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I watched Tetsuo: The Iron Man (the 1989 original) last night and was reminded how great the soundtrack is. I looked more into its composer, and let's just say if you Google "Chu Ishikawa," the soundtrack is very easy to come across within the first two pages of results. I highly recommend it if you like PHM and Downward Spiral-era mechanical sounds. And of course there's this, if you haven't heard it already (and which is better than any song on Hesitation Marks or HTDA): http://youtu.be/Wu9bm-RJMWM
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Sep 4, 2014 19:11
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Entropic posted:Vinyl is just hideously impractical. It does look and feel super nice though. I think it's a genuine loss that we generally no longer consume music in a way that involves big album artwork and liner notes. But that's the only advantage I really see. I just don't hear a positive difference compared to lossless digital formats. VinceMechMahon posted:Any vinyl that doesn't come with a high quality digital version is doing it wrong, because yes, it is impractical. Also yes, I can see why flipping would be annoying if you were doing other things away from the player at the time. The sound quality is heavily reliant on your player and speakers, so because you get a free player that then needed service, my guess is it's somewhere on that end, not the format itself. I've never once had to do any cleaning or maintenance on my player, and unless you're leaving the records themselves out where they can get covered in dust they don't really need much done to them either, maybe a quick dusting if you're noticing an impact on them. They are expensive in a lot of cases though, yeah, but they're a prestige collectors thing. Basically if should be for stuff you love and want to have a big rear end version of the art work for. It's only as impractical as you feel like it is; I happen to think that it's a unique medium to experience apart from whatever record you're playing. You can also look at the same painting on a bunch of different computer monitors but there is no denying that it is a different (not necessarily better or worse, not necessarily "meant to be") experience to see that painting on a canvas in a physical space with your body. I think it happens to be pretty impressive technology as well, considering how delicate yet reliably mass produced it is. And sure, big artwork and reading material. But it's more than a fetish object, though a large percentage of its audience does treat it as such. It's just analog! Join us in the vinyl thread if you really want to get right into a can of worms  Is the site down for anyone else? Since having read about the reissues on here, I haven't been able to load either nin.com or store.nin.com. I haven't been a reliable fan for the last record and really any of the soundtrack work... I kind of quietly got off the bandwagon after Ghosts. But the Fragile material has got me excited, and I wouldn't not pick up a couple of the album reissues.
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Dec 19, 2016 02:02
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Checked back in this morning and was able to grab the Deviations record!
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Dec 19, 2016 17:44
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chime_on posted:I mean, lol at Trent trying to blame any of this poo poo on Firebrand. I thought it was strange that the Deviations release was billed as a "one time only, once they're gone they're gone" release and that they either 1) hadn't sold out of them by the time June rolled around or 2) hadn't pressed anything yet and were still taking orders to get to a target number. I ordered mine the day they were announced figuring it would be sold out within hours. If there is a problem that goes all the way back to the source audio, it wouldn't necessarily be detected until listening to a test pressing (after all, the people cutting your record don't know what it's "supposed" to sound like). So you have to recut the lacquers (1-2 weeks depending on who does it), have the stampers electroplated (up to four weeks from receiving the lacquers), and then have the plant press up some tests (anyone's guess depending on how busy the plant is, as someone mentioned). Multiply it by 4 for a 4xLP release and it gets ugly, especially if the problem is not with any one of those independent steps but actually does go back to the source file (which means it's their fault for not triple-checking their files before sending them off to the cutting engineer!). I'm about 12 weeks into a single LP pressing. I know my stampers have been sitting at the plant since the end of April since I've tracked them, and though it's endlessly frustrating to have to wait, my tests are finally scheduled for delivery this Thursday. They better be perfect. Also, some record label 101 knowledge: don't announce a release date (or even a pre-order) until you have listened to the tests and given the plant the go-ahead. It's going to be 4 more weeks of waiting from that point, usually, and if you announce before listening and there IS a problem, voila, this is what happens.
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Jun 6, 2017 15:12
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polyester concept posted:Actually, it kind of does. An LP is an analog format that is by definition a 10" or 12" vinyl record that plays at 33.3 RPM. It has nothing to do with the length of material recorded onto it. No, by definition it means "long play." An "extended play" can also fit on a 10" or 12" vinyl record and play at 33.3 rpm. This terminology predates CDs and digital. Both of those terms are derived in opposition to a single, which is, well, a single song on one record (not counting the B side). It has absolutely everything to do with the length of material recorded onto it. Actual content: I bought two of the Deviations sets around this time last year because they were billed as being limited one-time only pressings, and there they sit in stock. And it turns out the music that is on them is not nearly as exciting as I had hoped. I'm the nerd. 1000 umbrellas fucked around with this message at 16:14 on Nov 18, 2017 |
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Nov 18, 2017 16:10
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