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In sound mind all vinyls4/8/2023 Even the claims around artist payout per stream ー ranging from $0.0008 on YouTube Music to $0.01284 on Tidal, with industry leaders Spotify and Apple Music sitting somewhere in the middle ー are arbitrary rather, each artist just gets a percentage of the total revenue each platform decides to send out. Hold an 180g record in your hand and you’ll understand the assurance.Īrtists get basically no money from streaming ー especially independent ones whose labels don’t pay for them to appear on playlists. While 180g vinyl may not imply a better sound quality as much as well-maintained equipment does, this modern standard weight is a lot more durable, less likely to crack or break. Record quality is evolving all the time too with new technology and research. Django Unchained OST has Quentin Tarantino actually placing the needle on the run-in track at the start of several songs. The Flaming Lips’ She Don’t Use Jelly ends with twenty five seconds of hissing and clicking, as if the stylus has just hit the record’s runout groove. Madonna’s Erotica (NSFW link) uses this trope too, using vinyl crackles in the background as a way of enhancing sensuality. The Postal Service’s 2003 album Give Up features surface noise throughout. Listen to, for example, Troye Sivan’s interlude could cry just thinking about you, and you’ll hear a tape button press at the start and the end of the track. There is a reason why some modern songs insert these sound effects intentionally, and it’s for more than just nostalgia. Vinyl has its own, distinctive sound, filled with that surface crackle, a pop or a distortion that you can’t help but be charmed by. Still, even records made from digital formats retain that specifically “vinyl” quality. ![]() However, many new records are now made from digital masters anyway, so not all vinyl records are in a pure and lossless analogue format. Originally, records were carved directly from an analogue source thus, the sound on vinyl in those instances remains in its purest form. ![]() ![]() This design specifically was inspired by Stanley Donwood’s artwork for the Radiohead album Hail to the Thief, but the intention is universal: vinyl artwork has always been made as a visual accompaniment to the music.Įveryone reading this must know by now that sound quality is one of the main advantages of vinyl over digital. Drummer Brian, who designed the sleeve, wanted to create an environment in which to digest the music, where you have to figure it out for yourself and come to your own conclusions. I can’t help but think about the back cover of local psych legends BAAD ACID’s debut EP Aboo / Sound, with its row of cryptic numbers and lyrics rearranged in alphabetic order. ![]() You have something to hold and examine while the music plays: maybe lyric sheets, exclusive photos, thank-yous from the artist. The album artwork, the sleeve, potential inserts and gatefolds ー it’s all part of the experience of vinyl. The process of opening a record gives you a personal connection with the music. That sense of direct connection with music and art follows everything we value and write about: from Jess Kneen’s love of film photography to Meg Hindley’s passion for art in other physical forms: tattoo on skin or mural on concrete to local bands BAAD ACID and Mad Daddy hearing their songs on vinyl for the first time to the stories from everyone we’ve interviewed for our Meet the Collector series. We’ve talked time and time again on here about the love we have for the experience of vinyl records.
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