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>I understand your point, but what good are master tapes if they're not available to be heard? But they might be. The article itself gave examples of music lon
by xoa 7y ago
>I understand your point, but what good are master tapes if they're not available to be heard?
But they might be. The article itself gave examples of music long ignored that was rediscovered and became of interest, at which point the company could go to its archive and digitize the masters again with the latest tech. They did keep it archived in the first place for a reason after all. Alternatively with advancing tech and changing management the time may come when they'd be able to and decide to floor-perfectly digitize it all. Or down the road the public zeitgeist might change and support requiring the above.
Whether or not they were private, they at least represented potential, real and significant potential. Just like the Brazil museum that burned, or so many other sad losses. Having that potential destroyed forever can be rued even if it's not fully certain it'd be realized can't it?
- iicc 7y ago>music long ignored that was rediscovered and became of interest, at which point the company could go to its archive and digitize the masters again with the latest tech. For anyone interested check out the part-isolated "mogg" files from the Rockband games.
- LocalH 7y agoHarmonix doesn't really like people getting those stems out of the games, though (it can affect their ability to license music going forward). I'm part of the GH community, and when RB4 was ripped, HMX got pissed. Admittedly, the people downloading the rips largely didn't care about analyzing the music, they just wanted to play RB4 songs for free, so I totally understand why they'd be pissed. They care far less about the stems they put out in the pre-RB days, in GH1/2/80s. But they were mostly covers in the first place (except for the bonus songs, and a small handful of main setlist songs).