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PaulH

Wammer
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Everything posted by PaulH

  1. I've been using a Ringmat 330 XLR and an LP Statmat for over 20 years.
  2. Linn used to work with Alexa. However, they changed things a while ago and now they no longer work with Alexa. Seems a bonkers decision by Linn to be honest.
  3. I used to use Pins when the Linn actually worked with Alexa via IFTTT... then Linn put an end to that Now I no longer have any use for Pins.
  4. If they are intending to listen in audiophile quality, their best bet is a probably a decent set of headphones rather than floor-standing speakers. If it's just for general listening, then a set of bookshelf speakers will be fine.
  5. Kolektor sold. Lk140 still available
  6. Many eons ago if I heard something I liked (radio, gig, word-of-mouth, etc.) I'd go and buy the vinyl. Eventually I needed lots of space and shelves to store it all. Move forward a few years and I bought a CD Player and began buying the CD instead buying vinyl. Storage shelf space still needed, but at least it was less than that required for my vinyl collection. Eventually transferred all my CD's to flac, got a Streamer, and started buying downloads instead of CD's. No more CD storage required as I could store all of these downloads on a little box smaller than a pack of cards. Never paid for any streaming service. I still buy music... mostly as a download, occasionally as vinyl. So for me not much has actually changed, apart from the device needed to play the music The process is still the same.
  7. Both in superb Condition. Linn LK140 Power-amp With power cable, Linn Black interconnect & 8x speaker plugs £425 ono+ Postage Linn Kolektor SOLD Pre-amp Boxed with original remote, power cable & manual £SOLD
  8. Are you trying to set up Space Optimisation with the web version, or the Konfig version? I don't use Linn speakers, and mine aren't listed in SO either. I use the web (not Konfig) version (logging in with my Linn Account) and made sure all the exact size, shape & dimensions of my room, together with the exact distances for speaker positions, listening position, etc. was probably the most important bit in getting a good SO
  9. I added a HifiBerry DAC, cost less than £40. Then just copy Volumio to an SD card (rather good free software), and put it in the Pi.
  10. For a good streamer that doesn't cost much (another words, less than £100) try a Raspberry Pi and run Volumio on it.
  11. Go to your Tune-In Account online. Add the URL to your favourites. Job done.
  12. I've always tried to avoid any sort of plugs/spades. Just miss out the middleman, and fix cable directly to the binding posts.
  13. Streaming rates are not ideal, and they do need looking at. But remember it's only the songwriter that gets the money. If you're in a band and don't write any music/lyrics you will get no money from radio/streaming plays. You have to rely on actual sales for your money.
  14. It's not missing the point. I get the impression a lot of the recording buying public don't know how a record deal works. A lot of artists also don't know how a record deal works until they finally decide to re-read their contract many years later. They blame who they like, it's their name at the bottom. And yes, I have been in a position to turn down poor Record Company contracts and advised others that are about to sign such contracts or management/publishing deals, even a recently as a few months ago.
  15. But that's exactly how it works, and why many artists continue to struggle financially.
  16. Artist signs record deal, record company give artist an "advance". You tied to that record company for a specific number of albums. Th each supposed to cover recording/manufacturing/marketing, paying staff (manager etc..), and maybe still have a bit left to live on. Artist does their job, makes the albums, does all the advertising/marketing/videos in an attempt try to sell the albums. Some spend it that way... However, some don't so end up asking for more money. Fine... but of course it's now increased their advance. Artist only gets actual money from their sales when that advance is paid off. Look at it this way, you wanted a house. You can't afford one. You sign a deal with a bank. Bank give you an advance to buy one. You're tied to that deal for 25 years. You go to work, earn money, start paying back the advance from the bank, and hope you have enough left to live on. Eventually you want to do more work on the house to increase it's value, so ask bank for more money. Bank might give you more, but the advance you now owe has increased. Suppose you didn't do work on the house but you bought a new car, spent it on wild parties, lavish holidays. No problem, you still need to pay the bank back what they gave you. What if you can't afford to pay it back. Bank gets rid of you and you no longer have any right to future profits to that house, despite all the work you might put into it Want to sell your house, or find a better deal with another bank. Fine... you still won't make any money until all the advance from the first bank is paid back first. There may even be a get-out-early clause Now back to the Artist If albums don't do well, the artist might be dropped. Monies from future sales will still be have to pay off all that advance, and they might forfeit any rights to all future sales etc. The artist might decide get a new deal from elsewhere. Fine... new record company will have to negotiate how to clear the debt from their previous deal and any other get-out-early clauses in the contract. Publishing deals are different. Money does not come from physical sales, but the use of their music (radio, streaming, TV, etc..). This is generally how the writers earn their money. Some artists have signed deals where the record company also use their publishing monies to repay the advance.
  17. Every artists signed the deal with their record company, and was free to negotiate so it's their problem. Who do they think paid for all the hours of studio time, the marketing, the production/manufacturing costs. If they want more money to fund their image, the record company may well pay for that too. No matter what the deal, an artist will see no money until all those costs are repaid. Streaming is not Radio. Radio is a one-shot play of the song to possibly thousands of people, no replays, unless the station decides to play it again. Streaming is on demand to one person, who may request it twenty times. So if a radio station has fifty thousand listeners, then streaming should pay the same after about fifty thousand streams. Or putting it another way getting one million streams of one song is equivalent to that song being played once on just ten radio stations each with an audience of one-hundred thousand. Now that should paint a different picture for you.
  18. It's probably a licensing/contract issue for the Artist and/or Linn. Same reason as not all an artists albums are available on all streaming sites. In some cases not all tracks from an album are available via streaming, or whole albums get removed.
  19. I've always turned it off. What's it used for? I just stream from my NAS
  20. I wouldn't have thought it will take them too long. Only thing missing from the online set up of the DSM that Konfig can do is the updates.
  21. Aah. In that case no, only thing I need Konfig for is updates.
  22. Linn Account works for my MSDM, and also did when I had an original MDS-I
  23. Personally, get whatever TT takes your fancy. Then just change the board connection from MC to MM if required. The ADSM has a very capable phono input without the need for any separate pre-amp.
  24. I haven't bought a CD for a few years. I buy flac downloads (hi-res where possible). Don't even own a CD or DVD player anymore. Still buy vinyl though.
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