BoomTown was sitting front row center–better to scare Google Mobile Product Manager Hugo Barra–at the Silicon Valley search giant’s press event in San Francisco this morning.

Google (GOOG) called together a group of reporters to discuss some “cool new features” for its Android operating system.

While many have been expectantly waiting for Google to announce a video-calling offering, to match the Apple (AAPL) FaceTime service, that was not to be here.

Instead, it was a low-key rollout of a few whiz-bang features to ooh and ahh at.

Happily, Google provided unusually delicious donuts, which was my entire reason for coming, because donuts are the pastry to the gods.

Let’s get to it:

10:05 am PT: PR dude Mike Nelson introed Barra, who said there will be two new features announced.

Ooh and Ahh.

First though, we were forced to endure yet another lecture on how important mobile is and where the future is headed that comes from every single company that throws a mobile event.

Mobile is the big show now?

Really? We had no idea this cell phone thing was going to take off! Thanks, Professor Barra!

Barra pressed on with lots of talk about MIPS (millions of instructions per second, which you should care less about, but is important).

Barra said that innovative smartphones were becoming “super-computers in your pocket.”

Again, master of the obvious!

I obviously needed to have a bite of my lovely sprinkle-laden donut to gain some balance.

10:12 am: Barra moved onto voice recognition. He asked the phone movie times in Palo Alto, Calif. and how high the Empire State Building, results which were promptly delivered.

(When my kid asked me on a trip to New York, I just said it was a badillion feet high, which also worked as an answer.)

But such technology is cool, for sure.

But Barra upped the ante by speaking four languages–Spanish, French, Italian and Japanese–to get results. It worked! Get this guy on “The Amazing Race” pronto!

Now, tricks over, it was onto the first product announcement!

And, drum roll…it was a new feature that Google is a calling “Voice Actions” in Voice Search, available today for Android 2.2 Froyo devices.

This sounded like a band name from the 1980s.

Instead, it is the ability to speak into the phone and have it instantly do things, such as sending text messages, automatic dialing and mapping and more, all via speech commands in English.

Speech recognition, natural language processing and semantic Web search–you could kind of do this before on Android, but it was neither seamless nor automatic, said Barra.

He did not say, but Voice Actions is an awful lot like Siri, the mobile app assistant start-up that Apple bought recently.

But there were more on Voice Actions, according to the adorkable demo dude Mike LeBeau, a baker’s dozen (13!) of actions, and there will be more.

He spoke into the phone a request to “Listen to the Decembrists.” Presto (and also props for the hip musical choice)!

Then, LeBeau spoke an email about some scuba diving trip. Presto!

But then he added a smiley face! Unfortunate and decidedly unhip, but presto!

After that, LeBeau kept showing off, setting the alarm clock, going to Wikipedia, doing a search for art galleries in Amsterdam.

10:28 am: Now for product announcement #2.

Barra brought up engineering manager Dave Burke, who built it in his 20 percent time.

It’s a synching feature called “Chrome to Phone.”

This sounded like a 1990s band name.

“It is a low latency way to push information to the phone,” said Burke, using Google’s browser and an app for the mobile device.

There is a little icon on the Chrome browser you click that sends a variety of stuff to the app on an Android phone.

It’s certainly helpful.

10:35 am: Onto Q&A about the two perfectly fine, though hardly earth-shaking, announcements.

Questions about the languages, bookmarking Chrome to Phone (not yet) and what’s coming next.

More!

It was all about solving “pain points” said the Voice Actions dude LeBeau.

All I know is donuts are the only thing that solves my pain points. Presto!

(And here is a post of some videos and screenshots of both Voice Actions and Chrome to Phone to enjoy.)

It’s nice to hear enthusiasm on the part of Linkin Park band member Mike Shinoda about an innovative-for-the-music-industry effort to give fans a chance to be part of the iconic Grammy-winning rock band.

That’s because most artists or content creators–while making all the right sounds about the Internet’s impact on their business–often privately cringe at the ongoing flood of user-generated material that has drastically changed the industry.

Not Shinoda, who is certain he will find some real talent via a new online contest, called “Linkin Park, Featuring You,” that gives anyone an opportunity to collaborate with the band to produce an original song based on some of the tracks from the forthcoming single “The Catalyst.”

The song is on Linkin Park’s next album, “A Thousand Suns,” to be released September 14.

“We looked at it as both risky and fun to save a spot on the record that could be just anything,” he said in an interview with BoomTown earlier this week. “It’s creative, lets the fans be heard and, of course, is a great way to promote the album.”

Of course it is, but Shinoda said he is not expecting to have to put any bad-quality music on the record just to sell more music.

“The album could not be any more sacred to us and this is certainly an X-factor, which is kind of a move against the grain for us,” he said. “But the Internet has actually given a lot more people a chance to be heard and, as it has turned out, amateurs are so much better than we ever expected.”

So far, Shinoda said, he has just sampled a few dozen of the thousands of submissions so far, either selecting randomly or via a popularity ranking system the contest uses. He said he’s also using a range of people who are part of the Linkin Park team to filter material.

But, ultimately, Shinoda and his bandmates (pictured here) will pick the winning submission, with either the song to be included on the band’s new album or the winner to be invited to perform with the band on a song on the upcoming record. Either way, a pretty good prize for an aspiring musician.

Shinoda said he is hoping to hear a lot of different sounds from electronic music to keyboards to guitars and even horns (“No one has submitted a horn version so far,” he laughed. “But I hope someone does.”)

Linkin Park is using a group of Internet companies to carry out the massive user-generated effort, including: MySpace Music (platform, promotion and direct fan messaging); Indaba Music (hosting the MySpace application that allows musicians to auto-syndicate their remixes on MySpace); Top Spin Media (using their email for a song widget to deliver audio stems to all participants); and Ning (the back end to Linkin Park’s Web site, where they are also distributing the audio stems to push back to the contest)

There have been remix contests online done before, such as Snoop Dogg’s “That Tree” Remix Contest, which had 8,000 entries and generated a lot of fan interest.

But this effort is clearly more ambitious, perhaps because Shinoda is clearly a techie, with an ongoing interest in filling the Linkin Park Web site with puzzles, games and other interactive features.

In fact, Linkin Park had already conducted a smaller contest for fans to submit designs for characters used in a game the band released in April, called “8-Bit Rebellion,” for the Apple (AAPL) iPod touch, iPhone and iPad. And, after the game was completed by a player, it unlocked a new song, “Blackbirds.”

Shinoda said the band hopes to do even more digitally, trying to involve and engage fans in ways that they never would have tried before.

“There is a huge unknown factor and this is not something we would have done five years ago,’ he said of the latest collaboration contest. “But I am not afraid of my fans being good at music, even if it turns out they are better than me.”

Until a winner is selected, here’s a most excellent music video of my favorite Linkin Park song, “Shadow of the Day,” because I wish I had written the perfect and simple line, “Sometimes beginnings aren’t so simple/Sometimes goodbye’s the only way” (maybe some fan will write something as good):

And here’s a blog post by Sam Wick, SVP of marketing at MySpace Music, about its partnership with Linkin Park:

Linkin Park Wants To Put You on Their New Album

Linkin Park is arguably one of the biggest rock acts in the world with more than seven million fans on MySpace and iLike, two Grammy wins and a boatload of accolades from the music community. So, needless to say, we were more than a little excited to help the band launch their next album, “A Thousand Suns.”

This is a band that’s almost as passionate about social media and technology as they are about the music they create–and they came to MySpace, because we have a proven track record of successfully architecting custom album campaigns that uniquely marry music to innovation on a global scale. With this in mind, we knew we had to do something that not only raises global awareness of the new album, but really plays into the intimate artist-to-fan connection that Linkin Park has been cultivating on our platform for years. And so “Linkin Park, Featuring You” was born–a multi-phase program that each of our 30 territories across the world are rolling out locally.

Linkin Park, Featuring You begins on MySpace with a music application that allows fans to create their own original version of the band’s new single “The Catalyst” and ends with the rare opportunity for one worthy fan to have his or her song stripped onto the next album. SERIOUS. To make this happen, Linkin Park and MySpace Music brought together Topspin Media, Ning and Indaba Music–a true technology trifecta–to allow fans to interact and play with the music before it is even released. Again, SERIOUS.

Mike Shinoda of Linkin Park has this message to share with his fans on MySpace and across the Web:

“In the lifetime of Linkin Park, the evolution of community and music technology has blurred the line between artist and fan. With the release of our new album we want to push it even further and so we are making a commitment to our fans that is a first of its kind: We are blindly dedicating a spot on our new album to something unknown. That space is reserved for you and we’re confident that you will create something that we can be proud to include on “A Thousand Suns.” This is not just a “fan-remix” contest; we want to collaborate with you. This effort is made possible by the global 360 music platform of MySpace, and the dedication and talent of our incredible fans. Thank you. We look forward to hearing your submissions.”

Here’s how it works: By installing the Indaba Music-powered app on MySpace, fans have access to five stems from “The Catalyst” that they can use to re-arrange and re-imagine the song using either their own Digital Audio Workstation or with Indaba’s free, Web-based software. Once submitted, users can vote for their favorite versions and help the band in their quest to identify new talent and ultimately pick a winner.

“Linkin Park, Featuring You” is just the beginning of a much larger partnership between the band and MySpace Music that will provide Linkin Park fans with recognition worldwide with access to live shows, exclusive content and premieres as well as opportunities to connect and interact with the band in ways that only MySpace Music can offer.

Be sure to get your entries in by July 25th and don’t forget to spread the word about the contest to your friends around the world–and go buy the new single on August 2nd.

A ruling in the band’s lawsuit against EMI Music Group may mean that the band’s songs will only be available online in album form. BBC:

The rock legends, signed to EMI since 1967, said their contract meant their albums could not be split up without their permission.

A judge agreed, saying the contract contained a clause to “preserve the artistic integrity of the albums”.

EMI has been ordered to pay £40,000 ($60,000) in costs, with a further fine to be decided.

…In court, Chancellor Sir Andrew Morritt declared that the contract means EMI is not entitled to exploit recordings by online distribution or by any other means other than the complete original album without Pink Floyd’s consent.

As of this morning, you could still buy much of the band’s output on a track-by-track basis at the online music stores that Apple (AAPL) and Amazon (AMZN) run.

And just because the band has won the ruling doesn’t mean that’s going to stop–its entirely possible, for instance, that a check of a certain size could allay the band’s concerns. Other album-only holdouts like Metallica and Radiohead eventually held their noses and allowed their stuff to be sold by the song on iTunes, too.

But if you really want to buy “Pigs on the Wing Pt. 1,” but not all of “Animals” (apologies to fans of the album I offended earlier in the week), you might want to buy now, just to be safe.

UPDATE: EMI says it hasn’t been ordered to stop selling individual tracks, adding that this will be hashed out in the courts for a while. Here’s the full text:

Today’s judgment does not require EMI to cease making Pink Floyd’s catalogue available as single track downloads, and EMI continues to sell Pink Floyd’s music digitally and in other formats.

This litigation has been running for well over a year and most of its points have already been settled.

This week’s court hearing was around the interpretation of two contractual points, both linked to the digital sale of Pink Floyd’s music. But there are further arguments to be heard on this and the case will go on for some time.

My colleagues are lapping the last one up, with good reason: The OK Go are fun to write about, because they make cool videos and because lead singer Damian Kulash is very quotable when he talks about the state of the music business and his band’s relationship with EMI.

For instance, here’s a stinging part of his exit interview with New York Magazine today:

Q: What other problems were you having with EMI?
A: ?The issue is that they just don’t have any money. The reason a band signs with a label is because they can provide start-up capital, and their business model has sort of collapsed. There was lots of little bones of contention, like when there were chances for us to promote things and they just didn’t have the money to do so. It was a lot easier to be generating the budget ourselves or through corporate partners.

EMI has issued a boilerplate quote wishing the band success–it’s going to create its own label–and leaving it at that.

And EMI does have real money problems. In part because everyone who sells music right now has money problems and in part because private equity fund Terra Firma paid too much and took on too much debt when it bought the label three years ago.

But here’s the thing. If EMI’s executives allowed themselves to speak candidly, they would likely point out that while the OK Go made great videos, it didn’t seem to make music that many people wanted to buy.

Soundscan says the band has sold all of 500,000 albums in the U.S., both in physical and digital form, in its three-album tenure at EMI. That’s 488,608, to be exact. Plus another 25,000 single tracks.

That’s not awful. But it’s not the kind of sales that would inspire a big label to spend big money promoting an act. Even when the industry’s business model was still intact.

But the band really does make nice videos that people like watching on Google’s (GOOG) YouTube. If it can figure out how to turn these into dollars, it’s all set.

OK Go–This Too Shall Pass from OK Go on Vimeo.

But from a writer’s perspective, it’s always nice when the plaintiff is a well-known act whose catalog includes a hit called “Money.”

Pink Floyd’s suit against EMI is technically about online royalties and the fact that EMI has been selling the group’s work as singles instead of albums at Apple’s (AAPL) iTunes store.* This detracts from the fact that much of the band’s output consists of “seamless pieces,” in which “many of the songs blend into each other,” the group’s lawyer told Bloomberg.

The band isn’t always opposed to people picking and choosing its songs, though. Tune into “Cold Case” on CBS (CBS) on March 21, and you’ll be treated to the following: “Hey You,” “Comfortably Numb,” “Mother,” “Marooned,” “Time,” “The Thin Ice” and “Wish You Were Here.”

In any case, EMI has much bigger problems to worry about. Like staying out of the clutches of rival Warner Music Group (WMG).

“We’re huge fans of Pink Floyd who we have been working with for 40 years and whose great catalog we continue to represent and work for internationally,” says a shy EMI spokesperson.

*We should note that much of “Animals,” which has a great cover but crummy songs, is only available if you buy the entire album.

The merger of France Telecom’s Orange and Deutsche Telekom-owned T-Mobile will create the largest mobile phone operator in the U.K. with about a 34 percent share of the market, just ahead of current market leader O2, which claims about 28 percent. It will also reduce the number of carriers in the country, which critics argue will reduce competition and raise prices.

Orange and T-Mobile disagree, of course, and claim the deal will give subscribers better coverage and improved customer service. We’ll see, I guess.

Oh, no word yet on the combined company’s name.

Still, in the past few years, the search giant has started flexing its ad prowess on its own behalf, in limited ways: It has taken out ads to push products like its Chrome browser, its Nexus One smartphone, and even its position in its fight/negotiation with China. All using Google ad products, of course.

So I guess this a natural next step: Google ads advertising Google advertising. Google (GOOG) has at least eight of these YouTube spots, which the company is promoting via banner ads.

I think they’re quite clever. And I’m assuming they’re copyright-compliant–note the licensing note in the “Batman” spot. No need to tangle with the people at Time Warner (TWX) while you’re still locked in a legal battle with Viacom (VIA). I also appreciate the plug for The National, which is indeed a great band.

The only odd thing here is that the “Search on” campaign is  advertising…Google search. Which really doesn’t need a boost.

If anything, you’d think Google would be trying to sell advertisers on its display ads. But perhaps that’s coming, as CEO Eric Schmidt hinted during last week’s earnings call.

Thanks to John Battelle for spotting.

Quirk’s tale revolves around his quest to find out how much his band earned from three albums’ worth of digital music over a five-year stretch. Warner Music Group (WMG) initially tells him that his band, which enjoyed very modest success through the 80s and 90s, has earned a grand total of…$62.47.

After some prodding, Quirk eventually gets Warner to concede that the band generated more than that paltry sum. But it’s still not likely to be that much.

Again, you’ll want to read it yourself, but there are two points here:

• It is much more difficult than it ought to be for digital content creators and owners to figure out how much money they’ve made online. Quirk, who works for a digital music distributor himself, lays much of the blame on the labels. But in their defense, I’ve heard many label types complain that they’re at the mercy of the likes of Rhapsody and Apple (AAPL). Remember that iTunes has been selling music since 2003. If digital music is still this knotty to navigate, think of how difficult, say, figuring out an actor’s residual for a video download is going to be.
• At least under conventional contracts, digital really isn’t going to amount to much for most performers. Maybe Lady Gaga really did make more than $167 after generating more than one million plays on Spotify, but she’s not going to make a ton, because streaming music royalties are really, really tiny. And given that streaming music start-ups are struggling to pay even that much, this is not going to change for quite some time.

(Thanks to Professor Derek Nystrom for flagging this one for me.)

You get a lot of video streams. Close to 10 million, says YouTube, adding that Sunday’s live Webcast of U2′s Rose Bowl concert was the single largest event it has streamed so far.

Granted, Google’s (GOOG) video site only started streaming live events last year, and doesn’t do them very often. But this was a pretty good muscle-flexing event, and by all accounts it went pretty well–I read some gripes about the site limiting transfer speeds, but many more raves about the quality of picture and sound.

That 10 million number, spread out over two-plus hours, doesn’t really tell us how many people watched the concert or how many did so concurrently. YouTube’s first attempt at live streaming, its weird “YouTube Live” concert/award show, may have attracted a peak audience of 700,000.

For some context, consider that last week’s episode of “The Mentalist” on CBS (CBS) drew 11.8 million viewers, which made it the 20th-ranked show in the U.S. But the fact that YouTube is even playing in the same league gives you a sense of the site’s reach.

And recall that YouTube boasted this month that it is now streaming more than one billion streams per day, which means that the overwhelming majority of its users were watching something other than Bono and company on Sunday.

You can see an amazingly high-quality version of the concert here, though it isn’t embeddable. But here’s a clip of a fake U2 concert from a couple of years ago.

In a week, the entire advertising sales staff of MySpace will gather at a swanky new seaside resort about 20 miles south of Los Angeles to get a first glimpse of the fresh direction the company is preparing to take under its new management.

The beleaguered social networking site has been in the midst of an effort to reinvigorate its image, spur innovation in its product and–most of all–pull itself out of a too-long slump, even as longtime rival Facebook has seen explosive growth.

Now, with a new team of execs, the News Corp. (NWS) property is putting the finishing touches on a master plan, which will include a new redesign of its hopelessly messy interface and doubling down on a product strategy that will center on, said one source, “what we own”–namely, music and entertainment.

On the agenda, aptly enough, for the 150 ad sales employees, who will gather at Terranea in Palos Verdes, is Ben Sherwood, author of “The Survivors Club: The Secrets and Science That Could Save Your Life,” and founder of a Web site of the same name that describes itself as “the place for surviving and thriving.”

Also coming to the meeting will be several bands that have successfully leveraged MySpace as a platform, to talk about their experiences and to play for the crowd.

And, perhaps most importantly, the group might also get to meet its new boss by then, as several sources close to the situation said that MySpace has settled on an exec to fill the key job of running its ad business.

While it is unclear if the deal is completely done, sources said MySpace management will announce the pick this week.

Sources added that MySpace has been particularly interested in one exec from Viacom (VIA) and another from Microsoft (MSFT).

While the sources would not name the Viacom exec, several pointed to Keith Lorizio, Microsoft VP of U.S. sales, as someone MySpace has been targeting.

In late August, MySpace sales and marketing head Jeff Berman left the company as MySpace hired MediaLink, a New York- and Los Angeles-based media consultancy, to help get its ad sales business back on track.

That effort has been led by MediaLink President Wenda Millard, who is well known in the ad industry and was longtime leader of the ad sales force at Yahoo (YHOO).

Getting an experienced top ad exec in place will round out a recent spate of new hiring by MySpace, including a new CTO, Alex Maghen, who moved over from its MySpace Music joint venture, and a new CFO, Mark Rosenbaum.

This has been part of a wholesale flushing out of most of the top execs who worked under co-founder and former CEO Chris DeWolfe by new CEO Owen Van Natta.

Van Natta, along with COO Michael Jones and Chief Product Officer Jason Hirschhorn, have been squirreled away since late April, working at cleaning up the company by replacing management, restructuring its various units and cutting costs, including massive layoffs.

They have also been trying to come up with a plan to differentiate MySpace from Facebook, a good strategy since it is now well-nigh impossible for the Beverly Hills-based MySpace to catch up with the Palo Alto, Calif.-based Facebook’s galloping growth.

While the whole new offering will not be rolled out prominently until at least the first quarter of next year, said several sources, some changes will begin sooner, including a gradual redesign of the site.

Under the new plan, said several sources, the main idea will be to shift the focus to engagement over sheer audience numbers. While MySpace is still huge, with about 70 million monthly U.S. visitors, increasing how much time they spend on the site is the goal.

“It’s not like numbers are not important, but the better metric for MySpace will be how involved users are,” said one person close to the situation. “MySpace needs to win on minutes.”

And, rather than the wider and more scattershot approach of past years, the new direction being stressed is more scalable and focused.

“It is not about getting everyone and their mothers on MySpace,” said a source, “but about being a better site to those here.”

That will include stressing “ownership” of online categories, which for MySpace are music and entertainment, with the hope that advertisers will be attracted to more engaged users.

Unlike Facebook, which is often described as a utility platform for communications between friends, sources said MySpace will be aimed more at being a platform for communities of interest.

That includes using tools from other companies, such as MySpace’s recent two-way synch with Twitter, the hot microblogging service, to link those communities.

Presumably, the company’s August purchase of iLike, the social music start-up, is also part of that plan.

“Instead of the ability to just connect friend to friend in a single social graph, this will be about connecting a person to their communities of passion and interest and to others like them anywhere,” said one source.

Music is the obvious key leverage point, the still-bright spot of MySpace, followed by adding big entertainment categories like movies, television, gaming, video and other pop culture arenas.

(BoomTown request: Become the HQ for “Gossip Girl” addicts, um, fans, and I am so there.)

“MySpace should represent pop culture online to customers and advertisers,” said one source. “The core strength has always been music and that is where the site will really excel, because it binds customers to the service.”

The even heavier music focus on the main juggernaut site, noted several sources, does create an odd situation with MySpace Music, the separate joint venture the site has with music labels to create a massive music community.

While sources do not think News Corp. will attempt to suck MySpace Music back into the main site, due to the complex partnership issues, the idea is to make them even more deeply integrated and to sell them to advertisers as one powerful marketing message.

In any case, several sources noted that one of the most successful parts of the new plan has been to convince News Corp. leaders that MySpace does not have to beat Facebook to be successful.

Sooner than later, of course, MySpace has to do just that.

Will it work? Who knows, but said one source close to the situation quite correctly:

“There is no silver bullet for MySpace–it just has to climb back step by step.”

(Full disclosure: News Corp. also owns Dow Jones, which owns this site.)

Via Reuters/Billboard:

Guns N’ Roses and Universal Music Group’s Interscope-Geffen A&M label were sued by British label Independiente and the U.S. arm of Domino Recording Company, who own the licensing rights to songs by German electronic musician Ulrich Schnauss.

Singer Axl Rose and Guns N’ Roses band members and album producers copied portions of two of Schnauss songs–”Wherever You Are” and “A Strangely Isolated Place”–for a song used on the band’s last album called “Riad N’ the Bedouins,” according to the lawsuit.

The lawsuit, filed on Friday but made available on Monday, seeks $1 million in damages. A spokesperson for Interscope-Geffen A&M, owned by Vivendi’s Universal Music Group, was not available for comment.

You might have thought the labels suing the band and Universal Music would have done so last fall, when there was a biggish to-do about the album and when the band and Universal Music were siccing the federal government on bloggers who posted links to unauthorized MP3s from the album.

Anyway, it’s another good opportunity to remind the young people of today why the young people of 20 years ago were really into Guns N’ Roses: They used to be great!

Also, I am still trying to track down a recording of any of the songs from the Axl Rose-inspired “White Trash Wins Lotto,” the best musical I’ve ever seen (the version I saw featured a pre-“Ratatouille” Patton Oswalt, I think). Any help greatly appreciated…

It’s not the fault of the ISPs, never mind that they are, according to McGuinness, “destroying the recorded music industry” by failing to tackle piracy. Nor is it the fault of Apple (AAPL) and the makers of other digital media players who are wrongly profiting from their “burglary kits.” Nor can it be blamed solely on Silicon Valley and its “entrepreneurial, hippie values,” which in McGuinness’s opinion have bred a deep disregard for the true value of music.

No, it appears there’s no one to blame for this particular cock-up but Universal Music, which mistakenly put the album up for sale earlier this week at getmusic.com.au. It was only available there for a brief period, but there was time enough for fans to buy it legally. Not surprisingly, copies of the record began showing up on torrent indexes a short while later.

An embarrassing turn of events for a band that had gone to extraordinary lengths to prevent exactly this situation from happening. Still, as TechDirt’s Mike Masnick notes, there’s a lesson to be learned here. “At some point, folks in the music industry are going to (finally) recognize a rather simple fact: it just takes one digital copy of a song/movie/whatever to get out there, and it’s everywhere. You can’t stop it. No matter how annoying it is. No matter what laws it violates. It will happen.”