[QUOTE][QUOTENAME]TimBHM wrote: [/QUOTENAME]Hmm... my Spider-sense tells me I've blundered into a long-standing argument about which I know nothing and should therefore keep out of.
That being said, I def think it should be ok to share A & B and I wouldn't personally mind anyone sharing C either.
Sir GH is right, obtaining an RoIO of a commerically released concert is not going to stop me buying that commercial release - "I want it all"... so to speak.[/QUOTE]
Understood. How do you feel about the edited version of Liar being made available?
I should say, if this was a concert-only hub we wouldn't be having this discussion...
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Aw - Poor PG will have nothing to brag about, and the value of his collection will deflate if out of print collectable "C" items can be shared.
It is better for the little people to pay through the nose for songs like "Two Sharp Pencils".
It is better for the little people to pay through the nose for songs like "Two Sharp Pencils".
[QUOTE][QUOTENAME]Penetration_Guru wrote: [/QUOTENAME]How do you feel about the edited version of Liar being made available?[/QUOTE]
Myself, I think the song itself is secondary to collecting the actual piece of plastic the song was on. The availability of the song via another medium isn't going to stop record collectors from chasing after the record.
Myself, I think the song itself is secondary to collecting the actual piece of plastic the song was on. The availability of the song via another medium isn't going to stop record collectors from chasing after the record.
[QUOTE][QUOTENAME]Sir GH wrote: [/QUOTENAME][QUOTE][QUOTENAME]Penetration_Guru wrote: [/QUOTENAME]How do you feel about the edited version of Liar being made available?[/QUOTE]
Myself, I think the song itself is secondary to collecting the actual piece of plastic the song was on. The availability of the song via another medium isn't going to stop record collectors from chasing after the record.
[/QUOTE]
Very true. Not just with Queen, but I've been in the last year or so intentionally importing records, CD's etc so I could upgrade from lossy MP3's in many cases, but sometimes also be able to obtain stuff not available online in good quality form, and even share it for free with friends and sometimes collectors :-)
One pretty good example is Minako Honda's "Cancel", which I managed to obtain on both vinyl AND CD at the same time directly from Japan. For the most part, certain tracks have only ever been available from poor-quality vinyl/cassette rips on MP3 (mainly "Roulette" ;-)
At that time also managed to obtain the US Hollywood Records promo 12" for the WWRY/WATC Rick Rubin remixes (wasn't exactly cheap, I'll tell you), also from Japan.
http://i232.photobucket.com/albums/ee171/inu-liger/New%20vinyls%20from%20Japan/DSCF0099.jpg
http://i232.photobucket.com/albums/ee171/inu-liger/New%20vinyls%20from%20Japan/DSCF0106.jpg
Myself, I think the song itself is secondary to collecting the actual piece of plastic the song was on. The availability of the song via another medium isn't going to stop record collectors from chasing after the record.
[/QUOTE]
Very true. Not just with Queen, but I've been in the last year or so intentionally importing records, CD's etc so I could upgrade from lossy MP3's in many cases, but sometimes also be able to obtain stuff not available online in good quality form, and even share it for free with friends and sometimes collectors :-)
One pretty good example is Minako Honda's "Cancel", which I managed to obtain on both vinyl AND CD at the same time directly from Japan. For the most part, certain tracks have only ever been available from poor-quality vinyl/cassette rips on MP3 (mainly "Roulette" ;-)
At that time also managed to obtain the US Hollywood Records promo 12" for the WWRY/WATC Rick Rubin remixes (wasn't exactly cheap, I'll tell you), also from Japan.
http://i232.photobucket.com/albums/ee171/inu-liger/New%20vinyls%20from%20Japan/DSCF0099.jpg
http://i232.photobucket.com/albums/ee171/inu-liger/New%20vinyls%20from%20Japan/DSCF0106.jpg
[QUOTE][QUOTENAME]Gym Bitch wrote: [/QUOTENAME]Aw - Poor PG will have nothing to brag about, and the value of his collection will deflate if out of print collectable "C" items can be shared.
It is better for the little people to pay through the nose for songs like "Two Sharp Pencils".[/QUOTE]
PG doesn't have to share shit. i'm not going to MAKE him share anything. if he doesn't think that they should be shared then he is WELL ENTITLED to his opinion. just because i allow out of print releases does not mean you will get them.
It is better for the little people to pay through the nose for songs like "Two Sharp Pencils".[/QUOTE]
PG doesn't have to share shit. i'm not going to MAKE him share anything. if he doesn't think that they should be shared then he is WELL ENTITLED to his opinion. just because i allow out of print releases does not mean you will get them.
As the "owner" of the original Queen hub such a long time ago and having worked for ISP's for a hell of a long time. there was (and still is) a very good reason for having a no commercially released material, rule.
I have seen enough takedown, cease and desist, IP request and prosecution notices from copyright owners to last me a lifetime. It is not downloaders who take the most risks with Copyright material but uploaders and Hubs are easily traced.
Those who say "it won't happen to me" are many , those who say "I wish it wasn't me that got caught" are increasing in number.
I have seen enough takedown, cease and desist, IP request and prosecution notices from copyright owners to last me a lifetime. It is not downloaders who take the most risks with Copyright material but uploaders and Hubs are easily traced.
Those who say "it won't happen to me" are many , those who say "I wish it wasn't me that got caught" are increasing in number.
i had no idea I was this far out of touch with popular feeling.
Interesting and disappointing.
Interesting and disappointing.
Hi
I don't want to appear stupid, doh, but how do I get to FAv Hubs in the first place can someone give me an actual link please?
I don't want to appear stupid, doh, but how do I get to FAv Hubs in the first place can someone give me an actual link please?
[QUOTE][QUOTENAME]Penetration_Guru wrote: [/QUOTENAME]i had no idea I was this far out of touch with popular feeling.
Interesting and disappointing. [/QUOTE]
I think the trouble is that there are two distinct audiences being mixed together here.
Group A are interested in collecting the rarities for the sake of having them as physical items. They appreciate the actual objects and cherish them as collector's items - some of them probably never even play them in order to preserve their condition.
Group B, on the other hand, are either unable to afford to be in group A or are primarily interested in the content of each rarity. They don't care that there's a blue pressing of Bo Rhap or that there's a South American pressing of Queen I in a green sleeve. They do care that there are a number of unreleased tracks or mixes/cuts that weren't domestically available.
(There is of course a Group C who value the physical items as much as their content and want them equally but for the sake of argument they're part of group A.)
The point is that there are people who spend considerable amounts of time and money hunting down the physical objects because that's what pleases them and that will always please them as long as they are able to afford to continue. If you obtain an example of a very rare recording, what do you lose if you import it into a digital format and release it to the world?
I would claim that you would lose nothing, in fact you would gain a hell of a lot because the vast numbers of people in group B would love you forever. Group A shouldn't get upset because releasing the audio hasn't devalued the physical item at all - if there were 10 examples in existence before then there are still only 10.
And if we're thinking about profits and resale values then group A are essentially your customers and they still will be - they will still want to own what you've got. Group B never were your customers and never will be either because they're not interested or financially unable to participate.
What's the point of this? Well my impression is that while there are a number of members of group A who frequent this site, the vast majority come from group B so I don't think you necessarily are out of touch, I just think you're talking to a different audience.
Just my two cents.
Interesting and disappointing. [/QUOTE]
I think the trouble is that there are two distinct audiences being mixed together here.
Group A are interested in collecting the rarities for the sake of having them as physical items. They appreciate the actual objects and cherish them as collector's items - some of them probably never even play them in order to preserve their condition.
Group B, on the other hand, are either unable to afford to be in group A or are primarily interested in the content of each rarity. They don't care that there's a blue pressing of Bo Rhap or that there's a South American pressing of Queen I in a green sleeve. They do care that there are a number of unreleased tracks or mixes/cuts that weren't domestically available.
(There is of course a Group C who value the physical items as much as their content and want them equally but for the sake of argument they're part of group A.)
The point is that there are people who spend considerable amounts of time and money hunting down the physical objects because that's what pleases them and that will always please them as long as they are able to afford to continue. If you obtain an example of a very rare recording, what do you lose if you import it into a digital format and release it to the world?
I would claim that you would lose nothing, in fact you would gain a hell of a lot because the vast numbers of people in group B would love you forever. Group A shouldn't get upset because releasing the audio hasn't devalued the physical item at all - if there were 10 examples in existence before then there are still only 10.
And if we're thinking about profits and resale values then group A are essentially your customers and they still will be - they will still want to own what you've got. Group B never were your customers and never will be either because they're not interested or financially unable to participate.
What's the point of this? Well my impression is that while there are a number of members of group A who frequent this site, the vast majority come from group B so I don't think you necessarily are out of touch, I just think you're talking to a different audience.
Just my two cents.
[QUOTE][QUOTENAME]mogiggymo wrote: [/QUOTENAME]Hi
I don't want to appear stupid, doh, but how do I get to FAv Hubs in the first place can someone give me an actual link please?[/QUOTE]
umm, you need the DC++ program, the fav hubs is inside the program. just google "DC++" and thou shall find :D
I don't want to appear stupid, doh, but how do I get to FAv Hubs in the first place can someone give me an actual link please?[/QUOTE]
umm, you need the DC++ program, the fav hubs is inside the program. just google "DC++" and thou shall find :D
[QUOTE][QUOTENAME]Penetration_Guru wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sir GH wrote: [/QUOTENAME][QUOTE][QUOTENAME]Penetration_Guru wrote: [/QUOTENAME]Your original intention was no official material, period.[/QUOTE]
Then we should re-initiate the discussion over what is "official" material that shouldn't be shared.
a) audience recordings of officially-released shows (partial or in full)
b) radio/soundboard recordings of officially-released shows that are mixed differently or lack overdubs (partial or in full)
c) official releases that were available in limited quantities and are otherwise difficult (or even impossible) to locate
Any or all of the above?
[/QUOTE]
a & b are interesting discussions that I can see need to be had. c, however, is where I differ. I don't care if it was only made available on 1 CD in Mongolia, NO OFFICIAL MATERIAL. That covers the French edit of Bo Rhap, the Mexican Let Me Live, Now I'm Here from Hammersmith 79, Hammer To Fall from Rio and every other obscurity.
Collect it properly or go without.[/QUOTE]
very strong words. of course you wouldn't have to download anything you don't want to, and nor do you have to share anything you don't want to, and people who continously ask for you to share something controversial which you wish to not share would be dealt with...
with that said, why haven't i seen most of you at the hub yet?!?!
Then we should re-initiate the discussion over what is "official" material that shouldn't be shared.
a) audience recordings of officially-released shows (partial or in full)
b) radio/soundboard recordings of officially-released shows that are mixed differently or lack overdubs (partial or in full)
c) official releases that were available in limited quantities and are otherwise difficult (or even impossible) to locate
Any or all of the above?
[/QUOTE]
a & b are interesting discussions that I can see need to be had. c, however, is where I differ. I don't care if it was only made available on 1 CD in Mongolia, NO OFFICIAL MATERIAL. That covers the French edit of Bo Rhap, the Mexican Let Me Live, Now I'm Here from Hammersmith 79, Hammer To Fall from Rio and every other obscurity.
Collect it properly or go without.[/QUOTE]
very strong words. of course you wouldn't have to download anything you don't want to, and nor do you have to share anything you don't want to, and people who continously ask for you to share something controversial which you wish to not share would be dealt with...
with that said, why haven't i seen most of you at the hub yet?!?!
[QUOTE][QUOTENAME]TimBHM wrote: [/QUOTENAME][QUOTE][QUOTENAME]Penetration_Guru wrote: [/QUOTENAME]i had no idea I was this far out of touch with popular feeling.
Interesting and disappointing. [/QUOTE]
I think the trouble is that there are two distinct audiences being mixed together here.
Group A are interested in collecting the rarities for the sake of having them as physical items. They appreciate the actual objects and cherish them as collector's items - some of them probably never even play them in order to preserve their condition.
Group B, on the other hand, are either unable to afford to be in group A or are primarily interested in the content of each rarity. They don't care that there's a blue pressing of Bo Rhap or that there's a South American pressing of Queen I in a green sleeve. They do care that there are a number of unreleased tracks or mixes/cuts that weren't domestically available.
(There is of course a Group C who value the physical items as much as their content and want them equally but for the sake of argument they're part of group A.)
The point is that there are people who spend considerable amounts of time and money hunting down the physical objects because that's what pleases them and that will always please them as long as they are able to afford to continue. If you obtain an example of a very rare recording, what do you lose if you import it into a digital format and release it to the world?
I would claim that you would lose nothing, in fact you would gain a hell of a lot because the vast numbers of people in group B would love you forever. Group A shouldn't get upset because releasing the audio hasn't devalued the physical item at all - if there were 10 examples in existence before then there are still only 10.
And if we're thinking about profits and resale values then group A are essentially your customers and they still will be - they will still want to own what you've got. Group B never were your customers and never will be either because they're not interested or financially unable to participate.
What's the point of this? Well my impression is that while there are a number of members of group A who frequent this site, the vast majority come from group B so I don't think you necessarily are out of touch, I just think you're talking to a different audience.
Just my two cents.[/QUOTE]
All well put, but there is a group who would track down the physical item in order to get the music.
There must be, otherwise the bottom of the Freddie Solo market wouldn't have dropped out when his box set came out.
Interesting and disappointing. [/QUOTE]
I think the trouble is that there are two distinct audiences being mixed together here.
Group A are interested in collecting the rarities for the sake of having them as physical items. They appreciate the actual objects and cherish them as collector's items - some of them probably never even play them in order to preserve their condition.
Group B, on the other hand, are either unable to afford to be in group A or are primarily interested in the content of each rarity. They don't care that there's a blue pressing of Bo Rhap or that there's a South American pressing of Queen I in a green sleeve. They do care that there are a number of unreleased tracks or mixes/cuts that weren't domestically available.
(There is of course a Group C who value the physical items as much as their content and want them equally but for the sake of argument they're part of group A.)
The point is that there are people who spend considerable amounts of time and money hunting down the physical objects because that's what pleases them and that will always please them as long as they are able to afford to continue. If you obtain an example of a very rare recording, what do you lose if you import it into a digital format and release it to the world?
I would claim that you would lose nothing, in fact you would gain a hell of a lot because the vast numbers of people in group B would love you forever. Group A shouldn't get upset because releasing the audio hasn't devalued the physical item at all - if there were 10 examples in existence before then there are still only 10.
And if we're thinking about profits and resale values then group A are essentially your customers and they still will be - they will still want to own what you've got. Group B never were your customers and never will be either because they're not interested or financially unable to participate.
What's the point of this? Well my impression is that while there are a number of members of group A who frequent this site, the vast majority come from group B so I don't think you necessarily are out of touch, I just think you're talking to a different audience.
Just my two cents.[/QUOTE]
All well put, but there is a group who would track down the physical item in order to get the music.
There must be, otherwise the bottom of the Freddie Solo market wouldn't have dropped out when his box set came out.
Excuse me for sounding stupid again, but I'm totally baffled, here you guys talk a whole different language.
I googled DC++, what relevance does that have whatsover to finding this new hub?
Indulge me please could someone explain in simple language how do I find the Innuendo lossless hub?
I googled DC++, what relevance does that have whatsover to finding this new hub?
Indulge me please could someone explain in simple language how do I find the Innuendo lossless hub?
Too many fucking rules thanks anyway but NO.
[QUOTE][QUOTENAME]mogiggymo wrote: [/QUOTENAME]some stuff [/QUOTE]
I've tried emailing you, but your mailbox is full or something ??
I've tried emailing you, but your mailbox is full or something ??