History talk:Continuous Mix Style Proposal
- "Similarly a whole other set of guidelines exist for Live and Bootleg performances that may or may not have been released through standard means (never released or "fan managed.")"
This seems redundant to the definitions for Bootlegs elsewhere in the database (release status, etc). Additionally, it does not accurately define all potential types of bootlegs according to the way they've been considered (see table at http://wiki.musicbrainz.org/User_talk:BrianSchweitzer/Release_Status_Proposals#Current_Discussion for a summary that's been relatively consistent on defining this concept since ~2007). BrianFreud 01:29, 23 September 2010 (UTC)
- "Putting all the track names and artists into the track title would be inappropriate, all this information should be listed in the release annotation. Along with any other general annotation information."
- Why? It's entirely consistent with Medley Style, and is far more useful outside of the database than annotation-trapped titles. BrianFreud 01:31, 23 September 2010 (UTC)
I said inappropriate because Continuous Mixes can run up 20 tracks or more with 20 respective artists. So one common track name would be:
Between Heaven and Earth (Jan Martin Remix) / Not Giving Up On Love (Club mix) / Mojito / Run To My Rescue / Left Of The World (Mike Shivers Garden State Dub) / Twilight Tonight (Arty Remode) / Always Look Back (Classic Touch) / Blueberry (Rex Mundi Remix) Heaven (Beltek Remix) / The Emergency [Marcus Schossow remix) (AvB Mash up) / Prelude (Extended Mix) / Crossroads / Believe Me / Till The Sky Falls Down (Arctic Moon Remix) / To The Floor / Default (Dave 202 Remix) / Beautiful Days / Desire (Daniel Kandi’s Classic Mix) / Valente (Juventa Remix) / Blue Line (Original Mix) / Touchstone (Aly & Fila Remix) / Motorcycle - Around You
That may be technically correct Medley Style but it's crazy and not a viable solution, especially since these continous mixes can be as high as 50 tracks.
- Date: Is of the original broadcast (not of when it was recorded.) So for bootlegs that are replayed only the original date is to be entered as the release event.
This is counter to the definition of a Release Event, or of the Release Date. Release Events do not store performance, nor broadcast, dates - not any of the broadcast dates. Advanced Relationships do have date fields, and those properly should be used to store this data. Redefining REs for a special-case situation such as this makes that singular meaning of a release event far less useful - esp as these releases are indistinguishable (data-wise) from other releases. Also, this section (and much of the rest of the proposal) pretty much assumes that only bootlegs ever are bootlegs. I know that you say "almost always", not "always", but the rest of the text completely ignores those cases where the release is not a bootleg. BrianFreud 01:40, 23 September 2010 (UTC)
- ...It is clear that audio recorded from radio, TV, etc would be classified as Bootleg and sometimes the releases do fall into the official Live Bootleg Style - if so this should be used."
Live Bootleg Style applies to any bootleg. (There's a few instances of "live" still mixed into the text where they likely shouldn't be, but "This guideline applies to the titling of a bootleg release.", the examples, and the common understanding of the guideline all outweigh that nit.) Therefore, this sentence of the proposal essentially makes the proposal apparently meaningless. It applies to continuous mixes, which are claimed to be almost always bootlegs. It provides no guidance for non-bootleg releases of this type, only bootlegs - but this sentence states that LBS overrules this proposed guideline (and as I read it, entirely overrules it, not only overrules it when there is a LBS/ContMixStyle conflict) - so when would this guideline ever actually come into play? BrianFreud 01:40, 23 September 2010 (UTC)