Do there also exist DC++ hubs with a decent selection that allow dial-up users? And how is somebody supposed to afford over a thousand CDs to rip to get over the 100 GB minimum? (An mp3 or ogg album at 192 kbps is only about 90 MB.)
even if they're not sharing anything (which is evil in itself)
If not sharing is considered evil, and a fellow new to movie trading has nothing to share, then for a fellow without a DVD-ROM drive or the video mastering expertise to make a good DivX rip, how is it possible to download one's first movie from Overnet without appearing "evil"?
TAA is anti-aliasing (increasing the sample count / sampling frequency) in the temporal domain as opposed to spatial AA.
And then low-pass filtering in the temporal domain and downsampling to 70 Hz produces a blur effect, right?
But you can use the accumulation buffer to combine consequent finally-rendered frames to do TAA.
Which is exactly what I said in the first place: render five frames, accumulate them (rectangular FIR low-pass filter), and you get TAA, which is the "motion blur" that makes movies look good even though they're 24 fps.
so some inter-scene magic was done
But no correlation of geometry from scene to scene, right? That would produce really bad artifacts when panning over a fine triangle mesh.
I'd wager that someone's been looking at the periodic table.
Intel's doing the same thing. The "Pentium" mark is the systematic name of boron, standing for atomic number 5. "Xeon" and "Itanium" are "xenon" and "titanium" minus a letter each. "Celeron" is a made-up name designed to fit into the scheme.
(OT) Pronouncing space-opera "alien" names
on
SOHO Strikes Back
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· Score: 1
the programming rays put out by the government that they learned to produce from the Du'horti that they learned from the Ma'khal that they learned from the J'dar
Wondering how to pronounce those names? Getting stuck on the apostrophe symbols typical of space-opera "alien" names? Here are a few tips:
An apostrophe after a vowel represents the "glottal stop", the sound heard in the middle of "uh-oh", which is spelled A'o in space-opera transliteration. Thus, you're supposed to cut the preceding vowel short before starting the next sound.
An apostrophe between consonants typically represents an unaccented central "uh" sound called a "schwa", often represented in phonetic transcription with a turned 'e'. It's the sound of 'a' in "about" or 'ou' in "precious".
To place the accent: Words ending in a vowel (such as Du'horti) are typically accented on the second-to-last syllable (counting any combination of vowels with only one 'a', 'e', or 'o' as one syllable), as in Spanish or Italian. Words containing a schwa are accented on the other syllable. I'm not sure where to place the accent on Ma'khal.
record contracts make provisions for 'breakage', a leftover from the days of 78 rpm records.
The "breakage" term in recording contracts has become "packaging and breakage" and now "packaging". It's as if the performers were paying for the shipping.
You have a nasty frequency cutoff at around 17.5-18kHz
So does the human ear. Perceptual audio coding attempts to shape the noise to fit under the computed hearing threshold. Though the quietest sound considered audible is a 3 kHz tone at about -9 dB SPL, most people can't hear even 30 dB SPL above 15 kHz if other frequencies are present at, say, 70 dB SPL. At frequencies that high, it's perfectly normal to have frequencies above 18 kHz rejected entirely in many cases.
Heck, modern mastering treats PCM on modern CDs as a perceptual codec, with a noise-shaped dither that pushes the noise floor down to -120 dBFS in the 2 kHz to 5 kHz band where the ear is most sensitive, trading it for noise that approaches -40 dBFS noise at 20 kHz. (0 dBFS is the level of a rail-to-rail signal and is often considered equivalent to 96 dB SPL when applied to recorded music.) The audiophiles get their overkill, and the mastering engineer gets his money.
No, I didn't say favorite genre, I said favorite ARTIST.
I expected this. You may want to refresh your memory about monopolistic competition before reading further.
It's no good telling someone to buy a CD from some other artist 'but it's ok because it's the same genre'.
"It's no good telling someone to buy an OS from some other vendor 'but it's ok because it runs the same programs'."
Most mainstream bands sound like at least two other bands on other labels. Sure, some artists such as Aphex Twin have a unique sound, but for every Backstreet Boys, there's always an *NSYNC and a 98 Degrees, and for every Britney Spears, there's a Christina Aguilera and a Jennifer Lopez. Sure, a Backstreet Boys CD and an *NSYNC CD are imperfect substitutes, but excepting the "sux/r00lz" fanboys, they're closer to perfect than some analysts would think.
Note that 99.9% of people will require the ability to buy music from their favorite MUSICIAN, not just genre, legally, if they're expected to change their vendor.
Are you claiming that substitution is so imperfect, that demand for particular artists is so inelastic, that only 0.1 percent of listeners are willing to discover new music if some bands' albums are less expensive than other bands'? Performers come and go, and listeners will follow their tastes. Look at what happened to fans of Tupac Shakur: when the posthumous flow of albums from Tupac's label slowed down, Eminem popped up, and Tupac fans had a new favorite rapper. Something analogous happened to Nirvana fans when Kurt Cobain died, and the same thing will happen when the Backstreet Boys break up.
However, what is the absolute alternative to the record labels?
Sony, Warner, Universal, Bertelsmann, and EMI are the five major labels. The absolute alternative to the major labels is small, local labels. And unless you're into Top 40 teen pop, you can find pretty much every genre well-represented on smaller labels.
Get talent, have a big studio promote your music under the terms of a contract. Fulfill that contract, then go on to release music independently
The problem is that most such contracts last about seven albums, and many performers who write their own music don't have eighty songs in them. The other problem is that the label can refuse to accept any given song or recording "for any reason or no reason", locking the artist into the contract with no way to fulfill it.
If you have any PSX games, chances are you have a PSX.
Disc consoles have moving parts. Moving parts wear out. Thus, disc consoles wear out. A worn-out PS1 console (whether PSX or PSOne form factor) won't play PS1 games. Thus, owners of a dead PS1 can buy a PS2 to replace it, rather than a PS1 and a Gamecube.
Are you claiming that it's the manufacturer's right to keep the environmental impact of its operations a trade secret? Or do I misunderstand your point?
So... you might need to check your units on that comment.
It's an overloaded use of "watt". The phrase "300 watt current" refers to "whatever current provides 300 VA of power with your country's voltage". For instance, a "300 watt current" in the United States is 2.5 A.
Now, if you'll excuse me, I've got to get back to my text editor project.
There are valid reasons for rewriting code because it's "not invented here". One is for homework, where you are expected to write all the code in the program by yourself with no outside help. Another is that no code exists under an appropriate free software license. Another is that the popular text editors do not support features of your constructed language such as text-direction or multi-color glyphs.
The cost of a record isn't production as much as promotion. The most effective way to promote your record is to buy a four-minute ad spot on radio stations in most major metro markets. Last time I checked, only the major labels had the infrastructure and the cash reserves to afford that.
If such a low percentage or their roster have a tough time selling one million copies, this should be a clue to put more effort into finding better talent.
The RIAA's bottleneck with respect to talent is called "Sturgeon's Law", which states that "ninety percent of everything is crud." I'd go further and apply Sturgeon's Law twice to performing musicians seeking a recording contract: fewer than 10 percent of artists are not-crud enough to land a record deal, and fewer than 10 percent of those are not-crud enough to move enough units to recoup costs.
Not every record published will sell a million copies. Labels published about 27,000 new recordings in 2001. Compare with 906.6 million CDs shipped, and the mean album in 2001 sold only about 33,600 units.
Though not all americans have musical talent, there are still 250 million americans and only 100 slots on the Billboard pop chart. What are your odds of making it big?
Square is Sony's whore, after ditching Nintendo's bed for more shiny bling bling.
No. Square ditched Nintendo when Square found out that the Nintendo 64 console's program storage device (cartridges based on masked semiconductors) would be limited to 8 megabytes initially and would never top 64 megabytes over the life of the system. On the other hand, Sony's program storage device (Compact Disc Read Only Memory) held 640 megabytes.
Slashdot Mirror
Do there also exist DC++ hubs with a decent selection that allow dial-up users? And how is somebody supposed to afford over a thousand CDs to rip to get over the 100 GB minimum? (An mp3 or ogg album at 192 kbps is only about 90 MB.)
even if they're not sharing anything (which is evil in itself)
If not sharing is considered evil, and a fellow new to movie trading has nothing to share, then for a fellow without a DVD-ROM drive or the video mastering expertise to make a good DivX rip, how is it possible to download one's first movie from Overnet without appearing "evil"?
TAA is anti-aliasing (increasing the sample count / sampling frequency) in the temporal domain as opposed to spatial AA.
And then low-pass filtering in the temporal domain and downsampling to 70 Hz produces a blur effect, right?
But you can use the accumulation buffer to combine consequent finally-rendered frames to do TAA.
Which is exactly what I said in the first place: render five frames, accumulate them (rectangular FIR low-pass filter), and you get TAA, which is the "motion blur" that makes movies look good even though they're 24 fps.
so some inter-scene magic was done
But no correlation of geometry from scene to scene, right? That would produce really bad artifacts when panning over a fine triangle mesh.
there certainly should be a good number of high-quality, unassailable UFO (and Bigfoot) videos/pictures by now
Here's a Bigfoot. How was this one faked?
I'd wager that someone's been looking at the periodic table.
Intel's doing the same thing. The "Pentium" mark is the systematic name of boron, standing for atomic number 5. "Xeon" and "Itanium" are "xenon" and "titanium" minus a letter each. "Celeron" is a made-up name designed to fit into the scheme.
the programming rays put out by the government that they learned to produce from the Du'horti that they learned from the Ma'khal that they learned from the J'dar
Wondering how to pronounce those names? Getting stuck on the apostrophe symbols typical of space-opera "alien" names? Here are a few tips:
An apostrophe after a vowel represents the "glottal stop", the sound heard in the middle of "uh-oh", which is spelled A'o in space-opera transliteration. Thus, you're supposed to cut the preceding vowel short before starting the next sound.
An apostrophe between consonants typically represents an unaccented central "uh" sound called a "schwa", often represented in phonetic transcription with a turned 'e'. It's the sound of 'a' in "about" or 'ou' in "precious".
To place the accent: Words ending in a vowel (such as Du'horti) are typically accented on the second-to-last syllable (counting any combination of vowels with only one 'a', 'e', or 'o' as one syllable), as in Spanish or Italian. Words containing a schwa are accented on the other syllable. I'm not sure where to place the accent on Ma'khal.
billg cannot be an enemy combatant because he does not wear a military uniform.
The business suit is the "uniform" of the American business man. Here's a picture of Bill Gates III in such a uniform.
Whether Microsoft qualifies as a "military" organization is still an open question. The company does seem bigger than many government agencies.
CD's aren't typically $20.
Best Buy stores sell CDs for 13 USD, and 13 USD is worth about 20 CAD.
record contracts make provisions for 'breakage', a leftover from the days of 78 rpm records.
The "breakage" term in recording contracts has become "packaging and breakage" and now "packaging". It's as if the performers were paying for the shipping.
You have a nasty frequency cutoff at around 17.5-18kHz
So does the human ear. Perceptual audio coding attempts to shape the noise to fit under the computed hearing threshold. Though the quietest sound considered audible is a 3 kHz tone at about -9 dB SPL, most people can't hear even 30 dB SPL above 15 kHz if other frequencies are present at, say, 70 dB SPL. At frequencies that high, it's perfectly normal to have frequencies above 18 kHz rejected entirely in many cases.
Heck, modern mastering treats PCM on modern CDs as a perceptual codec, with a noise-shaped dither that pushes the noise floor down to -120 dBFS in the 2 kHz to 5 kHz band where the ear is most sensitive, trading it for noise that approaches -40 dBFS noise at 20 kHz. (0 dBFS is the level of a rail-to-rail signal and is often considered equivalent to 96 dB SPL when applied to recorded music.) The audiophiles get their overkill, and the mastering engineer gets his money.
If you do it yourself, it's yours.
Oh really? What if some music publisher with $100 billion of equity sues you on grounds that you "accidentally copied" a song written by one of the publisher's songwriters? George Harrison lost such a lawsuit. How, before publishing a song, can a performer-songwriter make sure that the song is original?
Most of those smaller labels are members of the....*drum roll please*...RIAA.
True, but not all RIAA member labels are as reluctant to license their recordings to subscription music download services as some of the majors.
No, I didn't say favorite genre, I said favorite ARTIST.
I expected this. You may want to refresh your memory about monopolistic competition before reading further.
It's no good telling someone to buy a CD from some other artist 'but it's ok because it's the same genre'.
"It's no good telling someone to buy an OS from some other vendor 'but it's ok because it runs the same programs'."
Most mainstream bands sound like at least two other bands on other labels. Sure, some artists such as Aphex Twin have a unique sound, but for every Backstreet Boys, there's always an *NSYNC and a 98 Degrees, and for every Britney Spears, there's a Christina Aguilera and a Jennifer Lopez. Sure, a Backstreet Boys CD and an *NSYNC CD are imperfect substitutes, but excepting the "sux/r00lz" fanboys, they're closer to perfect than some analysts would think.
Note that 99.9% of people will require the ability to buy music from their favorite MUSICIAN, not just genre, legally, if they're expected to change their vendor.
Are you claiming that substitution is so imperfect, that demand for particular artists is so inelastic, that only 0.1 percent of listeners are willing to discover new music if some bands' albums are less expensive than other bands'? Performers come and go, and listeners will follow their tastes. Look at what happened to fans of Tupac Shakur: when the posthumous flow of albums from Tupac's label slowed down, Eminem popped up, and Tupac fans had a new favorite rapper. Something analogous happened to Nirvana fans when Kurt Cobain died, and the same thing will happen when the Backstreet Boys break up.
However, what is the absolute alternative to the record labels?
Sony, Warner, Universal, Bertelsmann, and EMI are the five major labels. The absolute alternative to the major labels is small, local labels. And unless you're into Top 40 teen pop, you can find pretty much every genre well-represented on smaller labels.
Get talent, have a big studio promote your music under the terms of a contract. Fulfill that contract, then go on to release music independently
The problem is that most such contracts last about seven albums, and many performers who write their own music don't have eighty songs in them. The other problem is that the label can refuse to accept any given song or recording "for any reason or no reason", locking the artist into the contract with no way to fulfill it.
If you have any PSX games, chances are you have a PSX.
Disc consoles have moving parts. Moving parts wear out. Thus, disc consoles wear out. A worn-out PS1 console (whether PSX or PSOne form factor) won't play PS1 games. Thus, owners of a dead PS1 can buy a PS2 to replace it, rather than a PS1 and a Gamecube.
I thought Sony wasn't goiing to use the Playstation name anymore?
Nintendo never claimed any right to the PlayStation trademark. You're remembering this hoax.
Are you claiming that it's the manufacturer's right to keep the environmental impact of its operations a trade secret? Or do I misunderstand your point?
all because it runs on the x86 arch with a modified GF3
No, because the Xbox console is compatible with my 27 inch TV, which is much bigger than my 17 inch VGA display.
power (watts) is equal to (current) * (voltage).
True.
So... you might need to check your units on that comment.
It's an overloaded use of "watt". The phrase "300 watt current" refers to "whatever current provides 300 VA of power with your country's voltage". For instance, a "300 watt current" in the United States is 2.5 A.
Now, if you'll excuse me, I've got to get back to my text editor project.
There are valid reasons for rewriting code because it's "not invented here". One is for homework, where you are expected to write all the code in the program by yourself with no outside help. Another is that no code exists under an appropriate free software license. Another is that the popular text editors do not support features of your constructed language such as text-direction or multi-color glyphs.
If production cost so much
The cost of a record isn't production as much as promotion. The most effective way to promote your record is to buy a four-minute ad spot on radio stations in most major metro markets. Last time I checked, only the major labels had the infrastructure and the cash reserves to afford that.
If such a low percentage or their roster have a tough time selling one million copies, this should be a clue to put more effort into finding better talent.
The RIAA's bottleneck with respect to talent is called "Sturgeon's Law", which states that "ninety percent of everything is crud." I'd go further and apply Sturgeon's Law twice to performing musicians seeking a recording contract: fewer than 10 percent of artists are not-crud enough to land a record deal, and fewer than 10 percent of those are not-crud enough to move enough units to recoup costs.
Not every record published will sell a million copies. Labels published about 27,000 new recordings in 2001. Compare with 906.6 million CDs shipped, and the mean album in 2001 sold only about 33,600 units.
Though not all americans have musical talent, there are still 250 million americans and only 100 slots on the Billboard pop chart. What are your odds of making it big?
Square is Sony's whore, after ditching Nintendo's bed for more shiny bling bling.
No. Square ditched Nintendo when Square found out that the Nintendo 64 console's program storage device (cartridges based on masked semiconductors) would be limited to 8 megabytes initially and would never top 64 megabytes over the life of the system. On the other hand, Sony's program storage device (Compact Disc Read Only Memory) held 640 megabytes.
The Xbox ... doesn't run windows (tho it can run linux).
Wasn't there a Slashdot story some time ago about Windows booting under Plex86 under Linux on an Xbox console?