2012/5/9 Nicolás Tamargo de Eguren <reosare...@gmail.com> > On Wed, May 9, 2012 at 7:01 AM, jacobbrett <jacobbr...@hotmail.com> wrote: > > Hi, > > > > I want to encourage discussion for better (easier for the end-user, as > well > > as semantic improvement) implementation of masters and their > "significant" > > remasters. > > > > I disambiguate MusicBrainz entities with capitalisation. > > > > Currently > > > > > > We define a Recording as: "A recording represents a piece of unique audio > > data (including eventual mastering and (re-)mixing).". [1] > > > > If a recording undergoes a "significant" remaster/edit [i], we are to > create > > a new Recording to represent the new version (or conversely, we are not > to > > represent substantially different masters with the same Recording). [2] > > > > [i] A subjective issue, though I try to (very roughly) define this as > > "intentionally rejigging an existing recording so that it sounds > noticeably > > different (for re-release)". > > > > New Implementation > > > > > > I think the definition should be adjusted to something along the lines > of "A > > Recording represents a piece of audio data; a unique rendition of a > work.". > > > > My intention is that all remasters and [radio/clean, etc.] edits would be > > grouped under a Recording entity that (perhaps abstractly) represents the > > studio master (or whatever is analogous) from which they're all derived. > > Additionally, we'll implement Master IDs, which must have a parent > Recording > > ID. When a new Recording is created, a de-facto Master is also created. > > > > These changes will render "Remaster Relationship Type" [3] obsolete, as > the > > functionality of this relationship will instead be represented through > > "Recording (master disambiguation/name)" aka Recording ID -> Master ID. > > > > Examples > > > > > > A new recording is made, is mastered (or not) and then released. An > editor > > enters it into MusicBrainz as a new Recording; a Master is automatically > > created. It is also released as a radio edit, which is entered as the > same > > Recording, though the editor chooses to add a new master and is prompted > to > > add a master disambiguation/name (in this case, they enter "radio edit"). > > > > Another single containing the radio edit is released; this time the user > > again selects the same recording and selects the "radio edit" master from > > the drop-down box to the right side of the recording name (if using the > > "Add/Change Recording" dialogue box, otherwise if on a "Edit Recording" > page > > it would be below the recording's disambiguation field). > > > > Issues > > > > > > What should we do if the correct Master is unknown for a particular Track > > (for example, from a compilation)? > > > > I suggest perhaps creating a new master called "unknown" to group > > unspecified Tracks into. I also support implementation of a Picard > function > > that records an image of Track waveforms, for comparison purposes > (stored as > > data-points for rendering in an HTML canvas), regardless if Masters are > > implemented. > > > > [1] http://wiki.musicbrainz.org/Recording > > [2] > > > http://wiki.musicbrainz.org/Style/Recording#What_should_and_shouldn.27t_be_merged_together.3F > > ("shouldn't merge different edits, mixes, remixes or remasters of a > > performance.") > > [3] http://wiki.musicbrainz.org/Remaster_Relationship_Type > > Heh :) I seem to remember that a three-level system, recording + mix + > master, was in the original design for NGS and got simplified to what > we have, probably because people felt it was too much, but maybe for > other reasons. It would be good if someone who participated in the > design meeting could let us know. >
What you describe seems to be Recording then Mix then Master, while jacobbrett sets the master first. In other words, what jacobbrett calls master is not what is called generally a master in the music industry. -- Frederic Da Vitoria (davitof) Membre de l'April - « promouvoir et défendre le logiciel libre » - http://www.april.org
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