I agree totally, even for natural English speakers the use of local “eccentricities” can cause confusion between say Northerners and Southerners , a long debated divide.
I recall some while back using the term “Sissies” in the phrase “Africa is not for sissies” meaning you gotta be tough to cope with Africa (as seen on a T Shirt) but the reader , a non native English speaker thought it referred to someone’s “sexual leaning” and went off into a rage . To me the term is is not even slightly offensive.
Fun fact, I posted a video of the great Ricky Gervais going on about, how we are all so easily offended - then my post with the video was flagged as being offensive.
Sort of proves the point
Roon is the way it is, it will either improve or not, we will just have to wait and see.
I think it is a shame that these threads always end up in a: I am perfectly happy with Roon all is great, if you have a problem it is you, your network, or you are just a complainer.
As I stated before Roon is great when it works, but can be really annoying if it does not.
For me personally it was search that sucked, that improved and was worked on (even though many stated that there never was a problem…) so I am happier with it again.
While you can’t argue with the massive popularity of Spotify etc, the growth in vinyl sales suggests young people appreciate the special connection and relationship you have with music on physical media.
If money was no object I’d have a big record and SACD collection. Unfortunately it’s not, and I use streaming as a way to help me invest in my system instead. But if / when I get to an endgame system I’m sure I’ll start growing my collection again.
My listening preferences haven’t changed a lot over the years. A fair bit of the punk stuff I have recorded from vinyl isn’t available on streaming services. I use TIDAL to check out new music. If I like it I buy it
A/ the money goes to the artist
B/ it won’t disappear from the streaming service and leave me high and dry.
C/ if t’internet is broken I’m not ar5ed.
I have recorded all my vinyl so it plays the files and makes suggestions as to what else I may like from that. I have discovered a lot of music that way.
I tend to agree but there are multiple examples on the forum where a specific recording has been taken off the streaming service . Take for example the Neil Young - Tidal saga
I have split my library “Core/Non Core” to keep my local library smaller and more manageable then add the “missing” ones from Tidal (we don’t have Qobuz in South Africa YET??) but they original files are still available.
The ability for a company to provide a service any where in the world is a very delicate set of interconnected circumstances , almost all of which are out of control of a company.
If you are comfortable with multiple third parties, all aligned and in agreement to provide you a service there is little to be said to change your mind.
I believe you have highlighted a major cultural change that we are experiencing.
I believe that a majority are in this category. Immediate access to an all you can eat buffet. No effort required someone else will do the work.
Very few actually question what have they had to sacrifice for such an abundance of sensory pleasure.
I understand your point. Depending on the genre you listen to, not all one might like is readily available via streaming - or suddenly vanishes.
Yes vast physical collections are a thing of the past. I have loads of albums unavailable or in better masterings.
Had I grown up in this time, I would probably only collect the unavailable stuff and otherwise would stick to streaming.
But there is something very personal about building a collection and that sadly is lost with streaming.
I think you’re being a bit dismissive here, because there are lots of reasons to maintain a local collection. First, while I agree that streaming is readily available, and that there are millions of things you can stream, there are plenty of albums that you can’t stream, because they’re not available. For example, I’m a big fan of Fred Deakin (formerly of Lemon Jelly) and have 57 of his albums (actual albums, mixtapes, singles, promotional material, and so on). Only a very small amount of that material is available to stream. I also have quite a few digitised albums of Bulgarian Jazz that are not available online, nor ever likely to be. I have plenty of other albums that fall into the same category.
Second, while you might well be happy with whatever mastering or version of an album Tidal or Qobuz choose to. make available to you, I prefer to be able to choose a specific version of some albums. For example - and I’ll agree upfront that this is excessive - I have 11 versions of Dark Side of the Moon. Do I play them all? No. Can I tell the difference between them all? No. But it pleases me to have the option to listen to each of them when I’m in the mood.
This I will agree with, though I’m sure there are probably some young(ish) collectors too.
People do talk a lot about what we miss now we no longer own music (and that is all true) but owning music was a hassle, from a digital point of view.
Tagging your music is not fun for the overwhelming majority of people, maintaining consistent genres, level of detail etc.
Transferring your music between devices and storing it is not fun, nor is ripping every cd you get.
The cost of ownership was not fun, getting really into an artist or a genre and not being able to dive head first because it would cost too much sucked.
While there are benefits to owning music as well as streaming, to me streaming has been incredible and we shouldn’t forget just how ridiculously good we have it.
