Wednesday, February 7, 2007
apple's jobs calls on music industry to drop drm...
I think Jobs has a point beyond the scope of Apple or iTunes. Copyright protection, in general has actually become damaging to the average music consumer in that it is a consumer's right to back up his own music- music that he has paid for. As for DRM and other protection removal- the sooner the better, as far as I am concerned.
For example, if I purchase an album and it becomes damaged, then the last thing I want to do is have to shell out for another album. It is my right to be able to back up, or copy, my purchase for my own personal use. Protection tactics often render a track or cd uncopiable, or even unplayable from a computer, negating ways the consumer may enjoy his music. I collect electronic dance music from the 90's. A lot of it is out of print or imported. I have to pay more for this music because of its limited availability. I should not be penalized with limitations when I have done nothing wrong. I should be able to play a cd from my computer if I so choose. I should be able to save a cd to my computer if I so choose. I should be able to burn tracks I have purchased online to cd if I so choose. Preventing me from doing these things takes away my freedom as a music owner. I have so much music, I prefer to save all my music to an external hard drive and play my music through my computer linked to my home theater. Because of problems with reformatting and such, I like to burn the music I purchase online to cd as a back up so I do not lose what I have paid for. After I should not have to pay for it again if I have already paid for it once. Preventing me from burning tracks and saving tracks is an annoying hindrance to my functionality as a music consumer, enthusiast, and connoisseur.
Apple's Jobs calls on music industry to drop DRM
By Yinka Adegoke and Duncan Martell Wed Feb 7, 7:27 AM ET
NEW YORK/SAN FRANCISCO (Reuters) - Apple Inc. (Nasdaq:news) Chief Executive Steve Jobs on Tuesday called on the four major record companies to start selling songs online without copy protection software to thwart piracy known as digital rights management (DRM).
Jobs said there appeared to be no benefit for the record companies in continuing to sell more than 90 percent of their music without DRM on compact discs, while selling the remaining small percentage of their music encumbered with a DRM system.
"If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies," he said in a statement posted to his company's Web site.
Apple has been under pressure in Europe to make iTunes music compatible with players other than the iPod. On January 25 Norway's consumer ombudsman said Apple must open access to iTunes by October 1 or face legal action. The company has also faced some criticism because songs bought on the iTunes music store play on the iPod and not other digital music players.
"Perhaps those unhappy with the current situation should redirect their energies toward persuading the music companies to sell their music DRM-free," said Jobs about the European action.
Apple also is due to reopen talks with the four majors in early March to discuss terms of their relationships with the iTunes Music Store, according to a source familiar with the discussions.
The four majors -- Vivendi's (VIV.PA) Universal Music Group; Sony BMG Music Entertainment, which is owned by Sony Corp. (6758.T) and Bertelsmann (BERT.UL); EMI Group (EMI.L); and Warner Music Group (NYSE:news) -- all negotiated one-year extensions with Apple last year, according to the source.
Apple's iTunes Music Store is currently the world's largest digital music outlet, having sold around 2 billion songs since its launch in 2003. It has more than 70 percent market share of all digital music sales in the United States.
The songs sold on the service are protected by Apple's proprietary FairPlay software, which prevents users from making multiple copies for distribution. The software only works with Apple's iTunes software and iPod digital media players.
"This is interesting because the greatest beneficiary of DRM-enabled systems is telling an industry you've got to get off this stuff," said Gartner analyst Mike McGuire of DRM.
Analysts also suggested that Jobs might be trying to deflect pressure from the European Union regarding the interoperability question to the record labels.
Jobs said Apple had concluded that if it licenses FairPlay to other companies it could no longer guarantee to protect the music it licenses from the major record companies.
"Why would the big four music companies agree to let Apple and others distribute their music without using DRM systems to protect it?" Jobs wrote on the Apple Web site (www.apple.com/hotnews/thoughtsonmusic/). "The simplest answer is because DRMs haven't worked, and may never work, to halt music piracy."
But senior record company executives disagreed with Jobs' assertions, saying they doubted they would start selling music without protection any time soon.
"How can you be in the digital business of content and say you're not going to protect it?" said one executive who spoke to Reuters on condition of anonymity. "So is the film and TV industry looking at doing this? I can guarantee you they're not."
Jobs estimated that only about 3 percent of the music on the average iPod is purchased from the iTunes store and therefore protected with a DRM. Because of that, "iPod users are clearly not locked into the iTunes store to acquire their music," Jobs wrote.
Jobs also said that more than 20 billion songs were sold DRM-free on CDs in 2006.
Music industry watchers, particularly at independent music companies, have intensified calls in recent months for the majors to sell their music without copy protection.
"Apple's alternative is the only way we're going to get complete interoperability," said Tim Bajarin, president of Creative Technologies, a Silicon Valley consulting firm.
Saturday, January 24, 2009
back-words... despite lawsuits, digital music downloads grow...
Wednesday, February 7, 2007
despite lawsuits, digital music downloads grow...
Perhaps the riaa is finally going to come to terms, i.e. if you can't beat 'em, join em, only to a much lesser extent. Regardless, it's a rather interesting nonetheless. One can only hope for better things to come...
Despite lawsuits, digital music downloads grow
By Yinka Adegoke Tue Feb 6, 7:43 PM ET
NEW YORK (Reuters) - Despite success in suing people who download music illegally and in reaching deals with personal networking sites like YouTube, the music industry is still bleeding millions of dollars in sales to online piracy.
It is a major issue for an industry that is desperately trying to boost revenue from legal downloads to make up for falling sales of Compact Discs, which declined 23 percent globally between 2000 to 2006.
To get an idea of the size of the problem, Eric Garland of Web consultants Big Champagne estimates that more than 1 billion digital tracks are illegally traded for free each month.
By comparison, Apple Inc.'s (Nasdaq:news) iTunes Music Store, which has more than 70 percent of legal digital music sales in the United States, has sold only a bit more than 2 billion songs since its launch in 2003.
The problem is so-called peer-to-peer (P2P) networks such as Gnutella and BitTorrent that link millions of personal computers and allow anonymous users to exchange digital music files for free over the Internet.
Since the music industry started winning lawsuits against individuals in the last few years, the growth in the number of people using illegal file-sharing software has slowed significantly, but nonetheless it is still growing.
Russ Crupnick, an analyst at consumer research group NPD, said the number of U.S. households engaged in P2P over the last year rose 7 percent, while the number of illegal downloads were up by 24 percent.
"P2P remains an unacceptable problem," said Mitch Bainwol, president of the Recording Industry Association of America. "The folks engaged in the practice are doing more of it.
The Recording Industry Association of America (RIAA) succeeded in closing some companies behind file-swapping, such as Grokster and KaZaa starting in 2005.
But shutting down the companies that marketed the applications does not always kill the network.
"If you've got the software you can still file-share. The rulings just means you can't distribute (the software) anymore," said Wayne Rosso, a former chief executive of Grokster.
PIRATES AS PARTNERS
In the last year, the music industry's focus has been on more high profile Web sites like News Corp.'s (NYSE:news) social networking site MySpace and YouTube, Google Inc.'s (Nasdaq:news) online video sharing site.
French media group Vivendi's (VIV.PA) Universal Music Group, along with fellow record companies Warner Music Group (NYSE:news) and Sony BMG, have signed revenue-sharing agreements with YouTube to let its users legally distribute their music on the site.
Universal Music Group also sued MySpace last year for letting users distribute its artists' works, a case that Universal has it expects to end in a settlement.
The record companies are now partners with "what they used to call pirates," Rosso said. The reason is that a company like YouTube has tens of millions of young music fans that music companies want to sell to.
"The record labels are saying on the one hand it's piracy so we've got to provide protection," said Jon Diamond, chief executive of ArtistDirect. "But on the other hand, it's their audience and they want to figure out ways to monetize that audience."
ArtistDirect's MediaDefender targets users of P2P networks and redirects them to video commercials when they search for files to swap illegally.
Even if record companies could eradicate all illegal downloading, there is no guarantee that people who swap songs for free would actually switch to buying music legally.
But the industry's strategy is to slow down P2P sharing and hope that legal digital music sales will eventually make up the shortfall.
"Obviously it's been a huge impediment to the growth of the legal market," said Larry Kenswil, Universal Music's top digital executive.
"But the growth of the legal market has been spectacular, he said. "P2P is not going to go away but the relative problem will drop for us."
despite lawsuits, digital music downloads grow...
Perhaps the riaa is finally going to come to terms, i.e. if you can't beat 'em, join em, only to a much lesser extent. Regardless, it's a rather interesting nonetheless. One can only hope for better things to come...
Despite lawsuits, digital music downloads grow
By Yinka Adegoke Tue Feb 6, 7:43 PM ET
NEW YORK (Reuters) - Despite success in suing people who download music illegally and in reaching deals with personal networking sites like YouTube, the music industry is still bleeding millions of dollars in sales to online piracy.
It is a major issue for an industry that is desperately trying to boost revenue from legal downloads to make up for falling sales of Compact Discs, which declined 23 percent globally between 2000 to 2006.
To get an idea of the size of the problem, Eric Garland of Web consultants Big Champagne estimates that more than 1 billion digital tracks are illegally traded for free each month.
By comparison, Apple Inc.'s (Nasdaq:news) iTunes Music Store, which has more than 70 percent of legal digital music sales in the United States, has sold only a bit more than 2 billion songs since its launch in 2003.
The problem is so-called peer-to-peer (P2P) networks such as Gnutella and BitTorrent that link millions of personal computers and allow anonymous users to exchange digital music files for free over the Internet.
Since the music industry started winning lawsuits against individuals in the last few years, the growth in the number of people using illegal file-sharing software has slowed significantly, but nonetheless it is still growing.
Russ Crupnick, an analyst at consumer research group NPD, said the number of U.S. households engaged in P2P over the last year rose 7 percent, while the number of illegal downloads were up by 24 percent.
"P2P remains an unacceptable problem," said Mitch Bainwol, president of the Recording Industry Association of America. "The folks engaged in the practice are doing more of it.
The Recording Industry Association of America (RIAA) succeeded in closing some companies behind file-swapping, such as Grokster and KaZaa starting in 2005.
But shutting down the companies that marketed the applications does not always kill the network.
"If you've got the software you can still file-share. The rulings just means you can't distribute (the software) anymore," said Wayne Rosso, a former chief executive of Grokster.
PIRATES AS PARTNERS
In the last year, the music industry's focus has been on more high profile Web sites like News Corp.'s (NYSE:news) social networking site MySpace and YouTube, Google Inc.'s (Nasdaq:news) online video sharing site.
French media group Vivendi's (VIV.PA) Universal Music Group, along with fellow record companies Warner Music Group (NYSE:news) and Sony BMG, have signed revenue-sharing agreements with YouTube to let its users legally distribute their music on the site.
Universal Music Group also sued MySpace last year for letting users distribute its artists' works, a case that Universal has it expects to end in a settlement.
The record companies are now partners with "what they used to call pirates," Rosso said. The reason is that a company like YouTube has tens of millions of young music fans that music companies want to sell to.
"The record labels are saying on the one hand it's piracy so we've got to provide protection," said Jon Diamond, chief executive of ArtistDirect. "But on the other hand, it's their audience and they want to figure out ways to monetize that audience."
ArtistDirect's MediaDefender targets users of P2P networks and redirects them to video commercials when they search for files to swap illegally.
Even if record companies could eradicate all illegal downloading, there is no guarantee that people who swap songs for free would actually switch to buying music legally.
But the industry's strategy is to slow down P2P sharing and hope that legal digital music sales will eventually make up the shortfall.
"Obviously it's been a huge impediment to the growth of the legal market," said Larry Kenswil, Universal Music's top digital executive.
"But the growth of the legal market has been spectacular, he said. "P2P is not going to go away but the relative problem will drop for us."
back-words... thoughts on athf advertising in boston...
*** warning: when i post commentary on something, it is felt deeply and i will not back down nor apologize, otherwise i wouldn't bother to say anything at all. i took debate in college and i research my topics well. as a result, i lost a friend who chose to counter my arguments in this post and failed miserably. to this day i still have nearly zero interactivity with that person. i will not back down from something in which i personally believe and furthermore, it's my blog to say whatever i want; that's my constitutional right. got a differing opinion? go write your own blog about it...
Friday, February 2, 2007
thoughts on athf advertising in boston...
who knows what the athf is? i do and i am almost 33. if i were to ask most ppl i know, most would recognize the name aqua teen hunger force, the various characters, or any of the numerous aspects about the short-length animated series that is featured on [adult swim], a popular feature of the cartoon network's regular schedule. one source presumed the only demographic consciously aware of this series to be "pimply-faced teenagers." none of the ppl i know are pimply-faced teenagers; they are all near my age.
even ppl who don't watch the series recognize various aspects, such as the regularly featured characters. why? because a lot of ppl are online and/or watch tv. there are commercials for the show. the show is also accessible online from the [adult swim] website. marketers advertise athf wallpapers for cell phones online and on tv. the fact is you don't even need to stay up late at night to be aware of the aqua teen hunger force because its presence is widely placed in the media in various formats.
it stymies and confounds me to learn that every person in boston, massachusetts who encountered the spontaneous marketing ploy advertising the series didn't realize what the a come across, a simple light-up sign featuring not one, but two of the characters from the series. did they choose to disregard recognition of the character in lieu that it was a randomly placed foreign object? did the city need to remain on alert as every last light-up sign was inspected and rendered neutralized? who knows, but i doubt it. i'm sure someone recognized what the signs were; too bad that wasn't reported.
i am perplexed and outraged by the terminology applied to this incident- bomb scare, threat, hoax. these words were all unnecessary and recanted with apologies. those responsible for the signs never made any threats. they never announced a bomb was present. random individuals who were unaware of what they were observing made wild and gross assumptions about the objects in question. anyone else incapable of making an independent decision, simply joined on the bandwagon of panic and outrage.
the fact is a hoax did not occur. effective, attention-grabbing advertising occurred. a hoax is defined by merriam-webster (also accessible online) as: to trick into believing or accepting as genuine something false and often preposterous. those responsible for the signs never tricked anyone; the signs were never implied to be bombs, nor was it intended that they be interpreted as such. it was a simple marketing tool. yet the media keeps referring to bomb threats and bomb scares and the mayor of boston refers to the incident as a hoax. where the media and mayor get these unmistakable, finite terms from is unfathomable.
who should be red-faced? who should offer an apology? my answer to both questions is the city, its mayor, and the media. an unsuspecting audience fell prey to effective, eye-catching advertising and they quickly judged what they didn't know or understand to be a threat. perhaps it's a good thing this didn't occur in salem, or they may have deemed it to be an act of witchcraft.
Friday, February 2, 2007
thoughts on athf advertising in boston...
who knows what the athf is? i do and i am almost 33. if i were to ask most ppl i know, most would recognize the name aqua teen hunger force, the various characters, or any of the numerous aspects about the short-length animated series that is featured on [adult swim], a popular feature of the cartoon network's regular schedule. one source presumed the only demographic consciously aware of this series to be "pimply-faced teenagers." none of the ppl i know are pimply-faced teenagers; they are all near my age.
even ppl who don't watch the series recognize various aspects, such as the regularly featured characters. why? because a lot of ppl are online and/or watch tv. there are commercials for the show. the show is also accessible online from the [adult swim] website. marketers advertise athf wallpapers for cell phones online and on tv. the fact is you don't even need to stay up late at night to be aware of the aqua teen hunger force because its presence is widely placed in the media in various formats.
it stymies and confounds me to learn that every person in boston, massachusetts who encountered the spontaneous marketing ploy advertising the series didn't realize what the a come across, a simple light-up sign featuring not one, but two of the characters from the series. did they choose to disregard recognition of the character in lieu that it was a randomly placed foreign object? did the city need to remain on alert as every last light-up sign was inspected and rendered neutralized? who knows, but i doubt it. i'm sure someone recognized what the signs were; too bad that wasn't reported.
i am perplexed and outraged by the terminology applied to this incident- bomb scare, threat, hoax. these words were all unnecessary and recanted with apologies. those responsible for the signs never made any threats. they never announced a bomb was present. random individuals who were unaware of what they were observing made wild and gross assumptions about the objects in question. anyone else incapable of making an independent decision, simply joined on the bandwagon of panic and outrage.
the fact is a hoax did not occur. effective, attention-grabbing advertising occurred. a hoax is defined by merriam-webster (also accessible online) as: to trick into believing or accepting as genuine something false and often preposterous. those responsible for the signs never tricked anyone; the signs were never implied to be bombs, nor was it intended that they be interpreted as such. it was a simple marketing tool. yet the media keeps referring to bomb threats and bomb scares and the mayor of boston refers to the incident as a hoax. where the media and mayor get these unmistakable, finite terms from is unfathomable.
who should be red-faced? who should offer an apology? my answer to both questions is the city, its mayor, and the media. an unsuspecting audience fell prey to effective, eye-catching advertising and they quickly judged what they didn't know or understand to be a threat. perhaps it's a good thing this didn't occur in salem, or they may have deemed it to be an act of witchcraft.
back-words... my wish...
Friday, December 22, 2006
my wish...
as the year creeps to an end and we are clustered by holidays during this season, i think of everyone i know -- friends, acquaintances, family, etc. -- and i am thankful for every last one of you being in my life in some capacity- even unknowingly as a mentor or an inspiration to me. i know this hasnt been the greatest of years for everyone, but i hope it has improved somewhat as it draws to a close. i also am hopeful for good things to come in the following year for everyone, no matter how small. so i wish you all to find some joy and peace, and may the next year be even brighter for you all...
my wish...
as the year creeps to an end and we are clustered by holidays during this season, i think of everyone i know -- friends, acquaintances, family, etc. -- and i am thankful for every last one of you being in my life in some capacity- even unknowingly as a mentor or an inspiration to me. i know this hasnt been the greatest of years for everyone, but i hope it has improved somewhat as it draws to a close. i also am hopeful for good things to come in the following year for everyone, no matter how small. so i wish you all to find some joy and peace, and may the next year be even brighter for you all...
back-words... return to the cyberwaves...
*** i no longer play for them ergo the links are no longer valid, but it was nice to get a new schedule so quickly (less than a week) after the other station folded. they weren't very schedule oriented at the time, but they were very kind to let me create one for myself so that i had a slot specifically reserved for myself.
Monday, November 6, 2006
return to the cyberwaves...
the fall of a radio station cant keep a good dj down.
i will be hosting my weekly show on radioation from now on.
mondays: 7-12, eastern.
http://radioation.armed.us:8000
tonight i will be spinning an ambient set, so tune in and enjoy.
the weekly show will now feature more genres.
thank you.
*P*L*U*R*
details:
http://radioation.com/
contact via irc (chat):
/server irc.gamesurge.net
/join #radioation
Monday, November 6, 2006
return to the cyberwaves...
the fall of a radio station cant keep a good dj down.
i will be hosting my weekly show on radioation from now on.
mondays: 7-12, eastern.
http://radioation.armed.us:8000
tonight i will be spinning an ambient set, so tune in and enjoy.
the weekly show will now feature more genres.
thank you.
*P*L*U*R*
details:
http://radioation.com/
contact via irc (chat):
/server irc.gamesurge.net
/join #radioation
back-words... soundclick update...
Sunday, November 5, 2006
soundclick update...
the first three songs listed in my page were cut short.
the problem has been fixed and they can now be enjoyed in their entirety as they were meant to be.
http://www.soundclick.com/djsquelchandphaseshifts
thank you...
soundclick update...
the first three songs listed in my page were cut short.
the problem has been fixed and they can now be enjoyed in their entirety as they were meant to be.
http://www.soundclick.com/djsquelchandphaseshifts
thank you...
back-words... we shall rise...
Sunday, November 5, 2006
we shall rise...
after rants about the riaa and such i felt it was important to post some links of reference. no time like the present...
http://www.en.wikipedia.org/wiki/Riaa
http://www.en.wikipedia.org/wiki/Copyright
http://www.en.wikipedia.org/wiki/Berne_Convention_for_the_Protection_of_Literary_and_Artistic_Works
http://www.en.wikipedia.org/wiki/Electronic_Frontier_Foundation
http://www.en.wikipedia.org/wiki/FreeCulture.org
http://www.en.wikipedia.org/wiki/Public_domain
i know there are many more sites and home pages, but this is what i have read through so far that presents a relatively unbiased view and detailed information.
obviously, i do not support the riaa and what it has become, and what it is becoming. i support anything that allows an artist to be creative, anything that allows creative manipulation, anything that does not strip me of my constitutional freedom... you get the picture.
we shall rise...
after rants about the riaa and such i felt it was important to post some links of reference. no time like the present...
http://www.en.wikipedia.org/wiki/Riaa
http://www.en.wikipedia.org/wiki/Copyright
http://www.en.wikipedia.org/wiki/Berne_Convention_for_the_Protection_of_Literary_and_Artistic_Works
http://www.en.wikipedia.org/wiki/Electronic_Frontier_Foundation
http://www.en.wikipedia.org/wiki/FreeCulture.org
http://www.en.wikipedia.org/wiki/Public_domain
i know there are many more sites and home pages, but this is what i have read through so far that presents a relatively unbiased view and detailed information.
obviously, i do not support the riaa and what it has become, and what it is becoming. i support anything that allows an artist to be creative, anything that allows creative manipulation, anything that does not strip me of my constitutional freedom... you get the picture.
back-words... fuck them and their law...
Sunday, November 5, 2006
fuck them and their law...
a friend of mine posted this on a message system i use and i felt it was worth archiving for others to see...
For those of you that aren't familiar with the issue, NYC has a
licensing process called the Cabaret Laws, that require venues to get
a special license to permit dancing--a process that's byzantine and
expensive, and deliberately so. Enforcement of the law started up
again under the Giulliani administration and it's definitely had a
serious effect on NYC nightlife. From an article in the New York Times
on clubs that have been forced to operate without the license:
"...bar owners are fearful of attracting the attention of the police —
which most often happens when someone files a noise complaint by
dialing 311 — because they can summon other city agencies that have
the power to close any bar that operates a dance space without a
cabaret license. (To remedy this, one bar owner installed an override
switch in his basement dance room. If the police arrive, he flips it
and the D.J.'s tunes are replaced by Sinatra.)"
http://www.nytimes.com/2006/11/05/fashion/05dancing.html?ref=style
Let's party like it's 1929, apparently.
fuck them and their law...
a friend of mine posted this on a message system i use and i felt it was worth archiving for others to see...
For those of you that aren't familiar with the issue, NYC has a
licensing process called the Cabaret Laws, that require venues to get
a special license to permit dancing--a process that's byzantine and
expensive, and deliberately so. Enforcement of the law started up
again under the Giulliani administration and it's definitely had a
serious effect on NYC nightlife. From an article in the New York Times
on clubs that have been forced to operate without the license:
"...bar owners are fearful of attracting the attention of the police —
which most often happens when someone files a noise complaint by
dialing 311 — because they can summon other city agencies that have
the power to close any bar that operates a dance space without a
cabaret license. (To remedy this, one bar owner installed an override
switch in his basement dance room. If the police arrive, he flips it
and the D.J.'s tunes are replaced by Sinatra.)"
http://www.nytimes.com/2006/11/05/fashion/05dancing.html?ref=style
Let's party like it's 1929, apparently.
back-words... change of plans...
*** what was possibly the most devastating fact of that message on that day was that i had been talking to the owner all weekend and he never mentioned that he was even thinking about shutting down the station and i had made very specific plans for a special halloween broadcast that monday night, which was my usual night for broadcasting. i felt clotheslined, but i knew i had to keep an upbeat attitude in order to maintain my own positive representation. now, as previously mentioned, i don't play for either of these stations.
Monday, October 30, 2006
change of plans...
today i was just informed that lazystation has folded.
i will no longer be hosting monday broadcasts through them.
i want to thank everyone who has supported me.
i have enjoyed every minute.
i still have a home with radioation.
i am talking to the owners about my schedule with them.
i will have more updates later.
thank you...
Monday, October 30, 2006
change of plans...
today i was just informed that lazystation has folded.
i will no longer be hosting monday broadcasts through them.
i want to thank everyone who has supported me.
i have enjoyed every minute.
i still have a home with radioation.
i am talking to the owners about my schedule with them.
i will have more updates later.
thank you...
back-words... the latest thing to capture my attention...
Wednesday, October 26, 2006
the latest thing to capture my attention...
x2 Hybrid Turntable
With exceptionally high torque, Numark's X2 benefits from the industry's highest torque direct drive motor—providing the stability and durability professionals demand night after night. Featuring adjustable pitch control and support for both 33 and 45 RPM vinyl records, this exceptional turntable employs an ultra-precise aluminum tonearm with cue, height, and anti-skate adjustments, and accepts straight or S-shaped tonearms by means of its interchangeable tonearm system. With its 12-inch anti-drag aluminum platter designed specifically to reduce friction and its solid core construction that fights vibration and unwanted noise, the X2 is designed for years of trouble-free operation.
> Download Product Overview
--> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> -->
_ Ultra high torque direct drive motor
_ Full size 12" aluminum platter and slipmat
_ Numark spindle with vinyl interlock record for CD control (Patent Pending)
_ 12" vinyl record with spindle locking
_ ±6, 12, 25 and 100% pitch control (motor limited to -80% for vinyl) (DSP limited to +50% for MP3)
_ 33 and 45 RPM
_ Adjustable start and brake speeds
_ Forward/reverse toggle with Bleep (bleep cd only)
_ Fader/remote start and relay play functions (relay CD only)
_ User-upgradeable through Internet downloads
Connectivity:
_ Line output
_ Detachable power and audio connections
_ Illuminated output bay
CD/MP3 Control:
_ Full MP3 capability, including anti-shock, scratching, looping and pitch control functions
_ Key lock at any tempo up to ±100%
_ Seamless looping
_ Built-in Beatkeeper™ automatic beat calculation
_ 2 hot stutter starts
_ 3,000 cue point memory
_ Anti-Shock™ buffer technology
_ Sleep mode
_ Cartridge Sold Separately
http://www.numark.com/images/products/large/x2_large.jpg
the latest thing to capture my attention...
x2 Hybrid Turntable
With exceptionally high torque, Numark's X2 benefits from the industry's highest torque direct drive motor—providing the stability and durability professionals demand night after night. Featuring adjustable pitch control and support for both 33 and 45 RPM vinyl records, this exceptional turntable employs an ultra-precise aluminum tonearm with cue, height, and anti-skate adjustments, and accepts straight or S-shaped tonearms by means of its interchangeable tonearm system. With its 12-inch anti-drag aluminum platter designed specifically to reduce friction and its solid core construction that fights vibration and unwanted noise, the X2 is designed for years of trouble-free operation.
> Download Product Overview
--> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> --> -->
_ Ultra high torque direct drive motor
_ Full size 12" aluminum platter and slipmat
_ Numark spindle with vinyl interlock record for CD control (Patent Pending)
_ 12" vinyl record with spindle locking
_ ±6, 12, 25 and 100% pitch control (motor limited to -80% for vinyl) (DSP limited to +50% for MP3)
_ 33 and 45 RPM
_ Adjustable start and brake speeds
_ Forward/reverse toggle with Bleep (bleep cd only)
_ Fader/remote start and relay play functions (relay CD only)
_ User-upgradeable through Internet downloads
Connectivity:
_ Line output
_ Detachable power and audio connections
_ Illuminated output bay
CD/MP3 Control:
_ Full MP3 capability, including anti-shock, scratching, looping and pitch control functions
_ Key lock at any tempo up to ±100%
_ Seamless looping
_ Built-in Beatkeeper™ automatic beat calculation
_ 2 hot stutter starts
_ 3,000 cue point memory
_ Anti-Shock™ buffer technology
_ Sleep mode
_ Cartridge Sold Separately
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