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Hi, Rod,

I think back in the day of reel to reel, we certainly copied 
albums--often ones we bought to play the tape copy to preserve the LP. 
That became expensive quickly when I realized that I needed at least 7.5 
in/s two-track stereo to reproduce the album semi-faithfully.

There is a huge difference between people buying LPs and CDs and making 
mix tapes for friends--or even making copies on cassettes for 
friends--than people wholesale downloading music from the Internet and 
never buying any of it.

In some circles, a mix tape was a sign of love to the recipient. It was 
made in real time and the music was chosen to send a message to a 
special friend.

And, with cassettes, the quality loss was so great that many of us would 
send each other the cassette of something we were excited about and if 
the recipient was equally excited, they would buy the LP or CD (later).

On principal, I refuse to buy the remastered CD of Man of LaMancha as 
the first CD was so bad and I've made a decent (not perfect) transfer 
from my LP. I have already bought it three times: mono LP that I wore 
out, stereo LP, first-issue CD which was horrid.

Cheers,

Richard


On 2012-06-19 1:07 PM, Roderic G Stephens wrote:
> Back in the day of the cassette (?), we thought nothing of making a copy for a friend of our favorite music that we thought he/she might enjoy.  Somehow, the music industry was vibrant and healthy then, seemingly.  I think I saw a major change when the film studios and the recording industries wanted closer control of their "profit margins" with copy protection, or am I wrong?  By the way, I still have my Sony cassette recorder patched into my sound system.  I hope no one will report me.
> Rod Stephens
>
> --- On Tue, 6/19/12, Randy Riddle <[log in to unmask]> wrote:
>
> From: Randy Riddle <[log in to unmask]>
> Subject: Re: [ARSCLIST] Conflict Over File Sharing
> To: [log in to unmask]
> Date: Tuesday, June 19, 2012, 3:10 AM
>
> I bought a vinyl copy of Percy Dovetonsils as well.  It's a good
> example of an archival project where the money isn't just going
> towards the artist (or artist's family), but to people that are
> helping to preserve and promote an artist's legacy.
>
> I think the NPR piece begs a deeper question.  In a world where media
> - moving images, sounds, text - are so ubiquitous and at your
> fingertips, how do we value art and letters as a society?
>
> Just thirty or forty years ago, you watched three tv networks,
> listened to local radio and read your local newspaper or subscribed to
> magazines.  If you wanted to hear something again, you bought the
> record or put it on tape.  If you wanted to read an article again, you
> clipped it and saved it.
>
> With an Internet connection, you can have what you want, when you want it.
>
> In a society like that, where I can download thousands of old radio
> shows or hop on YouTube to watch a music video for a song I just
> remembered, how do you put a value on any written or recorded work?
>
> The folks on this list grew up in a different age.  I think all of you
> are willing to pay for a high resolution download, a well mastered cd,
> or a hard to find film.  You understand the costs involved in
> preserving and distributing these works and most of you make your
> living from it.
>
> For someone like this young lady, how do you convince them that what
> you do has both a cultural value?  How do you get them to understand
> the cost involved?
>
> When young people look at reissues, I think it's tough to overcome the
> perception that the artist, or artist's family, isn't getting very
> much money and that the big faceless record company made a fortune off
> the recording many years ago, especially with classic rock and pop
> that's all over radio, tv and sites like YouTube.
>
> If you want to see the worst case scenario for audio preservation,
> consider old time radio.  The mp3 has pretty much killed any
> commercial value that otr had and there's only a couple of companies -
> Radio Spirits and Radio Archives - that are still trying to preserve
> and sell programs.  Even Radio Archives is drifting more towards
> publishing reprints of pulp fiction, finding it difficult to sell
> enough copies of otr releases to justify the costs of purchasing and
> restoring original discs.
>
> Bing and Frankie may not be around to collect royalties, but there are
> people that make their living on preserving and restoring their audio
> legacy.  How do sound archivists make sure there's an awareness of the
> expense involved to keep that work going?
>
> rand
>
>
> On Tue, Jun 19, 2012 at 5:44 AM, Tom Fine <[log in to unmask]> wrote:
>> Hi Richard:
>>
>> Noble, for sure, so pat yourself on the back.
>>
>> You and your tribe swim upstream. That's not a bad thing, but most tribes
>> aren't willing to expend the money and effort to do the right thing. Again,
>> human nature -- free stuff is irresistible and "ethics" get blurry when the
>> choice is free and easy and stealing vs. paying for something and maybe
>> waiting for a physical copy to show up in the mail.
>>
>> -- Tom Fine
>>
>> ----- Original Message ----- From: "Richard L. Hess"
>> <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Monday, June 18, 2012 10:37 PM
>> Subject: Re: [ARSCLIST] Conflict Over File Sharing
>>
>>
>>
>>> Tom,
>>>
>>> My kids buy the bulk of what they have on their iPod/iPhone.
>>>
>>> The material comes from iTunes, artist websites (some legit free), ripped
>>> CDs one of us owns, or even my LPs and a few live recordings I've done.
>>>
>>> This summer we will FLAC the MLP, Living Stereo and London sets so Robert
>>> can take them to university. I trust him not to do wholesale sharing, and
>>> his dorm room NAS and both laptops are password protected and behind a
>>> SPI/NAT firewall, with the university's concurrence.
>>>
>>> I consider this a parenting victory, and an expense I partially underwrite
>>> (I bought the three box sets).
>>>
>>> We bought the latest ManOwaR digital downolad so Robert could have it the
>>> day of release. He found my credit as part of the ManOwaR family which was
>>> super generous of Joey.
>>>
>>> Cheers,
>>>
>>> Richard
>>>
>>> On 2012-06-18 9:30 PM, Tom Fine wrote:
>>>> I tend to sympathize with this blogger, but it's a futile position --
>>>> asking kids to pay for something they easily obtain at no cost. Would this
>>>> blogger turn his back if 20 dollar bills started raining down out of an
>>>> office window, while everyone around him scrambles to collect "theirs"? I
>>>> doubt it, but if he did he'd be more noble and less cash-flush. Bottom line,
>>>> human nature being what it is, with regards to stealing music, the horse is
>>>> long out of the barn.
>>>>
>>>> -- Tom Fine
>>>>
>>>> ----- Original Message ----- From: "David Lewis" <[log in to unmask]>
>>>> To: <[log in to unmask]>
>>>> Sent: Monday, June 18, 2012 2:06 PM
>>>> Subject: [ARSCLIST] Conflict Over File Sharing
>>>>
>>>>
>>>>> http://thetrichordist.wordpress.com/2012/06/18/letter-to-emily-white-at-npr-all-songs-considered/
>>>>>
>>>>> I'm not crazy about the term "Free Culture Movement" and David's
>>>>> arguments
>>>>> do not make me love the major music companies again. But this comes from
>>>>> a
>>>>> different side of the tracks
>>>>> from what we are used to seeing, and for that reason, is quite
>>>>> interesting.
>>>>>
>>>>> Uncle Dave Lewis
>>>>> [log in to unmask]
>>>>> Lebanon, OH
>>>>>
>>>
>>>
>>> --
>>> Richard L. Hess                   email: [log in to unmask]
>>> Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
>>> http://www.richardhess.com/tape/contact.htm
>>> Quality tape transfers -- even from hard-to-play tapes.
>>>



-- 
Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
http://www.richardhess.com/tape/contact.htm
Quality tape transfers -- even from hard-to-play tapes.