COPPER

A PS Audio Publication

Issue 127 • Free Online Magazine

Issue 127 FEATURED

Stop, Hey, What’s That Sound?

Stop, Hey, What’s That Sound?

In Issue 125, I told you about my war on LPs and my search for an alternative. After a lengthy affair with cassettes, I switched to CDs. The CD gave me everything I had been looking for in pre-recorded music: small size, no trouble finding songs, portable, easy to shelve, and all the album art and liner notes from the LP release.

But living the CD life is challenging. CD jewel cases crack and break. CD players are disappearing from cars. Recycling CDs is not simple. And when people hear about my CD library, they think I’m nuts. Even Fivethirtyeight questioned my behavior, and that was back in 2014.

The astute reader will note that I have yet to write a word about sound quality. I am not about to claim that music on a CD is superior to music on an LP – not in a high-end audio magazine, I’m not! I share the pages of Copper with connoisseurs – our esteemed editor, for one. When he was younger, he could hear frequencies that only dolphins care about. Intellectually, I know that the LP sounds better than the CD. But to me, the CD is good enough.

You could better understand that last statement if I had graduated from something extra loud, like artillery school. But no, there’s nothing wrong with my hearing. I’m just a guy who’s been loving CDs too long to stop now. I’ve been streaming music since I discovered Spinner.com in 1999, but I also love albums as objects. After some trial and error, “objects” came to mean CDs.

The Thrill of the Hunt

Twenty years ago, the CD was king – and expensive. To find CDs an impoverished writer could afford, I turned to Half.com.

At Half.com, you could buy CDs at half the original price. That was a great deal, given that new CD releases often went for $15 back then, or about $750 in today’s money. But then eBay bought Half and set prices free. That was even better for buyers: the price of rarities rose, but most prices sank. At the bottom of this Mariana Trench were the salvagers who bought orphaned CDs by the pound and sold them for 75 cents each or even a penny. (I’m not sure I ever found an album for a penny, but if I did, it was something like Rossini’s Awesome Overtures or Mozart’s Greatest Hits, Vol. 13.)

Half never changed: they sold books, CDs, VHS tapes, and games when they launched in 1999 and they sold books, CDs, VHS tapes, and games when they closed in 2017. (The last album I bought on Half was Elvis Costello’s Get Happy!!) After Half’s closure, I had one avenue left for dirt-cheap CDs: garage and estate sales.

 

It seems like everyone is getting rid of their physical music these days…except for me and the people I compete with at these events. Before the pandemic, I could spend a happy Saturday morning going from house to house, browsing the CDs set out on a card table or on a blanket on the lawn. This is, of course, a totally random way to buy music, as opposed to searching for specific titles on eBay, Half Price Books, etc., but that’s part of the fun.

You never know what you’ll find when people start decluttering their lives, although I can tell you from experience that most of the music on offer will fall into these categories:

  • Country
  • Christian
  • Classical
  • Celtic
  • Mannheim Steamroller

If these are your categories, you’re in luck. If they’re not, be patient, and keep an open mind. You’ll most likely have to replace the jewel cases, but you might find a jewel you never knew existed.

A Torrent of Data

I once had an assignment at a bank where I was not allowed to bring in my CDs – you can’t bring foreign media into a bank. The head of IT opened a rift in their firewall so I could log in to Rhapsody.com, but he was puzzled. Why didn’t I just use an iPod? He had one in his shirt pocket. He had downloaded thousands of songs, but in our conversations I learned that he forgotten most of what he had downloaded. He had never had the time to listen to it all.

Why collect and listen to CDs? Maybe it’s a way of organizing the world, stopping down the torrent of data to something manageable. Or, in my case, maybe I’m haunted by a dusty warehouse and massive stacks of vinyl.

I hope all those Chicago VI’s I hauled around in the summer of 1974 made people happy. If I see this title at a yard sale, even if it’s on CD, I will walk on by.


The editor doesn’t have a copy of Chicago VI either.

Header image courtesy of Pexels.com/Jorge Fakhouri Filho.

More from Issue 127

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#228 Serita’s Black Rose Duo Shakes Your Soul With a Blend of Funk, Rock, Blues and a Whole Lot More by Frank Doris Mar 02, 2026 #228 Vinyl, A Love Story by Wayne Robins Mar 02, 2026 #228 Thrill Seeker by B. Jan Montana Mar 02, 2026 #228 The Vinyl Beat: Donald Byrd, Bill Evans, Wes Montgomery, Eddie Palmieri and Frank Sinatra by Rudy Radelic Mar 02, 2026 #228 Listening to Prestige: The History of a Vitally Important Jazz Record Label by Frank Doris Mar 02, 2026 #228 How to Play in a Rock Band, 21: Touring With James Lee Stanley by Frank Doris Mar 02, 2026 #228 The NAMM 2026 Show: The Music Industry’s Premier Event by John Volanski Mar 02, 2026 #228 The Earliest Stars of Country Music, Part Two by Jeff Weiner Mar 02, 2026 #228 From The Audiophile's Guide: A Brief History of Stereophonic Sound by Paul McGowan Mar 02, 2026 #228 A Bone to Pick With Streaming Audio by Frank Doris Mar 02, 2026 #228 Blast Off With Bluesman Duke Robillard by Ray Chelstowski Mar 02, 2026 #228 A Visit to the Marten Loudspeaker Factory in Göteborg, Sweden by Ingo Schulz and Sebastian Polcyn Mar 02, 2026 #228 Pure Distortion by Peter Xeni Mar 02, 2026 #228 A Nagra Factory Tour by Markus "Marsu" Manthey Mar 02, 2026 #228 Back to My Reel-to-Reel Roots, Part 27: Noodge and Ye Shall Receive, Part Two by Ken Kessler Mar 02, 2026 #228 PS Audio in the News by PS Audio Staff Mar 02, 2026 #228 90-Degree Stereo by Frank Doris Mar 02, 2026 #228 The Keys to Art by Rich Isaacs Mar 02, 2026 #227 Seth Lewis Gets in the Groove With Take a Look Around: a Tribute to the Meters by Frank Doris Feb 02, 2026 #227 Passport to Sound: May Anwar’s Audio Learning Experience for Young People by Frank Doris Feb 02, 2026 #227 Conjectures on Cosmic Consciousness by B. Jan Montana Feb 02, 2026 #227 The Big Takeover Turns 45 by Wayne Robins Feb 02, 2026 #227 Music and Chocolate: On the Sensory Connection by Joe Caplan Feb 02, 2026 #227 Singer/Songwriter Chris Berardo: Getting Wilder All the Time by Ray Chelstowski Feb 02, 2026 #227 The Earliest Stars of Country Music, Part One by Jeff Weiner Feb 02, 2026 #227 The Vinyl Beat Goes Down to Tijuana (By Way of Los Angeles), Part Two by Rudy Radelic Feb 02, 2026 #227 How to Play in a Rock Band, 20: On the Road With Blood, Sweat & Tears’ Guitarist Gabe Cummins by Frank Doris Feb 02, 2026 #227 From The Audiophile’s Guide: Audio Specs and Measuring by Paul McGowan Feb 02, 2026 #227 Our Brain is Always Listening by Peter Trübner Feb 02, 2026 #227 PS Audio in the News by PS Audio Staff Feb 02, 2026 #227 The Listening Chair: Sleek Style and Sound From the Luxman L3 by Howard Kneller Feb 02, 2026 #227 The Los Angeles and Orange County Audio Society Celebrates Its 32nd Anniversary, Honoring David and Sheryl Lee Wilson and Bernie Grundman by Harris Fogel Feb 02, 2026 #227 Back to My Reel-to-Reel Roots, Part 26: Half Full – Not Half Empty, Redux by Ken Kessler Feb 02, 2026 #227 That's What Puzzles Us... by Frank Doris Feb 02, 2026 #227 Record-Breaking by Peter Xeni Feb 02, 2026 #227 The Long and Winding Road by B. Jan Montana Feb 02, 2026 #226 JJ Murphy’s Sleep Paralysis is a Genre-Bending Musical Journey Through Jazz, Fusion and More by Frank Doris Jan 05, 2026 #226 Stewardship by Consent by B. Jan Montana Jan 05, 2026 #226 Food, Music, and Sensory Experience: An Interview With Professor Jonathan Zearfoss of the Culinary Institute of America by Joe Caplan Jan 05, 2026 #226 Studio Confidential: A Who’s Who of Recording Engineers Tell Their Stories by Frank Doris Jan 05, 2026 #226 Pilot Radio is Reborn, 50 Years Later: Talking With CEO Barak Epstein by Frank Doris Jan 05, 2026 #226 The Vinyl Beat Goes Down to Tijuana (By Way of Los Angeles), Part One by Rudy Radelic Jan 05, 2026 #226 Capital Audiofest 2025: Must-See Stereo, Part Two by Frank Doris Jan 05, 2026 #226 My Morning Jacket’s Carl Broemel and Tyler Ramsey Collaborate on Their Acoustic Guitar Album, Celestun by Ray Chelstowski Jan 05, 2026 #226 The People Who Make Audio Happen: CanJam SoCal 2025, Part Two by Harris Fogel Jan 05, 2026 #226 How to Play in a Rock Band, 19: Touring Can Make You Crazy, Part One by Frank Doris Jan 05, 2026 #226 Linda Ronstadt Goes Bigger by Wayne Robins Jan 05, 2026

Stop, Hey, What’s That Sound?

Stop, Hey, What’s That Sound?

In Issue 125, I told you about my war on LPs and my search for an alternative. After a lengthy affair with cassettes, I switched to CDs. The CD gave me everything I had been looking for in pre-recorded music: small size, no trouble finding songs, portable, easy to shelve, and all the album art and liner notes from the LP release.

But living the CD life is challenging. CD jewel cases crack and break. CD players are disappearing from cars. Recycling CDs is not simple. And when people hear about my CD library, they think I’m nuts. Even Fivethirtyeight questioned my behavior, and that was back in 2014.

The astute reader will note that I have yet to write a word about sound quality. I am not about to claim that music on a CD is superior to music on an LP – not in a high-end audio magazine, I’m not! I share the pages of Copper with connoisseurs – our esteemed editor, for one. When he was younger, he could hear frequencies that only dolphins care about. Intellectually, I know that the LP sounds better than the CD. But to me, the CD is good enough.

You could better understand that last statement if I had graduated from something extra loud, like artillery school. But no, there’s nothing wrong with my hearing. I’m just a guy who’s been loving CDs too long to stop now. I’ve been streaming music since I discovered Spinner.com in 1999, but I also love albums as objects. After some trial and error, “objects” came to mean CDs.

The Thrill of the Hunt

Twenty years ago, the CD was king – and expensive. To find CDs an impoverished writer could afford, I turned to Half.com.

At Half.com, you could buy CDs at half the original price. That was a great deal, given that new CD releases often went for $15 back then, or about $750 in today’s money. But then eBay bought Half and set prices free. That was even better for buyers: the price of rarities rose, but most prices sank. At the bottom of this Mariana Trench were the salvagers who bought orphaned CDs by the pound and sold them for 75 cents each or even a penny. (I’m not sure I ever found an album for a penny, but if I did, it was something like Rossini’s Awesome Overtures or Mozart’s Greatest Hits, Vol. 13.)

Half never changed: they sold books, CDs, VHS tapes, and games when they launched in 1999 and they sold books, CDs, VHS tapes, and games when they closed in 2017. (The last album I bought on Half was Elvis Costello’s Get Happy!!) After Half’s closure, I had one avenue left for dirt-cheap CDs: garage and estate sales.

 

It seems like everyone is getting rid of their physical music these days…except for me and the people I compete with at these events. Before the pandemic, I could spend a happy Saturday morning going from house to house, browsing the CDs set out on a card table or on a blanket on the lawn. This is, of course, a totally random way to buy music, as opposed to searching for specific titles on eBay, Half Price Books, etc., but that’s part of the fun.

You never know what you’ll find when people start decluttering their lives, although I can tell you from experience that most of the music on offer will fall into these categories:

  • Country
  • Christian
  • Classical
  • Celtic
  • Mannheim Steamroller

If these are your categories, you’re in luck. If they’re not, be patient, and keep an open mind. You’ll most likely have to replace the jewel cases, but you might find a jewel you never knew existed.

A Torrent of Data

I once had an assignment at a bank where I was not allowed to bring in my CDs – you can’t bring foreign media into a bank. The head of IT opened a rift in their firewall so I could log in to Rhapsody.com, but he was puzzled. Why didn’t I just use an iPod? He had one in his shirt pocket. He had downloaded thousands of songs, but in our conversations I learned that he forgotten most of what he had downloaded. He had never had the time to listen to it all.

Why collect and listen to CDs? Maybe it’s a way of organizing the world, stopping down the torrent of data to something manageable. Or, in my case, maybe I’m haunted by a dusty warehouse and massive stacks of vinyl.

I hope all those Chicago VI’s I hauled around in the summer of 1974 made people happy. If I see this title at a yard sale, even if it’s on CD, I will walk on by.


The editor doesn’t have a copy of Chicago VI either.

Header image courtesy of Pexels.com/Jorge Fakhouri Filho.

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