From: latta@xcf.Berkeley.EDU (Craig R. Latta)
Newsgroups: rec.music.makers
Subject: ... MUSENET '92 update ...
Date: 18 Aug 1992 00:55:14 GMT
Organization: University of California, Berkeley
Distribution: world
Reply-To: Craig Latta <latta@xcf.Berkeley.EDU>
NNTP-Posting-Host: xcf.berkeley.edu
Followups-To: rec.music.makers





	So, if people are getting depressed about not being on the
last USENET recording, it must be time to think about the next one,
eh?

	I hereby volunteer to do as much of the following as others
feel comfortable with:

*	submission collection
*	mastering
*	distribution, including the collection old masters of previous
		USENET tapes and making copies available again. Should
		support "nice" format for a limited time, and "easy"
		format indefinitely after that, given the masters (see
		"Incidentally..." below).

	I cannot do:

*	remixing (unless pseudo-random rendering remappings are part
		of a submission... since I don't own every piece of
		gear in	the universe, nor do I have infinite
		channelspace)


	Incidentally, I'd like to support the "nicest" format that
we'd like and can afford (like CD). It could be a pipe dream, but, for
example, we could press (roughly) 500 CDs for US $2500, yielding a
reasonable per-disc charge of US $5 (call it US $10 to be
conservative). The tedious things about producing CDs are, I find,
fewer than with cassettes.
	I think that copies of all USENET recordings should be
available (prepaid) in at least an "easy" form (cassette), as long as
masters are available.
	Of course, if there is enough lag-tolerant demand, we can do
additional "nice" runs. That is, we can make more CDs if people don't
mind waiting until the run overhead is collected to get their copies.
But usually, I guess, that is only the case with This Year's Amazing
New Release.
	But, if that *were* the case, we could *even* do more than one
of these things per year...

	So, I forsee a schedule something like:

	        NOW:	Depression ends, musicmaking starts.
	 1      May:	Schedule is firmer, ordering and submission
			protocols distributed, submissions and
			ordering start.
	 1  October:	Submissions end, mastering and transcription
			start.
	 1 December: 	First-run ordering ends, "nice" and "easy"
				shipments start.
	24 December: 	All orders received before first-run ordering
				ends are filled, "easy" shipments
				continue.
	12    Never:	Musicmaking ends, depression restarts,
				masters get eaten by eels, shipments
				end.


	I even have a cute new name for the recording: "MUSENET '92".
Somehow, "The <year> USENET tape" doesn't really describe it too well,
unless you know what it is ("Oh, so this is music? What's USENET?",
etc.), whereas "MUSENET <year>" at least gives an enigmatic hint of
what it is and where it came from (and is, as mentioned, cute, which
is so crucial these days).



	Comments? Ideas? Wet fish? Am I off my chump? Want to help?
Use this thread for discussion where appropriate for the World At
Large, else email to me.


	Thanks,

-C


-- 
-----------------------------------------------------------------------------
Craig R. Latta           Experimental Computing Facility                (XCF)
Composer, Software and   ParcPlace Systems, Inc.        (latta@parcplace.com)
    Recording Engineer   NetJam, Berkeley                (netjam-request@xcf)
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