Apple Exhibit 1216 Page 00001Apple Exhibit 1216 Page 00001
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`jhe music biz meets the personal computer
`START ME UP!
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`by Benjamin §repud< and Rod Firestone
`furewwd by Ina Walsh
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`Page 00002
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`ISBN 0v9I5l6|i-4-6-0-5
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`..r_.,_,.__.._.....—
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`Contents
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`AC1-(NOWLEDGMEN'TS viii
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`FOREWORD BY JOE WALSH ix
`INTRODUCTION ---ABOUT THIS BOOK Xi
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`CHAPTEFI1---WUFIKINGW THE OFFICE 1
`Anybody Wanna Buy a Typem-ital’? 2
`Files a:Yc-ur Fmgerfips 6
`Forms and Labels 9
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`“"' Connac‘flon1.1ArIistManageIs 12
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`Con.n£:ctEon 1.2111: Reoo_rd CD'lJ-3ip9:|!-its 16
`Counocuou1.3'l‘hsMus1:cPuhlJsheIs 19
`CHAPTER 2—STAYlNG IN TOUCH 23
`Hanging Dnrhc'Ib1aphone 23
`When Cm We DoLun::h? 26
`Co::I.nccI:I.o' 2.1 T6]
`rnu:n.mica£1ons in tbs Office 23
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`.
`Comecfia: 2.21‘hnw]§cskmp Concept 30
`CHAPTER 3-TRACKING THE CASH 33
`Specidizned Accounting Sofi'.wa.n:: for the Music Industry 34
`Off-zh9~Sl1eI.fSma.1.l Business Aooouming Packages 35
`Off-Lb:-Shc1.fDaI2.'na3e and Spreadsheet Pmgrams 36
`
`Connection 3.1 Dollars 8: Sense 33
`Couneuion 3.2 finances Wm: FoxProtfuctious 41
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`Page OOOO3
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`ACKNOWLEDGMENTS
`
`We’d first like to thank everybody who nook time out of their
`busy schedules no tall: to as about their work. their lives, and
`tbei: oompulers. We're particularly indebted to Bobbi Cowzm,
`Derek Sutton. and Ianei Ritz for their advice. encouragement
`and conmcui. We'd also like no express our apprecialion to Don
`Singleton, Neil Quateman. and Steve Mondell at IMC. Roger
`Powell of Cherry Lane and Utopia. Perry Leopold at PAN, Tom
`Seufert at Red Wing Studios, Larry Linkin of NAMM. David
`Coope: as Fox Producfions, M.icm'I‘imes Magazine, and Gerald
`Rafferty.
`-
`We owe Marv Newland. (“Bambi Meets Godzilla"), of
`Intemafional Roclcetship Limited, a load of thanks and kudos for
`the time, talent. and imagination he put into his great drawings
`we've used to start up each chapter.
`Of course, our very special thanks go to Joan Welch and
`Julie Weissman for their love. support. patience, and meals.
`Joanie also helped in the ediling process and we thank her for
`her time and feedback.
`Finally, thanks Do our families and our friends for promising
`to buy this book
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`Benjamin Krepack and Rod Fuestone
`April 1986
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`Page OOOO4
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`Musicians And Computers
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`TheFmum
`MIDI is just the beginning of a brave new world in music
`zl-tar‘s taking shape. and we can only guess about some of the
`developments that lie ahead. The ability to convert any sound
`into digital information. which can then be manipulated by a
`computer, will change the way music is composed, performed.
`recorded, marketed. and enjoyed.
`Ono exciting development has already been tested by a
`handful ofprofessiorial musicians involved in a trans-continental
`recording session. In this session.
`two studios. by way of a
`satellite hook-up, made it possible for members of the band to
`record their respective parts while separated by thousands of
`miles. Because of the new technology,
`they were able to
`complete their session almost as if they were sitting in the same
`room.
`
`Sometime in the future, we’ll also be seeing inexpensive
`rnultitraclc digital recorders and studio effects gear made as
`compact and portable as your standard video cassette recorder.
`Once such devices are available, musicians will be able to do
`studio quality recording in their borne (or garage) instead of
`spending tens of thousands of dollars to rent a professional
`recording studio. Along with the smaller sizes and cheaper
`prices, we might also get some outrageous fesolros. We may
`soon see the day when a computer can actually correct a singing
`voice. No matter how off-key or horrible a voice is, a computer
`might be able to make digital corrections, giving evelrybody a
`chance at nmsic stardom
`Maybe one day. we'll even have the ability to u-nnslate our
`nlwughrs into MIDI data. We might be able to hum [or think) a
`melody. and it will come out on the insu-urnem of our choice.
`Who ltnows? There miyu eventually even be an “intelligerit"
`computer that can guess at national
`tastes and trends and
`compose a rrurnberone song.
`The way we purchase music may change. too. We may see a
`dial-up service for home computers that we could use to select
`the titles we want. The songs would be downloaded as digital
`information into our home entertainment systems that could play
`them back in perfect fidelity.
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`%[Xl,2D*t%Trnrupo(a -1: Q
`$5!-tllll :s%|!rtetore|rtaurru:a: 1% g
`Total Music" by Soutlnvcrrlt Manic S_vrren-rs Inc.
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`126
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`Page OOOO5
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`b'IRI"l'l'W9Up my
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`to receive and playback the instructions
`insuumerns present
`Some keyboards and drum machines have sequencers built-in.
`It's also possible to add a sequencer on as a separate component‘.
`With the help of special software it's even possible to turn a
`personal coroputerinto a sequencer{see CONNECTION 3.2}.
`Having the MIDI technology available in the studio can
`increase the efficiency and productivity of the recording process
`When using MIDI, there’s no need for microphones, tapes, tape
`machines, or a sound proofed room. The sound of an instrument
`can be changed instantly, the tempo of a performance can be
`changed without effecting the pitch (this is impossible when a
`performance is recorded on tape because of what is known as the
`“chipmunk effect”), and when bouncing down traclts, there's no
`mnoremmy
`A M2|I)I studio is a great tool for pre-production because it
`provides a method for musicians to re-arrange, edit, and
`otherwise refine their composition, priorto committing anything
`to ram. Many professional recording studios. in fact, are finding
`their more
`traditional, mtilti-track,
`sound-proofed studios
`bocorrtlng in: popular and are now adding MIDI rooms to their
`facilities.
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