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This topic is ok in this section, we are not whirlpool or the copyright mafia, as long as you are viewing / using  it for personal use I see no problem with this thread. :punk: :rnr: :thankyou1: :Thumbup:)
Well, this is kind of a winge, but i hope more of a constructive discussion on how to get around the ABCs obnoxious DRM, that they have unleashed of late on the iView website.  A few days ago I missed both Stan Grant's "Matter a fact" and "the world" and wanted to download them to my computer to watch at a place and time that suited me.  I tried both chrome's flash video downloader, and a command prompt alternative called youtube-dl.  I still have to try video-downloader in Firefox.  As of this moment, I've had no luck on downloading anything, Chromes flash downloader did download a 115 meg container file that was empty.  What the ABC is stubbornly not wanting to understand that it is perfectly legal for a person to download a show for format shifting, that is to download to a computer, then change the codec to watch on another device in another location.  Unfortunately Whirlpool where most of this discussion took place have been gagged by the copyright mafia, and any discussion regarding circumventing iViews DRM is immediately deleted.  It seems of late, the technique on downloading a show from iView has become very difficult to come by. 

Ausrock Forums / Re: Slim's Birthday
« Last post by Beergut on Wed 13 Jun 2018 22:13:15 »
Saw his very last concert in Marree as part of the year of the outback. Marree had never seen anything lihe it .
Help Me Identify This / McLead's Daughters OST
« Last post by HTApokis on Wed 13 Jun 2018 06:22:37 »
Found on the Rate Your Music site this release with a number of tracks attributed to Tex Perkins, Bernard Fanning among others.
Track listing

    1 You Am I With Tex Perkins - Understand Me
    2 Paul Healy - Common Ground
    3 Grinspoon - Never Enough
    4 You Am I With Bernard Fanning - Don't Judge
    5 Paul Healy - Love You, Hate You
    6 Palladium - Heat
    7 You Am I With Billy Thorpe - Am I Crazy?
    8 Dallas Crane - We Got It Wrong
    9 Bernard Fanning and Bruce Haymes - The Siren's Song
    10 Paul Healy - Hopeless Case
    11 You Am I - Just a Child
    12 The Loved Ones - My Heart Is Like a River
Seems spurious to to me but if anyone can confirm this is real or fake news would be interested to know.

Ausrock Forums / Slim's Birthday
« Last post by Tomado on Wed 13 Jun 2018 03:05:14 »
If you live nearby fyi:
Music and Entertainment, Local gigs / The Angels - Face to Face (Recharged)
« Last post by Klaatu on Mon 14 May 2018 01:31:27 »
On Thursday (11 May), The Angels quietly released Face to Face (Recharged).

Only available as an MP3 download at this stage, the current lineup has re-recorded the album, without Live It Up but with Am I ever Gonna See Your Face Again?. Also comes with the entire album live from the Bridge Hotel.

For my own enjoyment, I took Live It Up from the Bridge show and added it into the correct spot on the album.

All sounds pretty good.

Available from the following:

Lets have a Winge / Re: CD mastering - Brickwalling and Limiting.
« Last post by SunnyToo on Fri 11 May 2018 06:46:37 »
Now that is a really an over compressed waveform. How could anyone be proud of having done that.

For those interested here is a BBC radio documentary called "The Art of Remastering" broadcast in 2010. At least the people interviewed here seemed to have some respect for the original recordings.

Spoiler: ShowHide!KIUkEZ6J!TMeFT61uOk9iposFPDKJUoWy9CoHA3OhwQ9sCQfUnCM
Lets have a Winge / Re: CD mastering - Brickwalling and Limiting.
« Last post by goodiesguy on Fri 11 May 2018 01:43:54 »
Preach it man!

It annoys me especially with Archive material from the 60's. That and un-needed noise reduction. That, for me, ruined much of the otherwise great Spin CD festival CD's from the late 90's. Once I heard rips of the Festival File discs from the late 80's, it was like a night and day difference. All of a sudden, songs like Ray Browns 'Fool Fool Fool' had natural reverb trails and wern't ear-piercingly sharp.
Lets have a Winge / CD mastering - Brickwalling and Limiting.
« Last post by rainmangoestorockwiz on Wed 09 May 2018 17:04:56 »
First off, I would like to say that this practice has pretty much destroyed 95% of CD releases since about 1998'ish onwards.  It's the record company's deliberate act of adding a very loud limiter to CD masters before pressing the CD, and in many cases, adding so much base and treble, that tranquille acoustic ballads and other types of music are turned into ear piercing pieces of rubbish.

I noticed CDs already getting quite loud; the reality that a sense of anticipation was missing when purchasing re-issues and CDs during the early noughties.  This madness reached it's peak when Warner Music in the UK released a heap of early 80s artists (Meri Wilson, Modern Romance, Major Matchbox, Dollar, and etc) under the Platinum Collection range; a collaberation with their back-issue label Rhino, which I now refer to as Warner urinal. 

Thinking that Rhino were the premium product of Warner at the time, I bought these platinum collection CDs by the arm full from amazon UK, and looked forward to hearing a number of early 80s acts for the first time on CD. 

Two weeks later, the parcel arrived, and upon playing them; I thought  my Philips boombox of so many years had finally died.  All the tracks had this horrible shrill through the upper end instruments (drums and percussion), and the base was unbearable.... unbearable to the point that I experienced something for the first time in my life. 

I could never think that ones blood and head could start pumping in anxiety from hearing music.  Well. there it was in front of me in 2007, the very ugliness of the loudness wars.  A heap of early 80s material released to CD for the first time, and sonically obliterated to smithereens for good measure. 

I'm certainly far from being the first when complaining about this; the Steve Hoffman board is full of these tails.  Incredibly as widely documented the practice has become on the internet, a) the record labels stubbornly keep pushing ahead with this mastering trend and b:) they are insanely a number of people within the industry that staunchly justify this practice.  GearSlutz; a musicians and mastering forum seems to have many of these folk who brazenly keep batting for the "loud mastering" brigade. 

As many folk may know on here, I'm trying to make lossless versions of all my Ktel compilations, and for the most part all seems to be okay.  One finishes a project, plays the entire Ktel album through; it sounds like a late 80s CD so far.  Than when you least expected, they'll be a track that comes out so loud, one is about to be blown out of their chair. 

Usually through other available resources, I can find an earlier CD release which will suffice, but as I'm starting to learn, there has been a mountain of mid to late 70s, early to mid 80s stuff released on CD for the first time during the 2003 to 2012 period, and unfortunately it has all been destroyed.  Writing to the record companies, requesting if they can at least re-issue a lossless download without the limiting always results in no response. 

In conclusion, there seems to be a mentality within the music industry that us, as consumers have to settle for this brickwalled material, no matter how unlistenable it is, management of the labels (big and small) just don't give a toss.  How did the music industry get to this ABYSS!

Below are two thumbs showing the track Meri Wilson "just what I wanted", which charted in Australia in March 1983.  The first waveform is from the 2006 Warner Rhino Platinum Collection, the second from a 1988 connoisseur compilation; "25 years of pop".

Live Wire! Jokes & Humor Forum / The Pilot
« Last post by deutros on Fri 27 Apr 2018 14:07:27 »
On a passenger flight, the pilot comes over the public address system as usual and to greet the passengers.He tells them at what altitude they'll be flying, the expected arrival time, and a bit about the weather, and advises them to relax and have a good flight.
Then, forgetting to turn off the microphone, he says to his co-pilot, 'What would relax me right now is a cup of coffee and a blowjob.'
All the passengers hear it. As a stewardess immediately begins to run toward the cockpit to tell the pilot of his slip-up, one of the passengers stops her and says 'Don't forget the coffee!'

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