When a performer has a bad day in the concert hall and he recorded without 
being aware that it is a "recording session."  A radio broadcast was made 
with the expectation that it would vanish at the end of the broadcast.  The 
idea of recording from the audience, out of balance, etc., was clearly so 
illegal that many never considered it at all.  Until the miniatrre tape 
recorder, that is.

This obsession with making public every performance instance can be one 
reason for the "tightening up" of performances that might otherwise be more 
relaxed, intended for the hearing of the paying audience only.  Are we 
becoming an intrusive "recorderrazzi"?

This is clearly an ethical issue.  Having said this, I confess to enjoying 
musical performance gossip as much as the next guy.

Steve Smolian

----- Original Message ----- 
From: "Karl Miller" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, May 11, 2007 10:30 AM
Subject: Re: [ARSCLIST] Record Business vs. Music Business: The Shakeout 

> Dismuke <[log in to unmask]> wrote:
>  ***As we enter such a world, the RIAA is still obsessed
> with and has desperately been trying to pretend that
> people will continue using plastic discs that take up
> shelf space and only hold 700 measly megabytes of
> data.
>  Yes, the "Cheese" is moving. For me, the digital world offers our species 
> a opportunity to break from our "hunter, gatherer" orientation. Further, 
> as bandwidth for wireless networks increases, what need would a person 
> have to maintain their own collection or file, whether it be audio or 
> anything else? assuming that we had a good navigation tool for the 
> information stream and low cost access.
>  As an employee at a University that provides access to JSTOR I can 
> download PDFs of copyrighted articles. There is nothing keeping me from 
> sending that PDF to someone who does not have the same level of access. Is 
> that a copyright violation? probably so. It is so easy to do, one does 
> without even thinking about it.
>  Even in the old days of reel to reel recordings and no email,  as 
> collector of broadcast recordings of music not recorded commercially, I 
> remember how quickly a recording would circulate in what we used to call 
> the "tape underground." I can recall looking for a better sounding copy of 
> a broadcast and finding  a collector on the other side of the globe who 
> had a copy. I would write a letter asking for a dub in the hope that their 
> version sounded better, only to find that their copy had come from mine, 
> something I had recorded off the air 30 years ago! with, of course, 
> several additional layers of hiss which had come from subsequent 
> redubbing.
>  Ah, what we used to do...I am reminded of how the Horowitz-Barbirolli 
> Rachmaninoff Third Concerto was "liberated" from New York Public Library 
> (a small microphone was placed inside the headphones with wire traveling 
> inside a shirt to a briefcase with a recorder inside). That tape quickly 
> made the rounds. Where was Leon Theremin when we needed obscure 
> reference a few of you might catch...
>  Increasingly it seems possible that only one person needs to pay and then 
> it "circulates." These days that applies to commercial 
> recordings/information with no loss in quality.
>  I wonder where will we find financial incentives to make more "cheese."
>  Karl
> -- 
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> 5:10 PM