These two selections were chosen from a review of nearly 200 entries out of the 650 entries currently submitted. (That number grew to 670 by the time CS was finished reviewing them.) Both deserve to make it to an actual "Naked" RMX release. After the jump, listen to some more notable mentions.

The study did note, however, that music heads and the "Internet cognoscenti", as the report called the web savvy, search for music in a different manner.

And a couple of new studies might help to shed a little light on this part of the population.

A recent non-scientific survey of users of the blog aggregator Hype Machine found that, like the first report, friends still played a large role in discovering music for Hype Machine users. But friends were only the runner up as a source of music, not the prime source. Online editorials were the go-to place for Hype Machine users.

But one of the readers was a little peturbed that the study didn’t include radio as one of the multiple choice options for sources of new music. A total of 7.6 users wrote this alternative into the "other" category.

Entertainment Media Research also just recently published(pdf) a study of digital music consumption in the UK. (Net, Blogs and Rock’n'Roll caught this one.)

In this online study of 1,700 people, MySpace ranks as the most important web site for music, with YouTube coming in second. More importantly, perhaps, is that 10 percent of respondents said the social networking sites have led to purchases. This is surely to increase now that musicians are able to sell MP3’s directly through their MySpace profiles. And it’s just in time: nearly half said it needs to be easier to buy music from the sites.

Regardless of their popularity, two-fifths agree with the statement that the networking sites "are full of idiots nowadays". Yes, they really asked that question. So scientific.

Sure, you could drop a couple thousand dollars on recording equipment and then travel around North America looking for field recordings like Amon Tobin did for his latest album, The Foley Room. But the rest of us are probably a bit too budget-challenged for all that.

For musicians looking for noises lifted from the real world, the world wide web can be a great resource. The three sites that I’ve found most useful so far are Freesound, SoundSnap, and FindSounds.

The first two use only Creative Commons licensed sounds and tag all of their samples for easy browsing. All employ high quality sounds, and can be downloaded in a variety of sound files. (If you run into a sound file you’re not sure how to use, like .ogg or .aiff, click here for file converters. You wont need to download any software.)

So, if you’re bored of hearing a setup that consists of a lead guitar, bass guitar, and drummer, work something out and flip it Musique Concrète style. With these sites, you can dig up sounds ranging from the audio from a factory floor to the rattle of a spray can to the purr of a tiger.

For a recent example of someone taking this idea as far as you could, check my post on Coldcut’s "Timber".

It just so happens that the mashup artist Girl Talk lives in the district of a congressman who sits on the Committee that deals with the issues surrounding music copyright. The politico has been using Girl Talk’s music as an example of why using other people’s music to create your own should be considered a valid form of art in the eyes of the law.

Newsweek recently had the Congressman, Mike Doyle, sit down over lunch with the man who is Girl Talk, Gregg Gillis, and talk about what kind of laws could be passed that would allow artists like him to thrive. (Girl Talk’s music has been pulled from eMusic and iTunes over legal concerns.)

A Mash-Up Relief bill… classic.

When anybody with basic computer skills can download music, buying it online has almost become an altruistic act. If it’s free, why pay for it other than to support the artists they enjoy? (Well, there is the remote chance they are scared of getting sued.)

Some internet companies are taking a "glass is half full" approach to this situation. They are banking on the goodwill of people who already buy online, and hoping they would be willing to pay more for music if it were to benefit the artist.

The older of the two companies out there - that I know of, at least - is MagnaTune. The site allows listeners to hear the site’s catalog of artists for free. But to download songs, users have to pay. The site has a base charge, but a buyer can choose to pay more for a song if they like. All money is split with the artists 50/50.

And the new cat on the block is SongSlide. They start songs off at 59 cents, and allow buyers to slide a bar up to donate more money, with all of the extra profits going to the artist.

The catalog of these sites is very limited and makes them more of an interesting experiment with a good faith business model.

But can it pay off? The co-founder of SongSlide, Devin Brewer, tells Freakonomics that the average song sells for $2.08. But this may be due to the novelty of the site, and its limited audience. More telling may be the sale prices at the older MagnaTune. While the site doesn’t provide average sales data on their statistics page, their albums with the highest average sales prices are not that encouraging. Few sell for much more than the base rate of $8.00.

"Music Burgler"

Another telling anecdote may be the experience of Jane Siberry. At first, she allowed listeners to download her music free, but gave them the option to pay. The model was successful… only until she got some media coverage. She then got a swarm of new listeners - who decided to download and never pay.

Take from this what you will, but buy music. (How much have you spent on alcohol this month, hm?) 

(In order to compare iTunes to the more traditional outlets, NPD counted each 12 tracks sold on iTunes as the equivalent of an album sold elsewhere.)

With iTunes commanding so many sales, it may put more pressure on Apple to allow those songs to be played with competing technologies. European regulators are already trying to force the company to do so. The vast majority of iTunes music can only be played on the iPod or on iTunes. But Steve Jobs, CEO of Apple, recently blamed this on the technical difficulties of adding copyright protections to those songs, which most of the music labels demand.

  

Number 5, from the 80’s movie Short Circuit.

It seems like most of the music technology institutions are after similar technology. I guess it’s the next "killer app" for the music world.

The Musipedia site also has some great links to comparable services.

<Via MusTech>