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Join Date: Aug 2010
Location: Hollywood, U.S.A.
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Streaming music is taking over the recording industry, and there’s no clearer sign of it than this: digital download sales have fallen so much in the past few years that they’re now smaller than sales of CDs, vinyl, and other physical media, which hasn’t been the case since 2011.https://www.theverge.com/2018/3/22/1...aa-2017-report
The stats, which come from the RIAA’s newly released 2017 year end report, show that digital downloads fell to $1.3 billion last year, whereas physical media, while also falling, only declined to $1.5 billion.
Of course, both pale in comparison to revenue brought in from streaming, which has taken over the music industry in recent years. In 2016, the music industry made more than half of its revenue from streaming for the first time, and that growth continued into 2017. Last year, nearly two-thirds of all revenue — over $5.7 billion — came from streaming, an increase of 43 percent.
First off, artists in the most popular genre in the U.S., R&B/hip-hop, apparently no longer care about CDs and thus no longer care about brick-and-mortar merchants. At least 25 R&B/hip-hop albums that debuted in the top 10 of the Billboard 200 this year didn’t have a physical CD released in stores on debut week. That includes six No. 1 albums: Eminem’s Kamikaze, Cardi B’s Invasion of Privacy, Kanye West’s Ye, Migos’ Culture II, Travis Scott's Astroworld and The Weeknd’s My Dear Melancholy. Even worse, from indie store’s point of view, at least half of those 25 hit albums still have no CDs months after being released.https://www.billboard.com/articles/b...vinyl-analysis
This album is different from my others in that the master was recorded onto five tracks. Ideally, it should be heard through five speakers, four in the conventional rectangle and the fifth suspended above the center - thus a sonic pyramid. Although it is impossible to encode this onto a phonograph record, as much as possible of the five-channel effect has been incorporated into standard discs through the help of the engineering staff of Japan Victor.
Some record labels such as Telarc and Chesky have argued that LFE channels are not needed in a modern digital multichannel entertainment system. They argue that all available channels have a full-frequency range and, as such, there is no need for an LFE in surround music production, because all the frequencies are available in all the main channels. These labels sometimes use the LFE channel to carry a height channel, underlining its redundancy for its original purpose. The label BIS generally uses a 5.0 channel mix.https://en.wikipedia.org/wiki/Surrou..._(LFE)_channel