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PostPosted: Mon May 10, 2010 8:23 am 
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Maroual wrote:
… I do not clearly understand why it is so hard to adjust the volume manually.

Because for many people music (incl. Zappa) is just audio-wallpaper.

Th.

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PostPosted: Mon May 10, 2010 8:24 am 
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calvin2hikers wrote:
"Everything louder than everything else" - Ian Gillan (or something like that)


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PostPosted: Mon May 10, 2010 8:27 am 
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Maroual wrote:
Even if you're using Replay Gain with the album-gain option which does not destroy the sound and respect an average volume at the whole album scale, I do not clearly understand why it is so hard to adjust the volume manually.


Because hitting the "shuffle" button across multiple albums will drive you insane.

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PostPosted: Mon May 10, 2010 8:33 am 
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Quote:
Because hitting the "shuffle" button across multiple albums will drive you insane.

Accept diversity! Not only in music.

Th.

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PostPosted: Mon May 10, 2010 8:43 am 
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Thinman wrote:
Quote:
Because hitting the "shuffle" button across multiple albums will drive you insane.

Accept diversity! Not only in music.

Th.



Ummm - I'm *quite* accepting of diversity, thank you very much. :lol:

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PostPosted: Mon May 10, 2010 9:13 am 
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Call me a knuckle-dragger, I guess, because I just don't necessarily need pristine audiophile quality while I'm doing my typical iPod-related activities: driving, sitting in my noisy office, or running. Now, if I'm at home away from all the background noise, I'll fire up the turntable.

Or is music such a sacred thing that it must only be enjoyed in the hallowed setting of hifi perfection? It's not like people didn't listen to music on shitty stereos before iPods existed.


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PostPosted: Mon May 10, 2010 9:48 am 
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Alice Cooper once said "most people listen to music on stereos in their cars that cost less than the ounce they are smoking while listening..." :)

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PostPosted: Mon May 10, 2010 9:52 am 
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tweezers wrote:
Alice Cooper once said "most people listen to music on stereos in their cars that cost less than the ounce they are smoking while listening..." :)


Ha! That's great - never heard that one!

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PostPosted: Mon May 10, 2010 10:05 am 
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It was true too. My car has a great sound system. Funny thing is that the computer little bitty speakers they now have sound better than those monsters I paid big bucks for in the '70s that went to the shop SEVERAL times.

I am convinced that there is a sonic level of detail that, when reached, can't be bettered no matter how much you pay. I wish I had more money for a hotter system, but other priorities (it is a drag to get old).

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PostPosted: Mon May 10, 2010 10:23 am 
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SONICS!

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PostPosted: Tue May 11, 2010 4:39 am 
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So, after sitting with this for a little over a week, I have to say that I am so happy to have the original mix, finally. I doubt I will ever listen to the Ryko version ever agian. There are some very cool things on the original that I'm glad I finally got to hear.

The extra's are good, nothing too earth shattering, but GLS's version of Valerie is absolutely my favorite, and that is including the live versions I have heard. Simply great, and worth the price of the whole album. Secret Greasing is a fun listen; and the extended version of Stuff Up The Cracks is wonderful too.
Great release.

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PostPosted: Tue May 11, 2010 7:37 am 
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madcow1515 wrote:
Call me a knuckle-dragger, I guess, because I just don't necessarily need pristine audiophile quality while I'm doing my typical iPod-related activities: driving, sitting in my noisy office, or running. Now, if I'm at home away from all the background noise, I'll fire up the turntable.

Or is music such a sacred thing that it must only be enjoyed in the hallowed setting of hifi perfection? It's not like people didn't listen to music on shitty stereos before iPods existed.

Sometimes I don't listen to music under the best circumstances. So not every time (if ever) is it hi-fi perfection. But in spite of this I have never understood why ruining the music from the beginning can be any good? It's not like it triples the costs to make a mastering with more headroom. So it's just a matter of distorting the product because everybody else does.

I would have thought that a re-release of CWRATJ was not involved in that game.

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PostPosted: Tue May 11, 2010 7:57 am 
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HJ wrote:
But in spite of this I have never understood why ruining the music from the beginning can be any good? It's not like it triples the costs to make a mastering with more headroom. So it's just a matter of distorting the product because everybody else does.

I would have thought that a re-release of CWRATJ was not involved in that game.

Oh, I totally agree with this. It was the cranky attitude over what people choose to do with their iTunes libraries that annoyed me.


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PostPosted: Tue May 11, 2010 9:39 am 
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Received my copy today. Sounds good and nice to finally listen to this mix. However, I do think £22 is OTT for a single cd and personally, i think the packaging is tacky - would prefer a simple jewel case with original cover to match original mix.


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PostPosted: Tue May 11, 2010 9:54 am 
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Nanook a - no no wrote:
Received my copy today. Sounds good and nice to finally listen to this mix. However, I do think £22 is OTT for a single cd and personally, i think the packaging is tacky - would prefer a simple jewel case with original cover to match original mix.

They're probably not able to use the original album cover since Ryko still owns the rights to it.


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PostPosted: Tue May 11, 2010 10:06 am 
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madcow1515 wrote:
Nanook a - no no wrote:
Received my copy today. Sounds good and nice to finally listen to this mix. However, I do think £22 is OTT for a single cd and personally, i think the packaging is tacky - would prefer a simple jewel case with original cover to match original mix.

They're probably not able to use the original album cover since Ryko still owns the rights to it.


Agreed about th Ryko rights, otherwise they would have called it CWRATJ 4oth anniversary

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PostPosted: Tue May 11, 2010 7:29 pm 
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aha--never thought of it that way, tweezers, makes sense.

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PostPosted: Wed May 12, 2010 12:56 am 
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madcow1515 wrote:
Nanook a - no no wrote:
Received my copy today. Sounds good and nice to finally listen to this mix. However, I do think £22 is OTT for a single cd and personally, i think the packaging is tacky - would prefer a simple jewel case with original cover to match original mix.

They're probably not able to use the original album cover since Ryko still owns the rights to it.

As I recall, the ZFT owns the rights for the artwork on the Ryko albums. But there's probably a clause in their contract which says that they can't issue titles that compete directly with the Ryko CD catalogue. (I suppose the Barking Pumpkin Hot Rats LP is not in breach of contract, because of the format.)

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PostPosted: Wed May 12, 2010 3:56 am 
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Dove/Dark Clothes (and anyone else).

I would think that the agreement with Ryko hamstrings the ZFT in many ways. I do think that it would be helpful if GZ clued us in, but she may have her reasons (some of which may be incorporated into the Ryko distribution deal itself).

The release is good, the anniversary series has been good and the release schedule is appropriate, I have no complaints (and I do truly love the early LOML).

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PostPosted: Wed May 12, 2010 5:09 am 
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tweezers wrote:
I do think that it would be helpful if GZ clued us in, but she may have her reasons (some of which may be incorporated into the Ryko distribution deal itself).

IMHO there is no benefit for GZ to have open and public conversations about the contents of such a contract with anybody who is not part of it.
I believe the contractors already pay jurists and lawyers to discuss and establish the clauses of the contracts.
Any statement done in front of a journalist is likely checked before the interview in order to check it is compatible with the different agreements and contracts.
Not following these rules may cause a lot of harm to the deal.


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PostPosted: Wed May 12, 2010 5:36 am 
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Maroual wrote:
tweezers wrote:
I do think that it would be helpful if GZ clued us in, but she may have her reasons (some of which may be incorporated into the Ryko distribution deal itself).

IMHO there is no benefit for GZ to have open and public conversations about the contents of such a contract with anybody who is not part of it.
I believe the contractors already pay jurists and lawyers to discuss and establish the clauses of the contracts.
Any statement done in front of a journalist is likely checked before the interview in order to check it is compatible with the different agreements and contracts.
Not following these rules may cause a lot of harm to the deal.


I didn't say reveal the terms of a contract. Read what I said. Should you need clarification, what I intended my short comment to mean is that, within the constraints that her counsel and prudence allows, GZ could provide some information to us beyond what she has. I had no intent of disparaging her nor had I the intent of abridging the rights of parties to a contract.

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PostPosted: Wed May 12, 2010 1:38 pm 
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Gail don't talk. To the minions, anyway.

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PostPosted: Thu May 13, 2010 4:42 am 
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calvin2hikers wrote:
Gail don't talk. To the minions, anyway.


Calvin:

She stll hasn't answered you yet. :shock: 8) :mrgreen:

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PostPosted: Thu May 13, 2010 1:29 pm 
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tweezers wrote:
calvin2hikers wrote:
Gail don't talk. To the minions, anyway.


Calvin:

She stll hasn't answered you yet. :shock: 8) :mrgreen:


No. She did say I was "Goddamn right" once in chat, though. We'll always have that.

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PostPosted: Thu May 13, 2010 10:17 pm 
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Maroual wrote:
I do not clearly understand why it is so hard to adjust the volume manually.
I use Logic Pro which has some very cool automation with things like volume and pan. You set up the levels manually with a very easy to use interface and then it adjusts the mixer automatically as your piece plays back. Of course, if you wanted to do something similar to compression, it would be a hell of a lot of work.

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