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- May 21, 2019
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I've been wondering about long-term plans for ASR. Right now, it's the best resource out there for audio-related help and information. It seems like there are more people joining everyday who want to understand audio concepts and advice in buying decisions.
Take Discogs. I was using this site back when it was started by enthusiasts collecting dance music. Why was it necessary? Because no one had any idea of the whole. So many unknown but skilled artists and producers signed onto small labels with limited distributions which only served a particular scene or genre and then passed after a few years. Anyone interested would mostly rely on advice and word-of-mouth if looking for new sounds or exploring the depths of a certain era. I still rely heavily on Discogs and have contributed more than a few unique releases. Since the mass of data is user-generated and forum is not very active, you have moderators which examine user submissions for quality and approval, although many users register, submit a few releases and then disappear. Data quality is a massive issue, and the data submission manual is not well-written.
Eventually Discogs grew into its current corporate glory and created many other [catal]-ogs. Here you have Gearogs, which collects entries for all audio-related gear, like speakers. Again, data quality is a central problem and I haven't liked some of what has happened, but I'm grateful for the resource.
From where I'm sitting, and from the types of questions and topics of interest on ASR, it's clear that we want some sense of the whole, advice about how to navigate it, and are at a similar turning point.
So where do we go from here?
In its current form, despite its popularity, ASR is a fragile online resource. @amirm and @Thomas savage are the mainstays. In the face of that there are the usual risks of overwork, burnout, sickness and so on. There is also a heavy demand for the kinds of reviews and exchanges that take place here, and a pool of uniquely-available collective knowledge.
A few more reviewers and a formal back-end and staff would help with longevity, reach and upkeep. I'm sure the site's functions could be improved as well, like the data-gathering, presentation and comparison, search functions, navigation and so on.
Another driver is the push to confront the industry's dishonesty and predation, and put into the public eye those companies and manufacturers that deserve recognition for their engineering.
Discogs gathers a lot of its revenue from commissions (last time I checked, set at 8%) from second-hand sales of physical media. I don't know if they are planning to do the same thing with gear, but that might be the case. Certainly would generate a lot of revenue if it got going, given the ease of having a good database already. Gearslutz has their classified sections, which require subscriptions. Then there's Head-Fi, which appears sponsor-driven. There are also the various audio marts and attached forums. I'll fully admit that I don't know the extent and details of their business models. But each of those companies function as gathering points. They host shows, bring in lectures, perhaps organize classes (I think Gearslutz does this for mastering, mixing and such), and generally maintain a consistent operation, as well as keep their forums active.
I hope this thread will start a serious discussion going. What does everyone think?
Take Discogs. I was using this site back when it was started by enthusiasts collecting dance music. Why was it necessary? Because no one had any idea of the whole. So many unknown but skilled artists and producers signed onto small labels with limited distributions which only served a particular scene or genre and then passed after a few years. Anyone interested would mostly rely on advice and word-of-mouth if looking for new sounds or exploring the depths of a certain era. I still rely heavily on Discogs and have contributed more than a few unique releases. Since the mass of data is user-generated and forum is not very active, you have moderators which examine user submissions for quality and approval, although many users register, submit a few releases and then disappear. Data quality is a massive issue, and the data submission manual is not well-written.
Eventually Discogs grew into its current corporate glory and created many other [catal]-ogs. Here you have Gearogs, which collects entries for all audio-related gear, like speakers. Again, data quality is a central problem and I haven't liked some of what has happened, but I'm grateful for the resource.
From where I'm sitting, and from the types of questions and topics of interest on ASR, it's clear that we want some sense of the whole, advice about how to navigate it, and are at a similar turning point.
So where do we go from here?
In its current form, despite its popularity, ASR is a fragile online resource. @amirm and @Thomas savage are the mainstays. In the face of that there are the usual risks of overwork, burnout, sickness and so on. There is also a heavy demand for the kinds of reviews and exchanges that take place here, and a pool of uniquely-available collective knowledge.
A few more reviewers and a formal back-end and staff would help with longevity, reach and upkeep. I'm sure the site's functions could be improved as well, like the data-gathering, presentation and comparison, search functions, navigation and so on.
Another driver is the push to confront the industry's dishonesty and predation, and put into the public eye those companies and manufacturers that deserve recognition for their engineering.
Discogs gathers a lot of its revenue from commissions (last time I checked, set at 8%) from second-hand sales of physical media. I don't know if they are planning to do the same thing with gear, but that might be the case. Certainly would generate a lot of revenue if it got going, given the ease of having a good database already. Gearslutz has their classified sections, which require subscriptions. Then there's Head-Fi, which appears sponsor-driven. There are also the various audio marts and attached forums. I'll fully admit that I don't know the extent and details of their business models. But each of those companies function as gathering points. They host shows, bring in lectures, perhaps organize classes (I think Gearslutz does this for mastering, mixing and such), and generally maintain a consistent operation, as well as keep their forums active.
I hope this thread will start a serious discussion going. What does everyone think?
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