Oct. 1, 2001, 10:51 p.m. (Message 27630)
I am not a musician and I strongly object to the idea of sharing recorded tracks. I love all the great CDs and bands that we can enjoy. Few make a living from their playing and I feel we as dancers must support our musicians by buying their CDs. Gary Knox San Francisco Branch Berkeley Class (where we usually have the pleasure of live music) At 08:35 PM 10/01/2001 +0000, you wrote: >But, Marjorie's initial reference to the Stan Hamilton and another to the >Berkeley Players plus queries about Jimmy Blue and Peter White make me >wonder - Strathspey MP3 swap-shop, Anselm?? > >Jim Healy >Perth, Scotland Gary Knox 3673 Stoneglen South Richmond, CA 94806-5261 (510) 223-4201 xxxx@xxxxx.xxx
Oct. 1, 2001, 11:03 p.m. (Message 27631, in reply to message 27630)
Right on! I buy the CDs, and reburn the to CD or minidisc the track that I want to listen too frequently...but I still have the CDs. In the English Country Dance group to which I belong, I purchase two CDs, one for the group and one of me. The cost of music is cheap compared to the cost of not finding bands in the future when you need them. mm
Oct. 1, 2001, 11:44 p.m. (Message 27634, in reply to message 27630)
I am not a musician and I strongly object to the idea of sharing recorded tracks. I love all the great CDs and bands that we can enjoy. Few make a living from their playing and I feel we as dancers must support our musicians by buying their CDs. Gary Knox San Francisco Branch Berkeley Class (where we usually have the pleasure of live music) At 08:35 PM 10/01/2001 +0000, you wrote: >But, Marjorie's initial reference to the Stan Hamilton and another to the >Berkeley Players plus queries about Jimmy Blue and Peter White make me >wonder - Strathspey MP3 swap-shop, Anselm?? > >Jim Healy >Perth, Scotland Gary Knox 3673 Stoneglen South Richmond, CA 94806-5261 (510) 223-4201 xxxx@xxxxx.xxx Gary Knox 3673 Stoneglen South Richmond, CA 94806-5261 (510) 223-4201 xxxx@xxxxx.xxx
Oct. 2, 2001, 10:19 a.m. (Message 27651, in reply to message 27630)
I thought the discussion was on out-of-print music. It's extremely frustrating to find out that the perfect piece of music you've just heard is out of print, and no plans to re-issue it. I think most of us agree about supporting our musicians, heck I own record/tape/CD of more recordings than I care to admit. But how can you buy a CD of something, when it doesn't exist? Cecilia Stolzer-Grote RSCDS San Francisco Branch Message text written by INTERNET:xxxxxxxxxx@xxxxxxxxxx.xxx > Right on! I buy the CDs, and reburn the to CD or minidisc the track that I want to listen too frequently...but I still have the CDs. In the English Country Dance group to which I belong, I purchase two CDs, one for the group and one of me. The cost of music is cheap compared to the cost of not finding bands in the future when you need them. mm At 01:51 PM 10/1/2001 -0700, you wrote: >I am not a musician and I strongly object to the idea of sharing recorded >tracks. I love all the great CDs and bands that we can enjoy. Few make a >living from their playing and I feel we as dancers must support our >musicians by buying their CDs. <
Oct. 2, 2001, 11:12 a.m. (Message 27674, in reply to message 27630)
At 13:51 01/10/01 -0700, you wrote: > >... I feel we as dancers must support our >musicians by buying their CDs. Total agreement (even if I have to admit owning one or two pirated cassettes -- given by well-meaning friends rather than solicited), and I usually say so when, after a workshop with newcomers, someone asks me for the pieces of music used for dances taught. Trouble is, when you have taught a handful of dances with music from the same number of different CDs, what do you say? "Go and order 120 euros worth of CDs, just to get the few tracks you want to listen to or use" ? (I think we have to pay rather more in Europe than you do outre-Atlantique). The price is definitely a disincentive, and only the hard-bitten like ourselves are willing to pay for hundreds of tracks although we'll never use more than a quarter of them. I used to buy every CD that came out, but now that I have 5 Follow me homes, 5 or more 80-bar reels, innumerable too-slow speys and too-fast jigs, not to mention Eightsome reels galore, I'm getting wary about what I order. The track-sharing idea is becoming attractive, whatever the ethics of the question, and I certainly like Oberdan's suggestion of a public pool of out-of-print material. After all, if a piece of music is widely appreciated but unavailable commercially, there will be plenty of private copying going on anyway. Having a centralized source of unscratched, unfaded music would suit me well. Martin, in Grenoble, France. http://perso.wanadoo.fr/scots.in.france/scd.htm (dance groups, events, some new dances ...)