I think that's really great, but I think one of the reasons that many Audiophile companies fail is the fact that they're always releasing albums that few people care about musically (even if they are recorded flawlessly). I know it's not right, but I never seem to buy those boutique releases. They're expensive and I don't usually spend that sort of money when I'm not familiar with the artists. I'm sure many of these people are very talented, but if given the choice between a perfect recording of David Chesky and somewhat worse recording of a world renowned concert pianist...I'm going to buy the recording by the better piano player. I realize that a truly great audiophile recording needs to be controlled from start to finish. That probably means that they need to record the artist themselves (or pay the rights to release a previous recording) and that, unfortunately, leaves most major artists out of consideration because of their deals with larger labels. That's too bad for all of us, but it really hurts the audiophile labels. I know Mobile Fidelity tried to release Audiophile versions of popular recordings, but I was always amazed by some of the crap they chose to release. I always thought that there choices were all over the map, extrememly inconsistent, and the albums they chose were often mediocre recordings seemingly aimed at the consumer market instead of the Audiophile market. Besides all that, the major label licensing fees must have hurt their bottom line. Would MoFi still be around if they chose to release different albums, or are there just too few people buying Audiophile releases to support such a company? It doesn't seem like DCC or Classic Records have fared much better, and I think their releases were more consistent. Oh well...I'd love to see someone do it right someday.
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