MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Sony Corporation is a Japanese multinational conglomerate corporation headquartered in Kōnan, Tokyo. Its diversified business includes consumer and professional electronics, gaming and financial services; the company owns the largest music entertainment business in the world, the largest video game console business and one of the largest video game publishing businesses, is one of the leading manufacturers of electronic products for the consumer and professional markets, a leading player in the film and television entertainment industry. Sony was ranked 97th on the 2018 Fortune Global 500 list. Sony Corporation is the electronics business unit and the parent company of the Sony Group, engaged in business through its four operating components: electronics, motion pictures and financial services; these make Sony one of the most comprehensive entertainment companies in the world. The group consists of Sony Corporation, Sony Pictures, Sony Mobile, Sony Interactive Entertainment, Sony Music, Sony/ATV Music Publishing, Sony Financial Holdings, others.
Sony is among the semiconductor sales leaders and since 2015, the fifth-largest television manufacturer in the world after Samsung Electronics, LG Electronics, TCL and Hisense. The company's current slogan is Be Moved, their former slogans were The One and Only, It's like.no.other and make.believe. Sony has a weak tie to the Sumitomo Mitsui Financial Group corporate group, the successor to the Mitsui group. Sony began in the wake of World War II. In 1946, Masaru Ibuka started an electronics shop in a department store building in Tokyo; the company started with a total of eight employees. In May 1946, Ibuka was joined by Akio Morita to establish a company called Tokyo Tsushin Kogyo; the company built Japan's first tape recorder, called the Type-G. In 1958, the company changed its name to "Sony"; when Tokyo Tsushin Kogyo was looking for a romanized name to use to market themselves, they considered using their initials, TTK. The primary reason they did not is that the railway company Tokyo Kyuko was known as TTK.
The company used the acronym "Totsuko" in Japan, but during his visit to the United States, Morita discovered that Americans had trouble pronouncing that name. Another early name, tried out for a while was "Tokyo Teletech" until Akio Morita discovered that there was an American company using Teletech as a brand name; the name "Sony" was chosen for the brand as a mix of two words: one was the Latin word "sonus", the root of sonic and sound, the other was "sonny", a common slang term used in 1950s America to call a young boy. In 1950s Japan, "sonny boys" was a loan word in Japanese, which connoted smart and presentable young men, which Sony founders Akio Morita and Masaru Ibuka considered themselves to be; the first Sony-branded product, the TR-55 transistor radio, appeared in 1955 but the company name did not change to Sony until January 1958. At the time of the change, it was unusual for a Japanese company to use Roman letters to spell its name instead of writing it in kanji; the move was not without opposition: TTK's principal bank at the time, had strong feelings about the name.
They pushed for a name such as Sony Teletech. Akio Morita was firm, however. Both Ibuka and Mitsui Bank's chairman gave their approval. According to Schiffer, Sony's TR-63 radio "cracked open the U. S. market and launched the new industry of consumer microelectronics." By the mid-1950s, American teens had begun buying portable transistor radios in huge numbers, helping to propel the fledgling industry from an estimated 100,000 units in 1955 to 5 million units by the end of 1968. Sony co-founder Akio Morita founded Sony Corporation of America in 1960. In the process, he was struck by the mobility of employees between American companies, unheard of in Japan at that time; when he returned to Japan, he encouraged experienced, middle-aged employees of other companies to reevaluate their careers and consider joining Sony. The company filled many positions in this manner, inspired other Japanese companies to do the same. Moreover, Sony played a major role in the development of Japan as a powerful exporter during the 1960s, 1970s and 1980s.
It helped to improve American perceptions of "made in Japan" products. Known for its production quality, Sony was able to charge above-market prices for its consumer electronics and resisted lowering prices. In 1971, Masaru Ibuka handed the position of president over to his co-founder Akio Morita. Sony began a life insurance company in one of its many peripheral businesses. Amid a global recession in the early 1980s, electronics sales dropped and the company was forced to cut prices. Sony's profits fell sharply. "It's over for Sony," one analyst concluded. "The company's best days are behind it." Around that time, Norio Ohga took up the role of president. He encouraged the development of the Compact Disc in the 1970s and 1980s, of the PlayStation in the early 1990s. Ohga went on to purchase CBS Records in 1988 and Columbia Pictures in 1989 expanding Sony's media presence. Ohga would succeed Morita as chief executive officer in 1989. Under the vision of co-founder Akio Morita and his successors, the company had aggressively expanded in
Digital audio is sound, recorded in, or converted into, digital form. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. For example, in CD audio, samples are taken 44100 times per second each with 16 bit sample depth. Digital audio is the name for the entire technology of sound recording and reproduction using audio signals that have been encoded in digital form. Following significant advances in digital audio technology during the 1970s, it replaced analog audio technology in many areas of audio engineering and telecommunications in the 1990s and 2000s. In a digital audio system, an analog electrical signal representing the sound is converted with an analog-to-digital converter into a digital signal using pulse-code modulation; this digital signal can be recorded, edited and copied using computers, audio playback machines, other digital tools. When the sound engineer wishes to listen to the recording on headphones or loudspeakers, a digital-to-analog converter performs the reverse process, converting a digital signal back into an analog signal, sent through an audio power amplifier and to a loudspeaker.
Digital audio systems may include compression, storage and transmission components. Conversion to a digital format allows convenient manipulation, storage and retrieval of an audio signal. Unlike analog audio, in which making copies of a recording results in generation loss and degradation of signal quality, digital audio allows an infinite number of copies to be made without any degradation of signal quality. Digital audio technologies are used in the recording, mass-production, distribution of sound, including recordings of songs, instrumental pieces, sound effects, other sounds. Modern online music distribution depends on digital recording and data compression; the availability of music as data files, rather than as physical objects, has reduced the costs of distribution. Before digital audio, the music industry distributed and sold music by selling physical copies in the form of records and cassette tapes. With digital-audio and online distribution systems such as iTunes, companies sell digital sound files to consumers, which the consumer receives over the Internet.
An analog audio system converts physical waveforms of sound into electrical representations of those waveforms by use of a transducer, such as a microphone. The sounds are stored on an analog medium such as magnetic tape, or transmitted through an analog medium such as a telephone line or radio; the process is reversed for reproduction: the electrical audio signal is amplified and converted back into physical waveforms via a loudspeaker. Analog audio retains its fundamental wave-like characteristics throughout its storage, transformation and amplification. Analog audio signals are susceptible to noise and distortion, due to the innate characteristics of electronic circuits and associated devices. Disturbances in a digital system do not result in error unless the disturbance is so large as to result in a symbol being misinterpreted as another symbol or disturb the sequence of symbols, it is therefore possible to have an error-free digital audio system in which no noise or distortion is introduced between conversion to digital format, conversion back to analog.
A digital audio signal may optionally be encoded for correction of any errors that might occur in the storage or transmission of the signal. This technique, known as channel coding, is essential for broadcast or recorded digital systems to maintain bit accuracy. Eight-to-fourteen modulation is a channel code used in the audio compact disc. A digital audio system starts with an ADC; the ADC converts at a known bit resolution. CD audio, for example, has a sampling rate of 44.1 kHz, has 16-bit resolution for each stereo channel. Analog signals that have not been bandlimited must be passed through an anti-aliasing filter before conversion, to prevent the aliasing distortion, caused by audio signals with frequencies higher than the Nyquist frequency. A digital audio signal may be transmitted. Digital audio can be stored on a CD, a digital audio player, a hard drive, a USB flash drive, or any other digital data storage device; the digital signal may be altered through digital signal processing, where it may be filtered or have effects applied.
Sample-rate conversion including upsampling and downsampling may be used to conform signals that have been encoded with a different sampling rate to a common sampling rate prior to processing. Audio data compression techniques, such as MP3, Advanced Audio Coding, Ogg Vorbis, or FLAC, are employed to reduce the file size. Digital audio can be carried over digital audio interfaces such as AES3 or MADI. Digital audio can be carried over a network using audio over Ethernet, audio over IP or other streaming media standards and systems. For playback, digital audio must be converted back to an analog signal with a DAC which may use oversampling. Pulse-code modulation was invented by British scientist Alec Reeves in 1937 and was used in telecommunications applications long before its first use in commercial broadcast and recording. Commercial digital recording was pioneered in Japan by NHK and Nippon Columbia and their Denon brand, in the 1960s; the first commercial digital recordings were released in 1971.
The BBC began to experiment with digital audio in the 1960s. By the early 1970s, it had developed a 2-channel recorder
GNU General Public License
The GNU General Public License is a widely-used free software license, which guarantees end users the freedom to run, study and modify the software. The license was written by Richard Stallman of the Free Software Foundation for the GNU Project, grants the recipients of a computer program the rights of the Free Software Definition; the GPL is a copyleft license, which means that derivative work can only be distributed under the same license terms. This is in distinction to permissive free software licenses, of which the BSD licenses and the MIT License are widely-used examples. GPL was the first copyleft license for general use; the GPL license family has been one of the most popular software licenses in the free and open-source software domain. Prominent free-software programs licensed under the GPL include the Linux kernel and the GNU Compiler Collection. David A. Wheeler argues that the copyleft provided by the GPL was crucial to the success of Linux-based systems, giving the programmers who contributed to the kernel the assurance that their work would benefit the whole world and remain free, rather than being exploited by software companies that would not have to give anything back to the community.
In 2007, the third version of the license was released to address some perceived problems with the second version that were discovered during its long-time usage. To keep the license up to date, the GPL license includes an optional "any version" clause, allowing users to choose between the original terms or the terms in new versions as updated by the FSF. Developers can omit it; the GPL was written by Richard Stallman in 1989, for use with programs released as part of the GNU project. The original GPL was based on a unification of similar licenses used for early versions of GNU Emacs, the GNU Debugger and the GNU C Compiler; these licenses contained similar provisions to the modern GPL, but were specific to each program, rendering them incompatible, despite being the same license. Stallman's goal was to produce one license that could be used for any project, thus making it possible for many projects to share code; the second version of the license, version 2, was released in 1991. Over the following 15 years, members of the free software community became concerned over problems in the GPLv2 license that could let someone exploit GPL-licensed software in ways contrary to the license's intent.
These problems included tivoization, compatibility issues similar to those of the Affero General Public License—and patent deals between Microsoft and distributors of free and open-source software, which some viewed as an attempt to use patents as a weapon against the free software community. Version 3 was developed to attempt to address these concerns and was released on 29 June 2007. Version 1 of the GNU GPL, released on 25 February 1989, prevented what were the two main ways that software distributors restricted the freedoms that define free software; the first problem was that distributors may publish binary files only—executable, but not readable or modifiable by humans. To prevent this, GPLv1 stated that copying and distributing copies or any portion of the program must make the human-readable source code available under the same licensing terms; the second problem was that distributors might add restrictions, either to the license, or by combining the software with other software that had other restrictions on distribution.
The union of two sets of restrictions would apply to the combined work, thus adding unacceptable restrictions. To prevent this, GPLv1 stated that modified versions, as a whole, had to be distributed under the terms in GPLv1. Therefore, software distributed under the terms of GPLv1 could be combined with software under more permissive terms, as this would not change the terms under which the whole could be distributed. However, software distributed under GPLv1 could not be combined with software distributed under a more restrictive license, as this would conflict with the requirement that the whole be distributable under the terms of GPLv1. According to Richard Stallman, the major change in GPLv2 was the "Liberty or Death" clause, as he calls it – Section 7; the section says that licensees may distribute a GPL-covered work only if they can satisfy all of the license's obligations, despite any other legal obligations they might have. In other words, the obligations of the license may not be severed due to conflicting obligations.
This provision is intended to discourage any party from using a patent infringement claim or other litigation to impair users' freedom under the license. By 1990, it was becoming apparent that a less restrictive license would be strategically useful for the C library and for software libraries that did the job of existing proprietary ones; the version numbers diverged in 1999 when version 2.1 of the LGPL was released, which renamed it the GNU Lesser General Public License to reflect its place in the philosophy. Most "GPLv2 or any version" is stated by users of the license, to allow upgrading to GPLv3. In late 2005, the Free Software Foundation announced work on version 3 of the GPL. On 16 January 2006, the first "discussion draft" of GPLv3 was published, the public consultation began; the public consultation was planned for ni