Slashdot Mirror

Well, here's the other side..

zoe's then-boyfriend's account
http://thezoepost.wordpress.co...

wizardchan's experience with zoe
http://imgur.com/a/4VOcx

the birth of 4chan's 'vivian james' and zoe's attack on the fine young capitalists
http://knowyourmeme.com/memes/...

david jaffe vs kotaku
http://kotaku.com/5883107/does...
https://soundcloud.com/ben-kuc...

anita sarkeesian is not a gamer
https://www.youtube.com/watch?...

anita sarkeesian misrepresents the subject material. 'thunderf00t's analysis
https://www.youtube.com/watch?...
https://www.youtube.com/watch?...
https://www.youtube.com/watch?...
https://www.youtube.com/watch?...

This is an issue of journalistic integrity and quite possibly attempts at reculturing a community to conform to specific political values. The charge of 'misogyny' is just an attempt to muddy the waters and/or poison the well of any would-be critics.

I actually don't see what would be wrong with just explaining that you didn't feel that the service was a good value, and that you feel they don't display respect for their customers.

Like, it's a drop dead easy question, and there is no good reason to keep that private.

If you actually visit the soundcloud page, he explains that the call starts 10 minutes into it and they tried that already. The rep wouldn't accept the answers and they gave up trying.

From the page:

This recording picks up roughly 10 minutes into the call, whereby she and I have already played along and given a myriad of reasons and explanations as to why we are canceling (which is why I simply stopped answering the rep's repeated question -- it was clear the only sufficient answer was "Okay, please don't disconnect our service after all.").

You may find this interesting: SciFri: Making Art From the DNA You Leave Behind.

Don't worry about title mentioning about Art, it's very little to do about art what they talk about, it's about study of privacy, security and possible consequences, a solution she developed etc.

Artist Heather Dewey-Hagborg’s “Stranger Visions” project started with a question: What could she learn about a person by collecting one of their stray hairs? In an age of ever-cheaper DNA sequencing, the answer turned out to be “a lot.” Dewey-Hagborg’s portraits of strangers, made with DNA samples found in public places, called attention to the feasibility of DNA snooping. Now with her latest project, “Invisible,” she wants to put the tools to protect genetic privacy in consumers’ hands. But is total genetic privacy really possible?

So ditch'em.

Move to soundcloud.

I'm a fan of a lot of artists that put their stuff up on either youtube or soundcloud. Might be time to switch off of youtube.

Hate to say it. I saw the rise of Google and a lot of money and effort went to really good things.
They offered their services for free using the knowledge gained to make a buck off better advertising. Things were good. They certainly had/have a shit-ton of power and people rallied against that. Claiming that they could abuse it and be a terrible blight upon the land. But they didn't. Until now. And I've seen similar sort of moves by Google of late. The sun sets eventually. Kinda sad, but perhaps it's time to move on.

Now, of course I'm still going to have a gmail account for a long time, and using google-docs is still crazy useful. Hell I still have the yahoo account where I throw spam. But rather than simply being happy with the bright future of the new young blood in the market, I'll be looking for some place to jump ship to. And I'll tell others as much.

This may be a good story to point out that the Space Dub group Sagan Youth Boys uploaded a track from their upcoming album that tracks a voyage to and into Europa.

https://soundcloud.com/sagan-y...
Radio chatter sourced from NASA recordings of Luca Parmitano's July 16th 2013 spacewalk.

https://soundcloud.com/flammab...

Not a lot on there at the moment, mostly just me plinking around on a couple CBGs I built

Here's links to some of my music:

https://soundcloud.com/mdmt-de...

https://soundcloud.com/mdmtmus...

Feel free to drop me a line at seepage87 at the gmail

Here's links to some of my music:

https://soundcloud.com/mdmt-de...

https://soundcloud.com/mdmtmus...

Feel free to drop me a line at seepage87 at the gmail

This is an example of the music I produce. It is produced using KXStudio and ardour with linuxsampler/hydrogen (running as an LV2 plugin via composite sampler)/linuxdsp/calf plugins. It shows that it is definitely possible to use opensource software to create songs. Of course i have also mixed in LinuxDSP (which is commercial) along with the calf plugins - they plays a big part in my sound.

https://soundcloud.com/shadowo...

Most of the money I have spent is on the equipment I use to record (my guitars/ tube condenser mic/X-Station/headphones etc). But I have also spent a lot of time and energy accumulating free samples from different sources and kitting them together(the drum kit is an example - it is a hydrogen based Drumkit using the Colombo Acoustic Drumkit with other samples (e.g. the snare) from different sources - all free). I also use the excellent composite sampler to directly plugin the hydrogen drumkits as a lv2 plugin into Ardour's midi tracks, so I don't use anything over ardour really. I use a cheap BCF2000 in Mackie emulation mode with Ardour.

I have also bought the linuxdsp plugins - I can honestly say that they are on par and sometimes better than commercial offerings (listen to the Linuxdsp Pultech EQ in action and compare that to the real thing - very close!) - the best part is that they are not restricted to linux - so you can use them where-ever. Also use the excellent calf plugins especially the saturator.

It works for the kind of music I do - (a mix of classical/classical rock/blues/jazz) and the fact that I compose/record/produce/sing my music myself, but I have felt the pain in the past and it has often taken me a lot of time to produce the things the way i wanted it to sound (You can see some of my older pieces as well on soundcloud - you can see that the sound does gets progressively better - it was part of a learning process of learning to use the tools and learning music production! I am currently working on a new track which uses the sonatina orchestra which is a free orchestral sample released under creative commons and i think that definitely sounds a lot better than my previous ones. Also Ardour allows for midi editing on screen - i.e.. i can see all my tracks side by side with midi at the same track resolution- its very useful when i need to line up notes across tracks. Other DAWs tend to have a separate window come up when you need to have midi editing (or they used to..not sure if that's the case anymore!)

If you go with a mac - chances are you will be doing what other people have already done and use the tools that they do - it does wind up costing more though- but if you are going to be producing music for other folks, time will be critical. Also there are probably more tools/options out there for the mac - e.g. I still can't find an auto tune equivalent for linux - however it is possible to run windows VSTs under emulation in wine as well - you can find videos in youtube.

The key thing with the mac is that if you run into problems..chances are someone would be able to help you solve them - I know a friend who absolutely swears by his macbook for music production and he says that the support is amazing. Linux based DAWs have also grown in that sense - the Ardour community is large but I just get the feeling that the mac might be a bit more mature - although this could be a case of the grass being greener on the other side. It will now be a bit of a learning curve, I am way too used to the way Ardour/jack and how my tools work now that I have invested the time and energy in getting to know them.

Also these tools have matured (i have been using them for over 5 years now). So a lot of the problems I faced in 2008 have been minimized. Suggest that if you do have the time, try giving them a spin with a simple project or something- spend a few weeks playing with it - if you like it use it. If you don't then you can always switch to commercial. The only thing you would have lost is time. That's what I did originally and didn't really look back after that.

If you want to use Linux Renoise is a great program - its interface is more like a tracker, but just as capable as a traditional DAW. Its crossplatform and inexpensive too! I've been writing music exclusively on Linux for a while now (I released an EP a couple of days ago).
Secret Level EP .

Im very much looking forward to the release of "Bitwig Studio" - this will be the piece of software that may convince a lot of musicians to switch to Linux. Its written by the same guys who built Ableton Live and I cant bloody wait for its release !
Bitwig
Nick

I have known a few drummers and most wouldn't even attempt it, the strict quantisation of most drum machines makes it impossible to replicate any real kind of feel.

Drum machines, maybe. Drum sequencing on a computer, no.

I do all my drum lines on an electronic trap set. These capture what I'm putting in, the variances in timing, the loudness and expression of the playing. The "recording" of all of these elements are recorded as MIDI events in the sequencing software. The MIDI sequences then trigger the sounds for whatever drum sound I want.

There are benefits to doing it this way. I could be playing perfectly on a track but glitch a section in the first chorus - maybe a single snare hit comes in late. With a regular acoustic recording, I could either try to punch in over this section or replay the entire track. If I re-record the entire track then I lose the really nice fill I did leading into the second chorus. Now I'm stuck trying to recapture something. With the MIDI recording, I just slide the single late snare hit to be in time. I can also mix and match sessions - cutting and pasting just the sections I want.

As for the drum sounds, the samples I use are of real drums and each tom and snare hit contain many different sample sounds of the drums being hit at various velocities and different sections of the head. So the sounds are good.

Let's say I'm working on a song. I've got the chorus section and the verse sections finished - then I get pulled away on another project. I revisit the song 6 months later. Do you know how hard it would be to match the micing and recording of a drum set 6 months later? The heads will sound different, the mic positions slightly different, room location and sounds slightly different. It would be easier to record the entire drum line again. But with the MIDI recording I can just load the same drum sound set and I'm off and running.

Having said that, it really depends on what you're recording. If I'm bashing away on something with sticks, I don't feel there is that much of a difference between my sampled drum sounds and a real drum set once the tracks are in the mix. Hand drums are different. Congas, bongos, tabla - something where the expression is based on the movement of the hand. If that type of track is required and it is front and forward in the mix, I'd rather it be acoustically recorded.

The same is true with other instruments. The new sampler software and multi-sampled instrument sets are amazing. You get squeals and slides and instrument sounds just like you get with an actual instrument. I have piano samples that even make a instrument sound when you lift the sustain petal.

Here is a test. This song has both acoustic and sampled instruments. See if you can tell which is which - https://soundcloud.com/7graylands/seven-graylands-lost
This song has a sampled sax in one section and a live sax. Which is which? https://soundcloud.com/7graylands/seven-graylands-cinder

I have known a few drummers and most wouldn't even attempt it, the strict quantisation of most drum machines makes it impossible to replicate any real kind of feel.

Drum machines, maybe. Drum sequencing on a computer, no.

I do all my drum lines on an electronic trap set. These capture what I'm putting in, the variances in timing, the loudness and expression of the playing. The "recording" of all of these elements are recorded as MIDI events in the sequencing software. The MIDI sequences then trigger the sounds for whatever drum sound I want.

There are benefits to doing it this way. I could be playing perfectly on a track but glitch a section in the first chorus - maybe a single snare hit comes in late. With a regular acoustic recording, I could either try to punch in over this section or replay the entire track. If I re-record the entire track then I lose the really nice fill I did leading into the second chorus. Now I'm stuck trying to recapture something. With the MIDI recording, I just slide the single late snare hit to be in time. I can also mix and match sessions - cutting and pasting just the sections I want.

As for the drum sounds, the samples I use are of real drums and each tom and snare hit contain many different sample sounds of the drums being hit at various velocities and different sections of the head. So the sounds are good.

Let's say I'm working on a song. I've got the chorus section and the verse sections finished - then I get pulled away on another project. I revisit the song 6 months later. Do you know how hard it would be to match the micing and recording of a drum set 6 months later? The heads will sound different, the mic positions slightly different, room location and sounds slightly different. It would be easier to record the entire drum line again. But with the MIDI recording I can just load the same drum sound set and I'm off and running.

Having said that, it really depends on what you're recording. If I'm bashing away on something with sticks, I don't feel there is that much of a difference between my sampled drum sounds and a real drum set once the tracks are in the mix. Hand drums are different. Congas, bongos, tabla - something where the expression is based on the movement of the hand. If that type of track is required and it is front and forward in the mix, I'd rather it be acoustically recorded.

The same is true with other instruments. The new sampler software and multi-sampled instrument sets are amazing. You get squeals and slides and instrument sounds just like you get with an actual instrument. I have piano samples that even make a instrument sound when you lift the sustain petal.

Here is a test. This song has both acoustic and sampled instruments. See if you can tell which is which - https://soundcloud.com/7graylands/seven-graylands-lost
This song has a sampled sax in one section and a live sax. Which is which? https://soundcloud.com/7graylands/seven-graylands-cinder

Whoops, that don't work no more:

https://soundcloud.com/roboj1m/dj-loki-ready-for-war

It is, at least, original.

Tried listening to it recently, it's getting a bit ear bleeding awful.

I liked it when it had some semblance of dub still in it:

https://soundcloud.com/james-neave/dj-loki-ready-for-war

Yup - Im holding out for this one too. For the moment Im very much into Renoise - its pretty amazing. I use it exclusively on Linux and get great results... take a look : https://soundcloud.com/polyp

I don't make any money from the music I write because I freely give non-commercial rights to it away. I've touched about ~1000 people or so with my songs so far, and I'm okay with that. Self-whoring imminent: http://www.soundcloud.com/asteconn Have some free music.

I haven't posted here in years, partly because I've been too focused on my music career.

First off (-topic), fuck Cubase, Ableton is waaaay better and just as easily pirated. And while on the subject of piracy, musicians spend more money on music (shows, instruments, hardware, etc) than anyone else, all while actively giving back to the music community by producing art; if they pirate music software, I say good as long as they can't afford it, because it at least allows them to create their art, which is good for everybody. I haven't paid for my copy of Ableton yet, but I definitely plan on it once I can.

Now regarding primary points of the article. Say what you want, but making beautiful expressive music is extremely difficult in a digital environment. Sure you can correct your mistakes, layer a dozen parts by yourself, and accomplish musical feats with the press of a button that, e.g., concert pianists might spend their whole life practicing to achieve, but none of that has to do with the artistic side of music. What the author really means is that humans no longer have to spend years practicing fine muscle coordination to be able to create complex music, but that doesn't free the musician of the burden of turning sound into art with real expression behind it.

This is why a lot of electronic music sounds stale and repetitive. If you don't know, there exist "construction kits" which allow me to create, e.g., an above average trap song in about an hour (including mastering). A lot of people do this, but a lot fewer go--or even know to go---to the trouble of creating real expressive content so that the music is not only aurally pleasing and cerebrally interesting, but also emotionally evocative. Evocativeness used to be a given in music, but these days it has to be sought out. That said, all the best producers reliably achieve it, even in the digital space, which can add challenges since expression is fundamentally an analog creature.

What's true is there's a lot more noise around the signal. This can make it a lot harder for good musicians to succeed, but most of the doom-and-gloom perspective comes from the masses of shitty musicians who've entered the market now that the barriers to entry are lowered: Talent still rises to the top, but all these n00bs who create digitally perfect tracks that sound like music are whining en mass that no one listens to their songs and that it must the system's fault because their tracks sound good. People don't listen to music because it "sounds good", they listen to it because it's art, i.e. it has content and is moving. Everything else is just icing on the cake, but who wants to eat just icing all the time.

I don't need to be a rock star to be a satisfied musician. That said, if you don't believe there exist rock stars and legends these days, clearly you've never been to a Bassnectar concert or are otherwise not paying attention.

In case you're interested:

https://soundcloud.com/mdmtmusic

https://soundcloud.com/mdmt-development

https://www.facebook.com/MDMTmusic

And if you're in the Denver area, we're playing at Cervantes on Sept 29th.

I haven't posted here in years, partly because I've been too focused on my music career.

First off (-topic), fuck Cubase, Ableton is waaaay better and just as easily pirated. And while on the subject of piracy, musicians spend more money on music (shows, instruments, hardware, etc) than anyone else, all while actively giving back to the music community by producing art; if they pirate music software, I say good as long as they can't afford it, because it at least allows them to create their art, which is good for everybody. I haven't paid for my copy of Ableton yet, but I definitely plan on it once I can.

Now regarding primary points of the article. Say what you want, but making beautiful expressive music is extremely difficult in a digital environment. Sure you can correct your mistakes, layer a dozen parts by yourself, and accomplish musical feats with the press of a button that, e.g., concert pianists might spend their whole life practicing to achieve, but none of that has to do with the artistic side of music. What the author really means is that humans no longer have to spend years practicing fine muscle coordination to be able to create complex music, but that doesn't free the musician of the burden of turning sound into art with real expression behind it.

This is why a lot of electronic music sounds stale and repetitive. If you don't know, there exist "construction kits" which allow me to create, e.g., an above average trap song in about an hour (including mastering). A lot of people do this, but a lot fewer go--or even know to go---to the trouble of creating real expressive content so that the music is not only aurally pleasing and cerebrally interesting, but also emotionally evocative. Evocativeness used to be a given in music, but these days it has to be sought out. That said, all the best producers reliably achieve it, even in the digital space, which can add challenges since expression is fundamentally an analog creature.

What's true is there's a lot more noise around the signal. This can make it a lot harder for good musicians to succeed, but most of the doom-and-gloom perspective comes from the masses of shitty musicians who've entered the market now that the barriers to entry are lowered: Talent still rises to the top, but all these n00bs who create digitally perfect tracks that sound like music are whining en mass that no one listens to their songs and that it must the system's fault because their tracks sound good. People don't listen to music because it "sounds good", they listen to it because it's art, i.e. it has content and is moving. Everything else is just icing on the cake, but who wants to eat just icing all the time.

I don't need to be a rock star to be a satisfied musician. That said, if you don't believe there exist rock stars and legends these days, clearly you've never been to a Bassnectar concert or are otherwise not paying attention.

In case you're interested:

https://soundcloud.com/mdmtmusic

https://soundcloud.com/mdmt-development

https://www.facebook.com/MDMTmusic

And if you're in the Denver area, we're playing at Cervantes on Sept 29th.

What means "amateurs'?

My wife is a professor of music (finished music academy), who always loved making some quick songs and inventing random quick themes. But she never really had time for this.

She enrolled into audio engineering class a month ago, found out about (and learned a bit of) Ableton Live and realized that technology has made so many (repetitive) tasks/things easier, she went completely crazy and started creating music at incredible rate that I could have never imagined before. I am a hardcore geek (or I still like to think that way), but I can't follow what she does anymore, and it's been only a month. Whole new complex world.

Basically, get a MIDI controller, Scarlett 2i2 interface + mic, and software will make anything possible.

If a busy mother of 2 young kids (although, with very heavy music theory/harmony background), who was exposed to Ableton Live only a month ago, can manage to get things done at this rate, I can not even imagine what the 'proper' studio should be able to do.

However, it appears that real professionals are not the ones making the professional music, but much time is wasted trying to make mediocre people sound like professionals. That's why so much modern 'professional' music is simply shit (long live 80s ;). Probably the same way so much time is spent trying to make politicians look honest ;)

So, the question is - is she (an educated musician) really an "amateur" just because she doesn't need/want a studio in order to make some music? Do you really need to spend $200,000 on 'professional' studio, so that you can at the end have your music converted to a shitty MP3 format?

Shameless plug (now that I've talked so much about her music): https://soundcloud.com/bronux

Snooper talking to what sounds like a sympathetic audience.

If the cost of protecting us from the terrorists is to live in a police state, then I would prefer to take my chances with the terrorists. The odds of me being a target are minimal while the risks of a corrupt government using this total awareness system to oppress my freedom are that much greater. Fact is, you are more in danger from your own state security apparatus that any foreign terrorist. Iraq never attacked the US. Saddam Hussein was a puppet president installed by the CIA and an ally of the US, at least until he invaded Kuwait and threatened to stop trading his Oil in petrodollars. Al-Qaeda was formed from the remnants of a guerilla army armed and financed by the CIA to oppose the Soviet invasion of Afghanistan. As such, US state security would have been aware of their capability, ideology and intentions. As such the state security apparatus didn't need the NSA to know this as they - state security - helped create it. What this lawful intercept program is really about is silencing political dissent, such as the Occupy Wall St movement.

27:25 "We comply with the court orders and do this exactly right", Gen. Keith Alexander

There are NO court orders !

NSA Director General Keith Alexander at Blackhat 2013

The idiotic thing of course is that they 'disrupted' only 42 out of the 54 'terrorist-related activities', which means that 12 of those activities were not disrupted.

One could ask: so, what happened?
Were they unable to do anything about more than 20% of the stuff they found out about? Or unwilling?
Or were those activities just so insignificant and almost completely harmless that they could just let them take place?

By the way, audio of the speech:
https://soundcloud.com/larrymagid/nsa-director-general-keith

The blog has embedded soundcloud just above the transcript, but it doesn't seem to be working. Here's a direct link to the soundcloud page: https://soundcloud.com/madiha-1/students-question-the-nsa-at

A direct link to the audio file (well, his channel, but it only contains the one file) :

https://soundcloud.com/madiha-1

Requires Flash to play (haven't tried other codecs, the transcript was sufficient for me).

Seems to me with the amount of spying that they're doing with Germany they're doing just what they claimed the Chinese do and that's steal secrets to give their economy an advantage. The US thinks the Chinese doing it is an act of war so surely this is and the US should abide by their own standards so the trade deal should be called off, they should boot US troops out of Europe and make Obama apologise publicly for America's nazi-like spying regine.

The European economy isn't strong enough to be having Americans cheat in business.

It's not like this wouldn't be the first time the US has done this: http://cryptome.org/echelon-ep-fin.htm (section 10.7) and https://de.wikipedia.org/wiki/Enercon#Industriespionage:_Der_Fall_Kenetech_Windpower_Inc.

Oh and this was entertaining: https://soundcloud.com/madiha-1/students-question-the-nsa-at

A while back i wrote a tune on Linux (with Renoise) featuring the dulcet tones of Carl Sagan! https://soundcloud.com/polyp/dark-existance-feat-carl-sagan Perhaps i should try and convince Fox to use it as the theme music (In my dreams) N ...

I do not agree with what you have to say, but I'll defend to the death your right to say it.

  Voltaire

Be careful with that sentiment, it can be dangerous!

https://soundcloud.com/dirigibleplums/john-finnemores-souvenir

They literally used inverse phase wave mapping to remove the vocals on his song, then sang the same lyrics, including the "Johnny C's in Trouble" line

Although the Glee version is a very close reproduction, I don't think it's done by channel phase inverting trick because that technique results in a mono backing track, and their backing track is clearly stereo. Plus if you listen closely on headphones you can hear they're using different drum samples and the instruments sound a bit different.

However, it's worth noting that the only thing used in Jonathan Coulton's cover from the original is the lyrics. The cover has completely new chord progression and vocal melody that doesn't exist in the original rap at all. Essentially in this case the "cover" is a completely different song with the lyrics from "Baby got back", so I think it's still a clear copyright violation regardless of how they reproduced Coulton's music.

Here's a version where someone synched up the two versions via the first few instrumental hits at the start of the song:
https://soundcloud.com/alacrion/joco-v-glee

Literally they are note for note the same as far as instrumental bits go. Ok, there are SMALL differences are when they used the audio version of a poorly done photoshop job to remove certain elements, like the duck quacking (which can still be heard, faintly), but, that's just me.

And yeah, it's a clear copyright violation. And the guys from Glee should know better. However, I *believe* their stance is that JoCo is just some silly little Internet artist and they can get away with this because what can he do, eh?

I personally think they vastly underestimated how big his followings are on the Interwebs, and how loud us computer nerds can be when we feel one of our own (remember, Coulton was a Slashdotting computer programmer before making it big as a musician) is being thrown under the bus.

The question is whether Glee crossed the line from "sounds similar to" to "used the same background recordings as". Coulton has a karaoke version available, and at one point it was possible to purchase a usb drive containing source tracks of this song (among others) as part of a creative commons fundraiser, so it's certainly feasible that the Glee version simply stuck new vocals on top of JoCo's existing tracks. There is some strong evidence that that is exactly what happened.

It also notes that JoCo has posted that that happened:

What's more, Coulton also believes that Glee's music directors also illegally sampled his version, noting specifically that the sound of a duck quacking...

and then it goes on, undaunted by that detail, to talk about the legal ramifications of JoCo's claim assuming that the above is false, even though it gives absolutely no reason to doubt that it is true.

https://soundcloud.com/alacrion/joco-v-glee Here is a demonstration of the claim's truth. Now, like, let's keep on talking about why JoCo's legal claim has no merit in some other hypothetical universe where the Glee people actually went to the trouble of re-recording it, even though they didn't in this universe.

I'm pretty sure SoundCloud makes analytic data readily available if you have a paid account. (I'm a freebie moocher, so I don't use that feature but I'm fairly sure they advertize it in pushing the paid-for upgrade. Something to keep in mind if you're a musician with a promo site.)

May not have some of the features or distribution of some of the other sites, but hey if you're a musician trying to find your audience you should explore all channels if you haven't haven't put yourself into any agreements that restrict which ones you can use.

Actually I should have linked to the whole list. My bad!

Here you are, sir.

Here is the official summary of the episode from Glenn Beck's website:
http://www.glennbeck.com/2012/09/17/is-the-obama-administration-covering-up-scandalous-details-in-libya-attack/

Note particularly this part at the end:

So what does Glenn think really happened?

- The U.S. government is indeed looking for missiles to recover, so that no one finds out that we supplied them to terrorists
- They find a weapons cache of surface to air missles
- Same missiles we supplied during the revolution to take out aircraft.
- The CIA agents were forced to call in Stevens, our CIA weapons dealer.
- He flies in on short notice and takes an unmarked car to avoid suspicion to meet them
- The meeting goes south, he is taken to the closest safe house, which is why he ends up at the poorly secured consulate building.
- The message Sean Smith sent to the gaming community was really a message to the CIA telling them they needed help.

Audio from the relevant portion of the episode is posted on Soundcloud:
http://soundcloud.com/nivdes/glenn-beck-goonswarm-is

"Goonswarm" is the name of the in-game organization affiliated with Something Awful.

TL;DR: It really did happen.

3. "I meant to say 'forcible rape.' You know, like Paul Ryan believes."

Huckabee got him to admit this on air at about 2:15 (without the Paul Ryan part)

It's hard being a Republican in Politics, because you have to talk in code so much of the tme,
instead of publicly advocating the ideas and policies you believe/support, since they are deeply unpopular with the greater public.

I personally prefer my stuff a bit more progressive than the Goa/Israeli stuff. Headroom's album Artelligent is very good, been listening to this live set the last few days.

You might be interested in future-past.org, D2Techno and the Mastertraxx Underground Techno podcast then. Seen Speedy J a couple of times now, good DJ :)

You might be interested in future-past.org, D2Techno and the Mastertraxx Underground Techno podcast then. Seen Speedy J a couple of times now, good DJ :)

Chris Liebing releases a 1-2hr track by different artists, (himself included) every Monday, all mostly similar to the schranz genre he's known for. He talks for a moment at the beginning, midpoint and end. Registration was recently mandated, which I avoid by downloading directly from the release directory; just decrement/increment the 000-padded release number for past/future releases. The current track is http://daten.clr.net/pod/CLRSR170.mp3

One of the artists featured on CLR, Speedy-J, has a page on SoundCloud* with seven lengthy single-track sets available for direct-download. The nine-hour 2010 NYC set is particularly good, though it takes a while to get going; the intro is a good thirty minutes long. =)

Ektoplazm features hundreds of full-CDs, all immediately and freely downloadable as MP3, FLAC and/or WAV, as well as streamed. Most electronica genres are represented here.

* SoundCloud is a good source of truly free music of all genres, though I can't speak to the quality of non-electronic genres. I have no qualms about file-sharing copyrighted works, but I find it fortunate that RIAA seems to have a particular disinterest in electronic music, though not for lack of its available quantity or quality.

that's great. Maybe 'humanz' will figure out also 3 other things : aluminum noses cannot dive into steel towers, there was NO nuclear bomb and nuclear technology doesn't exist, humans are not older than a few 100 years, more likely at around 1649+- : http://tinyurl.com/99reasons 99 his|toree'cal reasons for 'nu|chronology' meets exp|femme'inism ;-) http://tinyurl.com/99reasons [[http://checkthis.com/djc1 ]] ( celebratin' now at https://soundcloud.com/ewing2001/mc-nicomedy2010-99-reasons ) excerpt: 99 The DINO-lie Think about it. It's fun : Dinosaurs did not exist. At all... 98 Century means 100 men, NOT YEARS ! ... ..., in 1801 german chemist Franz Carl Achard, is laying the foundations of industrial sugar production...Spanish historians meanwhile lie, that allegedly in 1544 Sugar was "*already" introduced in Europe, officially by the spanish king. Of course *that was a lie, because there was no medieval age. Therefore also the lie, that it allegedly took 129 further years, until finally someone in Bremen, Germany figured out to add sugar for the chocolate, is logical half|evidence for nu|chronology....

Kind of curious, would you be willing to post a link to some of your music?

Sorry about the late reply - not used to getting any feedback or even mod points in here... :/
The band's name was Tumbleweed Trail and it existed during the latter part of the nineties. I put up a couple of our tunes for posterity in a playlist on Soundcloud, you're very welcome to have a listen!

http://soundcloud.com/strummindude/sets/tumbleweed-trails/

Woz has 2 iphones as his primary devices. He says that Windows Phone 7 has a better interface than Android and chooses it over that platform, but he always carries multiple devices with him and still says his two iPhones (ATT and Verizon) are his primaries. Despite this, he praises a lot of aspects of the WP7 OS as better than iOS.

Here is a link to a audio recording of an interview with Woz where he talks about all his devices and why he likes WP7 over Android:
http://soundcloud.com/kopoint/the-report-steve-wozniak-interview

Go to 6:25 to hear him say that iPhone is still his primary.

BTW, I carry a Lumia 900 for personal bias warning.

I'm one of the 5000 artists that submitted to this campaign. All of the music on my page can be downloaded for free. For artists like me who have only dozens of listeners, the exposure is worth any potential loss of income. http://soundcloud.com/jordanbla

Take mine instead: http://soundcloud.com/ax11/cosmodrome-intro-the-long-run :) Yes! That was as low, cheap and shabby as only the true artist will get.

it's amazing, that slashdot "readers" don't have anything to say about nukelies.com and probably never will. Sheeple are everywhere ; http://www.nukelies.com/ ; http://soundcloud.com/ewing2001/out-rageous-nukelies-com-nini http://soundcloud.com/ewing2001/megalomanico-the-bartender-who http://1649beginningofhumanz.tumblr.com/ http://tinyurl.com/occupybeyonce

it's amazing, that slashdot "readers" don't have anything to say about nukelies.com and probably never will. Sheeple are everywhere ; http://www.nukelies.com/ ; http://soundcloud.com/ewing2001/out-rageous-nukelies-com-nini http://soundcloud.com/ewing2001/megalomanico-the-bartender-who http://1649beginningofhumanz.tumblr.com/ http://tinyurl.com/occupybeyonce

Patent trolls, dentists... and guns.

99% Invisible-46- Vulcanite Dentures

well worth a listen.

I've seen this comparison with code being made before, and someone had an excellent response. The gist was, as a programmer, I don't get compensated with royalties for decades after I've written my code. Rather, I get a bi-weekly paycheck to keep writing code. That's a pretty big difference between the typical programmer and the content industry.

At its core, copyright infringement may be a crime carrying some sort of liability, but it is not theft in the any sense, and should not be treated as such. The industry has earned the animosity against it by asking for insane damages for a crime which even many smart people can't wrap their heads around, and now they want to give the Federal government the power to censor websites at their bequest. Meanwhile, last time I was in LA, it seemed to me that Beverly Hills was as bloated with riches as its ever been. If you ask me, the mass production of junk music and junk movies is killing our culture far more quickly than some perceived lack of financial incentive to produce content.

All the while, we don't even have a reliable way to calculate the actual damages caused by copyright infringement. What are the actual damages of a lostpotential sale? Does an unauthorized copy of a song or movie necessarily constitute a lost potential sale? These are important questions that Big Content has zero incentive to actually ask, because they already wield immense power over the issue and have shown their willingness to use it.

Anyways, here, download some of my music, which I have produced and released despite no real means nor motivation to profit from it:
http://soundcloud.com/dris

While probably not the most amazing stuff out there, up here in Canada, my (asperger) son has found a venue for expressing himself thanks to easy access to music producing software, and actually has a chance at being heard thanks to free distribution sites like soundcloud and bandcamp.

I don't hold a lot of hope of the CRTC protecting his cultural expression. An open and free net is probably the only way he'll be heard.

> [NO CARRIER] http://soundcloud.com/no-carrier YES, damn blatant PLUG, so what? :D