I am satisfied in amount ...
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Adam...I can't get the navigation to render in Firefox on either my Mac nor my PC.
It's moot anyways...I'll never buy music in WMA format. Rather useless format for iPod users...or those who find DRM a pain to begin with.
It's moot anyways...I'll never buy music in WMA format. Rather useless format for iPod users...or those who find DRM a pain to begin with.
Months ago I suggested to QP (via GB) that they would sell REMASTERED SOUNDBOARDS on limited edition PRESSED CDs in order do make DEFINITIVE upgrades available to the serious collector. What they are offering I already have on original pressed CDs with printed artwork, and better sound (uncompressed). Not interested at all on this.
I just downloaded a show and am not too pleased with the quality. I know they are bootlegs and not soundboards, but I expected more. Also, how do you burn these to a disc?
nah i'm not going to buy and download bootlegs from queenonline. too expensive, useless and definately it is not something new.
it would be so easy to make me buy something from "queen"...simply make a good new song :)
it would be so easy to make me buy something from "queen"...simply make a good new song :)
Also, how do you burn these to a disc?
I'm no expert nor do I have a licensed file to confirm this, but I seem to recall that it's required that you use Media Player to burn the tracks.
Under File > Copy > Copy to audio CD
That's another thing I hate about licensed downloads. You're paying in some cases as much as you would for a CD to do with what you want.. yet you're restricted and don't actually seem to OWN what you've paid for. Unless of course it does allow for CD burning, after which you can extract the audio and do with it what you want anyway.. so their idiotic attempts at control are pointless.
I got a free download from McDonald's awhile back for Sony Connect. So I went to all this trouble of installing their software, changing my internet settings, and downloaded the track I chose.. only to find it wasn't even licensed for burning! So the McDonald's ad stating that 'you own it' was a flat lie.
However I simply recorded the sound directly from my sound card whilst playing the file through their idiotic interface, and voila! I actually did own it, plus I was able to process my .wav a bit to compensate for the muddy, compressed sound of the downloaded file.
Adam, I diagree with you.
Scanning the original ticket stub would take about a minute. 3 per month doesn't seeme like hard work in order to generate show-specific artwork. Even tour specific artwork would be reasonably easy (Richard Gray isn't busy on any other projects at the moment, and could probably come up with something reasonable in about half an hour).
In addition, artwork was part of the originally promised package. If it hadn't been, I wouldn't see the lack of it as such a negative point. If you deliver less than you promise, people will be disappointed.
With reference to your points about remastering/remixing/tweaking, wouldn't a "naked" mix straight off the out-front sound (which is what the archived soundboard recording will be, given that it would have been used by the band to assess their overall performance ) be preferable (to the band, as well as us) to a random low-fi recording made by someone not necessarily standing in the optimum spot (and possibly surrounded by rather more sing-alongers than would be preferable)?
Scanning the original ticket stub would take about a minute. 3 per month doesn't seeme like hard work in order to generate show-specific artwork. Even tour specific artwork would be reasonably easy (Richard Gray isn't busy on any other projects at the moment, and could probably come up with something reasonable in about half an hour).
In addition, artwork was part of the originally promised package. If it hadn't been, I wouldn't see the lack of it as such a negative point. If you deliver less than you promise, people will be disappointed.
With reference to your points about remastering/remixing/tweaking, wouldn't a "naked" mix straight off the out-front sound (which is what the archived soundboard recording will be, given that it would have been used by the band to assess their overall performance ) be preferable (to the band, as well as us) to a random low-fi recording made by someone not necessarily standing in the optimum spot (and possibly surrounded by rather more sing-alongers than would be preferable)?
Liquid Scream: "Surely if they can find these so called bootleg experts Frank Hazenberg, Andreas Voigts and Frank Palstra they could probably dig up some expert wannabe studio engineers to fix up these complete soundboard recordings Queen Productions apparently have."
As demonstrated by Zeni, it's about trust. She explained her feelings about these bootleg experts. Otherwise, why don't they have more than a handful of trusted in-house people to engineer the recordings? And surely you're not serious about this remark, "You can't tell me they could only have time to prepare the Milton Keynes DVD and CD in one year."
Who here knows how much time they have, cause I don't know. Ask how long it took the idea to go from talks to final product. We can only speculate after-all.
Hank H.: "And Adam, I think QP is big enough to employ enough people to remix or at least to fix more than one concert a year."
Again, I'll point towards the trust factor. Something I should've mentioned is also Brian/Roger being able to interact with those entrusted with the tracks. To get to know them and feel that they can leave most of it up to them. It's not just about getting the stuff out of the vaults and asking any old qualified person to fix them up.
Every engineer sounds different. Justin is a long-trusted individual whom they must get on with and trust with their work. Why do you think Radiohead like going back to Nigel Godrich? They get on well and work together well.
PG: "Scanning the original ticket stub would take about a minute."
Well that's a good idea. Simple and nice to look at. Even a simple backplate picture with the tracklisting would be good. But I still think my point about fans being picky with artwork would still be the same. Btw, do they have every single ticket stub they ever made? Just curious.
"In addition, artwork was part of the originally promised package."
I didn't know that. I just remember someone posting the 100 bootlegs rumour on here a little while ago. So, I didn't realise that there were specific ideas. Then just a couple of days ago it appeared out of nowhere!
As for your point about the soundboards... Yes, it would be nice to just have the soundboards released for download in that sense. But I for one wouldn't enjoy a "naked" mix as you call it. When you say "Naked," are you referring to Beatles Let It Be - Naked? Hopefully not as it's not the same thing.
Personally, I find a dry soundboard recording to be a bit hum drum. The Final Live In Japan85 bootleg is a soundboard recording and it shows why a raw recording can be worse than an audience recording. Time needs to be spent to get the levels right, at least, and that will need done. We all know how Brian can be about something like this - he'd make sure it would be done right.
But I'll say it again. If you want something more from these download ideas, then contact them in some way and make your ideas heard. The worst is that they don't respond or couldn't give a monkeys! I don't care about QP. But I care about the band. True, hard to separate at times. But at least we know what WE want, right?
Peace,
Adam.
As demonstrated by Zeni, it's about trust. She explained her feelings about these bootleg experts. Otherwise, why don't they have more than a handful of trusted in-house people to engineer the recordings? And surely you're not serious about this remark, "You can't tell me they could only have time to prepare the Milton Keynes DVD and CD in one year."
Who here knows how much time they have, cause I don't know. Ask how long it took the idea to go from talks to final product. We can only speculate after-all.
Hank H.: "And Adam, I think QP is big enough to employ enough people to remix or at least to fix more than one concert a year."
Again, I'll point towards the trust factor. Something I should've mentioned is also Brian/Roger being able to interact with those entrusted with the tracks. To get to know them and feel that they can leave most of it up to them. It's not just about getting the stuff out of the vaults and asking any old qualified person to fix them up.
Every engineer sounds different. Justin is a long-trusted individual whom they must get on with and trust with their work. Why do you think Radiohead like going back to Nigel Godrich? They get on well and work together well.
PG: "Scanning the original ticket stub would take about a minute."
Well that's a good idea. Simple and nice to look at. Even a simple backplate picture with the tracklisting would be good. But I still think my point about fans being picky with artwork would still be the same. Btw, do they have every single ticket stub they ever made? Just curious.
"In addition, artwork was part of the originally promised package."
I didn't know that. I just remember someone posting the 100 bootlegs rumour on here a little while ago. So, I didn't realise that there were specific ideas. Then just a couple of days ago it appeared out of nowhere!
As for your point about the soundboards... Yes, it would be nice to just have the soundboards released for download in that sense. But I for one wouldn't enjoy a "naked" mix as you call it. When you say "Naked," are you referring to Beatles Let It Be - Naked? Hopefully not as it's not the same thing.
Personally, I find a dry soundboard recording to be a bit hum drum. The Final Live In Japan85 bootleg is a soundboard recording and it shows why a raw recording can be worse than an audience recording. Time needs to be spent to get the levels right, at least, and that will need done. We all know how Brian can be about something like this - he'd make sure it would be done right.
But I'll say it again. If you want something more from these download ideas, then contact them in some way and make your ideas heard. The worst is that they don't respond or couldn't give a monkeys! I don't care about QP. But I care about the band. True, hard to separate at times. But at least we know what WE want, right?
Peace,
Adam.
I appreciate all the problems people have but I'm afraid I'll probably end up downloading them. My area seems to be strangely isolated for boots. As I only have 2-3 very common boots to trade so I can't get any that way, my firewall prevents me from getting all the great BitTorrent files on this site and the record fair near me has one bootleg guy who (Queenwise) only has 'A Day At The Stadium' and the soundtrack to the We Will Rock You VHS. Therefore if I have the chance to get hold of these, I'll probably have to put aside prejudices and take 'em.
I must finally comment on these bizarre things that have been happening in the Queen world lately.
I won't say anything about Greg Brooks. I think we all know that this bloke is not worth of any comment after his incredible attack on YV. I think the only wind up is himself. (Yes, you can call me now an anonymous prick by all means..)
This bootleg thing is a freaking joke. Audience recordings are only for die hard fans. These will not attract the masses. QP will only try to squeeze as much money with this project as possible but they will be left with only little. They MUST know that a common fan is not interested in audience recordings with screaming girls and lot of handclapping. Also, most die hard collectors do not want mp3 sourced shows when you can easily have these on audio CD from other traders or download in FLAC from DC hubs. They will not be buying these either.
William could have not said it better. Who are these bootleg experts!?!? They don't know that Last Stand boot is definitely not the "creme" of this particular show. It is "The Last Concert in Japan", period. If these shows are compiled by experts, they should know what are the best bootlegs in the market.
Another thing, Gypsy Eye releases are NOT the best sounding boots. For those who have GE's Montreal 78 or Vienna May 12th 82 shows, you can clearly hear the remastering job was done poorly. There is extra hiss and the sound is much too sharp. If you buy the earlier Montreal 78 release by Continental label (cat no. CSCD 10005) and fix the pitch, you will have a wonderful recording of this excellent show.
If they include couple of shows from each tour, there could have not been a worse choice than "Jazz Final". Both Osaka 79 shows beat this Sapporo show anytime soundweise. Also Tokyo, April 14th 1979.
Also, instead of "Life is Real" I would have picked Chicago 82 or Boston 82. Both have better sound and performance-weise there is no much difference.
I have no idea why QP wants to stay behind the other bands. When they say they are the first to do this kind of bootleg offer, who do they try to fool?? Other bands are offering soundboard recordings with a perfect sound as FLAC and for nearly the same price. I wouldn't pay single cent for an mp3 sourced audience recording. If they offered soundboard recordings of these same shows in FLAC, I would buy each and every show.
Actually, that is the only way to kill the bootleggers business. If you can buy a show with a perfect soundboard sound, who would buy these audience recordings from bootleggers anymore??
I won't say anything about Greg Brooks. I think we all know that this bloke is not worth of any comment after his incredible attack on YV. I think the only wind up is himself. (Yes, you can call me now an anonymous prick by all means..)
This bootleg thing is a freaking joke. Audience recordings are only for die hard fans. These will not attract the masses. QP will only try to squeeze as much money with this project as possible but they will be left with only little. They MUST know that a common fan is not interested in audience recordings with screaming girls and lot of handclapping. Also, most die hard collectors do not want mp3 sourced shows when you can easily have these on audio CD from other traders or download in FLAC from DC hubs. They will not be buying these either.
William could have not said it better. Who are these bootleg experts!?!? They don't know that Last Stand boot is definitely not the "creme" of this particular show. It is "The Last Concert in Japan", period. If these shows are compiled by experts, they should know what are the best bootlegs in the market.
Another thing, Gypsy Eye releases are NOT the best sounding boots. For those who have GE's Montreal 78 or Vienna May 12th 82 shows, you can clearly hear the remastering job was done poorly. There is extra hiss and the sound is much too sharp. If you buy the earlier Montreal 78 release by Continental label (cat no. CSCD 10005) and fix the pitch, you will have a wonderful recording of this excellent show.
If they include couple of shows from each tour, there could have not been a worse choice than "Jazz Final". Both Osaka 79 shows beat this Sapporo show anytime soundweise. Also Tokyo, April 14th 1979.
Also, instead of "Life is Real" I would have picked Chicago 82 or Boston 82. Both have better sound and performance-weise there is no much difference.
I have no idea why QP wants to stay behind the other bands. When they say they are the first to do this kind of bootleg offer, who do they try to fool?? Other bands are offering soundboard recordings with a perfect sound as FLAC and for nearly the same price. I wouldn't pay single cent for an mp3 sourced audience recording. If they offered soundboard recordings of these same shows in FLAC, I would buy each and every show.
Actually, that is the only way to kill the bootleggers business. If you can buy a show with a perfect soundboard sound, who would buy these audience recordings from bootleggers anymore??
Well, Riku, we have to admit it's a first that a band offers their hardcore fan basis poor quality mp3 boots to download for a ridiculous price:) I have never heard that from any other artist.
Btw, there is a poll running on the QOL message board. Maybe we should all vote there.
Btw, there is a poll running on the QOL message board. Maybe we should all vote there.
What's the link to the poll? I never visit QOL message board..
It's so funny that it's almost sad - how Queen try to squeeze as much money with as little effort as possible.
Wanna destroy the bootleggers (without whom the recordings wouldn't exist at all at first place)? Then make the recordings available for free. Wanna make some money? Then release the soundboard recordings. What's so difficult to understand?
I can imagine this project is meant as a help to some less intelligent people who buy some factory-pressed shit on bootleg market and then wonder why it's such a bad quality with such a strange mixed tracklist. But besides this it's completely worthless.
Wanna destroy the bootleggers (without whom the recordings wouldn't exist at all at first place)? Then make the recordings available for free. Wanna make some money? Then release the soundboard recordings. What's so difficult to understand?
I can imagine this project is meant as a help to some less intelligent people who buy some factory-pressed shit on bootleg market and then wonder why it's such a bad quality with such a strange mixed tracklist. But besides this it's completely worthless.
Soundboards.... when people refer to a soundboard recording, they are usually referring to a 2 track stereo recording direct from the soundboard/mixing desk, not a 16/24 track recording - it is NOT possible to remix them. They can only remaster them. Also, chances are they would have set up an ambience mic to give them a more natural sound (atleast later peiod gigs anyway) as opposed to some soundboard recording that are just what is fed into the desk. I think most people would be more happy with a raw mixing desk recording of an early 70's gig than a 20th generation cassette dub. They wouldn't require enormous amounts of work like some people are suggesting.
What astounds me is that some people are STILL shocked by the fact that QPL are charging for this stuff. This is the company that has re-issues the ENTIRE back catalogue on CD no less than 6 times on CD already. That's without taking in to account The Platinum Collection and Queen Rocks etc.
The fact is that Mr. Beach is probably having to continue to finance some kind of debt within the organisation or even perhaps justify certain people's continued existance within the QPL organisation and therefore it is required that QPL comes up with as many different ways of milking the old Cash Cow as possible.
To be quite honest, it's laughable that there has been so much fanfair over the download availability, when the real issue of the horizon remaining empty on the "Anthology" front remains.
After having been a loyal Queen fan for 20-odd years, NOTHING AT ALL amazes me about QPL - after all, what did we get in '84 as b-sides (other than the GREAT "I Go Crazy")? The tracks from the album; just incase we didn't go out and buy The Works.........
The fact is that Mr. Beach is probably having to continue to finance some kind of debt within the organisation or even perhaps justify certain people's continued existance within the QPL organisation and therefore it is required that QPL comes up with as many different ways of milking the old Cash Cow as possible.
To be quite honest, it's laughable that there has been so much fanfair over the download availability, when the real issue of the horizon remaining empty on the "Anthology" front remains.
After having been a loyal Queen fan for 20-odd years, NOTHING AT ALL amazes me about QPL - after all, what did we get in '84 as b-sides (other than the GREAT "I Go Crazy")? The tracks from the album; just incase we didn't go out and buy The Works.........