From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V14 #204 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Tuesday, August 23 2005 Volume 14 : Number 204 Today's Subjects: ----------------- Re: 1974-7 ["Brian Nupp" ] RE: 1974-7 ["Bachman, Michael" ] Re: The new beginning. [Tom Clark ] Re: The new beginning. [Eb ] Surfin' USA [Eb ] Re: The new beginning. [Tom Clark ] Re: Surfin' USA [FSThomas ] Switched On REAP ["Bachman, Michael" ] Vic Chesnutt: Blogger [Tom Clark ] Re: Brunettes/Feels like 1974-7 [James Dignan ] NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master [wojizzle forizzle ] Re: NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master DISC THREE [Jeff Subject: Re: 1974-7 >I think I'll definitely look for some early Stranglers, then. Hmmm...yesterday I picked up "Peaches" best of the Stranglers. This is a band I know nothing about. On 1st listen, I'm very impressed in an Only Ones/Squeeze sort of way. I think I found a catalog I'll enjoy exploring. - -Nuppy ------------------------------ Date: Mon, 22 Aug 2005 11:27:12 -0400 From: "Bachman, Michael" Subject: RE: 1974-7 >>I think I'll definitely look for some early Stranglers, then. Nuppy: >Hmmm...yesterday I picked up "Peaches" best of the Stranglers. This >is a band I know nothing about. On 1st listen, I'm very impressed in >an Only Ones/Squeeze sort of way. I think I found a catalog I'll >enjoy exploring. The only Stranglers related album I have is Hugh Cornwall's "Wolf" solo album on CD that I bought back in 1988. Haven't played it in eons though. I was listening to Pixies, Throwing Muses, and the reformed Wire, of the new bands that I was getting into at the time and never ventured to get any Stranglers beyond Wolf. I missed the 1970's Wire, and the first album I bought from them was "A Bell Is A Cup... Until It is Struck" in 1988. Michael B. ------------------------------ Date: Mon, 22 Aug 2005 08:54:19 -0700 From: Tom Clark Subject: Re: The new beginning. On Aug 19, 2005, at 11:23 PM, Capuchin wrote: > For your ebification, I've gone through the list and put them into > chunks. Here they are in decending order of length: > >> *Genesis The Lamb Lies Down on Broadway 1974 >> *Genesis A Trick of the Tail 1976 >> Genesis Wind & Wuthering 1976 >> Jethro Tull War Child 1974 >> *Jethro Tull Minstrel in the Gallery 1975 >> *Yes Relayer 1974 >> > Um, I've (perhaps unfairly) lumped these mentally into a category > of, err, wankery. IMHO, these albums warrant your scrutiny. Throw out Wind & Wuthering and War Child if you must, but the others show these bands at their most creative and intense. > > >> Cecil Taylor Silent Tongues 1975 >> Cheap Trick Cheap Trick 1977 >> Cheap Trick In Color 1977 >> Graham Parker Heat Treatment 1976 >> Graham Parker Howlin Wind 1976 >> Graham Parker & the Rumour Stick to Me 1977 >> Gram Parsons Grievous Angel 1974 >> ... >> The Residents Fingerprince 1976 >> Ultravox Ultravox! 1977 > About these, I know either nothing or little enough to have no > judgment to be made and no compulsion to investigate. > I'm a Graham Parker fiend, but I think his stuff is of a different tone than what you're going for. Regardless, there's no excuse for not owning the Gram Parsons album. > >> Led Zeppelin Presence 1976 >> Tom Waits Nighthawks at the Diner 1975 > > These almost made the above list, but I have heard enough of the > artist (though, in every case, not this period of their work) to be > reluctant to pursue much more. Various reasons, I suppose. Two of my favorite albums. Presence is the Zeppelin album everybody hates 'cuz there's nothing in 4/4 on it, and Nighthawks is just a beautifully boozy romp. > >> *David Bowie Low 1977 >> *David Bowie Heroes 1977 >> David Bowie Diamond Dogs 1974 >> David Bowie Station to Station 1976 >> > > Just plain can't do it. All of Bowie's work comes off, to me, as > arrogant and pretentiously flamboyant. Sure, he can write a pop > song, but it's either dead cold or eye-rollingly over-the-top. I dunno, I think Heroes is a timeless work of art. Bowie and Eno somehow infuse cold German rock with a sense of passion and hope. >> *Bruce Springsteen Born to Run 1975 First and only Springsteen album I ever bought. The stories and imagery bring me back to NY every time I hear it. - -tc ------------------------------ Date: Mon, 22 Aug 2005 11:19:40 -0700 From: Eb Subject: Re: The new beginning. Tom Clark wrote: > Two of my favorite albums. Presence is the Zeppelin album > everybody hates 'cuz there's nothing in 4/4 on it, and Nighthawks > is just a beautifully boozy romp. I'm iffy on Presence not because it has tricky time signatures, but because it's such a hodgepodge compared to previous Zep albums. They try a little of this, a little of that.... No sense of a uniting vision. And at the moment, I can't even remember how any of the tracks besides "Achilles' Last Stand" and "Nobody's Fault But Mine" go! In other news, I recently gave the Stranglers a shot and decided they are not for me. The singer's voice has no charisma at all, and the keyboardist is *totally* tasteless. Possibly the worst showoff I've ever heard who wasn't in a prog band. Check, please! Eb now deleting: virus mail ------------------------------ Date: Mon, 22 Aug 2005 11:25:30 -0700 From: Eb Subject: Surfin' USA And now for something completely dismal: Based on my own collecting priorities, the 12 most important acts who totally lack anything resembling a decent website. Listed in order of "What the fuck??" 1. Pavement 2. Marianne Faithfull 3. De La Soul 4. Luscious Jackson 5. Moby Grape 6. The Standells 7. The Golden Palominos 8. Harold Budd 9. Young Fresh Fellows 10. Firehose 11. Jad Fair/Half Japanese 12. The Blue Aeroplanes Honorable mention...notable artists whose only website(s) are sadly sub-par: Buffalo Springfield (a good site just recently died...same with Half Japanese, above) Sly & the Family Stone (the only measurable site is Sony's perfunctory artist page) Alex Chilton (a few fansites, but they all look like crap and are short on academic information like discographies, articles, etc.) Mark Eitzel (official site is really threadbare) Chris Knox/Tall Dwarfs (Flying Nun doesn't give much more than biographies...one Tall Dwarfs fansite has a weak discography and isn't being updated) Ornette Coleman (his official site isn't terrible and there's an okay fansite, but someone this important deserves a deluxe site with all the trimmings) Beat Happening (one fansite is thin and not updated...the K Records page is just as thin) Sebadoh (fansites all out-of-date, official page is very indie-kid with little hard information) The Moody Blues (lots of little fansites, but official site sucks and there's no site with the full sense of "history" which the band deserves...I believe I've heard the band tries to crack down on anyone posting copyrighted lyrics or cover artwork, which may explain the problem) Simon & Garfunkel (the best fansite is visually awful and short on information...again, an artist of this magnitude deserves better) The Art of Noise (no official site, one or two weak fansites) Counterevidence welcomed. Eb ------------------------------ Date: Mon, 22 Aug 2005 11:39:20 -0700 From: Tom Clark Subject: Re: The new beginning. On Aug 22, 2005, at 11:19 AM, Eb wrote: > In other news, I recently gave the Stranglers a shot and decided > they are not for me. The singer's voice has no charisma at all, and > the keyboardist is *totally* tasteless. Possibly the worst showoff > I've ever heard who wasn't in a prog band. Check, please! > You might try Hugh Cornwell's solo work. "HiFi" was a great surprise find for me last year. - -tc ------------------------------ Date: Mon, 22 Aug 2005 15:16:51 -0400 From: FSThomas Subject: Re: Surfin' USA Eb wrote: > ...the 12 most important acts who totally lack anything > resembling a decent website. Listed in order of "What the fuck??" Fan sites by and large suck from an aesthetic POV, IMHO. Without a reason (ie. selling swag, discs, etc) to run a site, it seems harder than pulling teeth to get anything of quality up. You mention fIREHOSE, and even Mike Watt's site (http://www.hootpage.com) isn't great, and the man still tours! You can add to the list of "not too well done" the Miles Davis official site. It's functional, but doesn't resonate "birth of cool" to me at all. ( http://www.milesdavis.com ) - -ferris. ------------------------------ Date: Mon, 22 Aug 2005 17:01:00 -0400 From: "Bachman, Michael" Subject: Switched On REAP See below. The "Moog" movie is out on DVD, btw. Robert Moog, Music Synthesizer Creator, Dies By ALLAN KOZINN Robert Moog, the creator of the electronic music synthesizer that bears his name and that became ubiquitous among both experimental composers and rock musicians in the 1960's and 1970's, died on Sunday at his home in Ashville, N.C. He was 71. The cause of death was a brain tumor, according to his daughter Michelle Moog-Koussa. At the height of his synthesizer's popularity, when progressive rock bands like Yes, Tangerine Dream, Kraftwerk, and Emerson, Lake and Palmer built their sounds around the assertive, bouncy, exotically wheezy and occasionally explosive timbres of Mr. Moog's instruments, his name (which rhymes with vogue) became so closely associated with electronic sound that it was often used generically, if incorrectly, to describe synthesizers of all kinds. Mr. Moog's earliest instruments were collections of modules better suited to studio work than live performance, and as rock bands adopted them, Mr. Moog expanded his line to include the Minimoog and the Micromoog, instruments that could be used more easily on stage. He also expanded on his original monophonic models, which could play only a single musical line at a time, to polyphonic instruments that allowed for harmony and counterpoint. Even so, by the end of the 1970's, Mr. Moog's instruments were being supplanted by those of competing companies like Arp, Aries, Roland and Emu, which produced synthesizers that were less expensive, easier to use and more portable. (Those instruments, in turn, were displayed in the 1980's by keyboard-contained digital devices by Kurzweil, Yamaha and others.) In 1978, Mr. Moog moved from western New York to North Carolina, where he started a new company, Big Briar (later Moog Music), that produced synthesizer modules and alternative controllers - devices other than keyboards, with which musician could play electronic instruments. His particular specialty was the Ethervox, a version of the theremin, an eerie-toned instrument created by the Russian inventor Leon Theremin in the 1920's that allows performers to create pitches by moving their hands between two metal rods. It was the theremin, in fact, that got Mr. Moog interested in electronic music as a child in the 1940's. In 1949, when he was 14, he built a theremin from plans he found in a magazine, Electronics World. He tinkered with the instrument until he produced a design of his own in 1953, and in 1954 he published an article on the theremin in "Radio and Television News" and started the R. A. Moog Company, which sold his own theremins and theremin kits. Mr. Moog was born in New York City on May 23, 1934, and although he studied the piano while he was growing up in Flushing, Queens, his real interest was physics. He attended the Bronx High School of Science and earned undergraduate degrees in physics from Queens College and electrical engineering from Columbia University. By the time he completed his Ph.D in engineering physics at Cornell University, in 1965, his theremin business had taken off, and he had started working with a composer, Herbert Deutsch, on his first synthesizer modules. Mr. Moog was familiar with the huge synthesizers in use at Columbia University and RCA and those that European composers were experimenting with, and his goal was to create instruments that were both more compact and accessible to musicians. The first Moog synthesizers were collections of modules, connected by electronic patch cords, something like those that connect stereo components. The first module, an oscillator, would produce a sound wave, giving a musician a choice of several kinds, ranging from the gracefully undulating purity of a sine wave to the more complex, angular or abrasive sounds of square and sawtooth waves. The wave was sent to the next module, called an A.D.S.R. (attack-decay-sustain-release) envelope generator, with which the player defined the way a note begins and ends, and how long it is held. A note might, for example, explode in a sudden burst, like a trumpet blast, or it could fade in at any number of speeds. From there, the sound went to a third module, a filter, which was used to shape its color and texture. Using these modules and others that Mr. Moog went on to create, a musician could either imitate acoustic instruments or create purely electronic sounds. A keyboard, attached to this setup, let the performer control when the oscillator produced a tone, and at what pitch. "Artist feedback drove all my development work," Mr. Moog said in an interview with the online magazine Salon in 2000. "The first synthesizers I made were in response to what [composer] Herb Deutsch wanted. The now-famous Moog filter was suggested by several musicians. The so-called A.D.S.R. envelope, which is now a basic element in all contemporary synthesizers and programmable keyboard instruments, was originally specified in 1965 by Vladimir Ussachevsky, then head of the Columbia Princeton Electronic Music Center. The point is that I don't design stuff for myself. I'm a toolmaker. I design things that other people want to use." University music schools quickly established electronic music labs built around the Moog synthesizer, and composers like Richard Teitelbaum, Dick Hyman and Walter Carlos (who later had a sex-change operation and is now Wendy Carlos) adopted them. For most listeners, though, it was a crossover album, Walter Carlos's "Switched-On Bach," that ushered the instrument into the spotlight. A collection of Bach transcriptions, meticulously recorded one line at a time, "Switched-On Bach" was meant to persuade casual listeners who regarded synthesizers as random noise machines that the instrument could be used in thoroughly musical ways. Ms. Carlos's sequels included the haunting Purcell and Beethoven transcriptions used in the Stanley Kubrick film, "A Clockwork Orange." Rock groups were attracted to the Moog as well. The Monkees used the instrument as early as 1967, on their "Pisces, Aquarius, Capricorn and Jones, Ltd." Album. In early 1969, George Harrison of the Beatles had a Moog synthesizer installed in his home and released an album of his practice tapes, "Electronic Sound," that May. The Beatles used the synthesizer to adorn several tracks on the "Abbey Road" album, most notably John Lennon's "Because," Harrison's "Here Comes the Sun" and Paul McCartney's "Maxwell's Silver Hammer." Among jazz musicians, Herbie Hancock, Jan Hammer and Sun Ra adopted the synthesizer quickly. And with the advent of progressive rock in the early 1970's, the sound of the Moog synthesizer and its imitators became ubiquitous. In 1971, Mr. Moog sold his company, Moog Music, to Norlin Musical Instruments Inc., but he continued to design instruments for the company until 1977. When he moved to North Carolina, in 1978, he started Big Briar, to make new devices, and he renamed the company Moog Music when he bought back the name in 2002. He also worked as a consultant and vice president for new product research at Kurzweil Music Systems, from 1984 to 1988. In 2004, Mr. Moog was the subject of "Moog," a documentary by the filmmaker Hans Fjellestad. "Bob Moog embodies the archetypal American maverick inventor," Mr. Fjellestad wrote when the film was released. His marriage to Shirleigh Moog ended in divorce. Mr. Moog is survived by his wife, Ileana, and his children, Laura Moog Lanier, Matthew Moog, Michelle Moog-Koussa, Renee Moog and Miranda Richmond. ------------------------------ Date: Mon, 22 Aug 2005 16:53:00 -0700 From: Tom Clark Subject: Vic Chesnutt: Blogger Not to start a debate about Phyllis Schafly or anything, I just thought it was cool that Vic is writing commentary. http://www.huffingtonpost.com/vic-chesnutt/phyllis-schlafly-is- hot_b_5959.html - -tc ------------------------------ Date: Tue, 23 Aug 2005 12:26:42 +1200 From: James Dignan Subject: Re: Brunettes/Feels like 1974-7 >And speaking of Paste, there's a cut from a NZ couple "The Brunettes" of >whom I had not previously been aware. James, what's the scoop on this? um, good question. Not a band I've heard much about at all. They're better known outside NZ that they are here (overseas touring's the main reason for that). They have an album released a couple of months back called "Mars loves Venus" - their second ("Holding hands, feeding ducks" was the first). There's an interview with them online here: Other than that, I don't really know, though this looks as though it might have been odd: >Date: Sun, 21 Aug 2005 10:05:03 -0700 >From: Eb >Subject: Re: Feels like 1974-7 > >>> *Paul Simon Still crazy after all these years. >> >> I have and enjoy everything released as Simon & Garfunkel. But I >> wonder if that's not plenty. > > From Simon's "electric piano" phase. I don't like that sound. And >"50 Ways" hasn't aged well. true enough, though it's always been one of the weakest songs on the album IMO. > > for a Hitchcock fan the Roy Harper and Warren Zevon would be the top of >> the list if you do, I suspect, and Hejira is well worth it. > >Just so long as Roy doesn't sound like Ben. "Eccentric English folkie" sums him up in three words or less I'll leave it to others to sum up B.O.C. and Supertramp - I'm pretty hopeless at describing bands. James - -- James Dignan, Dunedin, New Zealand -.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.- =-.-=-.-=-.- You talk to me as if from a distance .-=-.-=-.-=-. -=-. And I reply with impressions chosen from another time .-=- .-=-.-=-.-=-.-=- (Brian Eno - "By this River") -.-=-.-=-.-=-.-= ------------------------------ Date: Mon, 22 Aug 2005 21:03:44 -0400 From: wojizzle forizzle Subject: NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master catching up again...shock of shocks! http://www.dimeadozen.org/torrents-details.php?id=52340 >A new torrent has been uploaded to DIME. > >Torrent: 55938 >Title: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master >Size: 441.02 MB >Category: Singer/Songwriter >Uploaded by: sigmasix > >Description >------------------------------------------------------------------------------- >Robyn Hitchcock >plus special guests >Kelly Hogan & Scott Ligon >4-3-2005 >Duncan Hall, Lafayette, Indiana > >Finally! I'm sorry this took so long. I have just mastered this whole >seeding thing. >I got a lot of PM's and Emails about this recording. > >Lineage:SBD->Sharp MD-MT15 mini disc recorder->Onkyo DX-RD511 CD >recorder->EAC->flac->YOU > > >Quality: Superb > >Artwork Included **Artwork changed** >(If you downloaded any of this from my original banned torrent in the >Spring, please replace the artwork with the JPG's in this torrent) >I have also included the JPG file of the color flyer > >Disc One >Kelly Hogan & Scott Ligon > (There is a moment of digi-noise before the sound starts) >1. Introduction by Richard Fudge (friends of Bob) >2. Pit Fall >3. Out Of Our Mind >4. Golden >5. Monkey Song >6. The Camping Song >7. Second Time Around >8. Love City, Population Two >9. Kites >10. Waylon Song >11. Precious Words >12. Poop Ghost >13. Lonesome Old Town >14. Closure > >Disc Two >Robyn Hitchcock >1. Introduction by Richard Fudge (friends of Bob) >2. Uncorrected Personality Traits >3. Chinese Bones >4. Queen Elvis >5. abandoned song >6. Sleeping With Your Devil Mask >7. Shadow Substitute (dialogue) >8. 1974 >9. Television >10. Neutrinos (dialogue) >11. Full Moon In My Soul >12. Flavour Of Night (abandoned) >13. Ted, Woody and Junior >14. Somewhere Apart >15. Vibrating >16. Autumn Is Your Last Chance >17. I often Dream Of Trains >18. Sally Was A Legend > >Disc Three >1. Creeped Out >2. Freeze >3. The Lizard >4. Star For Bram >5. More Than This >6. Medley [Robyn left the stage and strolled through the > crowd with acoustic guitar. He called for kelly and > scott to join him. Kelly helped Robyn sip wine before > they began playing] > (The sound is VERY distant on this as they were > all away from the microphones) > Rock Me Baby/When You're In Love With > A Beautiful Woman/Sound And Vision/ > Kung Fu Fighting >7. applause up to encore > ENCORE: > (With Kelly Hogan & Scott Ligon) >8. Rain >9. Elvis Presley Blues >10. Wichita Lineman >11. Cripple Creek > >Notes: Duncan Hall is a designated historical site. The auditorium looks >to seat about 70-100 people, tops. It appears to have been built for use >for classical work. The Acoustics in the hall are phenomenal. I brought >along a minidisc recorder in the hopes of getting a half-way decent >audience recording with a cheap microphone. I spoke with Richard from >Friends of Bob (The organization that put the show together) about >recording the show two weeks before, and he sent me a letter (Which is in >the artwork) explaining that the contract with Robyn specifically forbade >recording or pictures. Richard spent the Friday and Saturday before the >Duncan Hall show with Robyn in Chicago. During that time Richard mentioned >to Robyn that I wanted to record the show. Robyn informed Richard that it >would be OK with him for the recording to take place. Richard wasn't able >to let me know before the show. As I was preparing to hook up the >microphone to the MD to record the show, someone > (Richard or Robyn) altered the "no photos or recording" signs. I made a > mad dash to the soundboard and asked if I could plug in. The guy on the > board was very helpful, as well as Brian from Ohio with his watch, and my > friend Scott with the pictures. >The sound is Pristine. >I know Everyone will enjoy this. Putting this together was a labor of love. >I put some artwork together using pictures from the show as well as some >other neat stuff. It is included with this download. >Make sure you give Kelly and Scott a listen too. Their set was fantastic. >Don't EVER sell, buy or encode to MP3 please. >------------------------------------------------------------------------------- ------------------------------ Date: Mon, 22 Aug 2005 21:04:39 -0400 From: wojizzle forizzle Subject: NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master DISC THREE http://www.dimeadozen.org/torrents-details.php?id=56014&hit=1 >A new torrent has been uploaded to DIME. > >Torrent: 56014 >Title: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master DISC THREE >Size: 210.80 MB >Category: Singer/Songwriter >Uploaded by: sigmasix > >Description >------------------------------------------------------------------------------- >Robyn Hitchcock >plus special guests >Kelly Hogan & Scott Ligon >4-3-2005 >Duncan Hall, Lafayette, Indiana > >**DISC THREE** > >Lineage:SBD->Sharp MD-MT15 mini disc recorder->Onkyo DX-RD511 CD >recorder->EAC->flac->YOU > > >Quality: Superb > >Disc Three >1. Creeped Out >2. Freeze >3. The Lizard >4. Star For Bram >5. More Than This >6. Medley [Robyn left the stage and strolled through the > crowd with acoustic guitar. He called for kelly and > scott to join him. Kelly helped Robyn sip wine before > they began playing] > (The sound is VERY distant on this as they were > all away from the microphones) > Rock Me Baby/When You're In Love With > A Beautiful Woman/Sound And Vision/ > Kung Fu Fighting >7. applause up to encore > ENCORE: > (With Kelly Hogan & Scott Ligon) >8. Rain >9. Elvis Presley Blues >10. Wichita Lineman >11. Cripple Creek > >Sorry About the screw-up on the seed for this! >Upcoming: Waters videos, Gilmour videos, Plus a nice suprise in a week or >so that everyone should dig! >Don't EVER sell, buy or encode to MP3 please. >------------------------------------------------------------------------------- ------------------------------ Date: Mon, 22 Aug 2005 21:14:52 -0400 From: wojizzle forizzle Subject: NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master one time at band camp, wojizzle forizzle said: >http://www.dimeadozen.org/torrents-details.php?id=52340 um, sorry about that. the correct url is http://www.dimeadozen.org/torrents-details.php?id=55938&hit=1 woj ------------------------------ Date: Mon, 22 Aug 2005 20:29:10 -0700 From: "michael wells" Subject: gig reccy For you left-coasters: the Chicago band I mentioned yesterday - The Redwalls - - is on tour at the end of month with OK Go in what looks to be one hella good-time show: http://www.theredwalls.com/shows.aspx I'm frankly a little jealous, but we do get them next month with dB's and Eleventh Dream Day. Michael n.p. Brad Paisley "Alcohol" P.s. If you're talking Blue Oyster Cult c. 1974-1977, you're talking their creative peak (for my money their best album was a year earlier, though I think MRG might favor "Secret Treaties" instead). While getting the live album "On Your Feet or On Your Knees" might be the best way to get a quick overview, there's of course SPECTRES with "Godzilla" among other classics. Take your pick, they're all good. ------------------------------ Date: Mon, 22 Aug 2005 21:58:26 -0500 From: Jeff Subject: Re: NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master DISC THREE On 8/22/05, wojizzle forizzle quoted: > >Don't EVER sell, buy or encode to MP3 please. Sheesh. This is the kind of arrogance that makes me want to figure out the bit-torrent thing just so I *can* encode the damned thing to MP3. What does this jerk care if I encode it to MP3 for my own use? - -- ...Jeff The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Mon, 22 Aug 2005 22:15:18 -0500 From: Aaron Lowe Subject: Re: NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master DISC THREE At 09:58 PM 8/22/2005, Jeff wrote: >What does this jerk care if I encode it to MP3 for my own use? I don't think anyone does care. The point is that the taper/distributor who was nice enough to create the torrent for everyone in the first place prefers that it not be re-encoded to MP3 (or any other lossy format) and then re-distributed. I don't think that's an unreasonable request. What you do for your own use is, of course, entirely up to you. I consider myself somewhat of an audiophile, but in 95% of cases, I just can't hear the difference between the FLAC/SHN/WAV files and a high quality (emphasis on high quality) MP3 version of the same track. I encode everything I download from DimeADozen to 192Kb LAME MP3's, and I am very happy with the results. Then I can easily transfer them to a CD and listen to them in my car MP3 player, and they don't overtake my hard drive quite as quickly before I get around to archiving them away onto CD's. Just my two cents. Aaron ------------------------------ Date: Tue, 23 Aug 2005 08:42:37 -0400 From: "Stewart C. Russell" Subject: Re: NEW on DIME: Robyn Hitchcock 4-3-2005 Duncan Hall Soundboard MD Master DISC THREE Aaron Lowe wrote: > > I don't think that's an unreasonable request. It's kind of futile, tho'. Posting that assumes that, by supplying MP3s, access to the original lossless data is somehow compromised. It's not. It's the whole 'assuming scarcity where none exists' problem. cheers, Stewart ------------------------------ End of fegmaniax-digest V14 #204 ********************************