Category Archives: Audio Processing

You know, I kept seeing that 3D stuff, and seeing that 3D stuff, and never getting it. Then I saw the same clips with a great audio system, and what do you know…the pictures looked better. 

Audio Processing

Deep Immersive Sounds, Plus…Cool Interview

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The full Press Release reads as follows. It has links to the documents which are behind firewalls. There are still documents to go, some which will follow these from 25-CSS and some from the hallowed halls of 21DC, which typically takes care of the means of putting tools like these into the DCP…but that can’t be talked about…First Rule, and all that. But there is a great interview with Brian Vessa from Aimée Ricca of SMPTE that gives a lot of great info. The link is at the end.

Brian Vessa; the Rowdy Yates of 25-CSS
Brian Vessa; the Rowdy Yates of 25-CSS

SMPTE Publishes Immersive Audio Standards for Cinema

New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems

WHITE PLAINS, N.Y. —Sept. 25, 2018 — SMPTE®, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced the publication of new SMPTE ST 2098 standards for immersive audio. The Society has published ST 2098-1:2018, Immersive Audio Metadata; ST 2098-2:2018, Immersive Audio Bitstream Specification; and ST 2098-5:2018, D-Cinema Immersive Audio Channels and Soundfield Groups.

“Immersive audio makes a significant impression on audiences, and because of the real value it adds, we’re seeing an increasing number of movies being mixed for the immersive environment,” said Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment. “By supporting delivery of a standardized immersive audio bitstream within a single interoperable digital cinema package, the new SMPTE immersive audio standards simplify distribution while ensuring that cinemas can confidently play out immersive audio on their choice of compliant Immersive sound systems.”

SMPTE ST 2098-1establishes the metadata for use in creating immersive audio content for cinema. The standard defines the metadata items supported in immersive audio content and, when appropriate, the range of values, value precisions, and cardinal values. (The format of the metadata items when carried in a bitstream or file is provided in SMPTE ST 2098-2.)

SMPTE ST 2098-2defines a coded representation (bitstream) that carries the audio essence and metadata necessary to reproduce a complete immersive audio program. 

SMPTE ST 2098-5defines names and abbreviations for immersive audio channels and soundfield groups associated with D-Cinema immersive audio presentation. This standard also provides guidance on typical locations of cinema loudspeakers used for immersive audio reproduction.

The new standards for immersive audio are available now in the SMPTE digital library hosted on the IEEE Xplore platform at https://ieeexplore.ieee.org/browse/standards/number/smpte/?queryText=immersive%20audio.  

Podcast: Improving the Experience of Sound in the Cinema with Brian Vessa. Aimée Ricca sits down with Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment, to discuss the challenges of sound quality in the cinema and the ways that movie theaters can improve sound quality for moviegoers.

Further information about SMPTE and its standards work is available at smpte.org. 

For further information, 

 

SMPTE Contact:

Aimée Ricca 

Marketing and Communication

Tel: +1 914 205 2381

Email: [email protected]

Website: smpte.org/media
Audio Processing

Deep Immersive Sounds, Plus…Cool Interview

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The full Press Release reads as follows. It has links to the documents which are behind firewalls. There are still documents to go, some which will follow these from 25-CSS and some from the hallowed halls of 21DC, which typically takes care of the means of putting tools like these into the DCP…but that can’t be talked about…First Rule, and all that. But there is a great interview with Brian Vessa from Aimée Ricca of SMPTE that gives a lot of great info. The link is at the end.

Brian Vessa; the Rowdy Yates of 25-CSS
Brian Vessa; the Rowdy Yates of 25-CSS

SMPTE Publishes Immersive Audio Standards for Cinema

New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems

WHITE PLAINS, N.Y. —Sept. 25, 2018 — SMPTE®, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced the publication of new SMPTE ST 2098 standards for immersive audio. The Society has published ST 2098-1:2018, Immersive Audio Metadata; ST 2098-2:2018, Immersive Audio Bitstream Specification; and ST 2098-5:2018, D-Cinema Immersive Audio Channels and Soundfield Groups.

“Immersive audio makes a significant impression on audiences, and because of the real value it adds, we’re seeing an increasing number of movies being mixed for the immersive environment,” said Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment. “By supporting delivery of a standardized immersive audio bitstream within a single interoperable digital cinema package, the new SMPTE immersive audio standards simplify distribution while ensuring that cinemas can confidently play out immersive audio on their choice of compliant Immersive sound systems.”

SMPTE ST 2098-1establishes the metadata for use in creating immersive audio content for cinema. The standard defines the metadata items supported in immersive audio content and, when appropriate, the range of values, value precisions, and cardinal values. (The format of the metadata items when carried in a bitstream or file is provided in SMPTE ST 2098-2.)

SMPTE ST 2098-2defines a coded representation (bitstream) that carries the audio essence and metadata necessary to reproduce a complete immersive audio program. 

SMPTE ST 2098-5defines names and abbreviations for immersive audio channels and soundfield groups associated with D-Cinema immersive audio presentation. This standard also provides guidance on typical locations of cinema loudspeakers used for immersive audio reproduction.

The new standards for immersive audio are available now in the SMPTE digital library hosted on the IEEE Xplore platform at https://ieeexplore.ieee.org/browse/standards/number/smpte/?queryText=immersive%20audio.  

Podcast: Improving the Experience of Sound in the Cinema with Brian Vessa. Aimée Ricca sits down with Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment, to discuss the challenges of sound quality in the cinema and the ways that movie theaters can improve sound quality for moviegoers.

Further information about SMPTE and its standards work is available at smpte.org. 

For further information, 

 

SMPTE Contact:

Aimée Ricca 

Marketing and Communication

Tel: +1 914 205 2381

Email: [email protected]

Website: smpte.org/media
Audio Processing

Backgrounds of Sounds – Oscars

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The scripts for this years Oscar contending movies have been available for a while (Oscar’s Scripts and Cameras), and now for it’s 2nd year is The Dolby Institute Podcast Series featuring Conversations with Sound Artists: 2017 Oscar Edition.

Sound Artists and The Little PrinceThese are a set of conversations with the sound artists who’ve been nominated for Academy Awards for Best Achievement in Sound Editing and Best Achievement in Sound Mixing. They are made in association with the Sound Works Collection which is also a not-to-be-missed set of recordings. Now, if you’re finished with bothering me, I’m listening to The Little Prince.

Audio Processing

Sound Immersion at AES

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Great to see an article where Immersion doesn’t mean Immersive…Mel Lambert reports from the AES-LA 2016 for CineMontage, the Editors Guild Magazine.

The 141st Audio Engineering Society Convention, held recently in the Los Angeles Convention Center’s West Hall, attracted a record West Coast attendance, with a wide cross-section of brands showing their wares on the exhibition floor and companion demo rooms. Aimed squarely at evolving technologies via a special focus on new markets and trends, the four-day convention took the highly appropriate theme of Immersed in Audio. “That pretty well sums up where [our industry] needs to move forward in the world of new audio technologies,” noted AES president John Krivit. “Sound for picture, networked audio and game audio were all covered here with a full technical program of workshops, tutorials and exhibits.”

For more about the co-located Virtual Reality Convention and highlights from the seminars, see: 

Sound Immersion at AES – CineMontage

Audio Processing

Sound Immersion at AES

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Great to see an article where Immersion doesn’t mean Immersive…Mel Lambert reports from the AES-LA 2016 for CineMontage, the Editors Guild Magazine.

The 141st Audio Engineering Society Convention, held recently in the Los Angeles Convention Center’s West Hall, attracted a record West Coast attendance, with a wide cross-section of brands showing their wares on the exhibition floor and companion demo rooms. Aimed squarely at evolving technologies via a special focus on new markets and trends, the four-day convention took the highly appropriate theme of Immersed in Audio. “That pretty well sums up where [our industry] needs to move forward in the world of new audio technologies,” noted AES president John Krivit. “Sound for picture, networked audio and game audio were all covered here with a full technical program of workshops, tutorials and exhibits.”

For more about the co-located Virtual Reality Convention and highlights from the seminars, see: 

Sound Immersion at AES – CineMontage

Audio Processing

AES Los Angeles, 2016

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Mel Lambert reports from AES-LA:

For a number of reasons – not least being the outstanding work done behind the scenes by its volunteer planning committee – the 141st AES Convention, which ended at the Los Angeles Convention Center yesterday, delivered on its promise. The four-day attendance was outstanding, with a good representation of overseas visitors, while a wide cross section of brands showed their wares on the exhibition floor and companion demonstration rooms.

The icing on the cake was the co-located Audio for Virtual and Augmented Conference, which drew standing-room-only attendance in a lecture theatre and companion paper room. The inaugural two-day event was expected to attract some 290 attendees; aggressive marketing and outreach to the VR and AR communities proved so successful that pre-registration had to be closed at just over 400…

For more of this Audio Media International article:

AES 2016: An overview of the key talking points

Audio Processing

AES Los Angeles, 2016

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Mel Lambert reports from AES-LA:

For a number of reasons – not least being the outstanding work done behind the scenes by its volunteer planning committee – the 141st AES Convention, which ended at the Los Angeles Convention Center yesterday, delivered on its promise. The four-day attendance was outstanding, with a good representation of overseas visitors, while a wide cross section of brands showed their wares on the exhibition floor and companion demonstration rooms.

The icing on the cake was the co-located Audio for Virtual and Augmented Conference, which drew standing-room-only attendance in a lecture theatre and companion paper room. The inaugural two-day event was expected to attract some 290 attendees; aggressive marketing and outreach to the VR and AR communities proved so successful that pre-registration had to be closed at just over 400…

For more of this Audio Media International article:

AES 2016: An overview of the key talking points

Audio Processing

Get Your HI Tracks On

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After a decade of hopes and promises, several large theater chains, entire countries like Australia and major studios have broken the technology and chicken-and-egg barriers to implementing complete access for this part of society who have asserted their right to be included. That the digital caption and listening technology caught up in a flurry in the last year is no coincidence to these moves, but it has taken a lot of work and rigorous testing “plug fests” for years to get to this point.

Regal Cinemas has thrown the latest and greatest gauntlet – all screenings, in all their auditoriums, will be “Accessible” by the end of the year.

There are more than a few challenges ahead for them. They have chosen the Sony glasses and sound systems [See:Previous Story], which are just becoming available. They have the largest number of screens to accommodate, nearly 7,000, which means a lot of people to train and a lot of expectant customers.

But the hardest moment is when the customer puts on the glasses to see the closed captions or the headsets to hear the sound…and nothing happens. Everyone can identify with that sinking feeling. Why? Will they fix themselves? I was promised~!

Oops!!! It was only the trailers that didn’t have the tracks for the hearing impaired (HI). Whoa…I sure wish that wouldn’t happen.

The ISDCF, a association of technical staff from many exhibitor and distributor and manufacturing groups have put out a request from via their chair:

Open letter to Content Providers,

ISDCF has discussed problems in delivery of the HI track (hearing impaired) for digital releases, in particular trailers. In the “old” days the HI track was generated by the “B” chain through the cinema processor – and this worked pretty well. 

Today the delivered DCP movies sometimes contain a studio-mixed HI track and this dedicated channel is used to feed the HI system in the theater. When a product does not have a HI track, in particular trailers, the theater HI system is silent. This is unacceptable. 

The best solution is for every delivered DCP movie or trailer to include an HI track. This could be an HI track created in a studio mixing room or one using a formula like the one used by “B” chain cinema processor systems. 

I would like to ask the help of ISDCF members to get the message out and help encourage release of HI tracks for all digital releases.

Best,

Jerry Pierce
Chairman ISDCF

Audio Processing

Get Your HI Tracks On

Leave a comment

After a decade of hopes and promises, several large theater chains, entire countries like Australia and major studios have broken the technology and chicken-and-egg barriers to implementing complete access for this part of society who have asserted their right to be included. That the digital caption and listening technology caught up in a flurry in the last year is no coincidence to these moves, but it has taken a lot of work and rigorous testing “plug fests” for years to get to this point.

Regal Cinemas has thrown the latest and greatest gauntlet – all screenings, in all their auditoriums, will be “Accessible” by the end of the year.

There are more than a few challenges ahead for them. They have chosen the Sony glasses and sound systems [See:Previous Story], which are just becoming available. They have the largest number of screens to accommodate, nearly 7,000, which means a lot of people to train and a lot of expectant customers.

But the hardest moment is when the customer puts on the glasses to see the closed captions or the headsets to hear the sound…and nothing happens. Everyone can identify with that sinking feeling. Why? Will they fix themselves? I was promised~!

Oops!!! It was only the trailers that didn’t have the tracks for the hearing impaired (HI). Whoa…I sure wish that wouldn’t happen.

The ISDCF, a association of technical staff from many exhibitor and distributor and manufacturing groups have put out a request from via their chair:

Open letter to Content Providers,

ISDCF has discussed problems in delivery of the HI track (hearing impaired) for digital releases, in particular trailers. In the “old” days the HI track was generated by the “B” chain through the cinema processor – and this worked pretty well. 

Today the delivered DCP movies sometimes contain a studio-mixed HI track and this dedicated channel is used to feed the HI system in the theater. When a product does not have a HI track, in particular trailers, the theater HI system is silent. This is unacceptable. 

The best solution is for every delivered DCP movie or trailer to include an HI track. This could be an HI track created in a studio mixing room or one using a formula like the one used by “B” chain cinema processor systems. 

I would like to ask the help of ISDCF members to get the message out and help encourage release of HI tracks for all digital releases.

Best,

Jerry Pierce
Chairman ISDCF

Audio Processing

Film Festival Dates and Submission Details

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the 3D company, the 3D specialist company in Central London, has released a nice grid of 26 world-wide film festivals and their requirements. Film Festival Dates and Submission Details | THE 3D COMPANY

[Sundance, Berlin Int., South by Southwest (SXSW), Hong Kong Intl., Atlanta, Tribeca, London Int. Doc. Festival, Festival de Cannes, Seattle Int., Nantucket, Edinburgh Int., Moscow Int., Montreal World, Venice Int., Telluride, Toronto, New York, Busan Int., Chicago Int., London, Jakarta Int., Hollywood, Austin, Film Festival of India, Yamagata Int. Doc, British Urban Film Festival]

Audio Processing

Film Festival Dates and Submission Details

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the 3D company, the 3D specialist company in Central London, has released a nice grid of 26 world-wide film festivals and their requirements. Film Festival Dates and Submission Details | THE 3D COMPANY

[Sundance, Berlin Int., South by Southwest (SXSW), Hong Kong Intl., Atlanta, Tribeca, London Int. Doc. Festival, Festival de Cannes, Seattle Int., Nantucket, Edinburgh Int., Moscow Int., Montreal World, Venice Int., Telluride, Toronto, New York, Busan Int., Chicago Int., London, Jakarta Int., Hollywood, Austin, Film Festival of India, Yamagata Int. Doc, British Urban Film Festival]

Audio Processing

Film Festival Dates and Submission Details

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the 3D company, the 3D specialist company in Central London, has released a nice grid of 26 world-wide film festivals and their requirements. Film Festival Dates and Submission Details | THE 3D COMPANY

[Sundance, Berlin Int., South by Southwest (SXSW), Hong Kong Intl., Atlanta, Tribeca, London Int. Doc. Festival, Festival de Cannes, Seattle Int., Nantucket, Edinburgh Int., Moscow Int., Montreal World, Venice Int., Telluride, Toronto, New York, Busan Int., Chicago Int., London, Jakarta Int., Hollywood, Austin, Film Festival of India, Yamagata Int. Doc, British Urban Film Festival]

Audio Processing

Alan Parsons Gets Creative Review

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The series comes to you from Alan Parsons, a man whose credits have included some of my favorite albums over the years: Pink Floyd’s “The Dark Side of the Moon,” The Beatles’ “Abbey Road,” and Al Stewart’s “Time Passages,” et al. Then came…

This article comes from Creative Cow:
A Look at Alan Parsons Art & Science of Sound Recording – Creative COW

Alan Parsons has now released the DVD/downloadable series Alan Parsons’ Art and Science of Sound Recording. Priced at $149 for the DVDs with downloads or buy just the download version alone for $99. Either one is a steal. …

After living with it for much of 2011, how do I feel about the purchase? Even with its flaws which come with annoying semi-regularity, it is still my favorite audio production and engineering training series. It was a monumental undertaking that while far from perfect has many things to recommend it. …

Even with its flaws, I love it and would give it …

On DVD, it is a three disc chronicle of what Alan Parsons has picked up during a lifetime of audio engineering and production. Narrated by Billy Bob Thornton (yes, that Billy Bob Thornton) …

Alan Parsons is joined in sidebar discussions by other A-list audio engineers and producers like Simon …

How good is it? Over the years I have been able to work alongside a multi-platinum-selling audio engineer/producer and Alan Parsons’ Art and Science of Sound Recording is second only to that kind of experience. Sure, there are times …

How does it compare to some of the best audio engineering training series that I have bought over the years? There are some …

It is about as close as most of us will ever get to working with an engineer the calibre of Alan Parsons. Throw in his discussions and sidebars with his many friends who offer their own insights and you have something special.

The performers being recorded are equally impressive. On the drums is none other than Simon …

There is no substitute to getting to work alongside real pros, learning from their knowledge and experience. I’ve been fortunate to have co-produced two albums with…

For me, working through Alan Parsons’ Art and Science of Sound Recording is second only to getting …

I could lay out all of the many reasons why I recommend this series but I will make this short and sweet and will just say this: …

Four stars out of …

If you want to learn more or order it, you will find the series website at artandscienceofsound.com

Audio Processing

Alan Parsons Gets Creative Review

Leave a comment

The series comes to you from Alan Parsons, a man whose credits have included some of my favorite albums over the years: Pink Floyd’s “The Dark Side of the Moon,” The Beatles’ “Abbey Road,” and Al Stewart’s “Time Passages,” et al. Then came…

This article comes from Creative Cow:
A Look at Alan Parsons Art & Science of Sound Recording – Creative COW

Alan Parsons has now released the DVD/downloadable series Alan Parsons’ Art and Science of Sound Recording. Priced at $149 for the DVDs with downloads or buy just the download version alone for $99. Either one is a steal. …

After living with it for much of 2011, how do I feel about the purchase? Even with its flaws which come with annoying semi-regularity, it is still my favorite audio production and engineering training series. It was a monumental undertaking that while far from perfect has many things to recommend it. …

Even with its flaws, I love it and would give it …

On DVD, it is a three disc chronicle of what Alan Parsons has picked up during a lifetime of audio engineering and production. Narrated by Billy Bob Thornton (yes, that Billy Bob Thornton) …

Alan Parsons is joined in sidebar discussions by other A-list audio engineers and producers like Simon …

How good is it? Over the years I have been able to work alongside a multi-platinum-selling audio engineer/producer and Alan Parsons’ Art and Science of Sound Recording is second only to that kind of experience. Sure, there are times …

How does it compare to some of the best audio engineering training series that I have bought over the years? There are some …

It is about as close as most of us will ever get to working with an engineer the calibre of Alan Parsons. Throw in his discussions and sidebars with his many friends who offer their own insights and you have something special.

The performers being recorded are equally impressive. On the drums is none other than Simon …

There is no substitute to getting to work alongside real pros, learning from their knowledge and experience. I’ve been fortunate to have co-produced two albums with…

For me, working through Alan Parsons’ Art and Science of Sound Recording is second only to getting …

I could lay out all of the many reasons why I recommend this series but I will make this short and sweet and will just say this: …

Four stars out of …

If you want to learn more or order it, you will find the series website at artandscienceofsound.com

Audio Processing

CML Artists on Music Libraries

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Original post: “The library companies seem like used cars sales men, and some of the same songs appear in multiple library so how can they say they have sync rights? my thoughts are that I can use these with out a sync license, because A.
they have no legal standing, B. the songs could be part of any library so only the artist could claim royalties, but the artists are setup with BMI,ASCAP which will get royalties when broadcasted and is the broadcasters responsibility.”

“…are music library licenses a scam?”

Later exposition: “My whole reason in posting this was to more less expose the music library companies, many of the songs these libraries have exist in other libraries (one library company can’t have exclusive rights) so how can they ever know where you got that song from? As far as royalties I always submit a music cue sheet to the broadcaster.

I just feel like we need something better to get music from artist to producer and eliminate these Music Library middle men.”

“I think your reasoning is completely faulty. The same artist could have multiple deals. BMI/ASCAP pays on WRITING the song, but not the performance. If you use the piece without rights from one of the companies, you may get away with it, but perhaps you won’t. If you don’t pay, you certainly wouldn’t have a leg to stand on. The artist and ONE of the libraries has to be paid.

 

It stuns me when creative people think this way. What if you sold stock footage to several libraries (which I have seen in stills), and I used it and didn’t pay? It’s the same as people who have pirated movies. How are any of us creatives getting paid for our work? Are you working for free? Are you giving away your own work? Why do you expect that someone else should not be paid for his creative work? Is it of less value than yours. My guess is that YOUR creative work is less valuable. A musician is creating something from nothing.”

‘I pay for all the music I use.   It is a bargain.

When I write a check for $1000 for, say, a 12 minute corporate film, it hurts for one second, but what kind of score could you get that money, with a dozen cues.

I am a Getty Motion artist and of course I feel the same way about my stock footage.  I get pretty upset when I allow use or license my footage for one production, and then I see it in other productions from the same production company.”

“When you buy a used car, are they selling the same physical car to more than one person? Or are you thinking that gee the used car lot has twenty of the same make and model of that car and my friend already bought one, so I’m going to go down to the lot and take another one whenever I need. I mean really the cars are all just copies anyway, and lots of them are in different used car lots.

BTW – Even youtube will require you to provide proof of music license when you join their revenue sharing program.”

“There are some terms being thrown around here which aren’t quite accurate. Copyright / License / Royalties are all completely separate (though often they are linked via contract). I’m no lawyer, but I do make a living writing music for spots and films so I’ve had to wade through these a few times. Here’s how I view it as a content creator.

SHORT ANSWER? The songs have a VERY CLEAR legal standing, and you MUST read the license that came with the material to know what you can and cannot do legally.

When I write music, even if it’s “for hire,” I retain the Royalties in perpetuity unless I’m stupid enough to sign them away. If a piece I wrote appears in a broadcast, I get paid royalties. Now, back to the “stupid enough…” part. If I sell my music to a Library and they turn around and offer it to you as “royalty free” what that means is that when I gave my music to that library I waived any rights to future royalties. I don’t like that… so I don’t sell my stuff to those  companies. But plenty of composers will, and that’s their right. BMI/ASCAP are in the business of collecting royalties. They have nothing  to do with copyright or sync licenses.

 

“Many libraries sell or even GIVE you a huge library of CDs. You APPEAR to own them, but …, you need to know (READ) the agreement. I have a giant collection of APM music for trailers. But owning the CDs doesn’t give me ANY rights to use them. They GAVE me the library, so I could have easy, quick access, but I have to individually license every single cut from the CDs.

… We bought a starter set of CDs and they kept supplying us with additional, new content, but we also paid an annual licensing fee to use the music, and we had to keep a record of which cuts we used, even though we had a blanket license. But whoever bought those CDs when the post company went out of business would have absolutely NO right to use those cuts, just because they owned the CDs. They would need to pay the same blanket annual licensing fee or needle drops to actually put the music on anything.

I’ve also bought “royalty free” albums from Sounddogs and other libraries and they specifically state that you are getting sync rights, but not broadcast rights, or that your rights are limited.

“In SOME cases, the act of buying the library gains you a sync license…”

“I’d point out that Music Libraries do exactly what your asking: Get music from artist to producer (or consumer.)  iTunes is the most visible example of that, enabling convenient access to popular music.

Production music libraries—like stock footage libraries—make it a lot more convenient for people in need of music to find and legally use music in productions at relatively affordable prices.

These libraries make what’s often a sizeable investment to acquire or make the recordings and optain the licensing or copy rights to songs.

Then they pay more to manufacture and package CD’s… coupled these days with expensive websites that allow you to search, preview, license and download a cut that gets you out of a jam at 2:17am on a Monday morning when you have to deliver a finished edit on disc at 7a.m.”