I hear where you're coming from, but I'm not sure in 2015 it's so much a
problem. (happy to be wrong, because it just further proves my point! :) )
What I've read on mastering boards (I know...) is that most cutting
mastering studios that work from--or delay by--digital have upgraded their
digital component to 24-bit, and given how cheap professional, 24-bit D/A's
and A/D's have been the last ten years, this would make sense.
Regarding artwork, that gets into subjectives and personal valuation, which
I don't want to get into because, at the least, it would hi-jack the thread.
On Tue, Apr 14, 2015 at 5:33 PM, Tom Fine <[log in to unmask]>
> Hi Jim:
> Don't bet on 24-bit. Many LPs are mastered from the CD or CD master file.
> Only the careful bands and labels go with the 24-bit files.
> I can see your point, but I don't totally agree with it. If you like a
> modern release, isn't there some value in 12x12 graphics, and perhaps
> (again if the artist and label are careful and/or care anything about sound
> quality) a less-crunched version of the music?
> To my thinking, unless an LP version of a recent release offers better
> dynamic range, wider frequency range or some other sonic improvement over
> the CD release, the only reason to buy it would be for the artifact. Some
> cover art being produced today is quite compelling/ For instance Tanya
> Donelly was recently interviewed in TapeOp mag talking about her recent
> Swan Song Series of digital-only releases:
> She had artwork done to go with each song, and she commented it would be
> neat to see them collected on vinyl, with packaging that showed the artwork
> in greater prominance.
> -- Tom Fine
> ----- Original Message ----- From: "Jim Sam" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Tuesday, April 14, 2015 8:17 PM
> Subject: Re: [ARSCLIST] Record Store Day and the Ambivalent Branding of
> "I've attended three consecutive RSDs, but I'm not sure I'll participate
>> in RSD this year. The manufactured exclusivity of the often overpriced
>> records and their unequal distribution/availability are problematic."
>> I'm in complete agreement with that.
>> The other thing I'll add is, my tastes run distinctly modern, and I have a
>> hard time paying money for releases on vinyl when the odds that it was
>> 24-bit LPCM at some point are quite high (even for remasters, etc.).
>> Especially when I know the albums might wind up on high-resolution
>> stores a few months later.
>> On Tue, Apr 14, 2015 at 5:05 PM, Aaron Levinson <
>> [log in to unmask]>
>> I found the article both right and wrong in approximately equal measure.
>>> like the fact that my many friends who or work at these stores have a
>>> Christmas in July moment but I dislike the often superfluous things that
>>> are sometimes put out. His blanket contention that virtually any/all
>>> unsold RSD releases hemorrhage in value every subsequent day is untrue.
>>> Some will and some most certainly will not.
>>> Is it a marketing driven strategy?
>>> Of course, but that doesn't make it bad...
>>> Sent from my iPhone
>>> > On Apr 14, 2015, at 7:39 PM, Eric Cartier <[log in to unmask]>
>>> > Hi all,
>>> > The eighth annual Record Store Day (RSD) is set for this Saturday, and
>>> > Harvey, Pitchfork contributor/Assistant Professor of Communication at
>>> > State University, wrote an interesting article about RSD:
>>> > I regularly visit record stores to look for and buy used vinyl, I
>>> > occasionally purchase select new releases with accompanying download
>>> > and I've attended three consecutive RSDs, but I'm not sure I'll
>>> > in RSD this year. The manufactured exclusivity of the often overpriced
>>> > records and their unequal distribution/availability are problematic.
>>> > What do you all think about this recorded sound holiday?
>>> > Sincerely,
>>> > Eric Cartier
>>> > Digital Librarian
>>> > University of Maryland Libraries