joomla templates

Español (spanish formal Internacional)English (United Kingdom)
Home / Editorial
A+ R A-

Editorial (17)

Movimientos que impactan el ámbito editorial en nuestro país

Wednesday, 07 March 2012 18:59

HD Radio Descubrelo, AM y FM digital

Publicado en Editorial

 

HD Radio Descubrelo, AM y FM digital

Descripción: http://www.ickrom.com.mx/img/productos/documentobroadcast.gif


La nueva era de la Radio Digital HD Radio ya llegó a México, AM escuchandose en estéreo y con calidad como si escuchara un CD ademas y la FM ahora podrá ofrecer canales adicionales estéreos en la misma frecuencia, es decir, en una sola frecuencia por ejemplo usted va a escoger entre Jazz, Pop y Noticia


Descripción: http://www.ickrom.com.mx/im/HDradio_descubrelo.jpgs y todos con sus

canales de datos donde leerá el nombre de la canción entre otras cosas, lea y prepárese más sobre esta tecnología.

¿Qué es HD Radio™?

Radio HD es una forma mejorada de transmisión de señales AM y FM de radio, de señales analógicas a digitales. Suena bien, pero ¿qué significa para nosotros, los oyentes?

La tecnología de Radio HD permite a las emisoras transmitir una señal digital de alta calidad. Para los oyentes que tienen un receptor de Radio HD, los beneficios son:

· Radio FM con sonido de calidad casi igual a la de CD

· Radio AM que suena tan bien como FM tradicional

· No más estática, estallidos, crujidos o desvanecimientos en la señal

· Transmisión de datos adicionales, tales como títulos de canciones y nombres de artistas

· Opciones de Escucha Incrementadas con la multidifusión

· Tagging a song for later purchase through the iTunes® Store

Analicemos cada uno de estos beneficios por vez.

Radio FM con sonido de calidad casi igual a la de CD

La tecnología digital le permite a una emisora de radio transmitir más información en la misma onda radioeléctrica. Fundamentalmente, esto significa una calidad de sonido superior. Tanto más que las transmisiones de FM suenan casi tan bien como los CD.

Radio AM que suena tan bien como la FM estéreo

La radio AM usa secciones más pequeñas de ancho de banda que la FM. No hay suficiente ancho de banda para que Radio HD le dé a estaciones AM la misma señal de calidad de CD que a las estaciones de FM. Pero existe suficiente espacio para darle a las estaciones AM claridad equivalente a la actual radio estéreo FM analógica. Se espera que este refuerzo en calidad de sonido convierta la radio AM en una alternativa viable para FM, lo que significaría más opciones para los oyentes.

No más estática, estallidos, crujidos o desvanecimientos en la señal

La señal digital es menos vulnerable a los problemas de recepción. Los procesadores digitales del sintonizador de radio eliminan la estática, los chasquidos, los crujidos o desvanecimientos en la señal provocados por la interferencia. Distorsión por Trayectoria Múltiple, causada por la señal de radio que se refleja de los edificios y otras obstrucciones de alrededor, se elimina completamente. Usted escucha

solamente sonidos claros, limpios y ricos.

Si perdiera la señal digital por alguna razón(terreno obstruído, cercanía con el borde del área de emisión, etc.), la tecnología Radio HD omite al modo analógico, en forma similar a cómo las radios actuales cambian de estéreo a modo mono cuando reciben una señal débil. La radio sacrifica detalles en un esfuerzo por incrementar la recepción.


Transmisión de datos adicionales

Otro beneficio de la radio digital es la capacidad de la estación radial para transmitir datos adicionales junto con la señal de música. Generalmente, toma formato de texto en la pantalla de su receptor, como la canción y el título de un artista, cartas de llamado a la estación e información publicitaria. Si está escuchando un programa informativo, se pueden transmitir actualizaciones financieras a su radio. Y las estaciones pueden incluir información local y regional, como actualizaciones del tiempo o alertas de tráfico.

 

Descripción: http://www.ickrom.com.mx/im/hdradio4b.jpg

Multidifusión

Además de duplicar su programación analógica con una transmisión de Radio HD, las estaciones pueden subdividir la porción digital de su señal. Esto permite que una estación pueda realizar una "multidifusión", es decir, que puede transmitir dos o más programas simultáneamente. Los oyentes pueden elegir, por ejemplo, entre un partido deportivo o música.

Al ser digitales solamente, estos canales adicionales pueden recibirse únicamente en un sintonizador de Radio HD. Pero tal como la TV por cable permitió que florecieran redes especializadas, la multidifusión ofrece potencial para que las estaciones ofrezcan más programación especial, lo cual en definitiva brinda al oyente una mayor variedad de formatos para elegir.

La multidifusión es muy importante tanto para las estaciones de radio como para los oyentes. Una estación de radio ahora puede dar un mejor servicio a sus oyentes. Por ejemplo, una estación de radio pública puede emitir jazz en un "canal" y entrevistas en otro "canal". La misma estación de radio, la misma frecuencia, pero múltiples opciones para el oyente. Las estaciones de radio comerciales podrán diversificarse en múltiples formatos, y emitir música rock o country, por ejemplo. Ahora, considere las posibilidades que existirán si todas las estaciones de radio de un área pueden ofrecer dos o tres canales para que el oyente escoja.

La tecnología

Una empresa llamada iBiquity Digital ha creado la tecnología para hacer que esto suceda. La empresa entrega licencias a estaciones de radio para que usen esta tecnología y les ayuda en el proceso de conversión.


Y también a diferencia de la conversión a televisión digital, los consumidores pueden elegir si quieren o no participar de la actualización. Al contrario de la industria de la televisión, para la cual la señal analógica se eliminará tarde o temprano por decreto federal, las estaciones de radio continuarán transmitiendo la señal analógica junto con la nueva señal digital. Si elegimos no actualizar nuestros radios, podremos todavía escuchar radio AM y FM analógica —aunque nos perderemos los canales de multidifusión exclusivamente digitales.
A diferencia de la televisión de alta definición, en la que la transición hacia la tecnología digital cuesta millones de dólares a cada estación, actualizar el mundo de la radio es mucho menos costoso. Las estaciones de radio deben pagar alrededor de $75,000 para convertirse a la banda ancha digital, lo cual además significa una gran inversión.

¿Cómo funciona?

La tecnología de Radio HD funciona de manera muy similar a la transmisión de radio analógica tradicional:

1. La estación de radio envía las señales de radio analógica y digital, junto con una tercera señal para los datos de texto.
2. La señal digital se comprime antes de transmitirse.
3. La señal de tres capas se transmite desde el transmisor digital actualizado de la estación de radio.
4. La interferencia por trayectoria múltiple, provocada por la reflexión de la señal en las edificaciones, es ignorada por la radio digital, que es capaz de identificar la señal verdadera y descartar la interferencia.
5. Su radio recibe la señal y, dependiendo del equipo que tenga, usted oye los datos digitales o los analógicos.

 

marzo 05, 2012

By Ed Christman, New York

The Orchard and the Independent Online Distribution Alliance (IODA), the two largest digital aggregators in the United States, are merging. Sony Music Entertainment will be a strategic investor in the combined entity, sources tell Billboard.biz. 

As part of the deal, Sony, which already owns 51% of IODA, would have to accelerate the acquisition of the remainder of that company so that it can complete the deal with the Orchard, sources suggest. Sony will own at least 50% of the merged company, the sources add. As a result of the deal, the merged company will have revenues of about $130 million, according to sources. 

This deal comes in the wake of the merger between INgrooves and Fontana, which was announced last week. In that deal, Shamrock Capital acquired Fontana from the Universal Music Group and merged it with INgrooves, leaving the major as a minority investor with a 15%-20% stake in the combined entity.

INgrooves to Purchase Fontana

In this latest deal, Dimensional Associates, the private equity arm of JDS Capital Management, which is the majority owner of the company, will retain a stake in the merged company. But sources speculate that there probably is an option for Sony to buy out Dimensional Associates at a later date, just like there was in the IODA deal. 

Orchard, IODA and Sony had not commented at deadline.

Wednesday, 29 February 2012 17:50

Tips to avoid trademark trouble in China and other countries

Publicado en Editorial

Tips to avoid trademark trouble in China and other countries

Posted: 27 Feb 2012 11:30 AM PST

With all the trademark violations coming out of China (see IP Blog), it’s important for chief intellectual property officers to figure out how to avoid trouble in other countries if they hope to export or produce their patented products there. “What [intellectual property officers] often don’t realize though, is that trademark ownership can also influence their ability to source finished products from a particular country,” notes Chris Griffiths, the Toronto-based director of fine tune consulting, a boutique management consulting firm, in a recent article for the Globe and Mail.

“To have a product that you own made in, sold in, or exported from [any] country, you have to have legal rights to the brand,” he said. “So even if you don’t intend to sell in a country but do intend to have your product made there, a trademark is crucial protection against an interruption in your supply chain that will affect all of your markets.”

ASCAP settlement with the radio industry - what will your station pay?
Davis Wright Tremaine LLP David D. Oxenford USA

January 30 2012

Author page » ASCAP and the Radio Music Licensing Committee have reached a settlement on the amount that radio stations will pay to ASC...AP for the use of music for the period through the end of 2016. The agreement was approved last week by the US District Court in the Southern District of New York acting as a “rate court” to consider those fees. We reported that a settlement had been reached in early December, and now we’ve seen the actual documents and can provide some details of this agreement between the commercial radio broadcast industry and ASCAP. It should result in significant savings for broadcasters from rates that they had been paying prior to January 1, 2010.

As we wrote in 2010 when RMLC and ASCAP were first trying to reach a deal on new rates, the biggest problem with the old rates was the payment structure. Rather than making ASCAP a partner of the broadcaster by cutting them in for a percentage of the broadcaster’s revenue, under the deal that ended in 2009, ASCAP was to receive a set fee each year from the broadcast industry. That set fee was divided among all commercial radio stations not based on station revenues, but instead based on the market size and technical coverage of each station. So all similarly powered stations in a market paid the same ASCAP fee, whether they were big revenue producers or not. And the agreement was entered into during a period where radio broadcasters thought that revenues would be ever-increasing, so that set fee to be paid to ASCAP increased each year. As the economy and broadcast revenues fell during the later years of the deal, while the set fee kept increasing,broadcasters were paying an ever-increasing percentage of their revenues to ASCAP – far more than would have been paid had the industry stuck to a percentage of revenue formula.

Well, the experiment is over, as the new deal returns to a traditional percentage of revenue deal. Music radio pays ASCAP 1.7% of “revenues subject to fee from radio broadcasting." Essentially, that is all the revenue that a station receives from advertising and promotions, less a 12% deduction (presumably to cover commissions and costs of collection). Barter revenues, and payments made to networks (as opposed to the stations themselves), are excluded from the gross revenue calculation. All revenues from HD programming (including any amounts received for brokered programming) is also included (at least for the time being – subject to reevaluation should HD revenues account for 25% of radio revenues by 2015). New Media revenues, if the arise exclusively from streaming your station on the Internet, are also included in this gross revenue calculation.

Unlike the old deal, this deal also covers other New Media revenues that arise from other Internet music uses. Under the old deal, if you launched a “side channel” on your website (i.e. a web-only internet radio channel) or made other use of music on your website, you had to get licensed separately for this activity under an ASCAP web license. Only simulcast streaming was covered by the old broadcaster's deal with ASCAP. Under this new deal, New Media revenues that are more than just simulcasting your over-the-air signal are also covered, and are also subject to the same 1.7% of revenue fee, but there is a 25% deduction from that fee (presumably due to the higher commissions customarily paid for online revenues, but subject to adjustment back to 12% if the total of the higher new media deductions would cost ASCAP more than $5,000,000 than if the deductions had been at the 12% level).

Other good news includes that the broadcast industry has been paying too much from January 1, 2010, when this rate period began, until now, and the radio industry is owed a $75 million refund by ASCAP. As we wrote in 2010, radio has been paying under an interim fee arrangement since the old deal expired. The interim fee represented a discount off of the old fees, but it was a discount that was not as steep as that which the new deal represents. The overpayment will be paid back to radio broadcasters in $15 million yearly installments, allocated to the stations that paid those royalties by being applied to their obligations in 2012-2016 using a formula set out in the agreements.

The deal also provides for fees to be paid on a per program basis for station that use little music in their broadcasts (or on their websites). Formulas for calculating these fees are provided in the agreements.

Recordkeeping is also addressed in the agreement, providing for reporting only one week per year for music stations. More frequent reporting is required for stations paying on a per program basis. Records of what music was played on the station will be reported electronically on forms to be developed by ASCAP and approved by the RMLC.

Minimum annual fees for any station are $588.

Finally, the Judge’s order approving the agreement provide for payment to RMLC to support its enforcement of the agreement and its efforts going forward to work with broadcasters on licensing issues. Fees range from $12 per station for those with less than a $6500 annual obligation to $510 per year to stations that pay over $20,000 per year to ASCAP.

Obviously, this summary just hits the highlights of the deal. Radio stations should be receiving a copy of the agreement, and should review it carefully to determine how it applies to their operations. And remember, this is but one part of the adjustment of the radio music licensing rates, as the RMLC still has to reach an agreement with BMI on the rates that they will charge. This agreement may set a benchmark for RMLC’s proceeding with BMI to set rates covering the same period. Watch for developments in that case in the coming months.
Thursday, 15 December 2011 19:42

The battle between Universal and Megaupload, six key

Publicado en Editorial
Side to side in this battle is still on. We talked about the collision between the record label Universal (most powerful) and file-sharing web Megaupload. It all started last Friday with the publication of a controversial video. Summarized in six key the account of the facts:
1. On Friday, Megaupload hangs on a YouTube video entitled The Megaupload song. Basically it's a song that praises the virtues of service. Interpret well-known artists such as Puff Daddy, Alicia Keys, Kanye West, Chris Brown, May J Blige, will.i.am Kim Kardashian and, most who publish their records with the multinational Universal. "When I have to send a file across the planet, use Megaupload", recites, for example, the composer of Black Eyed Peas' will.i.am. A campaign to use? Well, no: the morbid matter is covered by understanding that Megaupload (the housing system serves as an e-mail, for sending large files between the Internet) owns Megavideo, service audiovisual links that feeds For example, Yonkis Series. This is the company that lets you see shows like True Blood and Mad Men avoiding the payment of royalties. Here you can see the video of The Megaupload song:
2. Hours later, the video has disappeared from YouTube. The cause: the Universal label requires (and gets) the elimination of the song saying that the fact that some of their artists sing on the subject violates the law of U.S. intellectual property. On the Web expands the suspicion that this attack Megaupload Universal goes beyond the intellectual property of voices, and that has more to do with opposition to a company (Megaupload) that is destabilizing the foundations of the culture industry traditional.
3. Megaupload founder, Kim Doctom be contacted on Saturday with officials from removing videos from YouTube. "We have signed agreements with all the artists featured is this campaign," he says. Get to be believed, but only for a few hours, because Universal Strikes Back and the song manages to disappear permanently from YouTube.
4. Did we say forever? Many Internet users have already made copies of The Megaupload song and rise from your YouTube account. Universal tries, as he can stem the tide, although the task is really difficult.
5. Kim Doctom, pissed off that have annoyed her viral video, said a few hours ago the British newspaper The Guardian that is considering to sue Universal. "They are making illegitimate claims for content that does not possess.'re Intentionally sabotaging the campaign," says the owner of Megaupload. It would be curious, at least, Megaupload finally goes to court as a giant Universal.
6. Failure to hear the explanation of the musicians who sing the song of the controversy. If Megaupload is the alleged enemy of traditional record companies and producers, what drove them to collaborate with them? Why are these artists act, apparently against the interests of the companies they work for? Are they perhaps rebelling against their own system?

Accesar

Registrarse

*
*
*
*
*

* campo requerido