----- Original Message -----
From: <[log in to unmask]>
> I only discovered GEMM a few days ago. I expect it will grow considerably
> quite rapidly as others find out about it. If you have your record
> cataloged, why not list there anything you no longer need, with pricing
> would make it worthwhile to pick and pack it if anyone else wanted it. If
> of millions of people (out of the 7000 million there are) did that, it
> end up quite a substantial database.
> Then imagine that instead of shipping the artifact, a copy could be sent,
> legally, through some rearrangement of the copyright law in which the
> GEMM handled the royalties as well as the transaction. Then every
> would be part of a worldwide library of sorts.
> Napster almost did that except for leaving out the producers. Someone
> mentioned the possible need for libraries to charge for their services in
> of the increasing difficulty in obtaining funding. Then libraries might
> into part of a service like that described above, or be replaced by same.
What you are doing here (and what is often done) is confusing three
1) The actual object itself (the sound recording in its extant form)
2) A digital representation of the content of #1 (i.e. *.wav, *.mp3, usw.)
3) The discographic data on #1
As I understand it, GEMM is a database covering CD's...something like the
files are to 78's. Thus, if you have your collection of sounds (either as
or as computer files) catalogued in digital form, you could then add the
an ultimate collection of data on every digital sound recording that has
ever existed (#3).
You could also add a digital copy ("sound file") to an archive of such (#2).
Or, you cou;d will your (analog) record collection to whichever institution
to become the repository for the collection of every sound recording ever
(including "Lithuanian language records!") insofar as possible.
Steven C. Barr