to support “composer, works group, work, movement, performer(s)”. As well, music-management programs, including portable-media-player firmware and music metadata reference sites like Gracenote need to apply the different data structures and views when they are handling classical music. This can be made easier by detecting if a recording is identified as being part of the “classical music” super-genre; as well as providing a view structure for all classical-music recordings based on the “composer, works group, work, movement”; as well as the conventional “album-based” view for classical-music recordings so as to cater for “collection” recordings.

Summary

Once you can get your hands on the music metadata by editing it manually, you can safely integrate your classical music into your online music library while being sure you can locate that favourite work or movement.

Please feel free to leave any comments on how you had gone about integrating your classical music in to your online music library.