The problem isn’t piracy – it’s competition.

The problem isn’t piracy — it’s competition.

There is too much music and too many musicians, and the amateurs are often good enough for the public. This is healthy for culture, not so much for aesthetics, and shit for musicians. Musicians in the early ’90s were already feeling the pressure of competition from CD reissues of old stuff; here in the future, you can get almost anything that has ever been digitised for free and listener time is the precious commodity.

via Rocknerd » Blog Archive » Culture is not about aesthetics. Punk rock is now enforced by law..

CEA Announces Expanded Support of High-Resolution Audio

HRA music files provide greater clarity and detail than MP3s and other compressed digital audio formats, resulting in a listening experience that more closely represents the original recording.

via CEA Announces Expanded Support of High-Resolution Audio – CEA.

Gee, AIFF files provide greater clarity and detail than MP3s and other compressed digital audio formats. What about lossless compression?

Remarkable marketing and an utter waste of time and energy. Just use 44k/16bit. The 4 people out there who have a sound reproduction system that can usefully reproduce the dynamic range available (not necessarily used) on the CD probably get a visit from the police with a cease-and-desist order for sonic abuse of the neighborhood.

Hey Amazon, Apple! How about FLAC/ALAC files instead of your compressed stuff? Make that tune worth $1.29.

Why Hans Zimmer Got The Job You Wanted And You Didnt

Audiophiles – addicted to epic trailer music, adore Soundtracks for movies, shows and video games. Looking for talented yet undiscovered composers.

via Why Hans Zimmer Got The Job You Wanted And You Didnt.

I have to admit, I am kind of addicted to epic trailer music. That’s one of the reasons I go to see *big* films in *big* sound in *big* theaters. Hans Zimmer soundtrack? It’s probably on my list of go see, see again, get some soundtracks.

There’s a great video at the bottom of this article that shows a recording session with 12 players/percussionists. Kind of reminds me of how Berlioz scored for loud, louder, loudest.

A 31 band spectrum analyzer makes a great visualizer 😉 Let’s you see the subsonics wanting to happen (.lt. 40Hz)

Meet The New Boss, Worse Than The Old Boss?

In the last few years it’s become apparent the music business, which was once dominated by six large and powerful music conglomerates, MTV, Clear Channel and a handful of other companies, is now dominated by a smaller set of larger even more powerful tech conglomerates.  And their hold on the business seems to be getting stronger.

via Meet The New Boss, Worse Than The Old Boss? -Full Post | The Trichordist.

Very long, but if you are interested in “publishing” music worth the read. I wonder how much different the book publishing game might be?

When Higher Is Better — And When It Isn’t

One of the most hotly – and perhaps unnecessarily – debated topics in the world of audio is the one that surrounds digital sample rates.

Namely, that there are perfectly good reasons for sticking with the current professional and consumer standards of 44.1 and 48 kHz for recording and playback – and some valid arguments for moving up to slightly higher sample rates, such as 60, 88.2 or even as high as 96 kHz. What seems to have less informed support is the push to ultra-high sample rates like 192kHz.

We’ll explore the arguments on both sides of the major questions around sample rates and try to find out where each faction has got it right – and where they may be missing some crucial information.

via The Science of Sample Rates (When Higher Is Better — And When It Isn’t).