From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V3 #283 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Sunday, September 17 2000 Volume 03 : Number 283 Today's Subjects: ----------------- Re: ultimate wire rarity [Dave Walker ] Re: Ultra Vivid Scene [PaulRabjohn@aol.com] 8 Track Minds [=?iso-8859-1?q?Graeme=20Rowland?= ] ---------------------------------------------------------------------- Date: Sat, 16 Sep 2000 05:13:30 -0400 From: Dave Walker Subject: Re: ultimate wire rarity on 9/15/00 4:09 AM, tube disaster at dpbailey@worldnet.att.net wrote: > Mid-'80s SoCal earnest "college rock," if memory serves, a la The Call & > Translator. A fairly anonymous lot, looking back, with about 1 good single > in each of 'em that probably got a bit of MTV airing (Translator's was > Everywhere That I'm Not, The Call's The Walls Came Down ... couldn't tell > you Wire Train's, but I'm sure they had one). Wire Train had "In A Chamber" on their first LP, "Last Perfect Thing" on their second. Translator also had "Un-Alone", which had one of those wonderful early R.E.M.-like jangle-for-days things going on. -d.w. np: Robert Hood, Nighttime World Vol. 2 ------------------------------ Date: Sat, 16 Sep 2000 12:41:18 EDT From: PaulRabjohn@aol.com Subject: Re: Ultra Vivid Scene ///// the album everyone seemed to buy was the first one (self-titled). i actually think the 3 albums get progressively better , "rev" is a real underrated classic. << I like them all - but for me the second one (Joy 1967-1990) is the best. I saw them when they toured here in about 1991 at the Leadmill in Sheffield. Really good.... >>>>> the only time i think they ever played around here was supporting the breeders on their 2nd album tour. for some reason i thought the breeders would be crap live and never went , about a year later someone told me uvs were the support. i was gutted. Got them all....picked up Candida and als Special One on CD singles in US secondhand stores for a few bucks each. The Mercy Seat 12in is fantastic too.... >>>>> yep , got that. also the "she screamed" 12" is much better than the album version. I have a Crash 12inch which is really good - sounds just like UVS. Didn't know there was an album.... >>>>> yep , there was. kurt doesn't sing and he co-wrote about 2 songs max. very limp and jangly , like a bad wedding present or similar. what's the single called? p ps just saw the tubes doing "prime time" on totp2. pants. ------------------------------ Date: Sat, 16 Sep 2000 22:02:47 +0100 (BST) From: =?iso-8859-1?q?Graeme=20Rowland?= Subject: 8 Track Minds CD can and will die, just like 8 track cassette did, but for different reasons. ‘Will die?’ I hear you cry out? Yes, it will die, because there is a new monster on the horizon , and I dont mean the discredited MiniDisc or the lame DCC. I am talking about HDCD. HDCD is a new CD standard which will replace the 10 year old CD format. It has emerged due to a breakthrough in the manufacture of commercially viable blue lasers. Blue light has a shorter wavelength than red light, which means that HDCD will store four times as much data as the conventional CD. And guess what, you will all have to go out and buy new HDCD players, because the red lasers in your old CD players wont play the high density discs. All of your old CD s will have to be gradually replaced, in the same way that you were made to replace your vinyl recordings with thier CD re-issues. And of course, the companies that have manufactured this new abomination control the release of most of the worlds music, old and new; notice how when a higher capacity format is created, the aim is not to quadruple the quality, but to shovel 4 times the shit into the same space... The scene has now been set; every ten years, the public will be made to replace all of their equipment for an ever inferior stream of mass produced garbage, whose only purpose is to generate profit for two global conglomerates. What a bunch of shit. We are in the middle of the most dangerous times that the art of sound has ever faced. The threat comes from the artificial supplanting of analogue technology with inferior digital technology by Sony and Philips. These misguided and money driven companies will kill all music, and lay waste the landscapes of sound that have been heard and are yet to be heard. Boycott them and their shitty products whose purpose is to enslave sound. And us. From an article which can be read in its entirety here http://www.ibmpcug.co.uk/~irdial/w34.htm ____________________________________________________________ Do You Yahoo!? Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk or your free @yahoo.ie address at http://mail.yahoo.ie ------------------------------ Date: Sat, 16 Sep 2000 19:42:13 -0700 From: "Paul Pietromonaco" Subject: Re: 8 Track Minds >CD can and will die, just like 8 track cassette did, >but for different reasons. ‘Will die?’ I hear you cry >out? Yes, it will die, because there is a new monster >on the horizon , and I dont mean the discredited >MiniDisc or the lame DCC. I am talking about HDCD. Hi Graeme, First of all - do not panic. (^_^) The article you're referencing is riddled with inaccuracies, the least of which is HDCD. HDCD is *not* a new format - it's been around for years. Check out this link: http://www.hdcd.com HDCD stands for High Definition Compatible Digital. It's a way of encoding 20 bits in a 16 bit stream. I won't go into details here, but if you'd like an explanation, I can send it to you off-line. The key thing is that HDCD uses the regular CD format. I have a number of them - they play back in regular 16 bit audio on my standard CD player. (Neil Young, Chris Isaak, and the latest Kristin Hersh CDs are all HDCD) That being said, there are some high-definition audio formats coming along - - the most notable of which is DVD-audio. (Sony has a competing dual layer CD format called Super CD as well). The thing to note here is that the players will be backwards compatible. Your CDs will play just as well on the new machines as they did on the old machines - maybe even a little better. (e.g. my new DVD player has 96 kHz/24 bit upsampling for regular 16 bit/44.1 kHz CDs. They sound great) There will be a switch to higher quality CDs that will require a new player - that's the way consumer technology technology works, after all - but the CD format will continue to be popular for quite a while. As for the "DAT Menace" the author is talking about - well, I use DAT constantly. I have computer and audio DAT machines - and they are great. All my tapes play back fine - I've never seen that effect the author was talking about. And, I've had DAT for about 10 years now. Also, no modern CDs are mastered to DAT - they use a 1/4" reel-to-reel format, or 3/4" videotape. DAT is considered for semi-pro to consumer use only. In fact, a lot of people still master to analog or use exotic technology like 24 bit/96 kHz digital. As for CD longevity, they should last 70 years, if not longer. And, if you have gold CDs, they should last even longer. I have LaserDiscs that are 20 years old that play fine. And, they're more fragile than CD. Sometimes the lifetime statistics can be misleading. If you take care of your discs, they will last a long time. The last thing I would like to mention is why we use digital instead of analog for master preservation anyway. See, the problem with analog masters is that they degrade slowly. The magnetic particles tend to randomize over time. That's why the master tape of "In a Silent Way" doesn't sound as good as the day it was mastered. However, the digital master - for better or worse - sounds exactly the same as the day it was mastered. And, unlike analog, the copies you make sound exactly the same. And the copies you make from them. And so on and so on and so on. (You can make bit-by-bit comparisons to insure this) If you, as a studio, have a policy of making copies of your digital masters every ten years, they should theoretically last forever - unlike the analog masters. The key thing here is that the masters - whether analog or digital - have to be stored correctly and safety copies made - or you lose them. That's the job of the studios to figure out. We just have to hope they do it right. (^_^) Cheers, Paul ------------------------------ End of idealcopy-digest V3 #283 *******************************