It is a compelling account of the end of the era of major label largess told through the concurrent tales of a label executive, technology innovator, and early pirate. It doesn’t offer answers to the industry’s current problems, but it does help explain how we ended up where we are. Witt is a skilled story teller and it is an enjoyable read. I highly recommend it to anyone interested in the inner workings of the music industry, and related technology.
All the ghostly sounds that are lost when you compress to mp3: “Right now, you’re probably listening to music on your computer. The source of that music — whether you’re listening to an mp3 file or streaming — is a compressed version of a file that was much more detailed, but way larger. It’s worth interrupting your music for a moment and asking: What sounds are you missing?
To get a sense, watch the video above, created by Ryan Maguire, a Ph.D. student in Composition and Computer Technologies at the University of Virginia Center for Computer Music, for a project called The Ghost In The Mp3. It’s a song made with only the sounds that were left out when compressing Suzanne Vega’s ‘Tom’s Diner’ to mp3.”
“What on earth is going to happen to compositions that are painstakingly crafted for effective live performance at the time of their creation, but which become increasingly difficult to mount live, simply due to the march of time?”
It is a question we all must face when we make piece specific software.
Dan Tepfer wrote a very cool article about the relationship of rhythm and pitch. It can be found here: http://dantepfer.com/blog/?p=277 He used SuperCollider to make some cool audio examples.
I thought I would make a ChucK version of his idea and make it available to anyone who wanted to play with the ideas and find the rhythms of your favorite intervals, or hear the intervals of your favorite polyrhythm. (Read Dan’s post, he explains it well.)