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`SIGHTSOUND TECHNOLOGIES
`EXHIBIT 2129
`
`CBM2013-00020 (APPLE v. SIGHTSOUND)
`PAGE 000001
`
`

`

`EILEEDAHD WEBER Ill. 1959
`
`WWW—DiNDDEFG-Cflm
`
`31
`
`
`
`HEW TECHNOLOGY HEDUIl—‘IES ELI] MASTERS
`rflmuinwzdfium prim IJ
`standard CD format of lawn-14.1
`nrdships hat-III aceeleratrzd this
`decay. ‘I’ateran industry executivlan
`kilnhertz tanmt he imprmali.
`‘i‘tlmilutely. the analog Ingmar:
`worry mtjust that the ale-nit is titti-
`ing an the future playability nl‘
`are mare impartant. [than digital
`some at time music-III: hut that. Ute
`uIIIJit-sl bet-um IIIJIII' I can I-III mil:
`llth I'IIJur in time at hand.
`mid mind. [buss LII: Hfi-hitflfl-i iii-In.“
`Tl“: atmrvunt Inf IIIIIttIrial in LES.
`lung's Paul West. VP Iil'englmItII'iflg.
`Imam rmpnfly 'l'llllll-R. fI‘IIiII'n turn-
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`uT—ll'ue-clantury want qliminm to lard;
`Universal Munic Hump lilMfi}.
`IIIoIIth‘zCD Manners. lfi nwggrérimg.
`T1111I Efliidi’tlflfl (If many archival
`The fine “HUME. in additian tII their
`IrIIstni-Ilingfl rnmainn in jeopardy.
`EU": holdings. inn-III actwirud nearly
`hunwvur. tine Lu the pl‘ublemfi uf
`all an“ the timings of
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`
`

`

`Pl'fllIflllll III!”
`
`Thisor the final r'mirrllnmniIn II
`lkrooum‘imr oyfliilfniilond
`ornmim'ng Mo fmhlenvnfflimed
`mentor looms modfirrrovoniod
`Minnie Hormone. The are-Hen to
`elude:
`
`
`
`IIEIv reconotoor Reunion [no MASTERS
`{Continuodfiom preceding III-Ion)
`footer than CD did."
`”WeI] be doing1't'1n stages. says
`Semi: about dig-1lining the EMI oat—
`nlog. “The fire-tomsIs everything
`that’s: made it to CD. That's fairly
`eney to deal with. The next utngo in
`everything from the. vinyl era.
`Then, theoretically. you go all the
`way book."
`Company representative-II any
`that the. goal for achieving even
`partial electronic media distribu-
`tion is tom to fine yearn down the
`
`‘Eleotronio media
`
`distribution can
`
`drive us into dong!)
`ontologfostor than
`CD did’
`
`road. A completed digital archive
`{or the proocrvntlon and monngo
`Event of am will most certainly
`take much longer
`'l‘run Inferring the hundreds of
`thousands of acacia into II dig-1' LIIl
`archioe it}'ntem will require yearn of
`doy-hy-day roulooml. mm of
`the material's condition. and indi—
`vidual micro oi‘tlnc old originals
`source tapes and pre—iapemeta to
`some deteriorationa and errorw
`resistant platform within the digi-
`tal archive.
`5on5” inotalled its ayotem in 1996
`and currently has. about one cl" its
`Chore recordings stored digitally
`in its library system.
`Many record. companies now
`realize that 1while the goal of poo
`oerv'ing their whim find that of
`managing their oloetronlconodia
`ooeem relate to each cit-enthey are
`HIEPRI‘BLE and dintlncl. There in no
`oingle out-Hide technology emrpooy
`that can provide equipment for both
`functions.
`$353 one executive. "The‘big out—
`side companion. IBM for mmplo.
`with a lot ofotonge and computer
`envoy—one part of the picture—
`luIve no clue about the procedures.
`punt-icon. and methodology of the
`audio side. They [all [or short of
`what we want to do.
`“Smaller players. like mourne-
`tnrers ofdig'itsl audio mutations
`undoionwhohnve meamdiosido
`together, don’t have the nonnative
`storage digitising side together.“ he
`Edda. “There's no comprehensive
`package. Every-body’s seeing
`Pieces. looking for hybrids. The
`whole package in justnot there."
`
`tlon. But nearly all em- it's an edu-
`cated guess.
`Mastering engineer Paul Stub-
`hlehine. reflecting; current induntry
`thought. cone. “‘l'I'iin the digital i‘oru
`mete. 51111 don”t molly hone enough
`experience to know what's going to
`play in on years. We‘re honing a lot.
`oi" our guosoing on accelerated
`aging tests. which ouggeet that
`magneto—optical cartridges are the
`heel: for ohclf life.“
`There are still concerns that. in
`
`‘Tho original
`source analog is
`always going to be
`your best source’
`— mountm-
`
`addition to grappling with the
`playability issue. Rome companies
`still have inventory and retrieval
`prob-lento: they often overlook or
`can't find tracks in their archives.
`Says Stubbleln'ne, “No. 1. they can't.
`play many of these recordings
`hecnuae they‘re notneeeooihle. and
`No. 3. they often don’t know what
`they'ye got."
`
`can only he made uning‘ analog
`source materiel: All digital tones
`from the loot lo 5earswere record-
`ed in e. nonn—to-be-ohoolete num-
`pling rate of lfinhiLJt-M lIHc. Early
`effortn to create nurround-nuunrl
`’Iuroiono of thus-o rum-dings mod
`ed harsh and lacked warmth; the.
`sound could not. inc unprinted].
`he Michael Frondelli. head of
`otudioo ct
`ICapitol Records.
`explaino. "We've been lilting in that
`world for a long time now—since
`the early 'll-Dn. Remember that
`we’re emopreosing than. locum: into
`lE—lalb'ddj kiln Youcnn only go one
`way [in qualityl with that—you can
`only go down; you can't. go up. In
`other words. the original source
`analog is always; going to be your
`hentaourcc."
`Also. companion are discovering
`that :ii’ 11on find that their original
`msntera are deteriorating—or have
`two loot—end they hum. to revert
`to ”safety“ copies, old policies.
`might come one}: to haunt them:
`'l'hooowho made both on omitogmi
`a digital safety can. work from the
`analog to achieoe updated sound.
`Those who made only digital
`oaleties [or their aging analog
`might noon he left. with sonically
`outmoded tapes that. cannot. be
`updated.
`Furrizon plans [or now. curt-mind-
`sound IND Audio room-dingo {Bill—
`hoard. Sept. 25} 1Ivill require that.
`companies return to original-
`sourcc multimli oosoion Lopes—if
`they haven‘t determmted already
`or been thrown away or lost.
`"i don't want to oimydy take our
`analog library and not be able to
`capture it at the highent resolution
`possible.“ says Warner Music's
`l‘dePhereoo. “It” I have to. {want to
`{be able to] get it hook in II domain
`for UV U Illnolzljo.la
`
`ND TAPES FDFI END ”JED?
`There's another mr in. the oint-
`ment for DVD Audio. Sonya compo-
`nieo may not be able to remix and
`romeotcr some recent recordings.
`eepeciolly thoee not. recorded in
`multitrocl: analog. Why? There
`may be no m‘oltitrack-mslon tapes
`to pull from the shelves.
`Since them ithas hooomc ciao:
`dull industry practice for produc-
`ers to hand in only a. final 2-week
`digital stereo production master of
`new releases to companies.
`With thendventof digital record-
`ing. many timco instrumental tied
`trucks are recorded in one city.
`module in another. and lead vocal—
`ist trucks in yet another. These
`indmdunl upon many be difficult to
`find or may no longer exist. That
`means that lhecmmardco account
`with only the regular z-trock.
`mixed—down stereo Minna.
`
`- Part One. Inna uppoorcdin
`the June 5 issue of Billboard.
`engined. chemically flowed times
`fun the leifln and no.
`: Part Two. which summed in
`the July 1i Hiilhmrd. immigoo
`ed the problems encountered
`with unstable and unplsynhle
`digital storage media.
`. This week, Part Three on—
`plorea the archival prooccwtion
`and management efforts of the.
`five mojor record omnponioo no
`the indimio‘y moves norm-{l digi-
`tal delivery.
`
`and evoluateo the storage medium
`for signs of deterioration or error
`problems. If there‘s II problem. it‘s
`automatically copied and replaced
`lwllh "safety” copleu]."
`circularly; A] McPhermn. “ultra--
`er Erna. VP of technical oer-Ideas.
`says. ”We have a. regular praotioe
`of backing up our] verifying that
`you can still recover the data. This
`is supplemented try [the on Inst]
`when you pull a tune out ot’ the
`libraryyou obviously find out ifym
`have got. prohlerno. We go through
`[the vault] on a. regular basis to
`make note tapes have not. not
`around for years."
`McPherooo adds. "You know.
`“tiers and managers think Just
`because [a mentor] in in the library
`in there forever. We not there for-
`me”
`Artiohtproducor Todd Rundgrem
`believes that unload companies take
`a more active stance on preserva-
`tion. the mom chances for tapes
`will be low. especially for the mate-
`rial recorded on tapes with creme
`bile binders.
`“There‘s probably going to be
`oomedeciaione mode also'mc point
`antowhichommgoboclctosnd
`which once to basically throw
`away' he says. "Became eventual-
`lyihmjuntnon’theamihing they
`can reenter firm than)“
`To motto matters worsei‘orpres-
`emotion efforts “labels, archivists
`and engi neere how: dimmer-eel that
`digital. tapes from the loot decade.
`including once industry-standards
`like the UMATIG 151th and 1631]
`nerves and DnTo.aI-enowpcmneto
`breakdowns. In these cases. their
`much: content. cannot be recovered
`(Billboard. .Tul}.I 1?).
`
`vation efforts.
`Ironically. it is often the older
`original master nmteriol in compo-
`ny vaults that oeerno to he in better
`ehnpc than the none recent record—
`ingn. Hui runny surly Lopes from
`the “idle and ‘fitlo. while still
`playable. are allowing signs: of hrit-
`llonoos. Furlhnr. thorn arm-Io slud-
`ica that give any ornimintic predic—
`tion of tape longevity. So the
`question in, How locog can the con-1-
`ponies afford to gamble?
`One company archive executive
`confided that. if the inductry woioa
`too long toinitiote foll-ocole III-ener-
`votion efforts. "the holdings could
`be rancid scraps."
`A good bit of catalog material is
`already in real trouble. It's. been
`discooerod that the analog mentor
`tapes of the most popular catalog
`motorinl—milllono of mole of tone
`recorded throughout the "ills and
`‘Sflo—hovo taken on inordinolo
`Broom of moietune and. are in real
`peril.
`Theme [lowed tapes, with nonto-
`hle. gooey bindero. can stop a
`IIII'IolIiIchcod in lean than ominuto.
`I-Ind their munie content will nelf—
`dentrwct if they are played without
`undergoing an eighbhour heating
`pronoun I:oo:uJ:IlI:I111;‘.I referred to no
`“halting." This procedure. however.
`"l'llll’llE llflT FIEMW'
`is only on temporary fin (William.
`June 5]-
`Joanne Feltmnn. senior VP of
`bualrmoo ammo or. EMS and adriv-
`There are so many flawed topog-
`ing I‘m-on behind efi‘ortn to presence
`thnt. even an accelerated program
`archives and update their computer
`III II company would Inquire years
`aoceeo. mayo that even II Few years
`of systematic d‘ieoovery. recovery.
`and transfer to stable digital [or-
`ago. top executives eimply had no
`idea how many impro'venwnio were
`moto. It would take 1'7 yearn for a
`crow oi' nix onginoora working
`needed in their company vaults.
`"I went to this oeminar on digital
`eight-hour shifts to stabilize and
`Hoosier every one of the industry:
`delivery" says Fclunon. ‘und at tho
`precmmtim. these executions said.
`Iii-rick tom Still. the oncoming
`ndnd—aot continues.
`‘Wc'rc ready for dig-ital delivery
`Glenn Koo-men. director of
`“I said. ‘You're not ready for digs
`ital delivery. You‘re not. ready
`monomtloo, EhlG archives. .Isuya.
`hem l homo—I've worked at the
`"We have stabilized the «environ-
`REA archives and I've worked at
`ment in which Lheoo tapes are
`Sony.’ 1' she continues. “ ‘Aud arm
`store-cine they‘re not goingtogot
`want to get a tape from your vault.
`any worse than they are new." Hor-
`I‘m telling you right noun-sync
`I‘nnn ooyo Ihot at BMG. tapes only
`go through the heating recovery
`might want. to get. it, you might
`thi oh you know what it. in, you
`process on II one-l1y—one..ae—needed
`basis.
`might {limit you ell-en linow the [cot—
`nlog number]. but whcnyou got the
`In Fact. moot companies still deal
`tape—if you got the tape. if you
`with problem Lopes only on on on-
`could find zit—you don't own lmow
`needed basis. despite the huge
`amounts of material in their vaults
`if it would play'
`‘html they thought that over and
`awaiting precerrntion efforts. In
`most casea. archivists say. this
`cold. 'Itll right. make us a proposel.’
`And it on. That’s how [one] got
`method151 the only option, consid-
`ering the hudgets they’re given
`started“ on archive and pumme—
`tion reforms.
`"Therea baaicelly II preservation
`policy at most labels that‘s driven
`Mont. voter-cos say that coon
`by reissue ochodtfloa." oayo one pro—
`today if II oomputer search done not
`show that 2 Lupe or particular truck
`ducer lanolin-with policies at sev-
`eral majors. “Somebody mic. ‘IDVH.
`in in the vault. II through search on
`All! ASSETS STABLE HEW?
`hondn and hence will turn up the
`fimfwaGDreimehyi-lflnguyor
`that group’s album.“ So they go
`To their credit. all of the majors
`moteriol—ofteo in the wrong box
`or on the wrong Elie-1r.
`hunt for the mentor: hope they eon
`tool‘s a significant preservation and
`THE “Iii-HITMIIJ [I'll mu
`EMl'II. Benoit,
`for example.
`find it." pray that if they find it. it'll
`asset. management stag1n the late
`l? MIT‘HIPE. THEN Willi?
`With higher. Ell-hit sampling
`admits that the deeper into the
`still play; bake it it' harmony; thou
`IQBfloond early th‘y providing
`chmatc-contrdllod vaults“:to hence
`vault: companies go to find mater-
`With many analog roaster: near-
`transfer and monster it. release it.
`rates already being employed on
`and go on to the next one. That
`their collections. Any catalog hold-
`new reissues. the importance of
`ial. the Icon cure they are of what's
`ing the end of their ohell’life or Mr
`really thoro.and it bacon-Icon huge
`ready deteriorating and the addi-
`preserving original-eonrne analog
`approach means. there are still tons
`ings that have been remained on CD
`and tons of tapoejuet sitting there."
`have uho been transferred to II dig-
`tapes cannot be. overoteted. Even
`loot-and-found department.
`tioool problem of digital tape
`Honeys. “Nongrnntod. when we
`hrookdmrn. lo thorn a new digital
`time that. have already trunniomd
`However, Home labels, notably
`ital tape format.
`and remastered much of their one-
`Deep-1m growing evidence that.
`Sony and Warner Bros... have initi-
`go into the vault, of course we'll
`format or carrier that experts
`log catalog product to the digital
`ated beefed-up olforta to check
`find things where the tape cone is
`believe has greater longevity?
`aging audio tapes have not
`domain in the CD or: must return
`their archive material.
`mpty. where things. been been rov-
`Hon-l: any rim-tape carrier's have
`spite
`resistant. to deterioration
`Boys Malcolm Davidson. Sony
`storage in updated motto. some
`tothe original. analog source mote-
`aged by time and weather. butne‘ll
`the best. chance; monitored tap-c-
`also find the other omit—the stuff
`record executives believe their
`hucd systems capable of Interior-m-
`rinl in order to take advantage of
`Music‘s director of technology; ”ll-h
`the. sonic updeiam.
`tapes are "cocoonod" and require
`have II system celled ln I'i nite=
`that wan minlaid and you didn't
`log out-mom: error correction and
`
`copying Irony he the out-monolo-Unluciunntnly the ionprmemeni‘ci know you hand.”
`
`no immediate. large-omit! preser-
`File Life that periodically checko
`
`m0 IWE1H
`
`www.billboard.:om
`
`93
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