Comments for DIGITAL TO ANALOG CONVERSION http://www.realizedsound.net/dac getting the bits to my speakers Tue, 13 Mar 2012 16:59:11 +0000 hourly 1 http://wordpress.org/?v=3.1.3 Comment on Day 150. Prince and Nirvana. by Ryan Paul http://www.realizedsound.net/dac/archives/646/comment-page-1#comment-713 Ryan Paul Tue, 13 Mar 2012 16:59:11 +0000 http://www.realizedsound.net/dac/?p=646#comment-713 Eerie, I share your sentiments of Nevermind as I recently also reflected on this work. I remember being a teen and hearing the "content" as dirty, gritty, crunchy, mumbled, etc. but then recently as a 30-something heard the "production" as crystal, polished and the hooks took on an almost Beatles-like quality (I know cliche, but I don't think about this as much as other things). I also heard the contrast even more deeply on my favorite Nirvana album, In Utero where the Steve Albini production is glistening over the top of the trashiest, cluttered cacophonous tracks (I love "Milk It")! Eerie, I share your sentiments of Nevermind as I recently also reflected on this work. I remember being a teen and hearing the “content” as dirty, gritty, crunchy, mumbled, etc. but then recently as a 30-something heard the “production” as crystal, polished and the hooks took on an almost Beatles-like quality (I know cliche, but I don’t think about this as much as other things). I also heard the contrast even more deeply on my favorite Nirvana album, In Utero where the Steve Albini production is glistening over the top of the trashiest, cluttered cacophonous tracks (I love “Milk It”)!

]]> Comment on Day 100. Kagel, Liszt and Aretha Franklin. by Barbra Townsend http://www.realizedsound.net/dac/archives/454/comment-page-1#comment-658 Barbra Townsend Thu, 09 Dec 2010 08:09:39 +0000 http://www.realizedsound.net/dac/?p=454#comment-658 My dear aretha, I was so sadden to her of your illness. But God has the last say. There is nothing to hard for my God to do. Especially, healing. You know healing is His specialy. I sure belive. trust in the Lord with all of your heart and lean not unto your own understanding, in all His was ackowledge Him and He will and He shall take good care of you. Yours in Christ, Barbra Townsend My dear aretha, I was so sadden to her of your illness. But God has the last say. There is nothing to hard for my God to do. Especially, healing. You know healing is His specialy. I sure belive. trust in the Lord with all of your heart and lean not unto your own understanding, in all His was ackowledge Him and He will and He shall take good care of you. Yours in Christ, Barbra Townsend

]]> Comment on Day 156 … Cracker, Counting Crows, Jane’s Addiction and Shostakovich. by ede http://www.realizedsound.net/dac/archives/670/comment-page-1#comment-547 ede Wed, 03 Nov 2010 13:02:40 +0000 http://www.realizedsound.net/dac/?p=670#comment-547 The situation for musicians is described really well by Steve Albini (Big Black, Shellac more 90's music) in his essay "The problem with Music". Posted on negativeland.com. Explains his view of just why musicians, even successful ones, can be poor.. Kinda makes you want to go DIY The situation for musicians is described really well by Steve Albini (Big Black, Shellac more 90′s music) in his essay “The problem with Music”. Posted on negativeland.com. Explains his view of just why musicians, even successful ones, can be poor.. Kinda makes you want to go DIY

]]> Comment on Day 156 … Cracker, Counting Crows, Jane’s Addiction and Shostakovich. by josh http://www.realizedsound.net/dac/archives/670/comment-page-1#comment-545 josh Tue, 02 Nov 2010 15:21:46 +0000 http://www.realizedsound.net/dac/?p=670#comment-545 well - there is more Shostakovich up for the next couple of days... there will be something soon :) "My role" has to do with how over about ten years I worked at record stores, mostly as a buyer. I'd pay $7 to get a CD that we would then sell for (at the time) $14.99. With over a 100% markup on our end, the stores would STILL barely make enough to cover expenses (employees, power, rent, etc.) plus have enough left over to re-invest in purchasing what might or might not be the next big thing. Of course, this is how business in general works, but it wasn't a surprise to me when Tower Records finally went bankrupt for its last time and closed its doors. The band made between $.50 and $1.00 on each CD sold to a store AFTER the label and distributer made up its costs. Of course there is risk to the labels / distributers as well, but they offload as much as possible to the bands / stores. Again - not a bad business model for the labels / distributors! But it disgusts me that a guy who had sold MILLIONS of records can't go out and splurge on some music. There could be lots of reasons for this (maybe he did have millions at one point but had blown it all??? I didn't get that feeling, but it is surely a possibility). But when I signed up with ASCAP as a composer, I finally connected how important it was to be the author of a work. At ASCAP, authors get half the royalties, publishers half. Again, another business model where the artist is probably not getting there share of the money that is coming in. But this is what happens when business and art / music / entertainment start to support each other. The irony being that through this mechanism you have the possibility (though a small one still) of reaching a huge audience, though your stakes are higher as well. You can end up broke, and even if you DO sell millions, well, you might not be able to afford to head out and purchase music for yourself. I'm not saying it's evil... just that it is messed up, and I was part of that for a decade... a decade when I barely scraped by while paying for school, guys with platinum albums under their belts made an 'ok' living, record stores started to shutter yet Universal Music and Sony are still going strong. And complaining that they aren't getting enough at the same time :) well – there is more Shostakovich up for the next couple of days… there will be something soon :)
“My role” has to do with how over about ten years I worked at record stores, mostly as a buyer. I’d pay $7 to get a CD that we would then sell for (at the time) $14.99. With over a 100% markup on our end, the stores would STILL barely make enough to cover expenses (employees, power, rent, etc.) plus have enough left over to re-invest in purchasing what might or might not be the next big thing. Of course, this is how business in general works, but it wasn’t a surprise to me when Tower Records finally went bankrupt for its last time and closed its doors.
The band made between $.50 and $1.00 on each CD sold to a store AFTER the label and distributer made up its costs. Of course there is risk to the labels / distributers as well, but they offload as much as possible to the bands / stores. Again – not a bad business model for the labels / distributors! But it disgusts me that a guy who had sold MILLIONS of records can’t go out and splurge on some music. There could be lots of reasons for this (maybe he did have millions at one point but had blown it all??? I didn’t get that feeling, but it is surely a possibility).
But when I signed up with ASCAP as a composer, I finally connected how important it was to be the author of a work. At ASCAP, authors get half the royalties, publishers half. Again, another business model where the artist is probably not getting there share of the money that is coming in. But this is what happens when business and art / music / entertainment start to support each other. The irony being that through this mechanism you have the possibility (though a small one still) of reaching a huge audience, though your stakes are higher as well. You can end up broke, and even if you DO sell millions, well, you might not be able to afford to head out and purchase music for yourself.
I’m not saying it’s evil… just that it is messed up, and I was part of that for a decade… a decade when I barely scraped by while paying for school, guys with platinum albums under their belts made an ‘ok’ living, record stores started to shutter yet Universal Music and Sony are still going strong. And complaining that they aren’t getting enough at the same time :)

]]> Comment on Day 156 … Cracker, Counting Crows, Jane’s Addiction and Shostakovich. by all n4tural http://www.realizedsound.net/dac/archives/670/comment-page-1#comment-544 all n4tural Tue, 02 Nov 2010 10:57:20 +0000 http://www.realizedsound.net/dac/?p=670#comment-544 a good read, as always, thanks! (though i was hoping for a Shostakovich connection :) "my role in that messed up situation" -- what do you mean? eddi a good read, as always, thanks! (though i was hoping for a Shostakovich connection :)

“my role in that messed up situation” — what do you mean?
eddi

]]> Comment on Simplify Media is dead… Subsonic! by josh http://www.realizedsound.net/dac/archives/317/comment-page-1#comment-534 josh Tue, 26 Oct 2010 01:13:02 +0000 http://www.realizedsound.net/dac/?p=317#comment-534 No - I haven't. For one, I don't have (and probably never will) have an iPhone. Subsonic has been working wonderfully and has let me keep using iTunes easily for ripping and organizing. Thanks for the link though... looks like a promising project! No – I haven’t. For one, I don’t have (and probably never will) have an iPhone. Subsonic has been working wonderfully and has let me keep using iTunes easily for ripping and organizing. Thanks for the link though… looks like a promising project!

]]> Comment on Simplify Media is dead… Subsonic! by Alex http://www.realizedsound.net/dac/archives/317/comment-page-1#comment-533 Alex Tue, 26 Oct 2010 01:09:32 +0000 http://www.realizedsound.net/dac/?p=317#comment-533 Did you try Didiom? - http://itunes.apple.com/us/app/didiom-pro-iphone-edition/id389217682?mt=8 Did you try Didiom? – http://itunes.apple.com/us/app/didiom-pro-iphone-edition/id389217682?mt=8

]]> Comment on Day 143. Mussorgsky, The Coral and Van Morrison. by josh http://www.realizedsound.net/dac/archives/616/comment-page-1#comment-454 josh Thu, 16 Sep 2010 00:27:22 +0000 http://www.realizedsound.net/dac/?p=616#comment-454 Hi Jonathan - well, Mira made it through about five minutes of the 1869 version. Mira is two though. Celia however would probably be up for Barber of Seville or Magic Flute. She's heard most of Barber, but I think she would have quite a bit of fun with Magic Flute (especially if the production is anything like the one eight (?) years ago!). The production of Boris in 2000 was stunning. Still one of my most vibrant memories. I'll contact you over email about guest-blogging. I think it would be great. Thanks for reading! Hi Jonathan – well, Mira made it through about five minutes of the 1869 version. Mira is two though. Celia however would probably be up for Barber of Seville or Magic Flute. She’s heard most of Barber, but I think she would have quite a bit of fun with Magic Flute (especially if the production is anything like the one eight (?) years ago!).
The production of Boris in 2000 was stunning. Still one of my most vibrant memories.
I’ll contact you over email about guest-blogging. I think it would be great. Thanks for reading!

]]> Comment on Day 143. Mussorgsky, The Coral and Van Morrison. by Jonathan Dean http://www.realizedsound.net/dac/archives/616/comment-page-1#comment-453 Jonathan Dean Thu, 16 Sep 2010 00:05:10 +0000 http://www.realizedsound.net/dac/?p=616#comment-453 And which BORIS did you and Mira listen to, 1869 or 1872? We performed a hybrid at Seattle Opera in Jan. 2000, the scene-structure of 1869 (fewer scenes) with the added songs from 1872 (more female voices). It's one of those operas which is really different, each time it gets performed...although each recording of it is the same forever. Your project with this blog seems very interesting. Let me know if you intend to listen to recordings of any of the operas we're doing this season (Lucia, Barber of Seville, Don Quichotte, Don Giovanni, Magic Flute), or if your kids are at an age to listen to a recording of and then attend a live opera. Perhaps you (or they) would be interested in guest-blogging for our Seattle Opera Blog? Jonathan Dean Seattle Opera jonathan.dean@seattleopera.org And which BORIS did you and Mira listen to, 1869 or 1872? We performed a hybrid at Seattle Opera in Jan. 2000, the scene-structure of 1869 (fewer scenes) with the added songs from 1872 (more female voices). It’s one of those operas which is really different, each time it gets performed…although each recording of it is the same forever.

Your project with this blog seems very interesting. Let me know if you intend to listen to recordings of any of the operas we’re doing this season (Lucia, Barber of Seville, Don Quichotte, Don Giovanni, Magic Flute), or if your kids are at an age to listen to a recording of and then attend a live opera. Perhaps you (or they) would be interested in guest-blogging for our Seattle Opera Blog?

Jonathan Dean
Seattle Opera
jonathan.dean@seattleopera.org

]]> Comment on Day 144. Brahms. by Kristján Orri Sigurleifsson http://www.realizedsound.net/dac/archives/620/comment-page-1#comment-421 Kristján Orri Sigurleifsson Thu, 09 Sep 2010 06:45:26 +0000 http://www.realizedsound.net/dac/?p=620#comment-421 Sure would accept a cup of coffee with the fellow. :) Sure would accept a cup of coffee with the fellow. :)

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