Music lover. For me, there's no such thing as “cheesy” music.

In the 1990s, I maintained and contributed to numerous discographies, FAQs, mailing lists and fanzines about artists, labels, and genres, including ambient music, the ZTT label, the Art of Noise, Moby, The Future Sound of London, Sun Electric, The Orb, The KLF, and C-Schulz. I co-ran the VRave chat server and Hyperreal, the first electronic music and rave information archive on the Internet. I ran the ambient music mailing list, and I wrote reviews and participated in discussions on various other electronic music related mailing lists. I was an ambient/downtempo DJ at raves & clubs in the U.S. Midwest, and was associated with the well-respected music/art/party collectives Illuminator and ele_mental. I worked for six years at a used record shop which is still in business today. I was also briefly a live sound assistant at various ska, reggae, and indie rock shows and video shoots.

Building on my HTML and system administration experience, in the 2000s I had a well-rounded Web technology and computer programming career with significant experience in Java and Python. In the areas of character encoding and certain technologies, I was near the top of my field and contributed to several standards. I also became deeply interested in Discogs, Wikipedia, and audio file formats.

In 2018, I was interviewed for a feature on the history of the IDM genre. Also in 2018, my 20-year audio engineering hobby was rewarded with the inclusion of one of my vinyl transfers on the Cutting Crew CD released by Universal Music Canada, followed in 2019 by transfer and remastering projects for digital reissues of various Canadian pop/rock LPs by Chilliwack and Murray McLauchlan.

I'm a huge fan of rhythmic music, strong melodies, and nostalgic escapism, so I'm way into classic techno & house music and all of its influences, including original-era disco and Italo Disco. I dig the Balearic and Afro/Cosmic aesthetics, '60s & '80s pop, New Wave, funk/soul/R&B, old hip-hop, jazz, classical, you name it. I especially like music that combines or reinterprets established styles in novel ways, as long as it takes me on a journey.
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I am slowly selling the majority of my collection. The profits go to my 19-year-old niece, who is the first in her family to go to college. She is studying to become a social worker. "Beer money" is what I half-jokingly call my small contribution to her education.

If you want to buy something from my collection which is not yet listed for sale, feel free to contact me and make a reasonable offer. If I don't respond, assume the answer is "no, not right now, but I am still thinking about it". And remember, it is forbidden to ask for digital copies; that's what Soulseek is for.
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My vinyl cleaning solution recipe: Roughly 90% distilled water and 10% isopropyl alcohol, plus 0.2% Alconox powder, which is a little under ½ teaspoon (2 mL, or 3 or 4 "pinches") per liter. Alconox is a lab-grade detergent, typically for cleaning test tubes & beakers with minimal residue. At the record shop we used a much weaker concentration (97.6% distilled water and less than 0.1% Alconox), but I find the extra alcohol and detergent really helps. Just do not let it sit; rinse or vacuum it off as soon as you are done with the scrub. It's best to do a final rinse and vacuum. And never, ever use alcohol on 78s.

I use a squeeze bottle to put a generous amount on the record, and I spread it with a classic DiscWasher microfiber brush (any microfiber cloth will do), holding the brush against the surface of the record as it rotates on a turntable. I also use a small carbon-fiber brush; I hold it at a slight angle against the rotation so the fibers really get into and scrub the wet groove. I use a KAB EV-1 with my household canister vac to remove the dirty solution and dry the record, and pinch a piece of thin denim around the edge to dry the lead-in area, since the EV-1 does not quite reach to the edge of a 12-inch record. I do the whole process 2 or 3 times per side.

With this system I have gotten some major improvements on some discs, but don't expect miracles. Some crud is really stubborn, and of course scratches are irreparable.
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Barcode scanning:
I wrote these articles:
• Discogs Wiki: UPC-A and EAN-13 barcodes (essential info and how to tell them apart)
• Discogs Wiki: CD matrix barcodes (general & company-specific info)
• Discogs Wiki: CD matrix barcode scanning (how-to)

What I use (as of 2020):
• hardware scanner: Motorola/Zebra DS9208 - connects to my computer via a USB cable and simulates keyboard input; configured with Zebra 123Scan
• smartphone/tablet app: Cognex Corporation Barcode Scanner SDK demo (Android | iOS) – featureful, ad-free, free of charge

Some of my data entry conventions/preferences:
• My devices are configured to scan the UPC/EAN add-on/supplemental (2-digit code following the main barcode on some items).
• My USB scanner is configured for HID input, i.e. it simulates keystrokes, directly typing the data into the release submission form.
• If using a mobile app, I manually transcribe what it reports, so errors are possible.
• If using a mobile app which reports a 13-digit EAN when scanning a UPC-A barcode (a shortcoming of many free apps), I omit the leading zero.
• When using my USB scanner configured to distinguish UPC-A and scanning an EAN-13 beginning with 0, I manually add the leading zero.
• Human-readable text is transcribed verbatim, with spaces representing any gaps, and all punctuation intact.
• BAOI descriptions are Scanned or Text, as recommended, optionally with location info (Sleeve, Sticker, Labels) when needed.
• BAOI descriptions I remove: Printed and String (both are ambiguous).
• Barcodes are placed together, as OK'd by staff (here also).
• Scanned is usually placed before Text due to a forum post by a user who said it helps in some contexts (this may be outdated now, though).
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Vinyl track duration measurement: The following info is for people who are reviewing my edits to track durations on vinyl releases. The durations I enter are always based on measurements taken from my own rips to an uncompressed format. I carefully trim the audio in a wave editor to within ¼-second of the start and end of musical content, so that any between-track pauses, tape hiss, or tape bleed-through normally isn't included in the measurement. I then use the duration the editor tells me, but since Discogs doesn't support fractional seconds, I round up or down, usually up (though not always*). If there are special considerations, I'll mention them, but feel free to ask me questions.

My turntable is a well-cared-for Technics SL-1200M3D model I bought new in 1999. Like all 1200s, the motor is direct-drive and is controlled with "quartz locked" digital circuitry, making it one of the most accurate, speed-wise, in the industry. The M3D model is unique in that instead of a detent/click at the pitch adjustment slider's zero-point, it has a separate pitch reset button, which sets the pitch adjustment to zero regardless of the slider position. I always leave the reset button engaged when ripping. I also use the built-in strobe to visually verify that there's no drift, other than the normal and very slight “wow” oscillations; therefore, I'm fairly confident that my measurements are within about 1 second of correct. Incidentally, I've found that sometimes the same song can appear on different releases made from master tapes that were evidently playing at slightly different speeds, thus they have slightly different durations.

* I admit, I'm inconsistent in my rounding. I'm never quite sure what to do with fractional seconds between about 0.200 and 0.499. I mean, it doesn't seem fair to say that something measured as 6:05.389 is “6:05” when it's actually a bit more than that, especially if there's no fade-out. But then again, is it fair to say it's “6:06” when it doesn't quite reach that mark?
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My custom CSS for Discogs:
replace broken avatars
wide screen, monospace BAOI, etc.

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Image credits for this profile:

avatar = a Tumbeast, by Matthew Inman. CC-BY-3.0 license.

background = a little part of "Alice in Wonderland" (2005), a painting by Sergey Tyukanov. Not licensed; hopefully he doesn't mind.

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Just in case you thought the major labels kept detailed info about what they have actually released, here is an actual email I received in 2006 from an intern at Atlantic Records:

I just finished checking out the Strictly Rhythm discography on your website and I found it extremely helpful. I'm in the middle of trying to compile complete chronological discographies for all 12" released on the following labels:

Atlantic Records
Elektra Records
Warner Brothers Records
Tommy Boy Records
Cold Chillin' Records
Sugarhill Records

I realize your website is mainly for electronic music, but since your Strictly Rhythm discography was so helpful I wanted to know if you had discographies for any of those labels or could point me in the right direction for finding them (google hasn't been too helpful and discogs.com has incomplete discographies for those labels). Any help would be great.
Thanks

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Recent Activity
submitted Sasa Crnobrnja* - The Return Of Aged & Unplayable. about 7 hours ago
posted a review of B.B. And Band* - That Special Magic. about 10 hours ago
Mediocre vinyl rips, and they seem to have phase problems. Avoid.
posted a comment on Kon Kan - I Beg Your Pardon. 5 days ago
Possibly the Les Massengale version, as on Ultimix 26, Ultimix 54, and The Best Of Ultimix 3. It is basically the Club Mix but with many other samples added. A big chunk of the Lynn Anderson song appears from 6:04 to 6:34 in this version.
submitted Unknown Artist - Little Red Riding Hood. 5 days ago
posted a comment on The Beloved - Your Love Takes Me Higher. 7 days ago
Regarding "Your Love Takes Me Higher (Deep Joy)", the version on this and other UK releases is a slightly early fade. The full-length version on the US releases continues for about 20 more seconds. Also at 4:51, there's a mastering error which results... See full review
posted a comment on B. B. Band* - All Night Long. 10 days ago
A badly processed vinyl rip. Kick drum has weird chorusing effect, hi-hats are distorted, the A-side ending skips, noise reduction is noticeable ... very unprofessional job. Avoid!
posted a review of Flo & Eddie. 12 days ago
They may once have been talented songwriters of catchy pop tunes, but their creative works were nothing out of the ordinary for their era.

Their reputation was tarnished in the 1980s and beyond. Rather than ever again being creative, they exchanged... See full review
posted a comment on Midnight Star - No Parking On The Dance Floor. 13 days ago
It's the 30th anniversary edition of a 1983 album.
Release year: 2006.
Marketing geniuses!
posted a comment on Isamar & Compañia - Amor Suave. 15 days ago
Tracks 3, 4, and 5 are sourced from vinyl and have excessive noise reduction applied, slightly muffling the electronic kick drums.
posted a comment on En Vogue - Hold On. 20 days ago
Supposedly there are two versions of this CD. The common one with the RE-1 matrix has the song edited so the rap goes "he'll want to have you", where "have" is replacing the f-word. This is how the song is presented on all commercial releases. The... See full review
posted a review of E.K.O. (Electrical Knock Out)* - De La Casa. 21 days ago
An example of the West Coast outdoor rave sound of this era. Essentially it is progressive house, chugging along at 130–132 BPM, incorporating some retro trancey & ravey-techno elements, and with omnipresent vocal samples. It's the kind of music I'm... See full review
posted a comment on Chaz Jankel* - Glad To Know You (The Anthology 1980-1986). 23 days ago
Indeed. This is the reality of contemporary reissues by lesser-known artists. If something needs to be pulled from master tape archives and digitized, then the story is always the same: either the tapes can't be found, or it's just too expensive, so... See full review
posted a comment on Richard Wagner – Clemens Krauss, A. Varnay*, R. Resnik*, R. Vinay*, W. Windgassen*, H. Hotter*, G. Neidlinger*, J. Greindl* - Der Ring Des Nibelungen: Bayreuth 1953. 27 days ago
This release was touted in the industry as a set of CDs that "double the playing time" of the format, as if it were some brilliant technoogical innovation ... when really it is just half the audio in mono on the left, playing at the same time as the... See full review
posted a comment on Jaki Graham - Step Right Up. 28 days ago
If you, like me, think these 12" versions of "Step Right Up" sound a little weird, it's because they were mixed or mastered about 1.7% too fast—a difference of 20 cents, which is audible.
posted a review of Big 12 Inches (2). about 1 month ago
All of these CDs were added to the database in 2020. So many big-name artists, yet nobody has heard of these compilations until now? Not a warehouse find, just bootlegs, and certainly not from 1994, despite what the copyright notices say. These were... See full review
posted a comment that has since been deleted. about 1 month ago
added The System - You Are In My System / Now I Am Electric to their collection. about 1 month ago
added Midnight Star - Operator to their collection. about 1 month ago
added Taco - Puttin' On The Ritz to their collection. about 1 month ago
added Propaganda - p: Machinery to their collection. about 1 month ago
added Frankie Goes To Hollywood - Relax to their collection. about 1 month ago
added Frankie Goes To Hollywood - The Power Of Love to their collection. about 1 month ago
submitted Human League* - Human. about 1 month ago
submitted The Art Of Noise - The Best Of The Art Of Noise. about 1 month ago
added Digital Underground - Kiss You Back to their collection. about 1 month ago
added Torch Song - Wish Thing to their collection. 2 months ago
added Indeep - Last Night A D.J. Saved My Life to their collection. 3 months ago
added The Beloved - Your Love Takes Me Higher to their collection. 3 months ago
posted a comment on Tin Tin (4) - Kiss Me. 3 months ago
There was no public release of the François Kevorkian remix until early 1983. The sleeve even says © 1983.

For this song, I think all of the releases from 1983 and 1984 say ℗ 1982 on them. The ℗ copyright notice is supposed to refer to the year of... See full review
added The Orb - Little Fluffy Clouds to their collection. 3 months ago
added Inspiral Carpets - Generations to their collection. 3 months ago
added The Beloved - Hello to their collection. 3 months ago
posted a comment on The Adventures Of Stevie V.* Featuring Nazlyn - Dirty Ca$h (Money Talks) '97. 4 months ago
A mini-max CD normally only has an 8-cm silver center and thus only holds about 18 minutes of music. This disc's center is much larger and has over 30 minutes of music. There was a heated discussion which touched on... See full review
added Adventures Of Stevie V. - Dirty Cash (Money Talks) to their collection. 4 months ago
posted a review of Prefab Sprout - If You Don't Love Me. 4 months ago
Two very bad re-edits by DJ remix services, for some reason picked up for an official promo release by Epic.

Both versions here make heavy use of the commercially available FSOL remix (of which there is really only one, despite it having several... See full review
added Multicast - Further Obliq Perspectives to their collection. 4 months ago
added Depeche Mode - Behind The Wheel (Extended Remix) to their collection. 4 months ago
posted a comment on Imagination - Instinctual. 4 months ago
Despite the 1987 ℗ dates, I suspect the North American releases and any others with the David Morales remixes were not released until early 1988. Billboard does not have any references to the song until February 1988 (the video being added to... See full review
added Orbital - Chime to their collection. 4 months ago
added Humanoid - Tonight to their collection. 4 months ago
posted a comment on Falco - Rock Me Amadeus EP. 5 months ago
After noticing some clicks, I checked the spectrograms in Adobe Audition, and observed very obvious signs that The American Edit and the Canadian Version were sourced from lossy (probably MP3) vinyl rips. The American Extended, the Salieri Version... See full review
posted a comment on The Shamen - Possible Worlds. 5 months ago
Despite the promo labeling, this record seems to have been widely available in retail shops. The number of people who have it in their Discogs collections (383 as of this writing) suggests there were thousands pressed.
posted a review of Imagination - State Of Love. 5 months ago
These mixes by Jonathan Fearing emphasize the anthemic, dreamlike quality of the song, and they are exclusive to this release (well, B1 is also on the US promo 7"). The LinnDrum claps that fade in and out are especially nice.
added Danx-A - Danx-A to their collection. 5 months ago
added Danx-A - Danx-A to their collection. 6 months ago
posted a comment on Snap! - The Power. 6 months ago
Dead link, not archived, and they swiped it from somewhere else for SEO purposes. The interview in question is actually at https://www.songfacts.com/blog/interviews/penny-ford-of-snap
posted a review of Jon Hassell. 6 months ago
No one can get into ambient music without running across some Jon Hassell sooner or later. His music is always more than a bit "next level" for me, coming from an experimental jazz background, with very innovative use of trumpet. It borders on being... See full review
posted a comment on Pet Shop Boys - Left To My Own Devices. 7 months ago
The Introspective album version was ideal. I always thought the racecar in the extended mix sounded like a fart. At the time, though, I couldn't help but be excited to have another few minutes of indulgence.

And "...Atom..." is device-ive... See full review
posted a review of Vapour Space* - Gravitational Arch Of 10. 7 months ago
Summer of '93. A tiny rave, illegally held inside one of the massive concrete pylons at one end of the Whitestone Bridge. People were trying to dance on cardboard laid out over the coarse gravel bed. It was cold, musty, and the lighting and acoustics... See full review
posted a comment on David Sylvian And Robert Fripp* - Darshan. 7 months ago
Artist websites often only broadly categorize things in simplistic terms, e.g. everything is either just an "album" or "single", no other possibilities, so I take them with a grain of salt. The curator of davidsylvian.com is a longtime Discogs user... See full review