Sure, NTSC is specified as 29.97 fps. However, live and videotaped television and video games run it at 59.94 fps, moving the camera and game objects between fields, because that creates smoother motion. Besides, consoles that use NTSC will fail when NTSC televisions are no longer sold because there is no market for them because all broadcast television is done in digital encrypted non-tapeable formats.
It never-EVER made sense to me that there is a difference between Japanese and American console units.
<apologist>
Mostly because copyrights are licensed regionally. How else are you supposed to keep American rights to a movie franchise from being infringed when you have licensed only the right to distribute in Japan? And what if someone asks for tech support or game tips for an obscure Japanese game with which the American subsidiary is not familiar?
</apologist>
Learning a language too distant from your native language can be extremely difficult for somebody whose language learning unit has hardened, that is, most people older than 10 years old.
2. Buy a PS2.
USD $600 for two PS2 units is expensive. The kit is probably compatible only with PS2 systems region-coded for [NTSC|J], while PS2 units that play American games are coded for [NTSC|U/C].
4. Convince wife that it is all "educational" and is not because of any "cool factor".
It's not a patent on video games per se; it's a patent on synchronization between peer-to-peer video games. The patent you reference is even flimsier, as its first claim has prior art in the "Game Link" feature of the Nintendo Game Boy handheld console. It is a reissue (aka amendment) of U.S. Patent 5,292,125, filed May 31, 1991. Nintendo has prior art on their behinds.
If artists would put donation buttons on their web pages, I would be willing to donate if they didn't have a CD.
MP3.com has a system called D.A.M. An artist can throw ten tracks onto a CD playlist, and anyone who buys that playlist will have a CD burned and shipped with both Red Book and MP3 tracks on it. I have actually bought a few D.A.M. CDs.
If a radio station is playing music distributed under this license, ASCAP and BMI effectively will earn money from it anyway. That doesn't seem right.
Except ASCAP and BMI pay out royalties to each songwriter based on how much each song is found in the stats.
And there's nothing in there that I saw to prevent your song from appearing as background music in an advertisement for who knows what awful product. That doesn't seem right either.
In that case, the entire audio track of the ad would fall under the (O) license, and you would be credited in small print at the bottom of the screen at the beginning of the commercial. It'd be an advertisement for your product also.
"Copyright Inc." is not too far off base. There are companies whose sole purpose is to milk copyright for all it's worth, such as ASCAP, BMI, RIAA, and MPAA.
First:-) gets patented
No,:-(® is a trademark, not a patent. Right office, wrong monopoly. Trademark #75502288 on ":-(" applies only to "Printed matter namely, greeting cards, posters and art prints."
So should I submit the multitrack tapes along with the original mix? Think of a 4 minute song in WAV format - pretty big file, and only 2 tracks. Now consider a 4 minute song, uncompressed, with 8, 16, 32, maybe 96 tracks of audio. Sure, you can compress it
In that case, each instrument can be compressed individually using a model for each instrument. You can get away with a slightly lossy model for distribution of multitrack audio because the THX audio production standard needs only 75 dB of SNR (about 13-bit precision) in the final mix. In fact, some instrument parts (drums and electronic instruments) can be compressed 1000:1 into MIDI data.
As far as inspiration goes, I can make music today that is inspired by other music without copyright worries.
Not if every sane chord progression or melody is copyrighted. (Remember the "Yes We Have No Bananas" case?) For example, there are seven notes in any mode (major, minor, lydian, etc.). Start at any note and move five times, and you can make any six-note melody. Combinatorics says that there are only 6^5 < combinations of five moves with six destinations, that is, fewer than 8000 six-note melodies. It's almost as bad as the situation with patents, where the probability of reinventing a patented invention is so great that it's holding up "the progress of science and useful arts."
I'll speak from what experience I have: electronic music.
When was the last time you heard real techno on the radio? The radio stations that people actually listen to play either oldies (aka "trademark music") or rock.
I'm sure you know of MIDI files.
MIDI (at least General MIDI 1) is very orchestral-biased. Sure you can release your techno as.xm/.s3m/.it, but not everybody likes techno. In my experience,.mid and the various MOD derivatives do an entirely inadequate job of reproducing rock music, which uses vocals and electric guitar heavily. There's a reason MIDI rock sounds like video game music.
Patterns and melodies can be taken from those as the sounds themselves are provided by external hardware.
Except that in the case of rock music, external hardware to produce a recording from the composition involves wetware (humans to sing and humans to play guitars), and use of wetware is billed by the hour (minimum wage laws).
This gives you several rights, the most important one is that anyone can distribute as long as they give the original author credit (which is very important with an artform like music, it would bite to hear your song later and have someone else claiming they wrote/performed it).
You just described MIT- and BSD-style noncopyleft licenses. (I am a musician and have released musical works and sound recordings, mostly folk song covers, under a slightly customized version of the XFree86 license.) The "attribution" requirement in (O) is similar to the language "The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software" from XFree86.
The difference is that this is a copyleft. From (O): "Any new work that in whole or in part contains or is derived from a work (or part thereof) made available under this license, must itself be licensed as a whole under the terms of this license."
Honestly, most musicians make little or no money off royalties and simply live off advances
In that case, the Street Performer Protocol (release the preview, deposit full version in a safe place, take orders for the full version, and release the full version if and only if you got enough orders) would compensate musicians just as much as or more than the RIAA regime does.
Your 5 years of effort will be worthless if you release under this.
There is still a way to make money off this: release the first half, take orders for the CD, and release the second half ONLY if you get enough orders.
simple enough if placed in a loop. All that remains is a method of refreshing the signal. To this end, I thought of taking a gas laser, pumped to just a few photons below the point it will lase, and use it as the terminator of the loop. In this way, it gets a refresh on each loop
Good idea. A material that slows down light (such as this one; thanks ultrabot2k1), used as a delay line, gives you optical DRAM. Just make sure you don't try to take your idea into outer space.
Or you could just make optical SRAM by using these optical transistors (a D latch/flipflop is two NOTs and a mux).
a user interface, cross-plattform like swing, as fast like it should be... and most stuff java has, without the need for the virtual machine..
You might want to take a look at GCJ if you want to compile Java language code into native binaries. GCJ's class libraries implement most of Java 2's APIs (RMI and AWT are not finished; volunteers are welcome to help).
The client isn't TiK. The client is based on gtk, and is available here. It also supports oscar.
I support AOL for making an attempt to support the GNU/Linux platform, but what you linked to is not really a Linux client; it's a Linux86 client. From the page: "Currently, AIM Linux runs on the intel platform," meaning that it's prohibitively slow to emulate this client on a PowerPC, Sparc, Alpha, or Itanium system. A program that truly supports the Linux platform must be recompileable to any architecture and thus must be source code or bytecode. (Speaking of bytecode, here's a Java-based AIM client called AIM Express that will run in any browser with a Java 1.1 compatible runtime environment.)
The other problem with the released client is that it requires X11, which (apart from eating a fair chunk of system RAM) is much less friendly to the visually impaired than the console. A console client (which would look a bit like BitchX) would interface more easily with popular screen reading software.
Was there actually a ZELDA game for N64?
on
Gamecube In Danger?
·
· Score: 2
I think gamers of all ages can enjoy games like Zelda
Background: All games marketed as "Zelda" have a character named Link as the hero. Three of them have rescuing Princess Zelda as one of the main objectives (Z1 and Z2 final objective; Z3 first objective). Calling Z4 (Link's Awakening) a "Zelda" game is just wrong; where does she appear? To use the terminology of NetBSD, Z4 is a "Zelda-like" game.
Z5 for N64, Z6 for N64Plus, and the Oracle series for GBC: Haven't looked at them too closely; they came out after I became a PC gamer.
Poh-Kay-Mawn will keep it from happening
on
Gamecube In Danger?
·
· Score: 2
The press slamming it is not so bad a problem as all the developers going over to the Xbox. If they all defected, you can understand Nintendo sticking with what they've got
Nintendo already has a dead product (Nintendo 64) that it's been phasing out lately (notice only two announced N64 games in latest Nintendo Power magazine's Game Watch). But Nintendo has a nearly guaranteed winner in the GAMECUBE because kids are going to want one no matter what, as Nintendo has trademarks on popular franchises such as Super Mario, the series formerly known as Zelda (when was the last time you saw Princess Z being rescued? A Link to the Past?), and especially POcKEt MONey (gotta spend 'em all). Plus, Nintendo has an exclusive contract with Rare, who can squeeze the last bit out of even the hardest hardware. (Had Rare been developing for Saturn, the PSX likely wouldn't have killed it as quickly.)
I started a phone company, and did allow other phone companies to route phone calls to my system, but didn't allow regular phones to talk to our new custom holographic 3-d videoconferencing system.
And the routing from other providers introduces (unpleasant but bearable) lags in the conversation. And this routing often goes down for days at a time. I would not want to use such a service.
The article states NetBSD/Alpha, not NetBSD/x86...
Your MP Athlon will be nice, but it won't be useful for NetBSD
But the SMP support will probably be relatively straightforward to port to x86, especially given that Alpha and recent Athlon processors share a bus protocol.
The successor to IDE is already on the way: Serial ATA. Reportedly, PC makers like it because the thin cables allow them to build smaller systems with better cooling.
If airflow properties are all you're using Serial ATA for, you don't really need it. All you need is to separate your existing parallel ATA ribbon cables every four wires (use xacto knife to make notches, then pull the wire groups apart like Twizzlers candy) and tie-wrap them back together; poof, no more airflow obstruction.
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NTSC is 30fps, 2 fields per frame.
Sure, NTSC is specified as 29.97 fps. However, live and videotaped television and video games run it at 59.94 fps, moving the camera and game objects between fields, because that creates smoother motion. Besides, consoles that use NTSC will fail when NTSC televisions are no longer sold because there is no market for them because all broadcast television is done in digital encrypted non-tapeable formats.
It never-EVER made sense to me that there is a difference between Japanese and American console units.
<apologist>
Mostly because copyrights are licensed regionally. How else are you supposed to keep American rights to a movie franchise from being infringed when you have licensed only the right to distribute in Japan? And what if someone asks for tech support or game tips for an obscure Japanese game with which the American subsidiary is not familiar?
</apologist>
<honest>
The translation doesn't even have to be good. I just want all Sony's Japanese game to be belong to Americans.
</honest>
1. Learn Japanese.
Learning a language too distant from your native language can be extremely difficult for somebody whose language learning unit has hardened, that is, most people older than 10 years old.
2. Buy a PS2.
USD $600 for two PS2 units is expensive. The kit is probably compatible only with PS2 systems region-coded for [NTSC|J], while PS2 units that play American games are coded for [NTSC|U/C].
4. Convince wife that it is all "educational" and is not because of any "cool factor".
Assuming all female geeks are lesbian?
It's not a patent on video games per se; it's a patent on synchronization between peer-to-peer video games. The patent you reference is even flimsier, as its first claim has prior art in the "Game Link" feature of the Nintendo Game Boy handheld console. It is a reissue (aka amendment) of U.S. Patent 5,292,125, filed May 31, 1991. Nintendo has prior art on their behinds.
If artists would put donation buttons on their web pages, I would be willing to donate if they didn't have a CD.
MP3.com has a system called D.A.M. An artist can throw ten tracks onto a CD playlist, and anyone who buys that playlist will have a CD burned and shipped with both Red Book and MP3 tracks on it. I have actually bought a few D.A.M. CDs.
If a radio station is playing music distributed under this license, ASCAP and BMI effectively will earn money from it anyway. That doesn't seem right.
Except ASCAP and BMI pay out royalties to each songwriter based on how much each song is found in the stats.
And there's nothing in there that I saw to prevent your song from appearing as background music in an advertisement for who knows what awful product. That doesn't seem right either.
In that case, the entire audio track of the ad would fall under the (O) license, and you would be credited in small print at the bottom of the screen at the beginning of the commercial. It'd be an advertisement for your product also.
The copyright industry? Puh-lease tell me this is just a poor choice of words rather than somebody's cockeyed view of the world.
I've used this term before. It refers to the entertainment industry in the sense that it controls popular culture with the iron fist of copyright. Why again does Disney still have a monopoly on Mickey Mouse?
largely spearheaded by (c), Inc.
"Copyright Inc." is not too far off base. There are companies whose sole purpose is to milk copyright for all it's worth, such as ASCAP, BMI, RIAA, and MPAA.
First :-) gets patented
No, :-(® is a trademark, not a patent. Right office, wrong monopoly. Trademark #75502288 on ":-(" applies only to "Printed matter namely, greeting cards, posters and art prints."
So should I submit the multitrack tapes along with the original mix? Think of a 4 minute song in WAV format - pretty big file, and only 2 tracks. Now consider a 4 minute song, uncompressed, with 8, 16, 32, maybe 96 tracks of audio. Sure, you can compress it
In that case, each instrument can be compressed individually using a model for each instrument. You can get away with a slightly lossy model for distribution of multitrack audio because the THX audio production standard needs only 75 dB of SNR (about 13-bit precision) in the final mix. In fact, some instrument parts (drums and electronic instruments) can be compressed 1000:1 into MIDI data.
As far as inspiration goes, I can make music today that is inspired by other music without copyright worries.
Not if every sane chord progression or melody is copyrighted. (Remember the "Yes We Have No Bananas" case?) For example, there are seven notes in any mode (major, minor, lydian, etc.). Start at any note and move five times, and you can make any six-note melody. Combinatorics says that there are only 6^5 < combinations of five moves with six destinations, that is, fewer than 8000 six-note melodies. It's almost as bad as the situation with patents, where the probability of reinventing a patented invention is so great that it's holding up "the progress of science and useful arts."
I'll speak from what experience I have: electronic music.
When was the last time you heard real techno on the radio? The radio stations that people actually listen to play either oldies (aka "trademark music") or rock.
I'm sure you know of MIDI files.
MIDI (at least General MIDI 1) is very orchestral-biased. Sure you can release your techno as .xm/.s3m/.it, but not everybody likes techno. In my experience, .mid and the various MOD derivatives do an entirely inadequate job of reproducing rock music, which uses vocals and electric guitar heavily. There's a reason MIDI rock sounds like video game music.
Patterns and melodies can be taken from those as the sounds themselves are provided by external hardware.
Except that in the case of rock music, external hardware to produce a recording from the composition involves wetware (humans to sing and humans to play guitars), and use of wetware is billed by the hour (minimum wage laws).
This gives you several rights, the most important one is that anyone can distribute as long as they give the original author credit (which is very important with an artform like music, it would bite to hear your song later and have someone else claiming they wrote/performed it).
You just described MIT- and BSD-style noncopyleft licenses. (I am a musician and have released musical works and sound recordings, mostly folk song covers, under a slightly customized version of the XFree86 license.) The "attribution" requirement in (O) is similar to the language "The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software" from XFree86.
The difference is that this is a copyleft. From (O): "Any new work that in whole or in part contains or is derived from a work (or part thereof) made available under this license, must itself be licensed as a whole under the terms of this license."
Honestly, most musicians make little or no money off royalties and simply live off advances
In that case, the Street Performer Protocol (release the preview, deposit full version in a safe place, take orders for the full version, and release the full version if and only if you got enough orders) would compensate musicians just as much as or more than the RIAA regime does.
Your 5 years of effort will be worthless if you release under this.
There is still a way to make money off this: release the first half, take orders for the CD, and release the second half ONLY if you get enough orders.
simple enough if placed in a loop. All that remains is a method of refreshing the signal. To this end, I thought of taking a gas laser, pumped to just a few photons below the point it will lase, and use it as the terminator of the loop. In this way, it gets a refresh on each loop
Good idea. A material that slows down light (such as this one; thanks ultrabot2k1), used as a delay line, gives you optical DRAM. Just make sure you don't try to take your idea into outer space.
Or you could just make optical SRAM by using these optical transistors (a D latch/flipflop is two NOTs and a mux).
a user interface, cross-plattform like swing, as fast like it should be... and most stuff java has, without the need for the virtual machine ..
You might want to take a look at GCJ if you want to compile Java language code into native binaries. GCJ's class libraries implement most of Java 2's APIs (RMI and AWT are not finished; volunteers are welcome to help).
The client isn't TiK. The client is based on gtk, and is available here. It also supports oscar.
I support AOL for making an attempt to support the GNU/Linux platform, but what you linked to is not really a Linux client; it's a Linux86 client. From the page: "Currently, AIM Linux runs on the intel platform," meaning that it's prohibitively slow to emulate this client on a PowerPC, Sparc, Alpha, or Itanium system. A program that truly supports the Linux platform must be recompileable to any architecture and thus must be source code or bytecode. (Speaking of bytecode, here's a Java-based AIM client called AIM Express that will run in any browser with a Java 1.1 compatible runtime environment.)
The other problem with the released client is that it requires X11, which (apart from eating a fair chunk of system RAM) is much less friendly to the visually impaired than the console. A console client (which would look a bit like BitchX) would interface more easily with popular screen reading software.
I think gamers of all ages can enjoy games like Zelda
Background: All games marketed as "Zelda" have a character named Link as the hero. Three of them have rescuing Princess Zelda as one of the main objectives (Z1 and Z2 final objective; Z3 first objective). Calling Z4 (Link's Awakening) a "Zelda" game is just wrong; where does she appear? To use the terminology of NetBSD, Z4 is a "Zelda-like" game.
Z5 for N64, Z6 for N64Plus, and the Oracle series for GBC: Haven't looked at them too closely; they came out after I became a PC gamer.
The press slamming it is not so bad a problem as all the developers going over to the Xbox. If they all defected, you can understand Nintendo sticking with what they've got
Nintendo already has a dead product (Nintendo 64) that it's been phasing out lately (notice only two announced N64 games in latest Nintendo Power magazine's Game Watch). But Nintendo has a nearly guaranteed winner in the GAMECUBE because kids are going to want one no matter what, as Nintendo has trademarks on popular franchises such as Super Mario, the series formerly known as Zelda (when was the last time you saw Princess Z being rescued? A Link to the Past?), and especially POcKEt MONey (gotta spend 'em all). Plus, Nintendo has an exclusive contract with Rare, who can squeeze the last bit out of even the hardest hardware. (Had Rare been developing for Saturn, the PSX likely wouldn't have killed it as quickly.)
They released a client you could use, so that you could speak to them.
This client (TiK) and its derivatives connect to toc.oscar.aol.com. So why is the server down for days at a time?
I started a phone company, and did allow other phone companies to route phone calls to my system, but didn't allow regular phones to talk to our new custom holographic 3-d videoconferencing system.
And the routing from other providers introduces (unpleasant but bearable) lags in the conversation. And this routing often goes down for days at a time. I would not want to use such a service.
AOL voluntarily have provided TOC for 3rd party clients to use. They've explicitely OK'd 3rd party clients.
Except some important features (file transfer, retrieve away message, buddy search, buddy icon) are entirely absent from TOC.
How about LSDUserBSD
That actually makes sense, given that both BSD and LSD were developed at UC Berkeley.
--Why do dataBASEs have ACID properties?
The article states NetBSD/Alpha, not NetBSD/x86... Your MP Athlon will be nice, but it won't be useful for NetBSD
But the SMP support will probably be relatively straightforward to port to x86, especially given that Alpha and recent Athlon processors share a bus protocol.
browsing in 2048x1536. Slashdot, like Everything and most other web sites, is optimized for an 800x600 browser window.
Subject: Fuck Curses
What a hypocrite. If you don't like curses, don't curse about them.
The successor to IDE is already on the way: Serial ATA. Reportedly, PC makers like it because the thin cables allow them to build smaller systems with better cooling.
If airflow properties are all you're using Serial ATA for, you don't really need it. All you need is to separate your existing parallel ATA ribbon cables every four wires (use xacto knife to make notches, then pull the wire groups apart like Twizzlers candy) and tie-wrap them back together; poof, no more airflow obstruction.