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.
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.
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.
Audiophiles – addicted to epic trailer music, adore Soundtracks for movies, shows and video games. Looking for talented yet undiscovered composers.
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)
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.
Very long, but if you are interested in “publishing” music worth the read. I wonder how much different the book publishing game might be?
Here are three ways you can capture vinyl into a computer:
Pictures of the connections and everything…
They’ve fallen for all sorts of tricks: the silly notion that freezing or applying green sharpie to a CD can improve its sound.
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.
A great-sounding recording will sound its best only when its properly mastered to LP, SACD, DVD-Audio, or a high-resolution file. Those formats will reveal the full glory of the music in ways that lower-resolution formats like MP3 or analog cassette always miss.
Just in case you can’t sleep at night, here’s an article about sound that is bound to make you hear the siren call of some zzzzzs – of course I find it interesting.
Unfortunately, there is no point to distributing music in 24-bit/192kHz format. Its playback fidelity is slightly inferior to 16/44.1 or 16/48, and it takes up 6 times the space.