...since I published anything. I've written stuff, but held it back.
Vaccine passports. The irrational fear of the insides of pubs and restaurants. Schoolgirl allegations without police charges, blaming boys. The EU threatening to stop vaccine exports. Teenagers burning the Union flag and complaining about 'colonial' history. NFT's in art. Museums turning into social justice institutions. Police breaking up Easter Sunday services.
Never try to understand crazy. There's nothing to understand, that's why it's called crazy. Walk away, have minimum contact if you can't, and never ever try to figure out what's going on. Because crazy makes no sense.
So I have to pass to No Comment.
I put in my retirement a couple of weeks ago. I stop work at the end of April. I have had conversations about pensions, taxes and investments. This stuff I really don't want to discuss, because most of the thoughts I'm having are first drafts, and so are just the cliches and stock responses, that I have to work through to get the real issues.
For the next four weeks I still have to show up at the work laptop four days a week (I've booked every Friday off in April). It wasn't the lockdown that kept me in the house during the week, it was the work laptop.
Retirement doesn't start until work stops. I don't know what I'll feel until the first Monday I never have to show up to work. In the meantime, my motivation to work is... fading.
Writing this, I have realised that I've put my plans on hold for four weeks because of work.
Nope. Don't do that.
I should go ahead and order the things I want, even if I don't unwrap them until the 1st of May.
See? That's what writing a journal entry does for you.
Thursday, 25 February 2021
Hi-Fi Alternatives: The More The Merrier
CD? Streaming? Vinyl? FM / AM Radio? Internet Radio? Lossy rips? Losless rips? Live? Which is best? Can CDs be replaced by streaming? Do real audiophiles collect vinyl? Apples, oranges, tangerines or bananas?
Radio and streaming are methods of data transport. CDs, vinyl and music files on hard drives are methods of data storage. Smart phones, CD players, streaming devices, DACs, amplifiers, loudspeakers, headphones and in-ears are ways of converting the data and delivering the sound to your ears. The streaming service and the radio station holds the storage media and the right to broadcast it. You pay them for access to that broadcast. Or put up with adverts in the case of radio. You own the CD, vinyl or music files and the equipment to transport, convert and deliver the data it holds. You get a perpetual right to listen to it. The other extreme is a live concert, where you own nothing and get a one-time right to listen to it. Streaming is somewhere between those two: you have a renewable right to access what the streaming company itself has a renewable right from the artists and record companies to make available.
A live concert is more than someone delivering sound to you. It's an event. You can see the performers. It may be a one-off, with a legendary figure on the stage. Streaming is just data delivery. The experience is how you are listening to the music: on the train, in front of your speakers, from a Sonos One as you fall asleep. Only a small part of that experience is down to the quality of the streaming service. Playing a CD is a more restricted experience than streaming, since you have to be in the room with the speakers or headphones. A part of that experience may be the higher quality of the sound from the CD transport and the DAC, than can be had from the streaming service. Vinyl is its own sound experience: literally a different sound from the CD of the same album, less dynamic range and a bunch of other compromises.
Each service has its own purpose. It's not either/or but both/and.
Live music is a win for the experience: you had to be there, and you were. Streaming gives you a replacement for radio and gets rid of the adverts, though the curation may not be as good. Streaming works in your house, your friend's house, on the train, in the car, wherever there is enough broadband or cellular. It's a definite addition to the technological mix. CD and vinyl is for when you want a specific experience of listening and the sense of ownership: you chose that CD / album, you paid for it, and you decided to keep it rather than bin it in embarrassment.
What makes sense to get depends on where you live and who you live with. Hi-fi gear takes up space and needs to be played around 60-70 dbA at point of listening - the volume of the human voice or my steel-string acoustic guitar. CDs take up space. This is fine for someone in their own house, but if you are sharing with your family or three other people in a large flat, you may want to go for streaming through your iDevice and a decent DAC into some head-fi, or noise-cancellers. How easily small feet can snag fat power cables: young children and £2,000 of Kef LS50 II's on stands are an accident waiting for an insurance company to decline. I have a small terraced house, and even speakers with only 85 db/watt-metre are way too loud with one watt going through them. Any more that 40 watts / channel is just silly. If I lived in a larger house a few yards from my neighbours, I could crank up the volume and an 80 watt / channel amp might be an idea. The WAF is a real thing: only single men can rejoice in stacks of blank boxes joined with gnarly cable, leading to a pair of speaker towers that look like some weird bird.
My core listening is CD. I already had a lot of CDs before streaming became worth having. I like certain eras of classical music that are not well-represented on Spotify, and might not be on Naxos. The same can be said for a number of EDM / House / Trance artists. Maybe if Spotify had every Bedrock and Digweed CD, I would think again. CDs are bought by browsing, which is something I will write about, that simply cannot be done online yet. While 320kps is perfectly acceptable, there's nothing quite like a CD for quality. And CDs will work even when Talk-Talk decides to not supply broadband.
Every now and then I buy a CD of some contemporary composer's music. If I picked their name and listened to something on Spotify, I would navigate away briskly. If I buy it, I have to put in some time listening to justify the expense. Kalevi Aho is never going to be on repeat, but I like what I bought of his more than I did a while ago. I would never have gone back to it if I had streamed a sample. I find, and you may differ, that the price of a CD gives me a little skin in the game of musical exploration.
I do not have an AM/FM tuner anymore, since all radio stations also stream. I have streaming because it offers what is in effect an advert-free range of radio stations: 80's, folk, jazz, classical, 60's, whatever. I can hear new releases, and I can use it on the train. (Spotify seems to cache an album, since it goes on playing even when I'm in the London Underground.) I can also play different music in different rooms over my Sonos gear. Sometimes I buy downloads from Amazon, but not the CD, and that's why I also rip my CDs (to AAC) so I have all 'my' music, that I've paid for, in one place. I have CDs because that is my preferred listening experience. Above all, it lets me play songs and artists that I used to have in my collection, still like to hear now and again, but are not part of how I listen now.
I have hi-fi speakers for the main room, Sonos Ones for the rooms where music is a background, and a Beam for the TV. I have Bose noise-cancellers I used to use in the office, Sony XM3 in-ears, and Sennheiser HD650 as head-fi. It's all about flexibility, the right technology for the circumstances. The more the merrier.
And sometime in 2023 when all this is over and I don't have to be in bed at 21:30, I will go to concerts again.
Radio and streaming are methods of data transport. CDs, vinyl and music files on hard drives are methods of data storage. Smart phones, CD players, streaming devices, DACs, amplifiers, loudspeakers, headphones and in-ears are ways of converting the data and delivering the sound to your ears. The streaming service and the radio station holds the storage media and the right to broadcast it. You pay them for access to that broadcast. Or put up with adverts in the case of radio. You own the CD, vinyl or music files and the equipment to transport, convert and deliver the data it holds. You get a perpetual right to listen to it. The other extreme is a live concert, where you own nothing and get a one-time right to listen to it. Streaming is somewhere between those two: you have a renewable right to access what the streaming company itself has a renewable right from the artists and record companies to make available.
A live concert is more than someone delivering sound to you. It's an event. You can see the performers. It may be a one-off, with a legendary figure on the stage. Streaming is just data delivery. The experience is how you are listening to the music: on the train, in front of your speakers, from a Sonos One as you fall asleep. Only a small part of that experience is down to the quality of the streaming service. Playing a CD is a more restricted experience than streaming, since you have to be in the room with the speakers or headphones. A part of that experience may be the higher quality of the sound from the CD transport and the DAC, than can be had from the streaming service. Vinyl is its own sound experience: literally a different sound from the CD of the same album, less dynamic range and a bunch of other compromises.
Each service has its own purpose. It's not either/or but both/and.
Live music is a win for the experience: you had to be there, and you were. Streaming gives you a replacement for radio and gets rid of the adverts, though the curation may not be as good. Streaming works in your house, your friend's house, on the train, in the car, wherever there is enough broadband or cellular. It's a definite addition to the technological mix. CD and vinyl is for when you want a specific experience of listening and the sense of ownership: you chose that CD / album, you paid for it, and you decided to keep it rather than bin it in embarrassment.
What makes sense to get depends on where you live and who you live with. Hi-fi gear takes up space and needs to be played around 60-70 dbA at point of listening - the volume of the human voice or my steel-string acoustic guitar. CDs take up space. This is fine for someone in their own house, but if you are sharing with your family or three other people in a large flat, you may want to go for streaming through your iDevice and a decent DAC into some head-fi, or noise-cancellers. How easily small feet can snag fat power cables: young children and £2,000 of Kef LS50 II's on stands are an accident waiting for an insurance company to decline. I have a small terraced house, and even speakers with only 85 db/watt-metre are way too loud with one watt going through them. Any more that 40 watts / channel is just silly. If I lived in a larger house a few yards from my neighbours, I could crank up the volume and an 80 watt / channel amp might be an idea. The WAF is a real thing: only single men can rejoice in stacks of blank boxes joined with gnarly cable, leading to a pair of speaker towers that look like some weird bird.
My core listening is CD. I already had a lot of CDs before streaming became worth having. I like certain eras of classical music that are not well-represented on Spotify, and might not be on Naxos. The same can be said for a number of EDM / House / Trance artists. Maybe if Spotify had every Bedrock and Digweed CD, I would think again. CDs are bought by browsing, which is something I will write about, that simply cannot be done online yet. While 320kps is perfectly acceptable, there's nothing quite like a CD for quality. And CDs will work even when Talk-Talk decides to not supply broadband.
Every now and then I buy a CD of some contemporary composer's music. If I picked their name and listened to something on Spotify, I would navigate away briskly. If I buy it, I have to put in some time listening to justify the expense. Kalevi Aho is never going to be on repeat, but I like what I bought of his more than I did a while ago. I would never have gone back to it if I had streamed a sample. I find, and you may differ, that the price of a CD gives me a little skin in the game of musical exploration.
I do not have an AM/FM tuner anymore, since all radio stations also stream. I have streaming because it offers what is in effect an advert-free range of radio stations: 80's, folk, jazz, classical, 60's, whatever. I can hear new releases, and I can use it on the train. (Spotify seems to cache an album, since it goes on playing even when I'm in the London Underground.) I can also play different music in different rooms over my Sonos gear. Sometimes I buy downloads from Amazon, but not the CD, and that's why I also rip my CDs (to AAC) so I have all 'my' music, that I've paid for, in one place. I have CDs because that is my preferred listening experience. Above all, it lets me play songs and artists that I used to have in my collection, still like to hear now and again, but are not part of how I listen now.
I have hi-fi speakers for the main room, Sonos Ones for the rooms where music is a background, and a Beam for the TV. I have Bose noise-cancellers I used to use in the office, Sony XM3 in-ears, and Sennheiser HD650 as head-fi. It's all about flexibility, the right technology for the circumstances. The more the merrier.
And sometime in 2023 when all this is over and I don't have to be in bed at 21:30, I will go to concerts again.
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