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Discussion (85 Comments)Read Original on HackerNews
One of the concerts I captured in the 90's, lives on as a bootleg which I often see around the scene of this one particularly great live electronic dance band, whose punters have created true value out of the hour and a half of live concert input I managed to record, standing right there front stage and center, with the band looking right at me.
It was a hilarious experience - I expected to get booted out pretty fast, so I held my ground as still as I could, DAT-tape rolling by, shotgun mike held in front of me like it was just normal, as if I belonged there.
The lead singer caught my eye and gave me a wide grin. I survived the concert, it was awesome, but boy was I relieved to have made it home with that DAT - which I of course, proceeded to digitize with my brand new spdf/io ..
The next year the band (who are big and famous, btw) were in the same city and I happened to be around, I got invited backstage to meet the band, participate in a bit of nerdery regarding their live setup and gear and so on, and talk about that recording I'd made.
I'd put it out as a pure bootleg, no questions asked.
Turns out they'd heard it and enjoyed it and came to appreciate the nature of their bootleggers, as avid fans who gave the band themselves something extra to think about in what was then, a burgeoning digital/online universe about to explode.
So, seeing it around, almost 30 years now .. here and there, again and again .. is quite hilarious. Youtube often recommends it to me in my playlist, its just there.
And at a certain spot in the recording, I tell my mate to stop standing so close to me (he was blocking the shottie), and prepare for my ass getting bounced - which never happened, thankfully.
So yeah, I just wanna say, if you personally have the desire to be a recordist, and have a pure purpose in it, I'd say just freakin' go for it.
Record All The Things.
Its good for the Artists, yo. And also their fans. (Its how we get rid of the managers, cough cough..)
However, I do notice that for more uncommon music, the record industry sort it just looks the other way. For example Eminem has tons of really old music on YouTube that I’m sure his lawyers could figure out how to get taken down. But it just stays up.
I would really like music copyright to change within my lifetime. It should realistically be 30 years from first release, and after that it should go straight to the public domain. By then everyone’s made their money. Even Elvis won’t be public domain until like 2050 or 2060. I don’t really think he needs the money right now.
Will there be convenient parking?
Do they have adequate power?
Is the stage big enough?
Do we need to book sound?
Is there a weather contingency?
Where can we sleep?
What time is load in?
What time is sound check?
What form of payment?
How will they be advertising?
Who do we give promotional materials to?
Etc etc. Having someone take care of all this stuff allows us to focus on practicing and recording (which has another long list of questions that need to be addressed).
Not to mention networking and venue access. Put all that stuff together and it's a full time job that artists are poorly equipped to handle.
Financialization ? Productize, promote, push ?
More generally someone on the buying/risk side of a transaction.
I still love when one of my live bootlegs of Faith No More comes on with them doing (sometimes mocking) parodies of popular music (their rendition of Nothing Compares to You by Sinead OConnor has been in my head as I type this). When I got to see them in 2010 (I think) they were true to form and played a bunch of short (reinterpretations) covers and it was one of the best aspects of the show. And I still have a Mr Bungle bootleg with them covering Existential Blues by Tom "T-Bone" Stankus (I always thought it was Doctor Demento's Wizard of Oz until just now when I looked it up).
How would you even know about these awesome gems without bootlegs or access to see all their live shows? YouTube is less likely to capture an entire show than a clip, whereas the bootlegs were typically the full show. There are probably areas of the internet where this stuff gets shared and traded, but having it in my local music shop meant everyone had access without requiring special knowledge.
I just did two searches, one Google and one Kagi, and neither turned up the FNM Nothing Compares to You. Who knows how many copies of it exist in the world. If my music library gets nuked, who will even know about it? I think I'm gonna start uploading my bootleg recordings of live shows to IA.
EDIT: You weren't kidding. I can't find a cover of it. Please! Share it!
Etree (https://www.etree.org/ ) is the longest running torrent site for tapes. It looks like only about 5% of the hundred thousand torrents have any seeders at all. Not sure how reliable requesting a seed is. I’d expect long tail stuff to get “effectively lost”. Versus IA whose purpose and funding is preservation, in addition to sharing.
The few bands that didn't care or even encouraged it reaped the benefits. I was a huge Ween fan in the 90s and bootlegged a show of theirs myself. Camera and recording devices were allowed and the result was a tremendous amount of live content available online. For some bands this might not matter, but they rarely played the same set list twice and often played songs differently from show to show. In the early internet days, there was more ween content online than you could ever hope to listen to.
https://en.wikipedia.org/wiki/Tape_trading
11 chapters about DIY / Punk / Hardcore bands of the 1980s underground scene.
(The audiobook in particular is fun as it's read by musicians influenced by the artists in their respective chapters)
https://en.wikipedia.org/wiki/Our_Band_Could_Be_Your_Life
I also think there's a lot to learn from the book about DIY for any startup or community organizer.
Lastly, if you read and you want to learn more about 'The Replacements', 'Trouble Boys', Bob Mehr, is a terrific read.
The Mark, Tom, and Travis show was always a blast to listen to with my friends.
https://en.wikipedia.org/wiki/The_Mark,_Tom,_and_Travis_Show...!)
I saw David Byrne last week, during checkout for the ticket I would probably have paid an extra $10 to get access to the recording of that show.
I'm wondering though is there any decentralized IPFS or P2P Archive of the entire archive that can be helped with for preservation ?
https://www.wired.com/story/the-internets-most-powerful-arch...
LOCKSS is a decentralized strategy for preservation which includes archival copies at remote sites. It has been in use for a very long time. I feel like preservation via IPFS would introduce quite a bit of risk to the goal.
From a 2016 blog post:
"Do you do backups too, for example to guard against corrupt data getting mirrored across both copies, or accidental deletion?"
John Gonzalez, the author and IA infrastructure lead, replied:
"We have done experiments to confirm that we can back up large portions of our corpus... but this is not a regular practice for us at this time."
https://blog.archive.org/2016/10/25/20000-hard-drives-on-a-m...
LOCKSS looks interesting but it seems like it's exclusively for libraries.
https://apnews.com/article/aadam-jacobs-collection-concerts-...
I was pleased to find some "They Might Be Giants" in the archive.
Elf Power Live at Lounge Ax 1998-04-25 https://archive.org/details/ajc01382_elf-power-1998-04-25
Fountains Of Wayne Live at The Vic Theatre 2003-11-19 https://archive.org/details/ajc00691_fountains-of-wayne-2003...
Fugazi Live at State Theatre on 1991-08-06 https://archive.org/details/ajc02237_fugazi1991-08-06.ajcpro...
Godspeed You! Black Emperor Live at Lounge Ax on 1999-09-16 https://archive.org/details/ajc02676_gybe1999-09-16.ajcproje...
Iron & Wine Live at Abbey Pub 2004-07-02 (Late show) https://archive.org/details/ajc01329_iron-wine-2004-07-02.la...
Josh Rouse Live at Schubas Tavern 2004-04-26 https://archive.org/details/ajc01208_josh-rouse-2004-04-26
Midnight Oil Live at Cabaret Metro 1988-04-30 https://archive.org/details/ajc02792_midnightoil1988-04-30
Neutral Milk Hotel Live at Lounge Ax 1997-05-01 https://archive.org/details/ajc00789_neutralmilkhotel1997-05...
OK Go Live at Belmont-Sheffield Music Festival 2003-05-31 https://archive.org/details/ajc01120_ok-go-2003-05-31
Pavement Live at Lounge Ax 1992-06-12 https://archive.org/details/ajc00811_pavement1992-06-12
Polyphonic Spree Live at Metro on 2003-10-07 https://archive.org/details/ajc01050-PolyphonicSpree2003-10-...
Ratatat Live at Abbey Pub 2004-05-14 https://archive.org/details/ajc01220_ratatat-2004-05-14
Rogue Wave Live at Schubas Tavern on 2005-01-30 https://archive.org/details/ajc01227_roguewave2005-01-30.ajc...
Super Furry Animals Live at Abbey Pub 2002-04-19 https://archive.org/details/ajc01144_super-furry-animals-200...
The Decemberists Live at Intonation Fest on 2005-07-17 https://archive.org/details/ajc00642_decemberists2005-07-17....
The Folk Implosion Live at Schubas Tavern 2000-02-29 (Late show) https://archive.org/details/ajc00963_folk_implosion_2000-02-...
The Shins Live at Schubas Tavern 2001-08-24 https://archive.org/details/ajc01131_the_shins_2001-08-24
https://dischord.com/fugazi_live_series
if your into providing music, dont default to a live version.
some live recordings are good, you can actually hear the music, and the crowd is only noticble between songs.
im thinking that an online archive of live concerts will only steepen this trend.
im just going back to all my mp3 media more often nowadays [bcz i actually bought it mp3 versions, decades ago when you still could]
that way i can hear music, instead of a bunch of people screaming over the music.
now heres somthing else, maybe you remember that concert, you were there, you love hearing you and friends at the concert, maybe people who no longer live are still there. jimmy dean, rock on,
"Don't download this song (Don't do it, no, no) Even Lars Ulrich knows it's wrong (You can just ask him)"
(Just being snarky btw lol)
https://relisten.net/
Anachronistic?
It seems like a complicated way of saying "the tapes were digitized".
I think the author meant "old-fashioned" or "obsolete". Though using a cassette deck to read cassettes, geez, what else are you going to do? Build your own using an Arduino?
Often before a performance recorded music is played and captured in the audience recordings.
Would it be possible to train a model on an archive of these concert audience recordings of studio recordings paired with the original studio recordings to develop a system to “clean up” audience recordings?
These are dangerous words to use for an archive site for material still protected under copyright.
101% chance Metallica did this
> Jacobs said the majority of the artists he recorded are pleased to have their work preserved. As for copyright concerns, he’s happy to remove recordings if requested, but added that only one or two musicians so far have asked that their material be taken down.
I think the keyword here is "preserved". These are old recordings that cannot realistically be recreated by any other method. AI may reconstruct some parts, but it's still not the real thing. These recordings are time capsules.