Matt Jones

before you play two notes learn how to play one note - and don't play one note unless you've got a reason to play it - Mark Hollis

No Disc: The Uncertain Future of the CD

My cousin was the first person I knew to own a CD player. It was a Technics model, and for a 10 year old used to either a single speaker cassette-tape player which regularly chewed tapes or a cheap record player with only battered vinyl to play on it, it was the most incredible thing I had ever seen.

As a demonstration, he removed a shiny Compact Disc from its case, carefully placed it on its tray and pressed the close button. For someone who measured the quality of a tape player by how slowly the eject mechanism worked, this was mind blowing stuff.

The CD in question could have been none other; it was the CD that ushered in the Compact Disc revolution and everyone who bought a CD player at that time bought this album to go with it. Yes, it was Dire Straits’ Brothers in Arms.

I marvelled as he pressed the play button and the LCD that showed the seconds that had elapsed. Where was the hiss? The slight bump and crackle that notified you that the music had started. There wasn’t any. Instead, all I heard was the crystal clear noodlings of 80s Moog-synth and Knopfler’s ridiculous guitar riff on Money for Nothing.

What amazed me the most, I think, was not the clarity of the sound, but the fact that you couldn’t see the disc playing; that the machine was in some way interacting with the disc to make music just didn’t seem possible. Almost 20 years on, and the way we consume music is taking a huge irrevocable leap once more; 10,000 tracks can fit snugly in your pocket, music can be il/legally downloaded from the Internet and the Music Industry is behaving rather like a terrified ant colony trying to cope with an indestructible invader.

Back when things seemed simple, the predominent format in which music was bought was 2 or 4 sides of vinyl contained in a cardboard sleeve. You exchanged money for a complete package; songs were written and sequenced for the format, a high level of work was put into the sleeve and album notes, and the whole thing could be enjoyed even without removing the record from the sleeve. Buoyed by DJ/club culture as well as a stable economy in second-hand/collector’s records, vinyl is still popular, and for good reason: it’s clear what you are buying and what you can do with the music once you’ve bought it. What makes the resilience of the vinyl format even more remarkable is the fact that it may out last Compact Disc.

Dire Straits’ AOR epic was sold on the Compact Disc standard developed Sony and Philips in 1980. It bore the the CD standard logo, which meant it could be played on equipment also bearing that logo. This ‘red book’ standard has to be adhered to by both CD and CD playback equipment makers so that consumers know that their CD will play on any device they choose. Unfortunately, in a futile attempt to stop people copying music they’ve bought (because of course, everyone who buys music rips it and distributes online straight away!), record companies are deliberately breaking the red book standard by burning faults onto CDs which trip-up CD-ROM drives found on computers but not dedicated CD players. So, when someone buys a copy protected CD, they’re buying something that’s broken; to a CD-ROM drive, its the equivalent of a piece of vinyl that’s had a hot soldering iron struck across it.

I went into HMV the other day to try and gauge how many of the CDs it was selling were crippled with ‘copy protection’. I have to say that the percentage of broken CDs to standard CDs was pretty low, although I wonder how this will change over the next 5 years or so. I guess it’s only the Big 5 record companies that are peddling ‘copy protection’, leaving countless smaller (not so evil) companies to produce unhindered CDs. Lets hope it stays that way.

In the meantime, ‘copy protected’ CDs make good beer mats but that’s about it, so please don’t buy them. There may be software that allows you to circumvent the protection but to buy them is to validate them in the eyes of the music industry, which is bad. Anyway, I’m off to root out my old copy of Brother’s in Arms for a spot of Money for Nothin’ in glorious DDD (did I just write that?).

7 Responses to “No Disc: The Uncertain Future of the CD”

  1. MacDara Says:

    Even within the rosters of major labels that have been very active as of late in copy-protecting their products (BMG and Sony in particular), the powers that be only seem to concentrate on artists that are or might be cash-cows. If the potential for losing vast amounts of revenue from a hot new artist is big enough, then they\’ll take such nefarious action. On the other hand, if the threat is low in their eyes, they don\’t bother – which kind of contradicts claims that it\’s the smaller artists that get hurt by the file sharers, doesn\’t it?

  2. Tommy Says:

    I\’ve avoided copy-protected CDs. So far this has meant not buying three albums I *really* wanted. I\’m definitely one of the old school breed. I want my music in a physical format, cover art and all. However I wouldn\’t mind using things like the iTMS for buying the odd track.

    Funny that you mentioned Brothers In Arms, I bought that a couple of weeks ago. Classic. :)

  3. Matt Says:

    I\’m not really sure about the whole iTMS(iTunes Music Store) things really as I think all forms of DRM(Digital Rights Management) are bad. I wouldn\’t have a problem downloading from \”Bleep.co.uk\”:http://www.bleep.com. Has anyone had experience of purchasing music from Bleep yet?

  4. Tommy Says:

    I won\’t use Bleep until they offer formats other than MP3, preferably AAC or FLAC. Magnatune have the right idea though. They just need a better catalogue.

    http://magnatune.com/

  5. natis Says:

    Good to see you write in some length again Matt. I believe here in the states the amount of copy-protected CDs is even smaller than what you have in Europe (from what I\’ve read, you guys seem to be the lab rats for this). On the part of records and CDs being complete pieces of art, I only somewhat agree. For the most part, I think the amount of artists really trying to put together a complete package for their fans is a small amount. Radiohead still does it with their limited versions, I\’m the proud owner of an original Blue Monday album but for the most part, I\’m setting myself up with an iTunes allowance account because I\’ve run out of space for my CDs. Also, I don\’t think many people view music the same way as some of us.

  6. MacDara Says:

    I\’ve used Bleep. I downloaded Boards Of Canada\’s \’Music Has The Right to Children\’ a few weeks ago. You really need broadband to get the most of it, as the download folder was about 90 MB, but the sound quality is excellent. I burned a CD to play away from the eMac, and it doesn\’t suffer from that hollowness one might expect. I do, however, bemoan the lack of the jewel case and the inlay cards, so when I have a choice I\’m always going to go for the physical object.

  7. Matt Says:

    Related pieces on \’Music as a Package\’ by \”Dan Hill\”:http://www.cityofsound.com/blog/2004/02/money_will_ruin.html and \”Jack Mottram\”:http://www.submitresponse.co.uk/archives/music_is_a_package.php

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