Slashdot Mirror
Obtaining Legal MP3s Outside of the U.S.?
frankkubiak asks: "I recently bought the new iPod with 40GB. I understand the arguments of the record industry, that I should buy the music I want to hear. Alright. So I don't want to get MP3 files by file-sharing. But here is my problem: I live outside the U.S., in Germany to be exact. iTunes only offers service to those inside the U.S. (see this related Slashdot article). I don't want a CD, vinyl record, tape or minidisc. I simply want to listen to the music. Even if I decide to buy a legacy audio CD, it is often copy-protected and won't load in my PC. So, strictly speaking, it is not even an audio-CD. Heise keeps a database of those un-CDs (German language. English speakers can use this fish-translated page). It sounds incredible, but even after hours of research on the web, I don't see a legal way to use this device with new songs. The only way I see to use this device is to buy a CD, and if I can't rip it, I'll have to [break the law and] download the MP3-file via file-sharing. I believe there are more people like me out there who want to listen to their music, without feeling guilty. Why is there no one meeting this demand? How does Slashdot feel about this?" Before you mention Napster, let's note that it has similar restrictions (see the "International Considerations" section). So where can non-U.S. internet users go to download the legal MP3s that they want?
Your use of "untrained ear" is amusing.
The bogeyman of "infinite resolution" with regard to vinyl is just that; it isn't true, and it really oversimplifies what's going on. "Sampling of discrete values" makes it sound as if you're only getting a summary of the information contained in an original waveform, which isn't true.
Yes, the data on a CD is made up of samples. These *represent* the waveform, but are not *the* waveform. The DA step converts these samples back into the original waveform. There is no continuity "lost" in this process, depending on the frequency response and SNR of the original signal.
For example, say you have an analogue tape that has data of up to 16kHz. By Nyquist, 44.1kHz is more than enough room to encompass *all* of that data, and the 16bits gives (going by memory, so I'm likely wrong on this figure) 96dB of dynamic range; far more, in other words, than vinyl ever had.
I'd really like to find an audiophile someday who'll admit to liking the inherent analogue distortion in records. It's pleasing! Great. It isn't enough to elevate audio *above* science, somehow.
Check out sites like Maple Shade Records for prime voodoo. As the same people who believe that analogue is always inherently superior to digital believe that a glorified hatrack "improves soundstage, makes highs livelier, and sounds like a blanket has been removed from your speakers"...I can't say I have much to do with them.