Those who are willing to Goofin Each Other - Various - Piano Selection (Vinyl out sounds beyond those that the streaming services Goofin Each Other - Various - Piano Selection (Vinyl ready to deliver right to their earbuds. As so often in life, the answer is complex, but not encouraging.
Insales of new LPs jumped 52 percent from the year before, and sales in the first quarter of spiked 53 percent from the same period last year. There is a cadre of record buyers for whom new music titles constitute sweet finds—or at least older new music does. Just four or five years ago, used albums by composers from the 20th-century avant-garde might have gone straight into the dollar bin, according to Cory Feierman, manager of Academy Records Annex in Brooklyn. Robert Ashley albums, for example, sell well, and quickly, Feierman says.
New vinyl reissues of mid-century electro-acoustic figures such as Pierre Schaeffer dot bins, and then disappear. And new music labels are releasing new vinyl, too. Founded inInnova Records has been around long enough to have issued its first releases on LP and then watched as vinyl gave way to the compact disc. Both Campbell and Hammond are composers, and both have issued their own music on vinyl. New Amsterdam has released 73 recordings in less than a decade of operation, but it has only released 10 of those on LP so far.
Uncool as CDs may be to a swath of music consumers these days, they retain certain advantages over vinyl. They also can offer up to 80 minutes of uninterrupted playing time—about double what the two sides of an LP will hold with reasonable audio fidelity—and obviate the need to break up a longer piece of music across more than one side, or more than one record. Vinyl, on the other hand, is a finicky, expensive boondoggle from a practical standpoint.
The boom in vinyl has meant that the few working pressing plants—literal relics in a digital age—are forever backed up, leading to long lead times and unpredictable delays. Every small label feels these pains right now.
Innova operates as a nonprofit, but jazz label Pi Recordings does not. Pi co-founders Seth Rosner and Yulun Wang have only pressed two titles on vinyl to date, strictly because of concerns over cost versus profit. There is one bright spot to selling LPs, according to Goofin Each Other - Various - Piano Selection (Vinyl. But first labels have to sell their LPs, and niche music on a niche format tends to move slowly.
It sold four copies in a month. Mode Records still has LP copies of the first recordings it released in The label embraced CDs when they came along, and it continues to release titles on digital formats to this day, but it has yet to take up vinyl again. Brandt adds that the rise of streaming and the erosion of paid downloads and physical media sales represent a far bigger dilemma than to press or not to press.
Vinyl is unlikely to be the answer to that problem. Still, there are ways in which it appears vinyl does make sense for new music, if you squint. It carries a particularly strong appeal at the merch table, according to Hammond. Contemporary composition can sell pretty well in certain circumstances.
In addition to distributing copies to record stores through the usual channels, the label took orders, and pre-orders, through Bandcamp, the current standard for one-to-one music sales.
On a more bootstrapping front, crowdfunding sites such as Kickstarter, Indiegogo, and the rest could also offer the potential for composers to solicit presales for, and fund production of, vinyl releases.
At Innova, composers themselves pay for vinyl pressings, and the reasons they do so vary. Some of it is purely for the joy of creating a kind of art object. How beautiful! Motivations and driving factors can be more than just the bottom line. See discussion here. Lee Gardner has been writing about music and film for more than 25 years. NewMusicBox provides a space for those engaged with new music to communicate their experiences and ideas in their own words.
Articles and commentary posted here reflect the viewpoints of their individual authors; their appearance on NewMusicBox does not imply endorsement by New Music USA. Great article. Here are other considerations when going back to vinyl from the playback side.
Later on, it got expensive. And the needles price skyrocketed. The records themselves are fragile beings. Grooves get worn. There are the skips and stuck grooves. Just not worth it. By the way, just what ARE the figures?
To state a percentage means nothing without comparing dollar signs before and after the huge rise in record buying. Having said all that, I endure CD sound. LP) can be harsh and distorted because it is so easy to overmodulate in mastering CDs. New vinyl sales jumped from 6. CDs are the real dinosaur. They hold digital music. We now have digital players. There is no reason for CDs. Vinyls, however, offer expansive artwork, nostalgic physicality, and are a lovely watermark in history.
If you want to listen to music, buy mp3s. But if you want to physically enjoy sight, sound, and poetry together, buy the richness that is big beautiful square billboards with vibrant artwork and corrugated discs inside them.
Like nerds. No reason for cds? Sorry, but for dedicated, serious classical listeners cds are still the only way to go. Cds are great. Not to mention the degradation the record experiences with each playing. Streaming is an unfair comparison as it is not meant to replace high-quality audio. It does not matter. As a musician, CDs also mark a bleak period in auditory art — homogenization and commoditization.
Digital audio downloads freed us from that tyranny, and I pay homage! Read "Into the Black"our new feature on Johnny Jewel.
Still, Chance is sure to have a prominent role. The superstar's eighth album doesn't have a title or release date yet. He teamed up with Vic Mensa and Sia on "Wolves". EP [Monotreme]. By Madison Bloom. By Noah Yoo. By Matthew Strauss. By Allison Hussey. Tags Pitchfork New Releases. Get Hot Links A daily roundup of the most important stories in music. Read More. Emily A. Hmmm nothing more humiliating then being reprimanded by a petulant self aggrandizing 12 year old!
I was able to work things out with SoundWave - we're good now. Michael - in the age Donald Trump you should be ashamed for encouraging this kind of mean spiritedness. Feel free to block me!
Another great shop in Europe is www. They are less specialized in audiophile records, but they have a very good selection. Plus shipping costs are low. The site is not as well documented as Vinyl Gourmet, sometimes it can be tricky to identify which version it is.
My system is pretty basic: a TubeCube 7 a 3. I don'use a sub. No equaliser either. So it pretty much plays the music as it was recorded. From time to time I come across recordings with remarkable, pleasant quality in the low frequencies. Probably my best sounding record is Neil Young's This note 's for you, especially the tracks Coupe de ville, Can't believe your lyin' and One thing have formidable bass. On vinyl it is even better than when streaming.
I'm not saying this record should be in the Top I'm just saying it is the best sounding vinyl record in my humble collection. Why don't all records sound so fine? What makes this vinyl disk so special? My record is an original pressing dating back toby Reprise Records. I bought it when it came out, as far as I remember. It was manufactured in Germany. I made the effort to write down the scribblings on the vinyl. This is what it says:. Perhaps there is something in the codes above that explains why this record sounds so good?
If so, please let me know. Fabulous performance and sound. Thank you Micahel. I'm often a bit gun shy on current re-issues after having been burned on a few incredibly aweful pressings from dubious labels. Your list will be most helpful, in fact it will by my "shopping list" of sorts for a while. Great list Michael. I have found that everything mastered by Kevin Gray at Coherent is exceptional, particularly the Analogue Productions Prestige reissues. I did not realize that the Van reissues were AAA - it would be really nice if someone could come up with a master list as the vast majority of reissues, I presume, are from digital sources.
Great List I bought the regular Blue Note reissue, and I went through 4 copies that were all new They look like some kid had them since the 60s and took nominal care. Anyway, I really think that album is amazing, but I'm looking forward to getting a bunch of those.
I know it isn't in print any longer, but do you feel the Intervention version is as good or better? Example- Blue Train.
It does sound wonderful though. Watch a two hour movie chick flick with my wife or a 2 hour you tube video on records? Tommy sounded fantastic! I'd love to have another 2 hour video on random records from your collection and the stories behind them. Thank you so much. Your comments on video in regards to the microphone drop during the Neil Young song reminded me of your review of the brilliant Vandersteen Sevens:.
At one point, in the right channel, someone knocks over a microphone stand. When the song ended, John Atkinson, who'd heard this track many times but had never before heard the noise, asked about it.
I'd known about that mistake and had heard it through other speakers, but through the Sevens it was obvious, unmistakable, almost three-dimensional. Unfortunately, that Costello title has been out of print for about 3 years. It is fantastic, however. Really looking forward to watching this. BUT it would be great to see what your classical choices would be. I know you don't consider yourself to be a "classical expert", but who cares?
In fact that is precisely the reason your opinions would be interesting. Obviously there are the usual suspects Living Stereo, Mercury -- and I happen to prefer the Classic Records reissues to the AP versions but maybe there are some less obvious ones too. So I finally watched this -- the 2 hours flew by -- and clearly this is going to cause serious damage to my wallet, and saw that you are going to do a classical list.
Looking forward to what you come up with. I do have a question re. How do you think the two compare? Michael, first thank you for the list and all your other contributions. But I have to disagree on one item. The reason is that the bass is basically inaudible.
And it is important to the music. In the cd reissue, the bass sounds great. So unfortunately I traded in my analog spark copy and got a European one which was most likely made from the cd, because again the bass is great. Is it pure analog? But being faithful to the original medium and artist intentions should NOT mean being faithful to the mistakes of the past as well.
After listening to the Overture from Tommy as played through your vinyl reproduction system, I then listened to every digitally mastered version of the original Overture that I own. The digital versions, including the "high resolution" ones, Goofin Each Other - Various - Piano Selection (Vinyl, all sounded very similar to each other. None sounded like the vinyl playback. Since all these were played back through the same electronics at the same measured level - at least as close as I could make it with the Faber Acoustic SoundMeter app in my iPad - I have to conclude that the mastering is different between the original vinyl and the more recent digital versions.
I can't believe that as good as Mikey's set-up is, it can perform magic and put information, especially the right information, back into playback. It can only color and distort the original or, more likely, minimize any degradation of the sound available on the disc. The same is true for the gear and the process used to add the music to the video.
There's obviously more and better musical information on the vinyl. QED, MF! The MF does not represent Michael's initials, although certain people might argue the point. The vinyl plain sounds better. By better, I mean more realistic. At least realistic in the context of a studio recording. I'm not pointing a finger at any technology here.
But, I do think that it shows, again, how really good pieces of musical art got "re-interpreted" when they were digitized for sale on CD and so on. Maybe the reinterpretation wasn't so great. So we all lost a couple generations of music? What's the big deal? I guess it's important to remember that for most people in the recorded music chain, this is all just a product like shampoo, breakfast cereal, or prescription drugs.
That all tells me that the best source of high quality archived musical art is vinyl. Tape may be better, but it degrades at a faster rate than vinyl and isn't very accessible or available. Digital technology may even be superior to what's possible with vinyl, but garbage in, garbage out as they say.
If you want to compare Tommy on vinyl to a digital release, try using one of the CDs released in the s. Before the mids, CDs were mastered with as much dynamic range as possible to show off the new technology. It still won't sound as good as the vinyl, but it will be a lot closer.
I think one of my CD's is from before It's been ripped onto a hard drive, so I'd have to go look for the actual CD and case to be sure. Digital playback can suck in many ways and the overall development hasn't really been pursued to the degree necessary for best performance.
I think a lot of that is because enough of the associated people really believe that the little details don't matter and that it's already good enough. It's funny how some of those same engineers wouldn't ignore those same details in a telecommunications system - audio just is viewed with disdain for some reason. Also, too many people in the "creative" part of the production process seemingly have little or no interest in making music sound like people singing or playing instruments.
It shows. Could that be part of why the record biz ain't what it once was? When you go for the lowest common denominator, you can't limit the extent of where that attitude flows, I guess.
Anyway, I'm more convinced than ever that where it counts, vinyl is still better than digital because of the way the latter is executed. Goofin Each Other - Various - Piano Selection (Vinyl also say that if you read the various online audio discussion forums, the vinyl enthusiasts seem to be happier and are having far more fun than the other guys.
That counts for something, doesn't it? Related to your comments about making instruments and voices sound real: Has anyone else noticed the same thing is happening to live performances? Even in the smallest venues now bands process all the sound through a soundboard, which adds dynamic compression, and then sends the same mono channel to all speakers in the venue.
No instruments are really heard live anymore. Even in my hometown last fall at a polka festival held in a rather modest tent, the sound was collected by a soundboard, mixed to mono, dynamically compressed, and then sent to four speakers. My wife is a regular attendee at open mike nights and events of that sort.
She says that almost every venue is exactly as you describe now. What's even worse is that's even true at bars and restaurants with any form of live music.
It's so loud it's a wonder people don't choke on their food. Perhaps it's done that way so that you don't have to actually speak with your dinner partners.
Sand (Skit) - Miraa & Smuv - Under Palm Trees (Vinyl, LP), Sweet Mary J. - David Cross (2) - I Drink For A Reason (CD), Back 4 The Morning - Neja / Angel 21 (2) - Back 4 The Morning / The End Of The Summer (Vinyl), Under Paris Skies (Sous Le Ciel De Paris) - Simonetti And His Ensemble - Dancing In Paris (Vinyl, LP, The Jack - AC/DC - No Bull - Live - Plaza De Toros, Madrid (DVD), Mali Joža - Kmetchka Godba - Demo & Live Collection 92/93 (CDr, Album), Zaansch Veem, Confession - Arc Angel (2) - Arc Angel (CD, Album)