Comments on: jwheare’s web of music and the Media URI spec http://gonze.com/blog/2009/12/30/jwheares-web-of-music-and-the-media-uri-spec/ internet music technology since ~2002 Sat, 31 Jul 2010 19:34:38 +0000 hourly 1 http://wordpress.org/?v=3.0 By: Kev & Piers on hypermusic — Lucas Gonze’s blog http://gonze.com/blog/2009/12/30/jwheares-web-of-music-and-the-media-uri-spec/comment-page-1/#comment-5308 Kev & Piers on hypermusic — Lucas Gonze’s blog Thu, 18 Feb 2010 16:15:05 +0000 http://gonze.com/blog/?p=2276#comment-5308 [...] Comment on “jwheare’s web of music and the Media URI spec” by Kevin Prichard: [...] [...] Comment on “jwheare’s web of music and the Media URI spec” by Kevin Prichard: [...]

]]> By: zazi http://gonze.com/blog/2009/12/30/jwheares-web-of-music-and-the-media-uri-spec/comment-page-1/#comment-5305 zazi Thu, 18 Feb 2010 11:08:33 +0000 http://gonze.com/blog/?p=2276#comment-5305 I can imagine a semantic metadata format in audio documents where the values will be the entry points to a new kind of exploration. Cheers I can imagine a semantic metadata format in audio documents where the values will be the entry points to a new kind of exploration.

Cheers

]]> By: music web and client side remixes — Lucas Gonze’s blog http://gonze.com/blog/2009/12/30/jwheares-web-of-music-and-the-media-uri-spec/comment-page-1/#comment-5118 music web and client side remixes — Lucas Gonze’s blog Tue, 05 Jan 2010 16:43:29 +0000 http://gonze.com/blog/?p=2276#comment-5118 [...] Comments on web of music post – [...] [...] Comments on web of music post – [...]

]]> By: Kevin Prichard http://gonze.com/blog/2009/12/30/jwheares-web-of-music-and-the-media-uri-spec/comment-page-1/#comment-5088 Kevin Prichard Thu, 31 Dec 2009 21:55:27 +0000 http://gonze.com/blog/?p=2276#comment-5088 MP3 files can contain text, of course, and I've occasionally found lyrics stored inside TEXT and USLT frames. But there's no consistency at all, probably never will be - more likely to find spam inside a TEXT frame. Your idea for linking to time points is a cool notion, Lucas. Related to this, Real's servers provide for a "start" parameter on a/v URIs, allowing one to jump to a time point, e.g. http://play.rbn.com/?url=demnow/demnow/demand/2009/dec/audio/dn20091231.ra&proto=rtsp&start=00:28:56 Some of the various SMIL specs provide begin and end params for the same purpose (http://is.gd/5I3jL). Aside from that and Real's faded format, my hunch is that most a/v is not very content-addressable, partly due to the fact that a given song can be found in the wild with many encoding variations. If I make in/out time points for lyrics on my rip of a CD track, your rip might not sync with it. Also, radio vs. album versions of a song may vary in duration and content. Event-based synchronization, i.e. the beat-counting idea Piers brings up, might be worth looking into- <a href="example.mp3#t=1017b,1683b" class="chorus">chorus</a> This would need a filter to recognize beats and count them. Possible, just not as simple as time. Might be more consistent than seconds-based. Perhaps there's another type of common event found in audio streams that could provide consistency, but I like drum beats because they're less likely to get corrupted or folded than high frequencies, and less common than human voice-range freqs. The karaoke industry seems to have cracked this nut, but I'm gonna hazard a guess that it's all proprietary. These guys sell player sw that syncs lyrics for 1 million songs, they claim: http://is.gd/5I48w . They appear to target music teachers in their marketing. MP3 files can contain text, of course, and I’ve occasionally found lyrics stored inside TEXT and USLT frames. But there’s no consistency at all, probably never will be – more likely to find spam inside a TEXT frame.

Your idea for linking to time points is a cool notion, Lucas. Related to this, Real’s servers provide for a “start” parameter on a/v URIs, allowing one to jump to a time point, e.g.

http://play.rbn.com/?url=demnow/demnow/demand/2009/dec/audio/dn20091231.ra&proto=rtsp&start=00:28:56

Some of the various SMIL specs provide begin and end params for the same purpose (http://is.gd/5I3jL). Aside from that and Real’s faded format, my hunch is that most a/v is not very content-addressable, partly due to the fact that a given song can be found in the wild with many encoding variations. If I make in/out time points for lyrics on my rip of a CD track, your rip might not sync with it. Also, radio vs. album versions of a song may vary in duration and content.

Event-based synchronization, i.e. the beat-counting idea Piers brings up, might be worth looking into-

<a href=”example.mp3#t=1017b,1683b” class=”chorus”>chorus</a>

This would need a filter to recognize beats and count them. Possible, just not as simple as time. Might be more consistent than seconds-based.

Perhaps there’s another type of common event found in audio streams that could provide consistency, but I like drum beats because they’re less likely to get corrupted or folded than high frequencies, and less common than human voice-range freqs.

The karaoke industry seems to have cracked this nut, but I’m gonna hazard a guess that it’s all proprietary.

These guys sell player sw that syncs lyrics for 1 million songs, they claim: http://is.gd/5I48w . They appear to target music teachers in their marketing.

]]> By: Piers Hollott http://gonze.com/blog/2009/12/30/jwheares-web-of-music-and-the-media-uri-spec/comment-page-1/#comment-5086 Piers Hollott Thu, 31 Dec 2009 20:21:08 +0000 http://gonze.com/blog/?p=2276#comment-5086 When you think about it, a technological component in a media player can auto-magically beat-sync two tracks by comparing basic structure and determining BPM. Word documents used to be the bane of the structured data movement, because they trapped content in a non-structured format, but ODF and OOXML have changed that game completely, creating a new class of semi-structured data; so why not music or video? It's fascinating to consider that if more artists released works under CC-NC by attribution, remix artists could provide additional value by micro-tagging individual samples within the deeper structure of their compositions - particularly if this functionality were baked into the software used to assemble the composition. In addition, isn't the original theory behind Pandora based on linking chord progressions and such, or is it more general? I never really got a bead on what Pandora was actually doing. Also, hang the DJ and all that - I rather enjoyed beat-syncing vinyl, before the robots took over. To quote Johnny Guitar Watson, maybe we do need to strike on computers! When you think about it, a technological component in a media player can auto-magically beat-sync two tracks by comparing basic structure and determining BPM. Word documents used to be the bane of the structured data movement, because they trapped content in a non-structured format, but ODF and OOXML have changed that game completely, creating a new class of semi-structured data; so why not music or video?

It’s fascinating to consider that if more artists released works under CC-NC by attribution, remix artists could provide additional value by micro-tagging individual samples within the deeper structure of their compositions – particularly if this functionality were baked into the software used to assemble the composition.

In addition, isn’t the original theory behind Pandora based on linking chord progressions and such, or is it more general? I never really got a bead on what Pandora was actually doing.

Also, hang the DJ and all that – I rather enjoyed beat-syncing vinyl, before the robots took over. To quote Johnny Guitar Watson, maybe we do need to strike on computers!

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