Physical cds on demand

[DavidW]

PD, I've had the same experience.  I used to have a Marantz player that would cry over the smallest scratch but switch to literally anything else and the cd would play fine.

[Madiel]

My old CD player refused to cope with certain discs that had a slick upper surface (the printed part, which on classical CDs tends to be fairly generic black writing on a silver surface but not always, and with pop can vary a lot more).

So I am very familiar with the fact that different players have different tolerances.

[Pohjolas Daughter]

PD, I've had the same experience.  I used to have a Marantz player that would cry over the smallest scratch but switch to literally anything else and the cd would play fine.

My old CD player refused to cope with certain discs that had a slick upper surface (the printed part, which on classical CDs tends to be fairly generic black writing on a silver surface but not always, and with pop can vary a lot more).

So I am very familiar with the fact that different players have different tolerances.

So, it goes to show [yet again] that nothing's perfect in life....

PD 

[Roy Bland]

at last

[Roy Bland]

https://www.giornaledellamusica.it/articoli/il-cd-sta-morendo-ed-e-un-problema

[Madiel]

Would you care to expand rather then simply posting a link to an article that isn't in English?

[Roy Bland]

https://www.ilfattoquotidiano.it/2024/04/07/dellindustria-discografica-resta-unimmagine-virtuale-e-ora-di-dare-nomi-nuovi-a-fenomeni-inediti/7500466/?fbclid=IwZXh0bgNhZW0CMTEAAR3zW9_hXfPyg4SkIEph3rGqT1L_8mBoRI67GZrE_sUBtBMZalAWMlJ0ULA_aem_AW6BceHEBlBpHp-S8j-m0MTRJkFro_wg4cRZP4Y-LaqpumJg2kcWVquxFIsj6rTeXNYIPiJDyH1o_Z1t7l31eYpJ

[Madiel]

I cannot be bothered attempting to translate that on my mobile phone.

[ritter]

But on a laptop or tablet it's really easy...

[Madiel]

But on a laptop or tablet it's really easy...

When I get back to within reach of my laptop in another 10 weeks I'll be sure to remember that.

[ritter]

When I get back to within reach of my laptop in another 10 weeks I'll be sure to remember that.

Great. And I'm confident that webpage will still be available in 10 weeks, so it is all good.

[Madiel]

I see that detecting sarcasm is not your strong point. Yes, the webpage will still be there. This conversation, however, will have stagnated. If you can call someone posting an untranslated link a "conversation", once upon a time it was called a breach of forum etiquette.

[ritter]

"Para ti la perra gorda"... That should be easy to translate, even on a phone. But in case it is not, it roughly means "keep the change".

Enjoy your holiday.

[Roy Bland]

English translation (I note that English-speaking tourists in Italy seem to be able  decipher our arduous language and in Italian forums there is no demand for translation from English while terms derived from this language  abound )furthermore, this makes the pages heavier and more difficult to load

A virtual image remains of the recording industry: it's time to give new names to new phenomena
Things, in themselves, do not have an absolute, intrinsic and immutable value: it is the circumstances, in an absolute relativism, that determine their value, any merits, their quality. If this is the case for everything that exists, even for animate beings, the same is true for music, which in the space of just over a century has gone from being one of the most valuable arts, one of the rarest, between the most valuable, to the one of absolutely least importance, of least importance. All determined by circumstances, which in the artistic and cultural field are largely decided by the conveyance of the idea, by the distribution of the artistic product.

Until the end of the 19th century, music was found only in places where it actually existed, where someone played it, performed it, interpreted it: whether it was the living room of a bourgeois family, a church during a religious function or some dining room. concert, the sound had no other means to be conveyed other than the physical, real, tangible one. Discography, first in the form of a cylinder and then in that of a record, practically introduced the concept of home entertainment for the first time in history, making music, step by step and not without the necessary decades, an affordable commodity. of anyone, within reach: it was no longer necessary to live in a medium or large urban center of some fairly advanced country to allow oneself the luxury, certainly not daily, of listening to a limited selection of the great sound works of human ingenuity, it was enough to have nearby is a record shop to be able to equip yourself with any kind of existing musical expression and include it in your very personal sound library.


Not a small leap for an art which, especially in the case of its highest and most complex expressions, from elitist became a common good, a product within everyone's reach: in absolute and intrinsic terms, a first, burning devaluation. Music, whatever it was, however maintained a cost, a price that guaranteed it a precise positioning on the market and therefore, given the circumstances, a certain economic value. Discography, this is the industrial sector that has managed the conveyance and distribution of music for more than a century, has succeeded, even prospering considerably, in ensuring sound productions have a precise market value, that is, such as to allow producers a series of investments and an entire economic sector to guarantee a living, even more than dignified, to tens of thousands of people employed in that business: a disc, like a territorial conquest, could move the GDP of a nation, and it is not It's no coincidence that the Beatles' arrival in the USA on 7 February 1964 went down in the annals, in a non-coincidental analogy with military operations, as the most important musical landing in history.

From CDs to streaming and trap: the discography is experiencing a drastic musical deflation
READ ALSO
FROM FABRIZIO BSCIANO'S BLOG
From CDs to streaming and trap: the discography is experiencing a drastic musical deflation
It is no coincidence that musicians, when capable of improving national economies, were awarded honorary and noble titles: discography, like the strongest industrial sectors, moved economies. Things that no longer exist? Not really, but records are certainly not the driving force of a sector, the music one, which has had to retreat from one front to fall back on others. Without records, replaced by streams, there is no discography, there are no gold or platinum records, there are no sales. The stream is a mere showcase in which the customer familiarizes himself with the product, then deciding whether to use it, in all its possible variations, or not. But it is completely anachronistic for certifying bodies to continue to express themselves in terms of sales or even record certifications, giving the impression of having been trapped in an era that no longer exists for a while, speaking a language that no longer has any equivalent. in the actual reality of things.

If in 1998 the Italian recording sector was worth 1000 billion lire, in the space of 25 years its value dropped by over 50%, and this in the face of a dizzying growth in record certifications, which in just 14 years, from 2009 to 2023, they rose for albums from 49 to 193, effectively quadrupling. It is well understood that an inflation of the product corresponds, as in any productive sector, to a deflation of its value. The recording industry, therefore, remains at most a virtual image, and recorded music, or what remains of it, is not exactly serenely investing elsewhere. The time would therefore have come to give