Well, I know that audio compression refers exclusively digital audio data so it does not apply to vinyl records which aren't even a digital medium. Also data loss caused by the limitations of a CD does not count as audio compression, neither does a simple reduction of the sample rate or resolution in order to reduce space or bandwidth usage.

Only for a specific distance. If I want something from IKEA I would have to travel about 300 miles to pick it up in store. Miserable gits.
Those holders will damage your discs over time. It's not the best option though you are right it does save a lot of room.

Why is that tough to find? You can even get it on Amazon, for Pete's sake...

Actually, no: compression does not exclusively refer to digital data.
If you would have read my reaction to BoxOfSnoo (see above), you'd have seen that audio compression can refer to either data rate compression (that's the one you talk about) or to dynamic compression. Since I use dynamics compressors (Waves, Digidesign, Avid) almost every day, I think I know what I talk about. I also use data rate reduction compressors to generate MP3's and the like.

Of course there is no data rate compression in analogue audio, but dynamic compression has been around for ages, both for analogue and digital.

For more information, try and see if you can get Bob Katz' Book: "Mastering Audio - The Art and the Science." and/or
John Watkinson "The Art of Digital Audio".

I think you may be mixed up on terminology slightly. Audio compression can be fully analog (I own several hardware (and fully analog) audio compressors. They provide gain reduction on peak signals and usually also make-up gain to compensate for volume loss.

Digital compression is quite different, used to make, say, a digital music file smaller using some very clever algorithms.

You may think that I was saying the latter is used on analog recordings? No, that doesn't make sense. The former is often used on the analog recordings because you don't have as much dynamic range on vinyl as you would digital.

EDIT: eloquently ninja'd!

Depends on the quality. And I generally don't buy something like furniture without seeing it in person. But that's me.

Pushpins and a lot of corkboard. Always available. Always stylish.

I already thought that you'd reply something like this. Actually you mixed something up here. What you're referring to is dynamic range compression which can both be done analogue via hardware and digitally via software. Audio compression, however, refers to reducing the size of digital audio data. Dynamic range compression is generally unrelated to audio compression (although some lossy file formats may have a slight unintentional impact on the dynamic range, I guess), so "any medium including vinyl is compressed" doesn't really make sense in a debate about lossy file formats. Plus, not all analogue audio material has to be compressed, does it (I mean, you may get a - sometimes intentionally - distorted signal or too quiet signal but you don't have to compress the dynamic range, I'm pretty sure that some older or amateurish albums have been released without any form of compression applied).

The coming decades are going to be really hard on you box folk.

Wikipedia link back atcha :)

In any case, I wasn't wanting to start a debate on lossy file formats. The issue was whether iTunes files were "locked up" or placed "behind and account" thus inaccessible to anyone but the purchaser. I just wanted at the same time to head off the inevitable comments that state categorically that AAC files always sound bad and vinyl always sounds awesome. It comes mostly down to the mastering - incredibly moreso than buying unidirectional virgin copper oxygen-free power cables and specially weighted volume knobs.

Ah shit, indeed, I got used to audio compression referring exclusively to audio file compression... however, digital compression still refers to dynamic range compression via digital means - so let's call it a draw then? :p

Well, the best mastering in the world isn't gonna safe a highly compressed audio file. But yeah, some people seem to believe that the file format and cables are all that matters when it comes to the audio quality, totally not getting that the most important thing is the production quality of the music itself.

Perhaps. I've noticed a few of these discs corroded over time (more of a problem with burned media). Most others played or (if they were data) accessed fine, even many years later stored in these books. It's a trade off that is acceptable to me.

The albums I really cherish and/or value are ripped lossless on a hard drive in any case.

I ♥ this paragraph.

Agreed! He wins an Internet for that one.

Anyway, so you deal with this stuff professionally or as a hobby? (it's not like any random person has an analogue compressor just lying around)
Ooooh, thanks. :3 *blush*

Bits of both, I play music for a hobby, with bits of personal recording... but I also do some public address system work at various scales.

I also love learning this stuff, so I keep reading and playing with it until I really *get* it. Still working on some of that.