Fellow polyavatarist Storm Thunders blogged about "The Sound of SiLence" after reading my previous entry, "The Naughty Wind". Storm makes points which are spot-on and I wholeheartedly agree with, such as:

This may explain, at least in part, why Ante Flan and Mathieu Basiat's waves, complete with sounds of the seashore, are so compelling.

I think current parcel music stream limits aren't satisfying for (at least) two reasons:

• Since they're one-per-parcel and aren't tied to a height — like Storm points out — that nulls chances of having different bands performing on different convention floors of a very tall hotel. CrystalShard Foo once mentioned to me about using different game music for literal "levels".
• They don't crossfade. When you walk onto a parcel, the stream should fade smoothly into the next one. I bet you can get some really grin-inducing ad hoc DJ mixes this way, but besides that, it prevents you from being startled when you leave an opera house, and while crossing a stadium, jock rock blasts into your ears, all cranked up to 11. Internet radio stations do have different dynamic ranges.

Great observations, Storm. And I'll personally vouch that when I produced electronic music, I used many crossfades to great effect. They're the sonic equivalent of gradient shades, after all.