Archive of the Education Category

The Music Producers Guild Introduces Mastering Engineers To Broadcast WAV

As the music industry prepares to adopt the Broadcast WAV file format as the best means of embedding ISRC data into future recordings, the Music Producers Guild is hosting an event to highlight the importance of this initiative and give recording professionals the information they need to make it a success.

The event, which is primarily aimed at Mastering engineers, will take place at the Hospital Club in London on the evening of April 9th, 2014. It is sponsored by digital audio workstation manufacturers Magix/Sequioa, Merging/Pyramix and Prism Sound/SADiE, all of whom have recently announced their support for the initiative by backing file exchange between their systems.

Headed by Alchemy Mastering’s Barry Grint, the MPG has led a strident campaign to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which don’t contain a method for embedding ISRC information. Their efforts have been successful as the boards of both the BPI and AIM have now recommended to their members that this new format be adopted.

“Our event on April 9th is the only opportunity Mastering engineers will have to understand and prepare for this format change,” Barry Grint explains. “Each of our DAW sponsors will demonstrate how the ISRC embedding process fits within their workflow, and how they are working together to ensure seamless exchange of the data between all of the workstations. This is a massive step forward for the industry and we really hope that Mastering engineers and other recording professionals who are interested in ISRC will take the opportunity to come along and learn more.”

Grint adds that the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

Broadcast WAV, the professional WAV format created by the European Broadcasting Union, can carry ISRC information and this is why MPG is so keen to see is adopted by as the de-facto standard for music interchange in the production process.

“The inclusion of ISRC information will remove the need for it to be re-entered and reduce the opportunity for error,” Grint says. “The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain.”

The MPG’s aim is to establish ISRC as the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification. This will give the entire music industry a robust and secure system for identifying tracks, and who had input into their creation, so that it can safeguard the incomes of all artists and copyright owners.

Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain.

“Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition,” Barry Grint says.

To register for this event, please visit: http://www.mpg.org.uk/events/279

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

Prism Sound Launches ‘Bitesize’ Webinars

The enormous success of Prism Sound’s Audio Design Workshop LIVE event at the 51st AES Conference in Helsinki has inspired the company to launch a new, free webinar series – Audio Design Workshop: Bitesize.

The Bitesize series delves deeper into the audio engineering and measurement topics already discussed in Prism Sound’s popular Wednesday Webinars series. These free seminars, which are available to download from the Prism Sound website, have already covered a range of technical issues surrounding audio test and measurement and are now widely regarded as a valuable educational resource for audio engineers working in a diverse range of industries.

The launch of Audio Design Workshop: Bitesize takes the concept a stage further by delivering a detailed insight into modern testing techniques and their underlying theory. Each webinar will last roughly 30 minutes, ensuring it remains concise and relevant.

The first Bitesize webinar will take place on December 18th 2013 at 14.00 and 18:00 (UTC/GMT). This inaugural seminar will cover FFT Fundamentals and will discuss the six essential steps in audio test and measurement:
• Why you need to understand Fourier Theory
• The significance of the Time-Frequency Relationship
• DFT/FFT and why they matter
• How to choose the right window function for your measurement
• Avoiding the ‘Picket-Fence’ effect and the errors it may bring
• Make the most of your FFT – special measurement techniques
Each webinar will include live demonstrations and a Q&A session.

Anyone wanting to attend should register at www.prismsound.com/webinars to receive their session login details. Please check the Prism Sound website for information about future Bitesize webinars.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

The Music Producers Guild Gets BPI and AIM Backing For Its Broadcast WAV Initiative

Just months after officially launching its ‘ISRC in Broadcast WAV’ initiative, the Music Producers Guild has received the support of the BPI and AIM, two trade bodies representing the music industry. Both have agreed to adopt Broadcast WAV as standard.

“We are really delighted to have the support of the BPI and AIM,” says Alchemy Mastering’s Barry Grint, who has led the MPG ISRC campaign. “This is fantastic news for all recording artists and copyright owners because adopting Broadcast WAV will make file identification and content tracking much easier and more accurate. It will also help royalty agencies develop more precise systems for payments, thereby safeguarding the incomes of artists and copyright owners when their recordings are played on air.”

With two major UK music industry organisations now firmly behind the new format – and with a number of mastering hardware equipment manufactures also on-board – the Music Producers Guild believes it is only a matter of time before Broadcast WAV is adopted by the music industry world-wide.

“WAV is the standard format for music interchange in the production process, but MPG members were frustrated that there was no method of embedding industry standard ISRC information in the format to enable more accurate identification the content of files,” Grint explains. “Working in collaboration with the European Broadcasting Union, which created a professional version of the WAV format called Broadcast WAV, we have been able to ensure the carriage of ISRC information in this type of file, thus removing the need for it to be re-entered and reducing the opportunity for error.”

The inherent good sense of using Broadcast WAV is now being recognised.

BPI Chief Executive Geoff Taylor says: “BPI is pleased to support this MPG initiative and we’ll be encouraging our members to adopt Broadcast WAV as a standard. By incorporating ISRC data into the WAV file, we can provide a more accurate and reliable means of identifying recordings when they are exchanged between labels and studios.”

James Farrelly, membership manager of AIM, adds: “In an environment where labels of all sizes now understand that effective metadata management is the key to maximising revenue from their master rights, the work MPG is doing to adapt the BWF format will result in a clearer, more accurate approach to identifying tracks and minimising potential mis-allocation of income from repertoire usage. AIM is proud to support this initiative and looks forward to working with the MPG and their partners to build industry wide adoption of the format.”

The MPG is now planning to address mastering engineers by holding a seminar to demonstrate the ease with which Broadcast WAV can be implemented. This will take place in London in early November (see www.mpg.org.uk for more details).

“For engineers using Magix/Sequioa or Merging/Pyramix, switching to Broadcast WAV will simply involve a software upgrade as both of these workstation manufacturers are already backing the Broadcast WAV initiative, ” Grint explains. “Now that this issue is higher up the priority list, we hope other manufacturers will quickly follow their lead.”

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

Partner Conference Allows Distributors To Get Under DPA’s Skin

More than 120 pro audio distributors, dealers and opinion leaders travelled to Denmark for DPA Microphones’ Partner Conference.

Guests from around the world attended three days of meetings and seminars in Copenhagen and at DPA’s headquarters in Allerød. They were also taken on a tour of DPA’s production facility in Asnæs where they were shown the different processes involved in making a DPA microphone. The conference culminated in a live, hands-on workshop at the Nørrebro Theatre in Copenhagen, where a singer/actor and a band demonstrated various DPA microphones.

DPA Microphones’ CEO Christian Poulsen says: “The conference was a huge success as it allowed those attending to really get to know the company. DPA has changed a great deal in recent years thanks to the introduction of a new management team and significant developments in R&D that have led our product range in new and exciting directions. We held this conference because we wanted our distribution partners and invited guests to get a real sense of the DNA of the new DPA – a company with true forward vision.”

Among those attending was sound engineer Chris Ekers, who was involved with the London Olympics 2012 Opening and Closing Ceremonies.

Commenting on his time in Denmark he says: “I use DPA microphones all the time for theatre and classical opera work, so I know what they can do. However, I was very interested to see the production facility and learn more about how they are made. I was amazed at the amount of work and care that goes into each microphone. I met one lady who had personally touched every DPA 4060 miniature microphone ever made – and that must be an awful lot of microphones.”

Ekers adds that the seminars and demonstrations were extremely useful, even for an experienced engineer. He also enjoyed meeting the DPA team and learning more about the company’s approach to design and manufacturing.

“This is obviously a young and vibrant company with lots of good ideas for expanding its product range in an intelligent way,” he says. “It was a privilege to be invited to DPA’s Partner Conference and I thoroughly enjoyed the experience and DPA’s hospitality.”

His views were echoed by Rui Lisboa, DPA’s Portuguese distribution partner. “I was surprised to learn that every DPA microphone is hand-crafted, and also amazed by the rigorous test procedure each one goes through,” he says.

Sound engineer Bernard Schmid, who attended the partner conference as a guest of DPA’s Austrian distributor, adds: “For me, the practical demonstrations were the most useful as these gave me a chance to compare different models. I have been using DPA microphones for many years yet I still learned a new and easier way of hiding a miniature microphone in the hair.”

Another guest was Akira Fukada, the inventor of the surround standard Fukada Tree, who says: “Being able to participate in the conference was a great honour and a very stimulating experience. I now understand the direction in which DPA is aimed and I learned about the quality control of these wonderful products. DPA is an indispensable microphone for my music production, and I look forward to new developments at DPA.”

Other attendeed included artist and sound engineer Seigen Ono; Takeru Yamazaki, product manager at DPA’s Japanese distributor Hibino Intersound and Chul Hoon Choi and Soo Hwan Kim from DPA’s South Korean distributor Best Leading Solutions.

“It was a fascinating experience and I came away with a much better understanding of DPA, its business philosophy and its approach to R&D and product design,” says Soo Hwan Kim, sales manager at BLS. ”We got a few hints about some of the new products that are coming along next year and these look really exciting. DPA already has a strong reputation for quality, but seeing the care that goes into the manufacture of each and every microphone leaving its factory makes you realise just how exceptional these products really are.”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Prism Sound’s Audio Design Workshop LIVE Travels To Helsinki

High profile guest speakers from Texas Instruments and Klippel are joining the next Prism Sound/Oxford Digital Audio Design Workshop LIVE, which takes place in Helsinki on August 21st, 2013. In an industry first, this groundbreaking event will be webcast live from the 51st AES Convention to audiences around the world.

The registration page for the live webcast can be found here:

http://audiodesignworkshoplivehelsinki-SS.eventbrite.com

The event, which is held in conjunction with the Audio Engineering Society (AES), is open to all engineers, engineering managers, students and academics involved in audio engineering. It will feature seminar sessions and workshops hosted by some of the most experienced engineers in the audio industry who will share their knowledge and practical expertise in active loudspeaker design, providing the audience with an opportunity to learn from their many decades of collective experience.

“The seminar sessions will cover aspects of analogue and digital audio system design and optimization, with a major emphasis on real-world, practical problem solving,” says Simon Woollard, Test & Measurement Product Specialist at Prism Sound. “Our audience will have plenty of opportunity for hands-on experimentation, and for networking with the presenters and other participants. This is a fantastic chance for everyone involved in audio engineering to learn the tricks of the trade from luminaries within the audio industry.”

Prism Sound and Oxford Digital, who have joined forces to organise the Audio Design Workshop LIVE series, have extensive experience in the field of audio engineering.

Prism Sound has been developing audio measurement solutions for over 25 years and has pioneered many major innovations in this field. The company offers high quality audio analyzers that are suited to a wide range of test and manufacturing environments.

Oxford Digital specialises in digital audio signal processing for mobile and consumer equipment. Its products include an extremely compact audio DSP core with a rapid programming and development environment and Sonic Tuning Tools that allow rapid optimisation of the sound reproduced by compact loudspeaker systems. The complete toolset is targeted at reducing time-to-market and lowering software maintenance costs.

Audio Design Workshop LIVE will feature seminar sessions and Q&A opportunities where delegates will have the chance to ask the panellists for answers and advice.

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. This can be done online via the dedicated registration page: http://audiodesignworkshoplivehelsinki-SS.eventbrite.com or by calling +44 (0)1353 648 888.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

DANLEY UPS THE SPLS ON ITS SH SERIES OF SYNERGY HORNS

GAINESVILLE, GEORGIA: Not content to rest on its laurels, Danley Sound Labs announces improvements to many of its already highly-regarded SH-Series full-range loudspeakers. The new versions are identified by the suffix “HO,” which stands for “high output.” For example, the if one wishes to get the most performance out of the Danley SH-96 they should order the Danley SH-96 HO. The new designs use a more powerful two-way high frequency. As a result, the low- and mid-frequency drivers can now be driven to their full potential while still maintaining Danley’s characteristic frequency response, phase response, and fidelity. In conjunction, the new designs use a new crossover and have additional options for bi-amping and for changing the low-frequency impedance. Because the cabinets themselves haven’t changed, the new versions retain the coverage and frequency loss patterns of the originals. The new models include the SH-95 HO, SH-96 HO, SH-64 HO

“The original versions can be easily modified to become the new ‘High Output’ versions,” explained Ivan Beaver, lead engineer at Danley Sound Labs. “It just takes the new high frequency driver, a new crossover, and a new switch panel.” In addition, the midrange drivers are also wired a little differently, which is incorporated as part of the new crossover wiring harness. “There are two options on the new switch panel,” said Beaver. “First, there’s a biamp/passive switch. In passive mode, the new cabinets run pretty much like the old versions, except that the mid/high section will be relatively louder than the woofers, assuming the woofers are running at 8ohms.”

He continued, “And that’s the second option. Users can select a woofer impedance of either 2ohms or 8ohms. Some people do not like to run at 2ohms, whereas others may need the additional output when using smaller amplifiers. The wire run should also be considered when choosing the impedance. With a 2ohm load there will be more loss across the wire. How much loss will depend on the size of the wire and the length of the run. An 8ohm load will have a higher damping factor than a 2ohm load, and it is of course easier to bridge an amp into an 8ohm load than into a 2ohm load.” In biamp mode, the mid/high section takes the crossover circuitry and the low section thus has no built-in crossover.

Because the new switch panel cannot be expected to operate reliably if left exposed to the elements, weatherized versions of the new High Output loudspeakers must be pre-ordered with specified biamping and impedance settings.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

Prism Sound Hosts Audio Design Workshop LIVE

Some of the most experienced engineers in the audio industry will be sharing their knowledge and practical expertise in active loudspeaker design at a unique workshop being hosted by Prism Sound and Oxford Digital, in partnership with the Audio Engineering Society, LOUDSOFT and TTid.

Audio Design Workshop LIVE will take place at Anglia Ruskin University, Cambridge, on March 25th 2013 and will be open to engineers, engineering managers, students and academics involved in audio engineering.

“The seminar sessions will cover aspects of analogue and digital audio system design and optimization, with a major emphasis on real-world, practical problem solving,” says Simon Woollard, Test & Measurement Product Specialist at Prism Sound. “Our audience will have a unique opportunity to learn from our panel’s many decades of collective experience, plus there will be plenty of opportunity for hands-on experimentation, and for networking with the presenters and other participants. This is a fantastic chance for everyone involved in audio engineering to learn the tricks of the trade from luminaries of the audio industry.”

Audio Design Workshop LIVE will feature seminar sessions presented by Peter Eastty and John Richards of Oxford Digital; Peter Larsen of LOUDSOFT; Ian Dennis and Simon Woollard of Prism Sound; plus a guest presenter to be announced shortly. There will also be a panel discussion/Q&A where delegates will have the chance to ask the panellists for answers and advice, a hands-on session with evaluation units and demonstrations, and plenty of opportunities to network. All delegates will also receive an audio engineering gift pack.

“We are encouraging delegates to bring along their own loudspeakers for evaluation and enhancement using Oxford Digital’s DSP tools,” Simon Woollard adds. “And for those who can’t physically attend, there will be the opportunity to watch the proceedings live via a global webcast.”

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. This can be done online via the Prism Sound website: www.prismsound.com/ADWLCambridge2013, or by calling +44 (0)1353 648 888.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

Acoustics First releases video on Vibration Isolation

Acoustics First has conjured up yet another video demonstration. As the fourth in a series designed to help explain common acoustic principles, this video briefly reveals what is necessary to provide vibration isolation.

VIBRATION ISOLATION DEMONSTRATION: Controlling Mechanical Sound Transmission

As the quandary of vibration isolation can quickly prove to be obtuse and relatively difficult to understand. Common problems like footfall from upstairs neighbors, industrial noise from machinery and HVAC equipment or isolating speakers and scientific devices can require completely different approaches. Most often, an on site assessment should be completed by a qualified engineering professional to determine an appropriate acoustic solution. In many cases the solution will require a modification to the structure and implement more than a single strategy.

This simple vibration demonstration challenges to provide a basic understanding of how acoustical materials may be used to prevent the spread of mechanical noise and vibration through existing structures like walls, floors and ceilings.

In this acoustic demonstration, a surface mounted piezo transducer connected to an analog meter will register levels of sound vibrations transmitted to the table. A vibrating device placed directly on the surface will transmit sound vibrations and resonate loudly throughout the table. These vibrations will register on the analog meter. By inserting isolation materials between the device and the surface, the mechanical sound transmission is reduced and sound no longer registers on the meter.

VIBRATION ISOLATION DEMONSTRATION: Controlling Mechanical Sound Transmission


Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, and institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

Acoustics First Sound Diffusion Demonstration Video

Click here to view the demonstration:
DIFFUSING / SCATTERING SOUND: Sound Diffusion Explained

Acoustic Diffuser DemonstrationAcoustics First has just released another in a series of videos to help explain acoustical principles using simple, easy to understand video demonstrations. This latest demonstration tackles the mystery of acoustic sound diffusion. Using an array of ping pong balls to represent sound visually, this video simply demonstrates what occurs when sound strikes the surface of an acoustic diffuser. First, you will see what happens when sound hits a flat reflective surface with no acoustical treatment. Acoustic Sound DiffuserThe balls all bounce at the same time and in the same direction. This represents what happens to the sound when it hits a flat reflective surface like a wall. Then you see what happens when sound hits an acoustic sound diffuser. You will immediately notice the energy of the wave of balls is scattered in all different directions as well as deflected at different time intervals. Diffusers, disperse or scatter the sound like crowd control, preserving the sound to maintain sound clarity without destructive interference. This is the basic principle behind acoustic sound diffusion.

Click here to view the demonstration: DIFFUSING / SCATTERING SOUND: Sound Diffusion Explained

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Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

The Music Producers Guild Helps Define A New Industry Standard

The Music Producers Guild’s Mastering Group has achieved a significant breakthrough for all recording artists and other copyright owners by working with the European Broadcasting Union (EBU) to create an industry standard for embedding ISRCs within digital music files.

This major step forward will make accurate file identification and content tracking much easier and could help royalty agencies develop more precise systems for payments, thereby safeguarding the incomes of all artists and copyright owners when their recordings are played on air.

MPG Mastering Group board member and Alchemy Mastering Engineer Barry Grint, who led the initiative, says: “ISRC stands for International Standard Recording Code. Every song released – and indeed every version of that song – is allocated a unique ISRC by the record label. In the past the ISRC information was included within sub data streams of a CD, so a track could be identified by its associated ISRC.

“However, now that we have entered the digital age and are increasingly using digital WAV files, the ability to securely associate ISRC data with specific tracks has been lost because the only common way to incorporate ISRC into a WAV file is via the file name. If someone renames the file – or if the name is truncated or amended by a software program – the vital ISRC information can easily be lost. Unfortunately many record companies are not aware of this and simply assume that ISRCs are being embedded into WAV files. Technically that just isn’t possible so many mastering engineers were simply adding the code to the file title, which was an insecure practise.”

The MPG Mastering Group recognized that this was a major problem and that the industry needed an approved method for embedding ISRC data within a WAV file. Fortunately the EBU had developed the Broadcast WAV File (BWF), a variant of the WAV file for use by broadcasters. Although this variation allows for metadata to be added within the file, no standard had been defined as to how and where the data should be stored. Also workstation manufacturers offering the ability to create BWF files did not have a consensus as to the fields in which data should be entered.

Barry Grint approached the EBU and asked them to adapt the BWF standard so that ISRC’s could once again be included in metadata in a regular way.

“The new system is simple to implement and the MPG is encouraging workstation manufacturers and record companies to use BWF in preference to WAV as the standard specification for file exchange,” Barry Grint says. “Once adopted, this system will allow ISRC to flow through the whole production chain. iTunes and other aggregators will be able to pull the ISRC through during encoding and broadcast playout systems can easily be adapted to recognise the ISRC, making airplay reporting far more accurate.

“This is a major step forward for the music industry as it gives us the opportunity to identify with certainty every digital Master file regardless of how that file is named. We would like to thank the team at the EBU for recognizing the importance of this to the MPG and the Music Industry worldwide and the speed with which they were able to bring this about. By making ISRC the cornerstone of asset management and royalty reporting, we should be able to ensure a more accurate system of royalty payments and writer/performer credits, thereby supporting the income of all recording artists and copyright owners well into the future.”

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

Ryan Larkin
Sales & Marketing
www.AcousticsFirst.com
Acoustics First Corporation
PH: (804) 342-2900

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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