stillwaiting said:

FLAC and CD are EXACTLY THE SAME!

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No, they're not. CD audio is PCM, FLAC is simply a lossless encoding algorythm (or rather, an implementation of one). You can apply flac to audio that is 16/44, 24/88, 24/96, 24/192, whatever -- it's simply that not all compression will be as great.

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----Every now and then I see some sound loss in the bass, which is likely because whoever converted from CD to FLAC did something wrong.

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FLAC is lossless. A CD ripped to WAV and those WAVs then compressed to FLAC, combined with the .cue file of the original CD, will allow you to reconstruct the original CD exactly.

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WAV files do not sound like CD quality to me, but are simply breadcrumbs from it

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This is nonsense. A 16/44 WAV ripped correctly from a CD is exactly the same as the audio on that CD.

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Note that there are people out there doing this with the wrong tools and/or using these incorrectly, so it is perfectly possible to screw this up. But that is due to their incompetence, not the technology. A decent CD drive + EAC (with the correct settings, or by using AccuRip) + something like FlacDrop = exact copy of the audio on that CD. Burn a CDR using the .cue file + the FLACs converted back to WAVs, then pop that CD into another computer's drive and have it be recognized by software that uses CDDA and it will be recognized as the original CD.

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[Edited 6/18/14 14:50pm]

Giovanni777 said:

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As Bart pointed out, FLAC is 24bit, and CDs are 16bit, so no, they aren't the same at all.

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I said no such thing.

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WAV is also 24bit.

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No, WAV is simply a format. Whether it's encoded at 16bit or 24bit is your choice.

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[Edited 6/18/14 14:49pm]

BartVanHemelen said:

udo said:

You all forget that the 'silence' belongs to the album.

The silence is not there because of technical problem or oversight, it is there because the musicians) wanted the silence there.

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That's your speculation, we don't know for sure.

Ever burnt a CD-A?

Ever listened to a live CD?

Speculation, not so much.

Listening.

BartVanHemelen said:

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This is nonsense. Even the most succesful authors have editors, and those often remove far more than a mere comma.

I'm not sure whether u mean editor as in publisher/editorial director or someone correcting spelling mistakes.

IDK what the tradition is in Holland (u're Dutch IIRC, ain't u?) but in France:

Publishers/editorial directors don't change anything, it's not their job. They force the authors to change things, it's very different. They tell writers what 2 change, what they're not happy with, and this often results in heated debates between the 2 of them, but they are not in their role if they alter a single comma by themself. They have the contractual power to do it and there must be rare occasions when it happened, but this would usually be considered a major declaration of war and the publisher is sure to lose the novel and/or the writer once contractual obligations are fulfilled.

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Editors/correctors r there 4 spelling and grammar mistakes only. Should they feel a sentence or punctuation is not right, it's not their prerogative to change it without contacting the writer first and asking for their consent unless it's a very obvious thing such as a question mark omitted at the end of a question. Another thing is that small publishers don't hire editors/correctors anymore (too expensive) so it's the author's job to make corrections.

[Edited 6/18/14 22:02pm]

databank said:

Editors/correctors r there 4 spelling and grammar mistakes only.

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Absolutely not true. http://www.huffingtonpost...90583.html

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Another thing is that small publishers don't hire editors/correctors anymore (too expensive) so it's the author's job to make corrections.

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See article above.

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Example: Dez Dickerson's self-published bio is in dire need of an editor, one who should restructure almost the entire book. Ditto for that "Prince In The Studio" book, which is bafflingly inconsistent.

BartVanHemelen said:

databank said:

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See article above.

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Example: Dez Dickerson's self-published bio is in dire need of an editor, one who should restructure almost the entire book. Ditto for that "Prince In The Studio" book, which is bafflingly inconsistent.

Well u don't seem 2 understand that there r different cultures. It seems things r different in the US and in that cas well, being an American artist...

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What I told u is true 4 France, like it or not it is, I've worked in the cultural field and editorial field most of my life and even though I've only worked with comics publishers 4 my own works, I have quite a number of friends and accointances who are either small publishers or published novelists so I know what I'm talking about. There r many differences between editorial cultures: 4 example in France agents r heavily rejected by publishers and only the biggest writers have an agent which they hired after they became big, but the mere notion of an agent discovering talents and introducing their work to publishers is almost non-existent in france (due to a strong publishers' rejection of the concept, writers would LOVE to have someone trying to sell their work instead of having to do it themselves). Even when it comes to illutrators and artists, agents do exist for children books but on a very marginal level: even in that field publishers don't like them. Oppositely agents are a common practice in UK and the US.

Another notable difference is copyright: while in the US novelists maintain their copyright on novels for international translations for example, in France publishers systematically have the copyright until expiration of the contract: they negociate foreign rights, not the writer or his agent.

There are also numerous differences with comics, being a huge fan of US comics and having read a lot about this industry and having on the other hand worked with French comics publishers I can tell u that the 2 industries and the way publishers work in both of them are as different as can be.

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So OK, being an American artist maybe my comments were irrelevant to the US culture, therefore in the context of that specific thread, so I stand corrected, but in the context of my own publishing culture they are totally relevant and there4 made sense

BartVanHemelen said:

Example: Dez Dickerson's self-published bio is in dire need of an editor, one who should restructure almost the entire book. Ditto for that "Prince In The Studio" book, which is bafflingly inconsistent.

This seems to demonstrate that editing is not so systematic even in the US, doesn't it? Anyway those books are by no means works of art. If I write an essay or a biography I don't give a fuck that someone edits my work and removes as many commas as they plaese. U can't put those books on the same level as literature. The mere fact that u'd do it shows the difference of perception between an artist and a non-artist when it comes to those things. No offence meant but I think to each his field: I read non-artists emitting opinions on artistic matters all the time on this forum but I suspect it wouldn't cross the same people's minds to start elaborating on how an electrician, a cook, a banker or a computer engineer should do their job.

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I'd add that is a control freak, so I think even though he's American he wouldn't like someone external to temper with his work, and certainly not editing it for the purpose of saving space. I'll admit that the fact that he allows ingeneers to mix his songs (something he's able to do himself) is kind of a form of allowing an "editor" to act on his work but while he lets them do the mix, I'm quite sure he'd never leave proper editing (leaving parts out) in the hands of someone else.

Oh, Bart and as 4 French publishers not hiring people to correct spelling mistakes anymore it's a matter of money, nothing else: the biggest publishers still do it but many publishers struggle to sell a few hundred copies of each book they publish. The average French novelist will make between 500 and 1500 euros on a novel, over the course of 2 years, which is pathetic given how long they spend writing them but is the result of low sales: said novels sell between 500 and a few thousand copies each. Publishers don't make so much of a margin on those books given that stores and distributors already eat more than half of the cover price, therefore they just can't spend money on extras. Result is that they do it themselves, alongside the writer, and that spelling mistakes will most likely find their way to the final product, which is a shame but there's no other option, really.

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Today, France publishes several thousand new novels, by thousands of writers each year but only about 50 novelists make a living only with the sales of their books. 50. That says it all.

Bart you are right,


SOTT on 1CD with 80 minutes should be very easy to release, and it's true: CDs often contains more silence inbetween tracks than Vinyls, that's my experience also...

BartVanHemelen said:

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I wouldn't be surprised if the silence between SOTT tracks on CD is different from the ones on vinyl.

They do make some cds that hold 800 mb (which is approximately 90 minutes of audio), but I'm not sure if they play in standard cd players. I've never purchased any.

isnt this a ridiculous argument...when and if its released itll have extras insuring multiple discs

BartVanHemelen said:

luvsexy4all said:

how come amazon has no listing?

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Uhm... it has: http://www.amazon.com/Sig...00IJ57IGC/

To this day, I'm still baffled that you thought there was a chance the PR remaster was going to come out at that Hale-Bopp chain or whatever with their little Atari 400 made poster. Even with Amazon and Best Buy reporting this, I'm not 100% convinced. More like 40%, but I was 0.00001% convinced of the PR thing.

databank said:

BartVanHemelen said:

Example: Dez Dickerson's self-published bio is in dire need of an editor, one who should restructure almost the entire book. Ditto for that "Prince In The Studio" book, which is bafflingly inconsistent.

This seems to demonstrate that editing is not so systematic even in the US, doesn't it?

Both books are self-published or published by small companies, and not hiring a decent editor was probably one of the ways to cut costs.

Anyway those books are by no means works of art. If I write an essay or a biography I don't give a fuck that someone edits my work and removes as many commas as they plaese. U can't put those books on the same level as literature.

An example: it is well-known that American Psycho had some serious editing done, and there are claims that at least one chapter (the one which consists of a list of Christmas gifts) should at least be partially credited to the editor who managed to convert it from a list into something that has a certain rhythm.

The mere fact that u'd do it shows the difference of perception between an artist and a non-artist when it comes to those things.

Artists are often spectacularly wrong about things.

I suspect it wouldn't cross the same people's minds to start elaborating on how an electrician, a cook, a banker or a computer engineer should do their job.

If they do shitty things? Absolutely.

I'd add that is a control freak, so I think even though he's American he wouldn't like someone external to temper with his work.

Really? How about you look up how Rave came to be. And that's just one example of an album where others interfered/tampered with P's vision.

[Edited 6/21/14 7:13am]

stillwaiting said:

To this day, I'm still baffled that you thought there was a chance the PR remaster was going to come out at that Hale-Bopp chain or whatever with their little Atari 400 made poster. Even with Amazon and Best Buy reporting this, I'm not 100% convinced. More like 40%, but I was 0.00001% convinced of the PR thing.

Amazing how you continue to ignore all of the explanations in that thread and just make shit up.

And we've already established that what this thread is about is simply an import of the recently released Japan SOTT Blu-ray. That it's labeled a CD just seems to be an error.

i can't tell if this databank person is serious or just trolling

BartVanHemelen said:

stillwaiting said:

FLAC and CD are EXACTLY THE SAME!

.

No, they're not. CD audio is PCM, FLAC is simply a lossless encoding algorythm (or rather, an implementation of one). You can apply flac to audio that is 16/44, 24/88, 24/96, 24/192, whatever -- it's simply that not all compression will be as great.

.

.

FLAC is lossless. A CD ripped to WAV and those WAVs then compressed to FLAC, combined with the .cue file of the original CD, will allow you to reconstruct the original CD exactly.

.

WAV files do not sound like CD quality to me, but are simply breadcrumbs from it

.

This is nonsense. A 16/44 WAV ripped correctly from a CD is exactly the same as the audio on that CD.

.

Note that there are people out there doing this with the wrong tools and/or using these incorrectly, so it is perfectly possible to screw this up. But that is due to their incompetence, not the technology. A decent CD drive + EAC (with the correct settings, or by using AccuRip) + something like FlacDrop = exact copy of the audio on that CD. Burn a CDR using the .cue file + the FLACs converted back to WAVs, then pop that CD into another computer's drive and have it be recognized by software that uses CDDA and it will be recognized as the original CD.

100% Correct on all points.

brainchild said:

i can't tell if this databank person is serious or just trolling

I am not "that databank person", I am databank.

I already paid my dues. Did u?

Who r u in the first place anyway?

Just an FYI, Amazon cancelled my pre-order of Sign O the Times Blu-Ray (not the deluxe edition).

I never got an email, just noticed it gone from my orders, and the old link is dead.

Was supposed to come out July 1st.

ThomasBjj said:

Was supposed to come out July 1st.

Just get it from Japan while it lasts.

Mine's here, sitting on top of the Australian SOTT disc.