DFS/AFS has had this concept of a backup filesystem for quite a while. It's not even a COW, (afaik) it actually tracks the binary deltas from a sync point, which if you extended it to individual files instead of a whole filesystem like M$ seems to have done really could save some more significant space. They always sold it in the DFS world as the online backup being "almost free" space wise.
Very cool, and comes in handy when you rm -rf the wrong file and realize it instantly. However, I would think automating this feature would create more problems than it solves.
It's interesting that the mp3 discussions sound almost exactly the same as those that crop up every couple of months about radio play, pay-for-play in clubs, major label fronting, etc.
I think there are a lot of positives about mp3.com, but likewise, it ain't the right choice for every band:
1. It isn't an exlusive contract, it works more like giving your music to a radio station and waiving your airing royalties - if you have the audience to justify serious national rotation you would lose real money, but if nobody has ever heard of you, then the exposure of airplay is worth a lot more than the $0.006 in your pocket. The trick is to have the right contract at the right time in the band's career.
2. The same logic applies to their CDs vs. making and selling your own. I don't think this is a conflict at all. Bands sell CDs at concerts to concertgoers and usually make cost plus a little profit. However the intent of concert cd sales is to feed the fans' jones for your band. You hope they will play it for their friends, dup it (in small quantities), and attract more FOF and girlfriends to the shows, where you sell more CDs, etc.
On the other hand, mp3.com CDs are unarguably a much bigger distribution channel - the swedish just aren't going to fly to new jersey to see you at the house of rock, so if they buy your CD from mp3.com it is income you wouldn't otherwise have had, exposure you wouldn't have had, and of course it lays the buzz groundwork for that future european tour you dream about;-)
I'm sure eventually there will be online services that do work like radio stations and pay artists per-stream, etc. This is where the fight will be between the giant publishing houses and the micropayment crowd, and again it isn't clearcut whose side you should be on - to unionize or not to unionize? Maybe BMI can get you $0.008 instead of $0.006 per play - do you get played enough to cover the overhead? If so then it is a good deal, if not then you probably would be better off with micropayments.
My (feeble attempts at) music is on mp3.com (http://mp3.com/noodleshop - no, it doesn't sound like sinatra) because I:
1. Currently don't have a band, gigs, the time to get a CD pressed (nor the songs!), or the energy to distribute that potential CD to consignment bins in the local stores.
2. I want to get my music someplace where people can at least check it out, but it wouldn't justify paying for a big fat download pipe (I can occasionally hit 50k from mp3.com, of course sometime it's also 5k)
3. I'm not counting on that $0.45 for my next meal.
Bottom line, mp3.com surely isn't the be-all end-all of music distribution - there will still be a place for all of the existing music business models online, as well as some new ones (IMO mp3.com is a great way to find the websites of small indie labels where you can then place catalog orders). Quick tip: if you want to find actual interesting music, ignore all of the mp3.com charts and browse your local geographic area first. If you care about music, go to the shows!
A recent article (forgot the reference) characterized codc members as a bunch of social juveniles bound by no particular ideals, and lacking in both trust and personal respect for other members as well as the (cr|h)acker communities at-large. The evidence presented in the article however was limited to on-stage behavior and a virus of unknown-but-suspicious origin on a distributed CD. The codc archives paint an equally murky picture, depending on the reader's perspective.
So is there a codc code of ethics? Could such a thing ever be enforced?
Is the hacker code in general just marketing hype? Are the press correct in their refusal to differentiate cr from h?
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DFS/AFS has had this concept of a backup filesystem for quite a while. It's not even a
COW, (afaik) it actually tracks the binary deltas from a sync point, which if you extended it to individual files instead of a whole filesystem like M$ seems to have done really could save some more significant space. They always sold it in the DFS world as the online backup being "almost free" space wise.
Very cool, and comes in handy when you rm -rf the wrong file and realize it instantly. However, I would think automating this feature would create more problems than it solves.
It's interesting that the mp3 discussions sound almost exactly the same as those that crop up every couple of months about radio play, pay-for-play in clubs, major label fronting, etc.
;-)
I think there are a lot of positives about mp3.com, but likewise, it ain't the right choice for every band:
1. It isn't an exlusive contract, it works more like giving your music to a radio station and waiving your airing royalties - if you have the audience to justify serious national rotation you would lose real money, but if nobody has ever heard of you, then the exposure of airplay is worth a lot more than the $0.006 in your pocket. The trick is to have the right contract at the right time in the band's career.
2. The same logic applies to their CDs vs. making and selling your own. I don't think this is a conflict at all. Bands sell CDs at concerts to concertgoers and usually make cost plus a little profit. However the intent of concert cd sales is to feed the fans' jones for your band. You hope they will play it for their friends, dup it (in small quantities), and attract more FOF and girlfriends to the shows, where you sell more CDs, etc.
On the other hand, mp3.com CDs are unarguably a much bigger distribution channel - the swedish just aren't going to fly to new jersey to see you at the house of rock, so if they buy your CD from mp3.com it is income you wouldn't otherwise have had, exposure you wouldn't have had, and of course it lays the buzz groundwork for that future european tour you dream about
I'm sure eventually there will be online services that do work like radio stations and pay artists per-stream, etc. This is where the fight will be between the giant publishing houses and the micropayment crowd, and again it isn't clearcut whose side you should be on - to unionize or not to unionize? Maybe BMI can get you $0.008 instead of $0.006 per play - do you get played enough to cover the overhead? If so then it is a good deal, if not then you probably would be better off with micropayments.
My (feeble attempts at) music is on mp3.com
(http://mp3.com/noodleshop - no, it doesn't sound like sinatra) because I:
1. Currently don't have a band, gigs, the time to get a CD pressed (nor the songs!), or the energy to distribute that potential CD to consignment bins in the local stores.
2. I want to get my music someplace where people can at least check it out, but it wouldn't justify paying for a big fat download pipe (I can occasionally hit 50k from mp3.com, of course sometime it's also 5k)
3. I'm not counting on that $0.45 for my next meal.
Bottom line, mp3.com surely isn't the be-all end-all of music distribution - there will still be a place for all of the existing music business models online, as well as some new ones (IMO mp3.com is a great way to find the websites of small indie labels where you can then place catalog orders). Quick tip: if you want to find actual interesting music, ignore all of the mp3.com charts and browse your local geographic area first. If you care about music, go to the shows!
A recent article (forgot the reference) characterized codc members as a bunch of social juveniles bound by no particular ideals, and lacking in both trust and personal respect for other members as well as the (cr|h)acker communities at-large. The evidence presented in the article however was limited to on-stage behavior and a virus of unknown-but-suspicious origin on a distributed CD. The codc archives paint an equally murky picture, depending on the reader's perspective.
So is there a codc code of ethics? Could such a thing ever be enforced?
Is the hacker code in general just marketing hype? Are the press correct in their refusal to differentiate cr from h?