The long-awaited service feature called TiVoToGo, set to launch Monday, will give users their first taste of TiVo untethered.
No longer confined to TiVo digital video recorders in the living room or bedroom, subscribers will be able to transfer their recorded shows to PCs or laptops and take them on the road — as long as the shows are not specially tagged with copy restrictions. That’s also the case for pay-per-view or on-demand movies, and some premium paid programming.
Users also will be able to copy shows onto a DVD — soon after but not immediately at the service launch, company officials said.
The mobile feature is a key step in TiVo’s long-term vision of giving consumers more freedom with how and where they enjoy their favorite TV. TiVo plans to extend TiVoToGo so it will work on other portable media gadgets, as well.
[…] The recorded shows are transferred to PCs or laptops via a home computer network. Users would have to download free desktop software from the TiVo website onto the computers. A media access code and password is assigned to each user’s account, essentially restricting the transferring and playback of shows to household members with the same access code.
PC World has learned that some Windows Media files on peer-to-peer networks such as Kazaa contain code that can spawn a string of pop-up ads and install adware. They look just like regular songs or short videos in Windows Media format, but launch ads instead of media clips.
When we ran the files, we noted over half a dozen pop-ups, some attempts to download adware onto our test PC, and an attempt to hijack our browser’s home page. […]
Using a packet analysis tool called Etherpeek, we determined that each media file loaded a page served by a company called Overpeer (owned by Loudeye). That page set off a chain of events that led to the creation of several Internet Explorer windows, each containing a different ad or adware.
Overpeer first made news in mid-2002 by offering its services to record companies looking to stop P-to-P pirates. It creates fake audio files that purport to be popular songs but play only a short loop of the track or an antipiracy message; the file then pops up a window offering the downloader a chance to buy the song. By flooding file-sharing services with spoofed files, Overpeer makes finding real music files more difficult.
Marc Morgenstern, Loudeye vice president and general manager of digital media asset protection, says the files we found come from a different division of the company–one that targets users with promotions or ads based on the keywords those users search for on P-to-P networks or in other venues.
Though the two businesses differ, the result is likely the same–a further reduction in the effectiveness of popular P-to-P networks.
Slashdot: RIAA/MPAA Contractor Deploys Malicious Adware Trojans; Ed Felten’s thoughts – Recording Industry Publishing Infected P2P Files?
Anyway, there’s a catchy song in the movie that my kids kept singing all the way home. Well, the first two lines, anyway; that’s all they could remember. So when we arrived home, although we had only ten minutes before bedtime, I thought I’d put all of this Internet digital-music stuff to the test.
I fired up the iTunes Music Store, typed in “Polar Express,” and had the song bought ($1) and playing on my computer within–no exaggeration–60 seconds. Now that I knew the name of the song, I hit Google, typed “When Christmas Comes to Town lyrics,” and clicked the “I’m Feeling Lucky” button. Boom, I was looking at the complete lyrics.
[…] It was one of those truly magical moments that make you believe in the promise of superior technology. Everything worked, and the result was a delicious moment of sweet musical harmony that I’ll remember for a very long time.
More broadly, though, in politics, entertainment and even consumer products, some very large organizations that aim to profit by selling goods and services in tiny bites made significant headway.
Fueled by continuing advances in information technology and a relentless search for new consumers, the trend is likely to continue in 2005. And as more executives come to realize that piles of pennies can add up to significant dollars, segments of the public that have long been either ignored or excluded may find themselves being welcomed into the ever-expanding economic tent.
For the jukebox, digital technology and broadband Internet connections offer the hope of a comeback — and the possibility that, someday, for 50 cents or so, a customer could play any one of 2 million songs.
[…] One reason jukeboxes saw “an erosion in market share” was that they were infrequently updated, Vann-Adib said. Tired of hearing the same songs, customers played the jukebox less and less. Worse, they might even seek out a tavern with a better sonic atmosphere.
But a jukebox linked by the Internet to a database offers virtually unlimited choice. In Europe, Internet jukeboxes can theoretically access 2 million songs, Vann-Adib said. In the United States, where licensing laws are stricter, Ecast jukeboxes can dial up 150,000 songs, with more songs added every week.
[…] “A typical CD jukebox generates about $400 a month in revenue,” Vann-Adib said. “With our product, a jukebox generates an average of $1,000 a month.”
That extra revenue is a big plus in trying to convince a saloonkeeper that a jukebox is preferable to Muzak, Vara said.
[…] But in locations where both Muzak and jukeboxes could be suitable, the issue comes down to who should control the music, management or customers.
Muzak favors management.
“Muzak is about understanding what music is appropriate to a particular retail experience,” said Moore, before referring to a disco anthem of the late 1970s. “Everybody loves ‘YMCA.’ But you don’t want to be in a situation where someone can load up on the jukebox and play ‘YMCA’ 15 times in a row. To allow your customer to change your brand is a dangerous thing.
[…] Meanwhile, Ecast is experimenting with “genre-blocking,” which would prevent its jukeboxes from playing boisterous Saturday night music during the tender moment of a romantic dinner. One possibility is a filtering method that could be applied at different times of the day and on different days of the week.
Still, when it comes to determining what music should be played in public venues, ”power to the people” is Vann-Adib’s mantra.
For example, in early January of 2003 there was an article in this newspaper about the looming expirations of copyright protections in Europe for countless classic recordings from the 1950’s. In the United States such copyrights last 90 years, at least for now, while advocates for public domain access and defenders of the rights of production companies continue to slug it out in the courts. But in Europe, copyrights for recordings expire after 50 years. This means that starting now and during the next decade landmark 1950’s recordings by artists ranging from Maria Callas to Elvis Presley are coming into the public domain in Europe. Since American retailers routinely stock imported European records, especially classical albums, such releases are already showing up in the stores.
This looming crisis particularly rattled EMI Classics, the London-based company, the house of Callas, who made her first recordings for the company in 1953 and remained an EMI artist. Sales of Callas recordings, always impressive, show no signs of slipping.
EMI realized that the only way to maintain primacy in the Callas market, and with other classical artists from the 1950’s, was to make the recordings available in budget format while assuring the highest audio quality. The company came through for consumers in 2004.