p2pnet news view | DRM:- DRM isn’t a dead horse: it was never even born.
If you can see or hear something, someone somewhere will figure out a way to copy it via one analogue or digital means or another.
End of story. Period. Full stop.
Yet the many and various elements of the corporate music, movie and software cartels continue to discuss it not only as though it exists, but as though it serves a genuinely useful purpose.
Warner Music Group, an investor in both imeem and Lala, “took a $16 million charge to write down its investment in imeem, and an $11 million charge to write down part of its investment in Lala, plus it took another $4 million charge to write down a bad debt from imeem which it never expects to collect,” p2pnet has TechCrunch saying in an earlier story.
What has that to do with DRM?
On his blog, Michael Robertson says he’s already written about how LaLa uses/used DRM (Digital Restrictions Management) consumer control to, “lock their users into a system where they control how music is used”.
He said he was surprised some readers, “didn’t see Lala’s service as a form of DRM”. So he offers a clever ‘Q&A’ in which LaLa’s responses are “exact quotes” pulled from its patent application to the federal government describing its technology »»»
Q: In my description of the Lala locker system I said you used “Server DRM”. Some objected to my description of what you’re doing. How do you describe your system?
A: The system provides consumers with access to the digital media from any internet-connected device while enforcing the intended uses by the copyright owners. A network-based DRM system manages digital media assets stored in the network.
Q: So Lala has created something new called “Network DRM”?
A: See patent: Network Based Digital Rights Management System.
Q: Who at Lala gets credit for creating Network DRM?
A: Anselm P. Baird-Smith (Lala co-founder), Vu Nguyen (Lala co-founder & Chairman), Raymond Walsh (Sr. Software Engineer), William A. Alvarado (Lala founder), Zelidrag Hornung (Lala Distinguished Engineer now at Google)
Q: How does Lala’s “network-based DRM” compare with previous file based DRM that people are more familiar with like that from Microsoft and Apple?
A: Many Digital Rights Management (DRM) technologies have emerged including Microsoft Windows Media DRM and Apple’s Fairplay. These technologies have suffered from a lack of interoperability due to competitive/licensing issues as well as expensive implementation requirements.
Q: So how is Network DRM better?
A: By delivering the product directly from the network, only authorized users and devices can access the media. Access by users and devices is controlled on the web and can be constantly adapted to changing technologies and market pressures.
Q: How is Network DRM good for the content owners?
A: Access to the digital media is controlled by the Digital Rights Management (DRM) process. The DRM process is invoked any time that a user interacts with the managed digital media. The DRM process is capable of computing the permissible uses in real-time, proving real-time control over the assets.
Q: In my article I warned people that with Lala they cannot download their tracks meaning, ultimately, the record labels are in control of their media. Is that accurate?
A: The web restricted nature of the offering means that the digital assets are at all times controlled by the system (versus digital files downloaded to users) and thus result in minimal piracy.
Q: In your system do consumers control their property or do copyright owners, such as record labels and publishers?
A: The system also allows for the “revoking” of ownership of digital media. For example, if a user is known to have illegally shared a file, the copyright owner may choose to revoke their ownership of the digital media in the system, limiting the rights of such user to the media.
“There you have it,” Robertson finishes off, “Lala describing their own system as ‘network DRM’, explaining how ‘digital assets are at all times controlled by the system’, only ‘authorized devices’ are permitted and the record labels can ‘revoke’ content. Moving the locks from individual files to the server is still DRM because the user never owns their media and the rules can change at anytime. Even more concerning Lala readily admits that record labels – their financial backers – are setting the rules. (This is why Lala will not let you listen to your music on a mobile phone.)
And, “There’s an open offer to Lala to respond to the above questions and I will post their response unedited on this blog,” he adds.
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