Music Tag Editor Reccomendation?

brent

Solarmass I can only recommend my favorite music player tauon. It is playlists-based music player and has some very simple tag editor. For heavy tag editing there is Picard app.

I liked Tauon almost kept it. Liked gapless a little better.

Solarmass Album art could be built-in into the files or you can just put them in the album folder e.g. "cover.jpg". Tauon will see it.

Because the fetching art databases are useless for my weird tastes I often have to find the cover jpeg on line and put it in the folder itself.
Stupid question: should I be naming these jpgs 'cover'? Is that the word the player is looking for to display it?

Solarmass

brent Stupid question: should I be naming these jpgs 'cover'? Is that the word the player is looking for to display it?

not sure, I usually name it as "cover.jpg" and that's it

SOLUSfiddler

By the way:
I had a little chuckle when I read your Joe Jackson Jumpin' Jive bit: Have it still on a cassette (!) from my days in London back in the mid1980s - yeah! Hell of a guy with his energy and no-bullshit lyrics, Sunday Papers being another one of my favourites!
Timeless music!

brent

Axios https://www.tecmint.com/linux-music-players/

vlc as #1? it is versatile I'll give it that.
I have tried most of these, believe or not, even cmus (I thought I wanted a CLI music player but I was wrong 🙂

The real problem I really never complained about but gets me is these players, with a playlist of let's say 40 albums (450 songs roughly) songs...never really play anything "random" or "shuffle"---the same songs it gravitates to every single day. You make a playlist so you can hear all sorts of cuts...

...but when I auditioned most of them, often for the day, the mimic the same thing. Maybe 50% of music it played earlier or the day before so same songs every day...and the other 50% were deeper cuts.

What's the use of hitting "random" or "shuffle" when they are both inaccurate?

Spoiler: many software writers, and statisticians, say it should be this way and we don't really want "random". In the articles I said these shuffles and randoms are set to repeat some songs with the reason 'that's the way it should be' or something. It was fascinating reading. Apparently I wasn't only one who wondered why you didn't get constant deep cuts with these players---internet littered with people like me.

Eventually I became enamored of a gnome-based player called gapless (not on the list).
The secret to getting more deep cuts, I'm finding out, is shorter playlists.
Not perfect works better than huge playlist.

SOLUSfiddler

brent
Tell you what:
Anything is better than brainless and soulless streaming services that pretend to be "what you want to hear" and are only repetitive repetitions of what you have already listened to.
And, being a musician, I hate them for the fact that their creators make masses of money through our laziness of using them and we, the musicians, make almost nothing.
Wrong world.
Let's change it!

brent

SOLUSfiddler Anything is better than brainless and soulless streaming services that pretend to be "what you want to hear" and are only repetitive repetitions of what you have already listened to.

that's an entirely gutless business approach right there

SOLUSfiddler nd, being a musician, I hate them for the fact that their creators make masses of money through our laziness of using them and we, the musicians, make almost nothing.

That's always been the music racket, hasn't it? I hear bandcamp streaming is decent for paying the artist but it's still lopsided.
I just read this article https://www.makingascene.org/10-ways-the-music-industry-is-rigged-against-independent-artists-and-how-to-fight-back/ --quite a title eh?
Reason #6 is the most depressing on the list and it's a cruel read.
How tough it must be to be a musician anymore. You get to do what you love at a big cost.
"Artists should get paid," Lou Reed once said, when asked.

qsl

brent Eh, bands often screw themselves chasing trends, playing the game of the gatekeepers because that's where the audience is.

I cannot tell you how many bands I have implored to offer something beyond downloads to no avail, blind that once that website is gone, so is your catalogue; never to be rediscovered by some grubby hands pawing through racks. Apparently the hopes of making one third of a cent by millions is better than making a couple of bucks hawking CDs to the geriatric crowd.

One of my favorite artist signs all the preorders. Another commandeered an abandoned building for their show. There are outs.

The audience is just a reflection of the band.

brent

qsl I cannot tell you how many bands I have implored to offer something beyond downloads to no avail, blind that once that website is gone, so is your catalogue; never to be rediscovered by some grubby hands pawing through racks. Apparently the hopes of making one third of a cent by millions is better than making a couple of bucks hawking CDs to the geriatric crowd.

that really says it all 🙂.
your implication is touring and word of mouth and maybe bandcamp are everything?
the grubby hands pawing thru music is romantic and carries with it the magic of discovery. there is no digital equivalent to that tactile experience.

I saw INXS in a 105 degree warehouse in Phoenix eons ago when they only had one hit and it was big on the radio and they also played unreleased 'Don't Change' and all 200 sweaty happy people were blown away and rocking. Radio was the reason. These were just a band of aussies grinding away on their instruments in tshirts and jeans, even Hutchens, on a small wooden stage that coulda been a skateboard ramp.

That stuff still happens but in a different way, right? Or is too diluted?

qsl

brent Compare and contrast.

You are a band in the 80s. You have access to clubs (maybe), but the cover is under $20, split with different acts.

Before you can even think of getting more forms of revenue/exposure, you have to save up or trade for studio time. You then have to save up for whatever minimum order from a pressing plant (or dub cassettes yourself). Rinse and repeat for most mech (or maybe you have a friend that does screen printing). Maybe you shop your recording to a label (or hell, form your own). You "invest" in a perpetually breaking van to get some exposure beyond your hometown.

Your chances at exposure are limited to fanzines, playing shows, or maybe getting played on a college station. That's it.

Today- you can BUY recording equipment for less than you ever would have previously paid for studio time. You can pirate or do online mixing to your hearts' content (or use linux 🙂 ). You can put this on nearly any medium you want with no minimum orders and charge whatever you want, keeping all the profits. You can set up your merch with several print-on-demand shops. Hell, raid some moms' Cricket and DIY. If you are even remotely established, you can fundraise any of this through kickstarter.

You have exposure to literally most of the world online, with websites who will host (i.e- advertise) you for free or handle the logistics of merch for a cut. Youtube channels devoted to up and coming bands, email lists where you notify people of shows on short notice, contact your musical heroes via email to ask for input (it has been absolutely shocking how effective and how accommodating people have been), etc.

But instead of doing any of this, you put your efforts towards making 0.003 cents from streaming services and being screwed by Ticketmaster because that is the new milieu.

It's like punk rock never happened.

Granted most venues are still a ripoff, but everybody is getting screwed on rent. If you aren't The Germs, you can rent a VFW hall for $150, etc.

Music fans are not on Spotify. Trendsetters are.

brent

qsl what you are saying is the opportunities to earn $$ as a working musician are greater now than they ever were in history but those modern musicians are forsaking those opportunities for a chance on a lottery ticket (spotify)...

..depressing. The beauty of punk rock is one can live punk rock and one can not. One can see who has it in them. 🙂

thanks for the contrasting response; it was excellent

qsl

brent Probably wouldn't go as far as "the world is your oyster son. You only gotta believe", more most streaming services will eventually end up the MySpace of the future, and so few are even considering that reality as they try to optimize to make the most of their 0.003 cents, not taking advantage of other options available to them (I think of the explosion of independent labels that came with the rise of CDs as all that vinyl gear was considered fuddy-duddy, sold at pennies on the dollar. And now...).

And more broadly I think of the hulking crater left in in music archive as large swaths of the web simply disappear or are held in corporate hell

It will be the Universal Music fire all over again, shaped by the same corrupting influences.

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