Usually remastering means brickwalling the mix.
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The "buy now or lose your chance" strategy seems risky to me. It is certainly a way to move product quickly. But it can also be aggravating for fans. I had to get Segue's Pacifica on vinyl, for example, because there was no way to buy a digital copy (and I'm not a torrent type of guy) and the CD sold out quickly. Annoying. (No offense to vinyl fans.)
And although it's nice to be able to download from somewhere other than iTunes or Amazon, especially in FLAC(!), I'm going to keep buying his physical CDs as long as it makes sense for him to produce them.
The digital revolution of the last decade has unleashed creativity and talent in an unprecedented way, with unlimited opportunities.
But does democratized culture mean better art or is true talent instead drowned out? This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world's most influential creators of the digital era.
|PressPausePlay on Vimeo|
I have to admit, I came to Faxlabel ambient rather late. I discovered it through a Shoutcast server in '98 called J's AmbientThis is exactly how I discovered his work as well. His work was a huge inspiration and definitely part of my shift toward writing ambient music.
What I thought was weird was the interior controls on the Prometheus looked way more advanced than the Nostromo.The official answer is: When the Prometheus was built, they spared no expense and used all-current tech. The Nostromo was simply a long-haul towing ship for mined materials. It didn't need to be fancy, it just needed to work.