Redbook Keeps Surprising

I wish the record labels worried as much about sharing the profits with the artists (and for dead artists, their estates & families) FAIRLY themselves and in proportion to the artists’ actual contributions versus the record label’s, to the same extent as we are worrying about what are essentially and primarily the record label’s and retailers profit-making rights on this thread.

Bear in mind, I am not intending to start a flame war.....

*****I just wonder if anyone has stopped to think whether or not some dead (or still living) jazz artist/group and their families are seeing extensive and meaningful multiples of real royalty percentages proportional to the talent required to make the music as label after label comes out with the latest LP pressings in various weights and packaging, various CD, XRCD, SACD, DVD-A, BluRay DVD, etc...and so on and so forth. For example, I have multiple different releases of Miles Davis, Freddie Hubbard and other dead jazz artists in various formats and releases. I have paid new for every one of them from 1st-run retailers/labels so I’ve done my part and ’obeyed the law’.

*****Do Miles’ or Freddie’s families (or foundations) really see the amount of money they should based upon Miles’ and Freddie’s actual creation of the music from the record label and retailer or is the bulk of the money from the ’latest and greatest pressing or remaster’ really nothing more but a great annuity business and profit opportunity for those record labels and retailers time and time again based upon a one-time licensing of the ’use of the master tape’?????

Don’t get me wrong,..I’m grateful for every ’better’ edition of albums I love, hitting the streets and if I buy them, my shelves. I’m grateful for the continuous innovation and improvement however, I see this "mill mentality" where everybody and their mother is putting out copies of ’the great albums’ at no small price (that only seem to be going up...); I’d be willing to better that Miles’ and Freddie’s families (and everyone alive or dead like them) only see a pittance by comparison to what they, the reasons the music exists in the first place, deserve.

If we want to worry about something meaningful, let’s worry about that first, and less about what is really record company/retailer profit opportunity protection veiled by some legal issue.

More calmly,...if I buy an CD, LP, SACD, Movies on DVD or BluRay, etc.. pay full price and thus abide by the law, play it, enjoy it, and decide to make a copy of it to retain (on hard-drive, etc.. which I very rarely if ever do in the first place) then sell it or give it away, what’s truly wrong with that?

Cleeds: I do avoid the practice, please look at my system/room photos, you'll see I have what is a very large collection that is ongoing and constantly growing, not shrinking. I was asking a straight-up question and thank you for your answer.

Thanks...that helps alot!

Cleeds/others who know the law: One other serious question,...consider this scenario; I buy a disc from a regular retail source, pay the prescribed market price, listen to it, don't rip it or save it in any way and then grow tired of it, and give it to a friend/donating it; is that a violation of copyright law as well? Asking this as I've had the thought of leaving my entire setup and collection to my son but on the chance that when I leave this earth, he either accepts it full-on or if he doesn't want the hassle of what is now over 10,000 discs, I may ask him to donate it to a music library at a college that I favor but I do not want my estate in violation of copyright law.

I would think a lot of audiophiles with LP or CD/SACD/etc...collections would have similar thoughts (about family members at least).

One other side note; I mentioned the pictures of my system/collection; the shelf photos were taken in early July 2014; if you stop over today, you'd see there is alot more added and none subtracted (and much sitting on the floor in need of shelves). Not bragging, only further supporting the comment that I do in fact 'avoid the practice' as mentioned below.

dh901: if your comment about needing a moderator to issue a warning is directed in some way at me, let me know what your issue is, if one still remains and we'll deal with it.  

To the original topic,...RBCD does keep surprising both in terms of RBCD traditional formats that are on the market as well as what I would consider RB variants/offshoots like XRCD, XRCD2 and XRCD24.  There are some phenomenal discs on my shelves (Cafe Blue from Barber is indeed among them) as are various Shelby Lynn and Melody Gardot discus and myriad others of all sorts of musical styles that amaze me daily as to how they sound. Part of it is the front-end i have is known for extracting every bit of detail there is precisely from the disc and the downstream system/cabling is chosen for its overall musical effect however, there is no mistaking that the quality of RBCD format pressings and the mastering that goes into them from many labels such as Venus Records, Stockfisch Records and many others has gone off the charts compared to ten, twenty and thirty years ago.  The format and peoples' creations for it have finally (IMHO) become audiophile-grade over the last few years....

Thank you very much for the answer on that; can I assume the same would apply to (after my death and therefore no longer using my discs) giving it all to my son or if he does not want it, to a music library as a donation?

Almarg: Thank you for your help!