My favorite band – the Mekons – just did release an album.

Since I paid for the download, $9.99, plus three bonus tracks at .99 each, and a hard copy of the CD, I would say I am willing to go $25 or so.

Probably more, if, as you say, it’s going to provide the incentive for them to keep creating music.

Realistically, it’s probably more because they stopped by on a rare tour stop last week, and I bough a block of tickets, along with a couple of limited release posters and another CD at the show.

But then, I’ve never been a big one for downloading commercial songs.

Since I’ve paid $28 bucks for rare imports by [redacted], I’d be willing to drop $30 for something like this. FWIW, I don’t hate Radiohead. I respect them as artists, but Thom Yorke’s vocal stylings grate on my ears.

i’d do $10 – cost of an average iTunes album.

If they did it exactly like this, I’d pay $25-$30 knowing that the world was watching. The idea would be to make this seem like a good idea so that other bands would do it.

I imagine that this will attract more casual fans than die hards, driving the average price paid way down.

That’s been exactly my argument for years–if I could just mail a check for $20 to all the bands I like and get music my *cough* own way, bypassing the record company scumbags, I’d be totally pleased with that arrangement.

That I was listening to “Everything in Its Right Place” as I read this has little to no influence on that decision.

This option of allowing the consumer to pick the price goes against every free market principle in existence. The price should be fixed and the invisible hand something something.

“This option of allowing the consumer to pick the price goes against every free market principle in existence. ”

Why do Radiohead hate capitalism so much?

Absolutely disgusting anti-capitalist behavior. Its totally unfair competition.

Didn’t you guys know that collusion and price fixing IS competition..

Radiohead’s an interesting band, but I’d definitely want to hear a bit of it before I bought the album – my typical breakpoint for albums is if it contains three songs I enjoy, I pony up for the album.

As far as what I’d pay for it if I wanted it, I’d easily drop $20-$25 on a good album. Of course, for last-album-of-the-contract-filler-drivel, they’d maybe get 3 bucks. That doesn’t happen often with my favorite bands, though.

I paid $45 for the San Francisco Jazz Collective’s 2007 live album. It’s a 2-CD set. That high price includes money going to SFJazz’s nonprofit activities, so I don’t know if that’s comparable.

To answer the question, what I’d pay would depend on how big the band is — if they’re big I’d pay less, if they’re small I’d pay more.

Most of my favorite bands really need the money, so I’d have no issue giving up thirty bucks. Someone at Radiohead’s level is already pretty well-padded, so I’m less inclined to part with the long green.

And I don’t dislike Radiohead; I just don’t think they’re all they’re cracked up to be.

I’m planning on paying them $10, though I may bump that up to $15 after reading about your generosity (though I haven’t pirated any of their stuff so I don’t have any guilt either.)

For me, it’s not about how much I’m willing to pay, but how much I’m able to pay (I’d fund my favorite bands completely outta pocket if I had the money.) I buy albums when I have the cash, but when I don’t I feel no remorse grabbing them “illegally” from a P2P. They wouldn’t have gotten my money anyway, but they might in the future because they’ll stay in my mind and not just pass through it as “that song I heard on the BBC that time. Case in point: The Fratellis. I heard em, liked em, downloaded em, and am planning to buy the album when my next big check comes in. But if it weren’t for “illegal” downloads, they’d just be this song I heard once.

I paid them $15, though if asked, I probably would have paid more.

I can understand, Brad. I got a Aphex Twin EP that really only contained one track for $20, also imported a Boa CD for $60.

Though I’m surprised by this: as little as £.01 because I “ordered” the download for £0.00:

Your Order Confirmation
You should print this page as your order confirmation. This transaction will appear on your credit card bill as WASTE PRODUCTS LTD. or a shortened version of this.

Order total £ 0.00

Svlad Jelly, I totally relate to what you just said.

Radiohead has played much of this album live already, and some of those songs are absolutely gorgeous. This is going to be a very pretty Radiohead album, I think.

Radiohead is only free to do this because they are not shackled to one of the suck-ass major labels. They’ve handled their own self-release way better than any major could have handled it. In one fell swoop, they are getting tons of press and good PR, generating lots of excitement for their new release and proving that the record industry as currently constituted is totally obsolete. And they also prevented the album from leaking early– the thing is coming out in nine days and still no internet leak.

Genius move.

I found no information at their site about what kind of file one is buying.

Is it AIFF or mp3 or something else?

I would assume mp3 but what size?

Will it be “CD quality” or something less?

My floor-standing speakers want to know.

I’m going to download 5,000,000 copies for free, then sell them from my front lawn, with a sign that says “Muzik Downloabs, 1 dolar”

Then I’m going to retire.

For me, it’s not about how much I’m willing to pay, but how much I’m able to pay (I’d fund my favorite bands completely outta pocket if I had the money.) I buy albums when I have the cash, but when I don’t I feel no remorse grabbing them “illegally” from a P2P. They wouldn’t have gotten my money anyway, but they might in the future because they’ll stay in my mind and not just pass through it as “that song I heard on the BBC that time.

This is exactly what the RIAA doesn’t understand, and why they’re an endangered species.

The Poor is dead on with this.

first the music industry took an excellent product–the 33 RPM record–and made it super thin so that it would warp if kept out for 2 hours. they raised the prices when they did this, forcing those who wanted real quality vinyl to buy japanese imports.

then the music industry introduced a degraded format–the CD–and though the price of production went down year after year, they charged a premium for this as well, on top of the premium they were charging for shitty vinyl.

then steve jobs comes along, and the apple-lytes come running (“if adolph hitler blew in today you’d all come running anyway” is more apropos of apple freaks then it was of late 70s punks) when he offers two levels of degraded shit: one, a format that is incompatible with anything but his stupid hardware (fuck you asshole) called aac, and worse, at a bit rate of 128, which is to say far shittier than a CD, or vinyl. his cost of production for this product is near nil comparitively, but don’t worry–he ain’t tossing you any price break, although the stupid and the gullible think he has at 99 cents a pop.

so the consumer has constantly been given a shittier product over the years while being charged more for it. meanwhile, the artist has never reaped any benefit from this constant oligarchic overcharging (what fugazi and frank zappa did is fodder for a separate discussion but only makes all this even more clear). and the consumer, not interested in figuring any of this out, has been saying “thank you sir may i have another” up until recently, when the consumer has assumed that downloading music for free is only stealing from the music business (who deserve it) while not noticing it is also stealing from the artists (who in the main don’t deserve it).

no fucking wonder bush was re-elected.

RG, you’re right in a lot of respects, but you’re not mentioning one major aspect of the way the modern music industry works: mp3s are successful because people would rather have quantity than quality. Yes, mp3s or AACs aren’t ideal sound quality, but the new iPod is 160 GB. That can hold, what, 30,000 songs? That’s pretty convenient. The trade-off in sound quality is totally worth it for a lot of people. Steve Jobs did a lot more than make music sound worse.

I’m a pro musician and record producer, and my iPod with its shitty mp3s sounds pretty good through my $500 headphones. The Apple Lossless format sounds reasonably good even at 128, and mp3s at 192 or above are tough to distinguish from the original CD master. You lose a little detail and the high-end stuff can occasionally get that crinkly digital sound, but I’m a total snob and have no problem enjoying music in mp3 format.

The music industry is suffering because they abandoned quality music and completely neglected their adult audience. The majors’ response to the rise of Clear Channel and P2P was to promote shittier and shittier music. Booty-dance anthems, whiny teenybopper emo-rock and insipid moppet-pop have become the rule of the day. Pop singles are blatant cross-promotional schemes– “Young Jeezy featuring Tim McGraw and Akon” and the like. That’ll move you some units to the kids in the mall and maybe even save your job, but sucking the soul out of music has its consequences.

I’m pretty sure Radiohead aren’t going to release sucky mp3s to their fans. They’re tech-savvy enough to know about lossless recordings, etc.

JK47- what’re yr new favorite songs? I’m liking 15 Step, Videotape, Open Pick (now called Jigsaw Falling into Place) and Bodysnatchers. Down is the New Up is cool as well. 4 Minute Warning is a lovely idea that was never really fleshed out into a full, dynamic song.

I am willing to pay exactly 0 dollars and 0 cents.

I stopped pirating media almost a year ago. The last time I did was the Sopranos final season (because I dont have HBO and didnt want to have the entire thing spoiled by the time it came out on DVD) but I am planning to buy the DVD. So no free games, music, movies. I can afford to pay for content I like and I mostly listen to indie music anyway, the type where the artists need the money.

But if a band is willing to put songs up for free, I am going to take them. For free.

Roger Clyne has produced, marketed and distributed his own CDs ever since the Refreshments ended their relationship with the label. The Peacemakers do very, very well for themselves selling their CDs, booking their tour and marketing their own product. And will all the money flowing directly to the band, they need substantially less revenue because the label isn’t taking 70% of it.

I hear this discussion about vinyl, CDs and mp3s all the time. Now maybe it’s just me, with my history of firearms and LOUD metal music my ears are significantly degraded, so I can’t hear the differences being discussed. But I see it as convenience. You couldn’t do much with your LPs. If you took them to a party, they’d get fucked up. You couldn’t play ’em in your car, or at the beach. Cassettes were sort of an improvement, but they were actually even MORE fragile with breakage and unraveling and all.

CDs with easy to play, easy to play the tracks you wanted to play, easy to take with you, play in the car, or in the boom box. But with 12-15 songs on one CD, eve after we got napster and winamp and were burning our own compilations, that required a lot of bulk. Hell, for years I made anywhere from 4 to 20 CDs a week. It helped that I was in the CD business, but it still wasn’t terribly convenient.

Today, with my iPod Nano, I carry a thousand of my favorite songs in my pocket. Plays in my car. Plays at the beach. Easy to update, easy to find what you want, no pile of media to shepherd through your day. If you don’t see this as a massive improvement to the enjoyment of music, I just don’t understand how music and your life intersect. My life has a soundtrack, and it’s always – ALWAYS playing…

mikey

Heh. Am I the only one who ordered the 80 buck discbox with all the trimmings, then?
Me big fanboy. Seen em 14 times live. N yes, 14 of the 18 tracks on the two discs are in the public domain via bootleg, n some of their best work is comin out.
Videotape is goddamn amazing.

jk

yes indeedy, mp3s above 192 are just fine. and apple lossless is fine as well, although it isn’t 128 (it’s more like 320k).

the issue with jobs is that you can’t get hooks into aac. you can’t port aac songs wherever you want whenever you want. again, this is a degradation compared to the old days when i could take my vinyl and record it to a mix tape and play it on my walkman or whatever. now, with jobs’s special fuck you to everyone, i can’t. my very clever open source slimserver player (well worth checking out IMHO) can play EVERYTHING except aac because of this desire to marry technology distribution to a piece of specific branded hardware. just like with the apple phone and A T and T. again another fuck you from Jobs to the consumer.

Note that Jobs is anti-DRM but the people who control his content are not.

bubba

note that jobs is entirely full of shit and wants you to believe that he is anti-DRM. he isn’t. note that his phone does have hooks for third party developers to come up with their own programs. note further that only A T and T, aka the phone company that spied on us all, is the only partner for the iphone.

don’t be played.

Ohhhh, and what that article leaves out is the free dl is only 10 of the 18 songs.
Technically the second disc is bonus material.
I wonder if those of us who bought the discbox can dl all of em, or gotta wait.

JK47- what’re yr new favorite songs? I’m liking 15 Step, Videotape, Open Pick (now called Jigsaw Falling into Place) and Bodysnatchers. Down is the New Up is cool as well. 4 Minute Warning is a lovely idea that was never really fleshed out into a full, dynamic song.

I’m liking Arpeggi, Go Slowly, Bodysnatchers. Open Pick is classic Radiohead. But my favorite is Nude. That song blows me away.

Sweet jezuz hallelujah amen asallamalakum.

I agree with all that about convenience, etc. We have iPods; an mp3 deck in the car and an mp3 blaster for the patio. We listen to internet radio. It’s all good.

But when we listen to our hi-fi stereo in the L. room (the one we scrimped and saved and did mucho research for) we’d like to have high-quality source material to play on it.

Convenience and quality. Why not both?

I think this is a great idea. As far as I know. In the ‘old’ system, most bands make about $2 on each album sold. This can only work out well for radiohead and the whole industry. Still, I’m a sucker and bought the $80 all-singing all-dancing set so what do i know…

I don’t own an iPod and iTunes is shitty, so I’m not getting played at all by Apple. It seems that you have ways to listen to your music, so it just seems like you’re angry that you DON’T get any sweet Jobs lovin’.

The way to interface with iPods is via iTunes, so selling mp3s wouldn’t screw up the hardware monopoly any more than the fact that iPods play mp3s anyway. As has been the case throughout the iTunes music store’s history, record companies are the obstacle.

The Poor- they’re also selling an 80 buck “discbox” with both cd and vinyl, a bonus second disc, and artwork n digital pics n etc.
which also comes with a download.

My previous comment was for the delectation of Robert Green.

Also, do I miss Top 40 radio. Payola aside, I always liked the mix of different styles and the fact that some genuinely weird hits got on the radio because of consumer demand. Where’s the novelty?

Convenience and quality. Why not both?

Storage will get there.

Records that I really love, I go out and find those on vinyl. Most “good” records can be found on good ol’ vinyl, even new releases. I had a hard time tracking down Sun Kil Moon’s “Ghosts of the Great Highway,” but finally found it and now it occupies a proud space in my record bin in between “Fishscale” by Ghostface Killah and “Double Nickels On The Dime” by the Minutemen.

I still like physically owning my favorite records, and vinyl is the most satisfying way to do that.

If jigsaws falling into place is open pick, then that makes 15 out of 18. Tho it needed serious work. Very dull as it was.

Steal this album now. Ask me how.

I still like physically owning my favorite records, and vinyl is the most satisfying way to do that.

The loss of packaging is good for forests, but I pity the kids who don’t get zippers and stickers and posters and stuff with their records.

Really, I thought Open Pick was classic Radiohead– dark and moody. I imagine it will kick ass on the record.

I dunno, I just feel like it needs more…. more variation on the central riff, which isn’t the most interesting they’ve ever written. Feels like an Ed track.
I’m still trying to adjust to the new nude.
Also to figure out if follow me around, i froze up, and mornin m’lord will ever see the light of a studio version. Then there’s the legendary but unheard burn the witch, too.

AAC was invented by folks at Dolby et al, not Apple; the fact that there’s a licensing fee to device makers is no different from MP3 and has nothing to do with Jobs. At any rate AAC and ALAC are easily converted to other file types.

As for the original question, I’d pay the same price for lossless as I would for an album, saving them the costs of pressing and delivering the discs. I’d pay nothing for lossy.

I shouldn’t be trusted with a decision like that. I’ve paid $50 for imported Wildhearts discs before. If one of my absolute favorite bands asked me to pay what I thought it was worth, I might sell my house.

But this is actually the first I’ve heard of the new Radiohead, so what should I expect, Brad? I think I remember Yorke saying something to the effect of the last disc being the end of Radiohead as we knew them, so I wondered what the new Radiohead would entail. Not enough to pay attention to what they’ve been up to, obviously, but still…

I’m not the Brad addressed, but I am the resident rh obsessive, so I can answer.
Expect it to be a bit less electronic, ever so slightly reminiscent of the Bends.
I’m still trying to figure out down is the new up as a bonus track. Aside from videotape that might be the most… I dunno, canonical track of the new stuff.

Basically, the “new RH” sounds a lot like HAIL TO THE THIEF- mostly guitar-keyboard arrangements, with some electronic beats and random noises thrown in. “15 Step” is the best electronic-sounding thing they’ve ever done, btw, other than “Idioteque.” It’s almost (gasp!) poppy!

“Videotape” is more classic piano-ballad style RH, with some nifty electronic white noise added subtly in the background for mood. “Arpeggi” should be interesting- has lots of potential, but wasn’t too happy with how it’s played in concert. I loved the earlier demo they made of it with the full orchestra though.

Wow, I almost forgot about “Videotape.” That’s undoubtedly going to be a centerpiece of the album. What a great song by a great band.

Seems to me like they have more quality material for this record than they did in the Hail to the Thief period.

I say they should get into more economic granularity with this. As much as I’ve played them over the years, I should really be sending them $100 each for My Iron Lung, Lucky, Paranoid Android, Exit Music, Go to Sleep, Knives Out, Morning Bell/Amnesiac, There There, National Anthem, and El Presidente (whatever album that was or wasn’t on). Add to that probably a quarter that amount to Brad Mehldau for his solo piano covers. But I wouldn’t pay $.10 for the songs I can’t bring myself to tolerate, like Pulk/Pull and Glass Houses.

In fact, if I could just pay for the particular parts of the songs I like, like the middle guitar break of Paranoid Android, the part of Knives Out with the mouse, the ending guitar on There There….

Did you listen to the outtakes compilation on DAS, bradrocket? Seems like the electronica is a little more segregated this time. House of cards n nude n several others are almost entirely played on traditional instruments.

The thing about the HTTT material is you have to hear it live. The studio version of the Gloaming, for example, is just a pale shell of its live version. I actually think the HTTT tour was their best of this century, in terms of overall quality of performance.

different me,

I agree. I thought “Idioteque” was rather dull in the studio until I heard them do it live, where it becomes an “In Memory of Elizabeth Reed”-style concert warhorse. Now it’s one of my favorite tracks.

OTOH, nice studio songs such as “How to Disappear Completely” and “Knives Out” are completely flat live.

Heh, one of my best rh memories involves the effect idioteque live has on me. Were you at the Boston show of 03? I was the first person at the stage for that one, n thus was on the rail. The show ended with idioteque, sending me into twitchy “dance” mode. Thom, I guess, sort of appreciated it. Ended the show directly in front of me, lookin down, smiling. I even have witnesses. And it was a tiny security slot, so we’re talkin 2 feet or so of separation.
Same show he lost his place in no surprises, after the crowd went batshit nuts to the line “bring down the government, they don’t speak for us”.
Probably the best show I’ve seen them put on, tho one or two MSG shows also rank.

Sure was there. Small world. I was way, way out on the lawn though.

This was back when I knew a bunch of people in Boston tho I was also there for both shows last summer. They weren’t taking that tour terribly seriously, seemed mostly there to work on the new stuff live.

Missing comma, oh noes!

I liked Radiohead when they played rock music.

I paid Wolfgang’s Vault $10 for a download of Big Country’s Tower Theatre Concert from ’86. Worth every penny. Also you can purchase downloads and CD’s of Crowded House’s lasted tour from their website. I just received the Atlanta show. Best show swag ever. I’d rather have a well mastered CD than Mp3, but something is much better than nothing. Besides, I bought the CD from the band and the download from the King Biscuit folks. It can only encourage them to put out more music.

say your favorite band released their album for download on the Intertubes- how much would you pay them for their work?

My favorite bands all suck. I wouldn’t piss on ’em if they were on fire.

If the album is DRM free, I’ll give them $10 and I don’t even like radiohead. But it’s a really cool initiative and it deserves to be rewarded (and there may be nice surprises in that record).

It will be drm free, whatever form it ends up taking, that much is quite certain. Most likely will be the option of mp3 or flac, tho more likely only flac than just mp3. I think they’re making it free so they have quality control over the format it’s distributed in. Why get a crappy second-hand rip on limewire when you can get it free from the source?

Stereogum has a brief but comprehensive write-up of all the details currently known.

“AAC was invented by folks at Dolby et al, not Apple; the fact that there’s a licensing fee to device makers is no different from MP3 and has nothing to do with Jobs.”

AAC is part of the mpeg standard, Apple uses it in itunes and is a part of their quicktime container (podcasts in AAC can use chapter markers and visuals).

Apple put in Fairplay in their itunes sold music, its a drm layer in AAC.
Apple did this to get the record companies onboard to sell online.

I love how Robert Green foists this all on Jobs.

Its the music biz, RG, who convinced EMI to put out drm free music this spring?

Also, you dont like drm itunes or windows drm?
buy a record or cd and rip it.

A different Brad:

No. I was going to pay 15 pounds for the download and since the site was al kinds of slow, I backtracked and decided to go for the box set. yet ANOTHER brilliant marketing move by the band.

But…A different Brad—fradleybox? Hrmmm….

My favorite bands are dead and gone (maybe Wilco & some world music). Either already released their music or likely never will. Anyone remember Dirty Looks out of late 70’s New York? Only one album, but still have the vinyl. With band member names like Peter Parker and Marco Sin, and a rocking garage bar sound, nothing better.

I know fradleybox, but am not him.

I’m not Radiohead but I do play music full-time and have been making records since 1980. Once signed to MCA , now independent. Besides selling a handful of CDs on CD Baby or direct from my website I can sell them live at gigs, blues and jazz festivals etc., that’s about it. Sucks I know, but I’m working my way through it. The only way I can hope to make any real money now is to have my song (or songs) licensed to a movie production or commercial. Oh and in case anyone’s interested Leon Stevenson’s CD sells for 12.97 + shipping. If you think that’s too much, but you like the music, make me an offer. How’s that? You can hear some tracks at http://www.myspace.com/leonsblues

Man… I’m trying to get me some vinyl, but their server is being unruly… Makes me unsettled enough just putting those numbers into the machine, but when it says that there’s been an unexpected error and the webmaster has been notified I can’t help but imagine some lad in Manchester hitting the pipe and grinning…

Just wait a day or two, the Micah. They’re being overwhelmed with orders right now. I sorta know their web guy, and he has several temps coming in soon, maybe even tomorrow.
And holyfatman, if you’re who i think you are, you don’t want to know who i am.

That’s a stroke of marketing genius, right there. I’d pay quite a bit to support my favorite artists, except that most of them aren’t producing albums anymore.

I’m actually working on a site that hosts the music of “legends that should have been,” and the downloads are free. Getting permissions from estates and band members is a bit tricky, but I’m workin’ on it.

For those of you who like the blues, I give you Kris St. Louis: Click here to download the wma file.

She died six years ago but her music lives on in the hard-to-find album she produced.

Stupid thing. Go here: http://www.readmywrites.com/Boss of Love_Kris St. Louis_Boss of Love.wma

I thought “Idioteque” was rather dull in the studio until I heard them do it live, where it becomes an “In Memory of Elizabeth Reed”-style concert warhorse. Now it’s one of my favorite tracks.

I know of what you speak. The studio track of “Mohammeds Radio” was less interesting than most of Zevon’s other work. But once you’ve seen it live, you get it and can listen to the studio CD with a different view.

Of course, there’s a live version on “Stand in the Fire”, so you don’t have to…

mikey

This whole lossy/lossless debate is for people with good systems. I don’t gain enough from lossless audio to offset my crappy speakers, man, so why bother? I’ve got some Shure ear monitors, but those are for recording, as they’re too fucking uncomfortable to use regularly.

Damn, mikey. I hadn’t thought about Zevon’s gone-ness for a little while, but you just reminded me. I love listening to his recorded stuff, but nothing beats the memory of seeing him live. I’ve never seen a performer give it more than he did.

I’d rather buy individual songs.

Ok, ok. Patience and restraint – two lessons learnt well off the interwebs, circa MOSAIC 😉

Also, I have to second Billy Pilgrim’s first: the new Mekons album on Quarterstick is something other, even though I keep half expecting to hear Kathy Acker crawling up through London… It’s like Marc Bolan bitch-slapping Devendra Banhart then jamming with him after they both calm down. If Radiohead is still surprising people like that 20 years on down the road that double vinyl thing might just be worth more than the sentimental value.

Go see Roger Clyne, Mortician. Sure, the musics different, but you’ll recognize the energy, I promise…

mikey

I wouldn’t pay a plug nickel for any of Radiohead’s music. Nothing personal against Thom Yorke and crew, I just don’t like Radiohead.

It’s a tough question but I reckon I’d pay $Zimbabwe1.23 for any new releases from Metallica.

I’d pay a fiver for a new New Order album. That’s pretty fair and it’s more than they get from London. I’m in the “steal what I can’t pay for” camp. There’s a ton of music I’d never hear if I never stole any, and P2P is really just taping your mates’ LPs for the digital age. I consume when I can though but at A$30 a pop, that’s not much.

http://machinist.salon.com/blog/2007/09/28/unlock_iphone/index.html

apple–always the man, always treated like the cool kid.

I’m with you on the iPhone. That’s fucked up. It’d be interesting to know what the terms of the agreement with AT&T is.

At my work we have to use a rotten piece of shit called Lotus Notes. Each morning it resets the browser it likes on my machine to IE6 despite the fact that I don’t use it and that my job actually requires lots of internet research, which is about ten times better with Firefox. Why? For some reason in our user agreement it specifies that Lotus Notes is supposed to use Firefox. Why IBM has an interest in that I don’t know, but they do.

Anyway, here’s a pretty cool article about Apple crushing the life out of Audion with iTunes.

http://www.panic.com/extras/audionstory/

Notes is supposed to use Firefox.

Duh, “supposed to use IE”.

Bubba, your setup for what browser is chosen by Lotus Notes is set by the system, not notes… So go into the internet options in IE6 and tell it not to choose itself or talk to the system. If you can’t find the setting there, it’s in the registry in plain text.

And I don’t get all this lossless arguments, either. We haven’t had lossless audio for like, ever. All forms of encoding have clipping issues, be it a master tape or a record. Why do you think that records have different speeds? No vinyl record can record with the fidelity of a magnetic tape or any digital encoding over 30… And 128>30.

If you want lossless encoding you want something with a laser firing through a crystal surface, and there’s barely a few light based choices to even play current vinyl, let alone something that accurate.

Besides, do you even have speakers for it?

Bubba, your setup for what browser is chosen by Lotus Notes is set by the system, not notes…

You’re right…except for e-mail in which I use a lot of linkage. And every morning Notes resets the browser choice. Fucking thing.

a different Brad could only be toad.

and Yes, I am who you think I am. It’s pretty obvious considering my website. (with no actual reference to my board name, but duh. who else married another boardie and lives in Baltimore?

$5. Five times what I’d pay for it on LaLa in six months.

And I’m not singling out Radiohead. That’s about what I’d pay for any band’s music when I have to provide the repro device.

I bought it as soon as I heard about it.

Frankly, it doesn’t matter if the music sucks. I like sticking it to a bunch of record execs.

>>>And since I’ve pirated a billion of their concert recordings over the past few years, it’s the least I can do.)

word.

As for the economic model, Jane Sibbery (a quietly weird and wonderful Canadian) has been doing this for a few years now:

http://www.sheeba.ca/store/

From the site:

—
Like many, I feel restless and impatient with living in a world where people are made to feel like shoplifters rather than intelligent peoples with a good sense of balance. I want to treat people the way I’d like to be treated. ‘Dumbing UP’ (as opposed to ‘dumbing down’).

WHAT ARE SELF-DETERMINED TRANSACTIONS?
NOT donations
NOT pay-what-you-can
NOT guilt-trips
NOT tests of your integrity
ARE trans-actions

You decide what feels right to your gut. If you download for free, perhaps you’ll buy an extra CD at an indie band’s concert. Or if you don’t go with your gut feeling, you might sleep poorly, wake up grumpy, put your shoes on backwards and fall over. Whatever. You’ll know what to do.
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Sanity. Feels good, no?

Just found out they’re sending out 160… I’m so pissed. I thought it would be AT least 256… I want my 7 pounds back!!