I think the term 'music industry' is an oximoron. The model where bands come down off the silver cloud every two years, make a record and collect all the cash is done. Now perhaps the music won't suck as bad. If we don't get the calculated slick crappy music that is just made for the money, great. Good music comes from the heart and MONEY HAS NOTHING TO DO WITH IT!
Alway get the ethernet modem. A linux box with two net cards makes a great router.
I got dsl from a small provider cape.com. They bought a T3 into verison's dsl cloud to there rack space. So the small company with humans you can actually talk to handles all issues except physical connect. They have access to bell's trouble tickets, and do all hosting, mail, routing on ther own box's. Ma bell gives them point ot point access to each node so they can do all kinds of kooky routing and vpn stuff.
It is a good arangement, They offer a pricey business package with a cir and stuff. I've got the 'home service' It has been very reliable. I was hoping for more speed but I do have the cheapest level of service.
This law suit is a last gasp of an organization that has out lived it's usefullness. The record industry is top heavy with a small group of artists making most of the money. This is changing thanks to technology. Those who were on top are scared. They may succeed in bringing down napster but the are losing the war. As a small producer of original music I have long resent the 'dat tax' The money is paid weather or not I record my own music. Record companies have added some kind of clause to record contracts to gouge the artist a little more because of internet copying. I can't recall it name. The point is Artist don't need record companies any more. Unless you are really popular, The copying can not hurt you. It's called 'exposure' Once your really popular it can't hurt you because you can sell out shows. It can only hurt the middle men.
I do a lot of recording and in the music industry the concept that all you need is twice the sampling frequency has been discredited. A big part of the problem lies in the filter nessesary to remove the digital artifacts. It is hard to build a filter that has a sharp cutoff and still sounds good. Raising the sample rate alows the filter to be less severe. A lot of musicians have retreated to "all analogue" in the production process. A certian amount of this is superstition and fud on the part of the makers of analogue gear. A lot of musicians speak of digital as sounding 'harsh' and claim that the anologue sounds 'warm' From my own experience, there are nasty artifacts the result in sound that gets processed a lot in the digital domain. I am more interested int the greater bit depths then the extended sample rate. It is true that it is impossible to make a a/d converter much beyond 24 bits. But once you get that sample you want to have more dynamics available to allow more freedome in processing.
Is this not what apple had in mind when they designed fire-wire. It also provides for power to go down the same cable, somethin that might be hard with cat 5.
It's telling that the nytimes story on refund day was sponsored by Microsoft. (had a couple of Microsoft banners on the page.) With the money Microsoft has, they can afford to be wrong for a long time.
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I think the term 'music industry' is an oximoron. The model where bands come down off the silver cloud every two years, make a record and collect all the cash is done. Now perhaps the music won't suck as bad. If we don't get the calculated slick crappy music that is just made for the money, great. Good music comes from the heart and MONEY HAS NOTHING TO DO WITH IT!
Alway get the ethernet modem. A linux box with two net cards makes a great router. I got dsl from a small provider cape.com. They bought a T3 into verison's dsl cloud to there rack space. So the small company with humans you can actually talk to handles all issues except physical connect. They have access to bell's trouble tickets, and do all hosting, mail, routing on ther own box's. Ma bell gives them point ot point access to each node so they can do all kinds of kooky routing and vpn stuff. It is a good arangement, They offer a pricey business package with a cir and stuff. I've got the 'home service' It has been very reliable. I was hoping for more speed but I do have the cheapest level of service.
So what about an intel version. Does anyone know?
Is this what w3 is tring to do with the Synchronized Multimedia Integration Language (SMIL) 1.0 Specification Why don't we all use that?
This law suit is a last gasp of an organization that has out lived it's usefullness. The record industry is top heavy with a small group of artists making most of the money. This is changing thanks to technology. Those who were on top are scared. They may succeed in bringing down napster but the are losing the war. As a small producer of original music I have long resent the 'dat tax' The money is paid weather or not I record my own music. Record companies have added some kind of clause to record contracts to gouge the artist a little more because of internet copying. I can't recall it name. The point is Artist don't need record companies any more. Unless you are really popular, The copying can not hurt you. It's called 'exposure' Once your really popular it can't hurt you because you can sell out shows. It can only hurt the middle men.
They are out dated before the ink is dry
I do a lot of recording and in the music industry the concept that all you need is twice the sampling frequency has been discredited. A big part of the problem lies in the filter nessesary to remove the digital artifacts. It is hard to build a filter that has a sharp cutoff and still sounds good. Raising the sample rate alows the filter to be less severe. A lot of musicians have retreated to "all analogue" in the production process. A certian amount of this is superstition and fud on the part of the makers of analogue gear. A lot of musicians speak of digital as sounding 'harsh' and claim that the anologue sounds 'warm' From my own experience, there are nasty artifacts the result in sound that gets processed a lot in the digital domain. I am more interested int the greater bit depths then the extended sample rate. It is true that it is impossible to make a a/d converter much beyond 24 bits. But once you get that sample you want to have more dynamics available to allow more freedome in processing.
Is this not what apple had in mind when they designed fire-wire. It also provides for power to go down the same cable, somethin that might be hard with cat 5.
It's telling that the nytimes story on refund day
was sponsored by Microsoft. (had a couple of Microsoft banners on the page.) With the money Microsoft has, they can afford to be wrong for a long time.