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I looked at the
FT article before seeing this thread today.
Can anyone explain my question in the comments page - is cddb just not that good in the first place at id (so if 10/12 tracks are lifted instead of all 12) xp
― xyzzzz__ (xyzzzz__), Wednesday, 21 February 2007 21:40 (seventeen years ago) link
All of which immediately provokes two questions.First, has classical music now reached a saturation point of recording when not even professionals have the ability to recognise identical versions of famous pieces?
Second, should these professionals perhaps stop putting us all on that they can distinguish the subtle nuance they say they can and do something more useful than complain about the “flat colouring” of the soprano section in the second act of a three-champagne opera?
Posted by tracerhand on Wednesday, February 21st, 2007. Share This
first -- yes, definitely. would love to see anyone try and tell 50 different recordings of Debussy etudes apart after 5-30 years of professional reviewing without the packaging. and nowhere is the background story of a performer more a part of listening than in classical.
second -- yeah, see this is exactly the kind of perception of this story that I'm trying to fight -- the headline looks bad, 'iTunes uncovers fraud that stuffy classical experts missed, they should just go listen to Radiohead' -- but anyone who looks into it can see why so many were unprepared for a con game taken to a level like this. not that it isn't fun to read a rec.music.classical.recordings thread that is basically identical to a ILM flamewar thread at a 'higher' level of discourse (gets really good around page four), but maybe think about this for more than 2 seconds before throwing garbage
julio -- there are aspects of cddb that are still a bit of a mystery to me. I've had it ID discs that were not redbook clones of the commercial disc. I've had a friend _swear_ that CDDB successfully ID'd a vinyl rip of an album he personally made as the released disc -- the times are _not_ identical overall, but somehow -- it was close enough? I didn't believe him, but... well... it may be trickier than I'd originally thought. perhaps 10/12 tracks is enough to have iTunes throw out a similar disc as a suggestion. I need to ask around about this.
& on a purely speculative note -- perhaps in late January, someone in the know personally uploaded cddb tags of the Hatto disc with tags pointing to the Simon? I'm just having fun now, but the internet's a big place
― milton parker (milton parker), Wednesday, 21 February 2007 22:41 (seventeen years ago) link
"not that it isn't fun to read a rec.music.classical.recordings thread that is basically identical to a ILM flamewar thread at a 'higher' level of discourse (gets really good around page four)"
I ws thinking of saying something 'if you think ILM is bad then you oughta read this!' :-)
But actually the couple of classical boards I'm on (linked by Henry above) aren't so bad (r3ok. board ws only created last week). That board has only the odd - "OMG its all decadence post Schoenberg!!" - type poster.
I don't know if 'professionals' ever claim they can distinguish subtle nuances in that way. Some (and only some), like Max Harrison (who used to write for wire a few years ago) ws able to listen to a new recording of a work to tell if the performer is giving it a new 'view', then communicate as to whether they think that is something worth seeing, I suppose, while doing the whole compare/contrast with previous recordings from years ago. But yeah the market doesn't need to be so saturated with performances on CD so that you can read someone doing all this work in the first place.
But the classical recording industry can't face recording some of today's composers and ensembles - that gets a big fat NO!
― xyzzzz__ (xyzzzz__), Wednesday, 21 February 2007 23:17 (seventeen years ago) link