Management (DRM), the Secure Digital Music Initiative (SDMI) and the TI DSP. The basics of SDMI and DRMs was covered in Volume 1 of Tune In TI.

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1 Tune TIIN Portable Digital Technology and Trends Editor s Notes Welcome to the second issue of Tune In TI. TI began our Internet Audio journey 18 months ago when TI technology powered the first multiformat, digital audio player on the market. As mentioned in the first issue, 8 of the top 10 consumer electronics manufacturers in the world have selected a TI Digital Signal Processor (DSP) solution for their players. The announcement of our latest Internet Audio solution, the TMS320DA250 DSP, extends our leadership position as we cruise into Look for details of this announcement in the Hot off the Presses section. In this issue, TI continues our coverage of security and consumer audio content as we dive deeper into the relationship between Digital Rights (DSP) (DRM) (SDMI) Management (DRM), the Secure Digital Music Initiative (SDMI) and the TI DSP. The basics of SDMI and DRMs was covered in Volume 1 of Tune In TI. 8 of the top 10 consumer electronics manufacturers in the world have selected a TI Digital Signal Processor (DSP) solution. In addition, we have a special guest included in this issue. The Windows Media Division at Microsoft has contributed a column that addresses the utilities and capabilities of DRMs for digital audio and video technologies. Microsoft is a valued technology partner in the digital audio and video space, and I personally would like to thank the Windows Media Division for their contribution. I hope you will continue to find Tune In TI worthwhile, and we will make every attempt to bring you quality, timely updates on the state of the union in the Internet Audio industry. Feel free to drop me an should you have any questions or comments surrounding any portion of a Tune In TI newsletter. In This Issue > Editor s Notes > The Rhythm of Digital Rights Management contributed by Microsoft. > Tech Talk: Part 2 detailing the anatomy of a DSP-based multi-format digital audio player. > Hot off the Presses: TI s latest industry news. Vol. 1, No. 2 Digital Rights Management 1

2 ? What is DRM? Contributed by Microsoft s Windows Media Division DRM is a set of technologies that content owners can use to protect their copyrights and stay in closer contact with their customers. In most instances, DRM is a system that encrypts digital media content and limits access to only those people who have acquired a proper license to play the content. There are several benefits of DRM for content owners and retailers. With DRM, content owners can remain confident that their digital media content is protected no matter how widely that content is distributed. DRM can reduce marketing costs while promoting artists and albums on the Internet. For instance, record labels have used DRM to distribute millions of copies of songs by asking users for demographic information in exchange for a license to play the song. Digital media retailers can distribute content S E C U R I T Y The Rhythm of Digital Rights Management over the Internet through online music stores, without worrying that their own customers will undermine their business by sharing unprotected content. Unsigned musicians can upload and market their music directly to fans by using DRM technology, while protecting their copyrights. Consumers benefit because DRM presents new opportunities for content owners to make higher quality digital media widely available and easy to acquire. DRM will allow this digital media to be both highly portable and deliverable with richer content, like artwork, lyrics, biographies, and links to relevant Web sites. Planning a DRM System There are extensive and complex technologies and implementations available for digital rights management. When evaluating a DRM system to ensure it meets the needs of your organization, consider the following points. Security Proven technology. A good DRM system uses a protection scheme that has been proven in the marketplace. Its cryptographic algorithms are established standards that cannot easily be broken. Persistent protection. An advantage to digital media content is that it can be distributed widely and a good DRM system should maintain a high level of security no matter where the protected content ends up. Revocation and renewability. Many different applications can interact with a digital media file as it travels through the computer. To minimize the effects of security compromise from any application, the DRM system should be able to revoke the ability of the compromised application to play the digital media content until the application has been upgraded to a higher level of security. 2

3 C O M P A T I B I L I T Y Compatibility Availability of players. Players capable of decrypting the DRM system s protected digital media content should be widely available. Streaming and download capability. A DRM system is commonly required to both stream and download content. For instance, a music Web site might want to allow consumers to stream videos for free or, for a fee, download them. Portable device capability. Portable players and portable media are growing in popularity, and a good DRM system can securely transfer digital media content to portable devices while maintaining the rights established by the content owner. Implementation and Usage Easily integrated technology. Most Internet sites already have a distribution system and an e-commerce solution in place. When evaluating DRM systems, it is important to determine whether you need a technology that can easily integrate with your existing system or whether you need a completely new system. Scalability. To grow with the rapidly expanding digital media market, a fast, scalable DRM system is always desirable. Consumer interface. A good DRM system enables you to choose how you interact with consumers. For example, you may want to make consumers aware of the licensing process or to keep it transparent to them. Business Rule Flexibility Different usage models. Many business models can be used to distribute content: previewing files, limiting the number of times a file can be played, setting up subscriptions, and so forth. The DRM system should provide a rich set of licensing options. Ability to change license terms. Because encoding digital media content is CPU-intensive and such content requires plenty of disk space, a good solution enables you to modify the terms of the license without having to modify the content. Super distribution. Super distribution is a process by which consumers share digital media files with each other, and in doing so, help to increase content exposure and sales. Although consumers share the files, they can t share licenses to play them. The DRM system should encourage super distribution by facilitating license acquisition according to the content owners needs. Content Protection Process Overview To ensure that only authorized users can access the digital media asset, leading DRMs such as Windows Media Rights Management technology uses cryptography to authenticate components and guard against code and data tampering. Also, using digital signatures and public key certificates, the DRM-enabled components on both the consumer s computer and the computer issuing the licenses are authenticated. Content is encrypted when packaged and decrypted for use only after the requesting component has been authenticated. As a result, digital media content is highly protected. Licenses to play these files, which are delivered separately, include rights to specify how a consumer can play packaged files. How you use and implement this process is completely customizable to suit different business needs. For More Information To learn more about the Windows Media Rights Manager 7 technologies, please see the Windows Media Technologies page at the Microsoft Web site ( windowsmedia/), the Windows Media Developer Center (msdn.microsoft.com/ windowsmedia/) and the Windows Media Technologies Web Workshop (msdn.microsoft.com/workshop/imedia/ windowsmedia/default.asp). F L E X I B I L I T Y 3

4 techtalk The Anatomy of a DSP-Based Multi-Format Digital Audio Player: Part 2 The mass popularity of Napster is a clear indication of the rapidly changing business environment for the record labels and the brick and mortar music retailers alike. MP3 only songs were just the beginning, but the recent onslaught of new audio compression algorithms and 2nd and 3rd generation portable digital players is changing the game. In the first issue we began a two-part fly-by journey through the anatomy of a multi-format digital audio player powered by a DSP. We introduced the key techniques used in audio compression technologies and took a step-by-step look at decoder basics, auditory masking, frequency domain coding, window switching and dynamic bit allocations. Here we will complete the journey as we discuss content protection, player hardware and finally PC connectivity. Content Protection The music distribution industry is currently dominated by SONY, BMG, EMI, Universal and Time Warner, termed the BIG 5. The most important factor necessary for digital audio players to succeed is the mass availability of digitally compressed music, spoken word and video content. In order for that to happen, content providers such as the Big 5 need to be assured of a secure digital music delivery system that will protect them from piracy. TI working with Liquid Audio, InterTrust and Microsoft are developing rights management technology that should give these assurances to the Big 5 today, and the owners of additional spoken word and video content in the near future. In a typical music delivery system, the control points that are involved are the audio source, which can be compressed or uncompressed, the users host machine, e.g. a PC or Electronic Kiosk, the Portable Player and the Storage Media. The audio stream will originate from the source, transfer via the host (with compression if necessary), onto the player and finally to the storage which may be on-board or removable. Content protection is about ensuring the security and legality of data transferring between these points. There are several ways in which a content protection scheme can be implemented to prohibit piracy, namely: encryption, watermarking and binding. Encryption is a technique that scrambles a set of data such that original data cannot be retrieved unless the key to the scrambling process is known. This technique is widely used in content protection schemes to protect the audio and related data transferred between the control points. Usually, more than one key is used for a download session, with separate keys for each communication session between each of the control points. These session keys are typically destroyed at the end of the session to reduce the possibility of hacking. A good content protection scheme not only reduces the chance of hacking, but also ensures that in the event of a successful hack, the damage will be contained within a small area, typically that particular session, device and/or media. Watermarking refers to the embedding of inaudible data into existing audio content. The watermark can contain information such as International Standard Recording Code, user ID, usage rules and other tracking information. This information can be used by content protection software to prevent unauthorized copying and compression. Binding associates content with one or more devices and/or media. The basic concept is to restrict the number of sets of player-media combinations allowed. For example, a song on a particular media may only be played on the few players authorized by the user, and any players outside this authorized set will not be able to play the song. Continued on pg. 5 > 4

5 tt Continued > This not only prevents unauthorized copying, it also helps to contain any damage done in cases of successful intrusion. With these three tools as the basis; content protection software will be able to prevent intrusion when data is being transferred within the various control points in the system (via encryption), prevent unauthorized duplication and compression of illegal content, and execute damage containment (via watermark and binding). Player Hardware Overview The hardware architecture of a portable audio player is fairly simple. It consists of: + a processor to decode and play back compressed audio streams + a controller or processor to handle the user interface (keypad and LCD) and mass storage + an audio playback path (stereo DAC + amplifier) + a power management unit (voltage regulators and supervisors). A record path consisting of microphone amp and mono ADC may be included if recording capability is planned. The decoder and controller tasks can be executed from one single chip. If a PC connection is desired, interface logic to a parallel port or USB controller is included. At the heart of a player is the audio decoder processor. 1st generation players typically used an application specific integrated circuit (ASIC) that only decodes MP3 streams. For 2nd and 3rd generation players, however, this is not a wise approach due to the need to decode multiple audio formats and provide content protection. A hardwired approach is not suitable for multi-formats and a constantly changing specifications environment because of a slower adaptation rate and longer design cycle that gives way to a programmable architecture. Since the entire application involves a number of signal processing functions like audio decoding, data encryption/decryption, and audio postprocessing, a digital signal processor is a natural candidate for the programmable platform. PC Connectivity With regards to PC connectivity, there are currently two main camps. One puts PC connectivity on the player to allow direct downloading from the PC to the player, and another that transfers songs via portable media where no PC connectivity is necessary. However, recently a third tier of portable players are being designed that allow PC connectivity through a combination of USB interface and portable media exchange in the same device. Today, the portable media of choice on digital players is solid state flash memory. Flash memory prices remain high due to the continued shortage of worldwide flash manufacturing capacity. Iomega Clik drives have recently begun shipping with select players and the 40MB Clik disk offers an inexpensive alternative to 32MB and 64MB flash cards. Let s not forget the grand daddy of small, portable music-oriented storage Compact Disc. A CD can store well over 100 songs compressed in one of the popular audio formats such as MP3, WMA or AAC. Millions of PC based CD burners have been sold to consumers over the last several years, thus creating another path of connectivity between the PC and portable digital players. For More Information Visit our Web site at Connectivity 5

6 Next issue of Tune In TI will include: off the Presses TI S LATEST INDUSTRY NEWS Market Wave: Confused about media for portable players?... so is everyone else. The Great Memory Debate is on. Digital Rights Management discussion as part of Tune In TI s ongoing security coverage. The Texas Instruments 4th Generation DSP Changes the Face of Internet Audio Hardware with Unmatched Feature Set New TI Internet Audio DSP Solution Offers the Most Advanced Features and Lowest Power Consumption in the Industry TI announced the TMS320DA250, its 4th generation Internet Audio DSP. This is the most complete system solution for Internet Audio applications and the first chip that offers embedded USB capabilities for portable devices with the most advanced battery management technology available. For more information, see: newsrel.htm LG Electronics Selects Texas Instruments Programmable DSP to Power Its New Internet Audio Player TI s Low-Power DSP Offers Multi-format Support and Best Power-Efficiency for Internet Audio Players TI announced that LG Electronics, a leading manufacturer of home and industrial electronics products, has chosen a TI DSP for its new Internet Audio player, the LG MPFree PD-370, which will be shipping toward the end of the year. With TI s ultra low-power DSP, the LG MPFree will play more than 10 hours of continuous music on two AAA batteries. For more info see: JVC Selects Texas Instruments Programmable DSP for New e-cybercam TI Technology Empowers Industry s First Digital Camcorder with Ready Video Clips and Digital Sound Effects JVC is using TI s programmable DSP in its new digital camcorder, the e-cybercam, model GR-DVM90, which is now available in the United States. TI s low-power, programmable DSP supports all the current audio compression formats on a single chip, allowing the e-cybercam to offer the worlds first digital camcorder with functions such as ready video clips and 12 kinds of digital sound effects in MP3 format. For more info see: /00108.htm Digital 5 Inc. and Texas Instruments Launch First Multiple-Format Jukebox Platform for Internet Appliances Programmable DSP Solution Offers 10 to 20 Times More Storage Capacity The industry s first multiple-format hard disk drive (HDD) Jukebox digital audio platform was announced by TI and Digital 5, Inc. (formerly Sycom Technologies, Inc), a leading provider of application-specific DSP software intellectual property, IC solutions, systems integration and complete product design for large OEMs. Using TI s programmable, low-power TMS320C54x DSP core, this platform offers 10 to 20 times more memory than traditional portable Tech Talk: What makes the TI third party network click. Hot off the Presses: Continuing coverage of what TI is doing in the internet audio industry. Registration and access to all issues: Editor: Chris Schairbaum (c-schairbaum@ti.com) Contributors: Microsoft s WMA Division, Oh Hong Lye, Bob McKune, Randy Cole, Jennifer Walker, Chrisann Cook All products are trademarks of their respective companies. digital audio players using flash memory, enabling thousands of songs to be stored. The HDD platform also adds the ability to store and view digital photographs to the devices. For more info see: docs/news/2000/00096.htm TI Developed Programmable DSP System-on-a-Chip in Sony s New Internet Audio Network Walkman Extending its leadership role in the digital audio market, TI announced it has developed a system-on-a-chip (SOC) based on its low-power programmable DSP, TMS320C5000 for the Internet Audio market. This technology was developed in collaboration with Sony. Sony has incorporated the SOC in its new Network Walkman the NW-E3. Based on this technology, TI will continue to expand this DSP solution for smaller, lighter and more powerefficient players. For more info see: 6