My question is how has this person not violated Twitter's TOS and had his account suspended? The fact it wasn't disabled in the first place is as mind-boggling as how he was able to access it from jail. But hopefully this incident will be brought up at his trial so the judge can see how little remorse he has and that any remorsefulness shown in court is just perjury.
They never cared about any of that shit before...they're just now being open about the fact the only thing they care about is fucking the american public and violating our foruth admendment rights.
I have......one option for wireline broadband where I live...Comcast and Verizon. I have to get Verizon because they are the only ones willing to run lines back to my house. Comcast says my house is "too far from the road" and outright refuses to connect me unless *I* foot the bill for it.
The radio industry has done a fantastic job of commiting suicide. It's not local anymore. It usually contains nothing of relevance to the market. Its just an over commercialized wasteland where ads outnumber the actual minutes you listen to music...which doesn't matter because its the same 25 songs all day every week.
Instead the reason for the push is to make sure you can get emergency alerta when you have no cell coverage. And...of course..the new FCC keeps adding alert systems for every little thing. Like the new one wants to alert people whenever there is "a threat to law enforcement". The regs are so thin someone with a gin could be considered a threat...triggering an alert 40 or 50 times a day locking you out of your phone the same way EAS locks you out of your TV.
Its the FCC pandering to the failing radio industry. Break the internet...force people to listen to radio. Make vague alert system...control flow of information by making everything an interrupting alert.
They were pocket sized...but they were not portable. You still needed to connect to a proper antenna and earth ground. A radio signal on its own did not provide any real current or voltage.
This was fine 20 years ago when we were dialup. It does not apply in the era of pro-Monopoly. They can make more money selling us busted internet becauae many of us have no other options.
"They have to catch everyone?"
No. It doesn't work when the cop pulls you over. Its not going to work now. Based on attitude...I hope they nail this guy to the wall. And he wants money for an interview? So hes trying to profit off his crime as well. Thats also illegal.
But that's kind of the beauty of it; you're giving these guys a taste of how badly this can backfire. They're expecting transit providers and other service providers to bend to them. You can't think of this as losing the battle; you're just using their own weapon against them. They will go crying about wanting some kind of regulation at that point.
It's fighting fire with fire. You want to screw your customers; so screw you. I wouldn't slow them down, I'd just cut them off...entirely. Then you make them agree to new peering terms when they come begging that forces them to neutrality rules. When they ultimately find a way of breaking them, cut service for breach of contract. Then when the ISP's complain the public can point right back and them and go "YOU WANTED THIS! YOU PAID SO MUCH FOR THE DEREGULATION!".
It's either going to be successful or backfire...and even if it backfires; it just speeds up what will eventually happen at the hands of the ISPs anyway.
I'm of the opinion if the big guys are so hell-bent on breaking the internet; then just disconnect them from it. See how the Comcasts and Verizons respond when they suddenly can't get connectivity outside of their network because the transit providers are no longer required to. The agree to peering if they agree to conditions that include neutrality. They start to break conditions, you break peering.
No. The holes did not indicate a high end system. They were there as a cheap way of identifying tape types.
Identifying tape type just switched the biasing level and ephasis curve. See....cassettes have equalization applied to them during recording to optimize things...the same way LPs use the RIAA curve. There are two IEC curves used fir cassettes..75 microsecond and 120 microsecond. Typically non ferric tapes were recorded using the 120us standard..so the playera needed to identify what to use. Thats the
"Metal compatibility" in decks....its actually just an EQ. Bias is done during recording...its ultrasonic noise that conditions the tape to respond in a linear fashion to sound. Its only required duri g record. This is why metal/chrome tapes sound "off" if played in a non metal deck.
But within the realm of bias you need to know not every tape stock was 100% the same....so you essentially needed to adjust the biasing level further to find the proper setting. This is something you need a three head deck for...you record pink noise to the tape and manually listen while adjusting so the noise on the tape matches; too much bias and the high end drops...too little and it sounds artifically bright. So decks that used a "fixed" bias beyond high/low selection may not have the proper levels for a particular tape...causing problems.
Thats one reason some tapes sounded better than others when recorded. If you happen to get one that matches your deck's levels...great. If not...its degraded sound.
HXPro was another bias tweaking circuit that improved the situation on tape.
It did take me almost 45 minutes to change the belt on my Onkyo Integra TA-207 cassette deck. About 3 minutes to remove the cassette mechanism from the chassis, 40 minutes of dealing with a seized, already stripped out screw while trying not to actually brake anything, a minute to change the belt and another minute to locate a replacement screw.
But it was the first time I'd torn in to that unit and that seized screw put up a fight.
Maxell UR90s are a pretty lousy cassette in fidelity terms. They'd be fine if you just needed basic recording stuff.
I missed the tape era for storage because my first computer was a Laser 128, but based on what I've studied...I don't think a higher fidelity tape helps; you mostly need one that doesn't stretch or drop-out.
No. Your assumption is entirely too generic and just that...an assumption.
Magnetic tape itself is fine. Cassette tapes had a lot of drawbacks that made getting the same kind of fidelity out of them difficult, if not impossible.
Cassettes can also sound surprisingly good when they're made properly. Most people associate tapes with lousy pre-recorded stuff from before the digital bin duplication era; or the lousy recordings they made at home on a cheap deck or a lack of knowledge to properly use a good one.
Vinyl can sound like absolute shit if you have a cheap turntable or an improperly set-up one.
You make a joke of it, but the process of making a 78 isn't that different than making a modern LP. You'd need to change your head to a mono lateral-cut with a larger groove; but once you have the master disc made....you can press them out of modern materials on modern equipment.
The last batch I know of was made sometime in the mid 90s. They were reissues of oldies for classic jukeboxes.
Tapes have always sounded horrible and nothing will change that.
Cassettes...you mean cassettes. "tapes" sound fine...studios use them. It's cassette tapes that sound bad.
and that's only because consumers are cheap and did not bother spending the money on good decks. Pre-recorded cassettes are made a LOT differently than they were duing the "bad" era.
They sound pretty good these days, you just have to not be so damn cheap when buying a cassette deck. A $20 boombox will sound like garbage compared to a $350 deck.
Early digital audio was recorded on to video tape or some kind of reel-to-reel system. Sony's DAT used a cassette factor storing digital uncompressed audio. ADAT used SVHS cassettes for 8-track digital recording.
By far what hindered the pre-recorded cassette industry were three things: Dolby B, head alignment, and bin duplication.
Dolby B was pretty much a joke for the pre-recorded market. The system could work very well; when the playback deck was properly aligned and calibrated against the deck that made the recording. 99% of the consumer crap on the market at the time wasn't...and the real killer was the head alignment.
Bin duplication was solved...but almost way too late in to the cassettes life to matter; I think I started seeing the "digalog" system in the mid/early 90s. See, originally cassette tapes were duped at high speed in mass using a bin duplicator. You had a massive loop of tape as your "master", and another machine with a spool of tape to be duplicated. This thing would run the tapes at high speed, duplicating both sides simultaneously. But tape wears out, so this master loop in the bin had to be periodically swapped out for a new one. As you can imagine, the last few tapes dubbed from that master were of lower quality than the ones made when the master was fresh. The quality of cassette you got depended on the age of the master loop at the time it was recorded. Digital binning solved this, using a digital master instead of a tape one. Now every tape you dub will have the same quality since the master doesn't degrade. This also allowed even high speed dubbing which pushed for much improved heads. High speed dubbing is actually good when you have a system built for it; you run the tape so fast that wow/flutter is virtually zero. From what I've heard of the modern digital binning system; it's actually gotten really good...almost negating the need for the idea of a 1:1 speed, or half-speed transfer.
Switching to a CrO2 tape also helped. This supposedly took a special forumla of chrome tape since you were recording using the "Normal"/Type I IEC emphasis curve...but I've never been able to play with different cassette curves to see if that's the case or not. Regardless, they started using Chrome tape recorded using the playback curve of Type I, which further enhanced the fidelity when combined with things like digital binning.
Chrome tape was usually jet black and pretty shiny. I do recall seeing some Type I/Normal tapes that had an almost dark ferric compound. The blue tinge was probably from cobalt. I seem to recall reading something talking about cassette tapes with cobalt in them.
That being said, I did actually re-record an album from CD on to it's original 1977 pre-recorded cassette and with HXPro and proper bias tweaking...it sounded years better than the original recording did.
The thing about Metal is if you weren't using a super high-end tape deck; then you didn't really get the advantage. You did to a point with a low-end deck...but higher end decks with good bias calibration were a must to really take advantage of it.
I still have some Type IV's in my collection that I paid close to $10 each for.
etting the bias is a HUGE part. People have no clue that tape is such a finicky creature that the amount of bais level required for a cassette varied not only brand to brand, but sometimes batch to batch. Add to this that only high-end decks had a bias adustment; most of the low end stuff people used had a very specific fixed bias level. Depending on the brand of tape, it could be too much bias or too little bias.
Too much bias, your tape sounds muddy. Too little, it's very bright. I'm not talking about flipping a Chrome/Normal switch either; but I'm talking about precise control of bias within that generic setting. Like Maxell XLII's used a different bias level than Fuji type 2's, and Maxell UR series used a slightly different bias level than TDK D series. Then you've got old tape stock which used a very low level of bias.
The *real* trick to cassettes was however Dolby HXPro. Not a noise reduction system; HXPro solved the problem of "self-bias" of high frequency content by reducing the amount of bias applied as needed. IF you used a solid bias level...a sudden jump in high frequencies would cause over-biasing.
Dolby had it's own issues. For your own tapes played back on that unit; it was fine. The real issue became trying to play that tape in other decks. Dolby required tight calibration and proper head alignment to work. It got MUCH worse as you went up in the series. Dolby C was useless on just about anything except the deck recorded it. Dolby S eluded me. I still lust after one.
With a lot of tweaking and HXPro, you could make a ferric (type I) tape sound fantastic, far beyond what you'd expect it to hear. If you're judging based on pre-recorded cassettes....then that's unfair.
The amazing thing I notice about people who use terms like "Libtards" is they always tend to be ignorant and they LOVE to post as an Anonymous Coward. Probably because you know if anyone knew who you were...they'd come punch you in the face.
I suppose you get all of your news from websites with anonymous domain registration that claim to be American. You wouldn't know fake news if it bit your dick off.
Slashdot Mirror
My question is how has this person not violated Twitter's TOS and had his account suspended? The fact it wasn't disabled in the first place is as mind-boggling as how he was able to access it from jail. But hopefully this incident will be brought up at his trial so the judge can see how little remorse he has and that any remorsefulness shown in court is just perjury.
I've been getting all my stuff delivered by Amazon Logistics. I also use same-day or next day because I'm an impatient bastard.
They never cared about any of that shit before...they're just now being open about the fact the only thing they care about is fucking the american public and violating our foruth admendment rights.
this government is invalid.
I have......one option for wireline broadband where I live...Comcast and Verizon. I have to get Verizon because they are the only ones willing to run lines back to my house. Comcast says my house is "too far from the road" and outright refuses to connect me unless *I* foot the bill for it.
The radio industry has done a fantastic job of commiting suicide. It's not local anymore. It usually contains nothing of relevance to the market. Its just an over commercialized wasteland where ads outnumber the actual minutes you listen to music...which doesn't matter because its the same 25 songs all day every week.
Instead the reason for the push is to make sure you can get emergency alerta when you have no cell coverage. And...of course..the new FCC keeps adding alert systems for every little thing. Like the new one wants to alert people whenever there is "a threat to law enforcement". The regs are so thin someone with a gin could be considered a threat...triggering an alert 40 or 50 times a day locking you out of your phone the same way EAS locks you out of your TV.
Its the FCC pandering to the failing radio industry. Break the internet...force people to listen to radio. Make vague alert system...control flow of information by making everything an interrupting alert.
I hold my current phone next to an AM radio and the results say without a lot kf shielding and other work....it won't work well.
They were pocket sized...but they were not portable. You still needed to connect to a proper antenna and earth ground. A radio signal on its own did not provide any real current or voltage.
This was fine 20 years ago when we were dialup. It does not apply in the era of pro-Monopoly. They can make more money selling us busted internet becauae many of us have no other options.
"They have to catch everyone?" No. It doesn't work when the cop pulls you over. Its not going to work now. Based on attitude...I hope they nail this guy to the wall. And he wants money for an interview? So hes trying to profit off his crime as well. Thats also illegal.
But that's kind of the beauty of it; you're giving these guys a taste of how badly this can backfire. They're expecting transit providers and other service providers to bend to them. You can't think of this as losing the battle; you're just using their own weapon against them. They will go crying about wanting some kind of regulation at that point.
It's fighting fire with fire. You want to screw your customers; so screw you. I wouldn't slow them down, I'd just cut them off...entirely. Then you make them agree to new peering terms when they come begging that forces them to neutrality rules. When they ultimately find a way of breaking them, cut service for breach of contract. Then when the ISP's complain the public can point right back and them and go "YOU WANTED THIS! YOU PAID SO MUCH FOR THE DEREGULATION!".
It's either going to be successful or backfire...and even if it backfires; it just speeds up what will eventually happen at the hands of the ISPs anyway.
He's actually already Verizon property; he worked for them before Verizon bought the FCC seat and stuck him there.
I'm of the opinion if the big guys are so hell-bent on breaking the internet; then just disconnect them from it. See how the Comcasts and Verizons respond when they suddenly can't get connectivity outside of their network because the transit providers are no longer required to. The agree to peering if they agree to conditions that include neutrality. They start to break conditions, you break peering.
No. The holes did not indicate a high end system. They were there as a cheap way of identifying tape types.
Identifying tape type just switched the biasing level and ephasis curve. See....cassettes have equalization applied to them during recording to optimize things...the same way LPs use the RIAA curve. There are two IEC curves used fir cassettes..75 microsecond and 120 microsecond. Typically non ferric tapes were recorded using the 120us standard..so the playera needed to identify what to use. Thats the "Metal compatibility" in decks....its actually just an EQ. Bias is done during recording...its ultrasonic noise that conditions the tape to respond in a linear fashion to sound. Its only required duri g record. This is why metal/chrome tapes sound "off" if played in a non metal deck.
But within the realm of bias you need to know not every tape stock was 100% the same....so you essentially needed to adjust the biasing level further to find the proper setting. This is something you need a three head deck for...you record pink noise to the tape and manually listen while adjusting so the noise on the tape matches; too much bias and the high end drops...too little and it sounds artifically bright. So decks that used a "fixed" bias beyond high/low selection may not have the proper levels for a particular tape...causing problems.
Thats one reason some tapes sounded better than others when recorded. If you happen to get one that matches your deck's levels...great. If not...its degraded sound.
HXPro was another bias tweaking circuit that improved the situation on tape.
It did take me almost 45 minutes to change the belt on my Onkyo Integra TA-207 cassette deck. About 3 minutes to remove the cassette mechanism from the chassis, 40 minutes of dealing with a seized, already stripped out screw while trying not to actually brake anything, a minute to change the belt and another minute to locate a replacement screw.
But it was the first time I'd torn in to that unit and that seized screw put up a fight.
You don't press acetates either; you cut them.
Maxell UR90s are a pretty lousy cassette in fidelity terms. They'd be fine if you just needed basic recording stuff.
I missed the tape era for storage because my first computer was a Laser 128, but based on what I've studied...I don't think a higher fidelity tape helps; you mostly need one that doesn't stretch or drop-out.
No. Your assumption is entirely too generic and just that...an assumption.
Magnetic tape itself is fine. Cassette tapes had a lot of drawbacks that made getting the same kind of fidelity out of them difficult, if not impossible.
Cassettes can also sound surprisingly good when they're made properly. Most people associate tapes with lousy pre-recorded stuff from before the digital bin duplication era; or the lousy recordings they made at home on a cheap deck or a lack of knowledge to properly use a good one.
Vinyl can sound like absolute shit if you have a cheap turntable or an improperly set-up one.
You make a joke of it, but the process of making a 78 isn't that different than making a modern LP. You'd need to change your head to a mono lateral-cut with a larger groove; but once you have the master disc made....you can press them out of modern materials on modern equipment.
The last batch I know of was made sometime in the mid 90s. They were reissues of oldies for classic jukeboxes.
Tapes have always sounded horrible and nothing will change that.
Cassettes...you mean cassettes. "tapes" sound fine...studios use them. It's cassette tapes that sound bad.
and that's only because consumers are cheap and did not bother spending the money on good decks. Pre-recorded cassettes are made a LOT differently than they were duing the "bad" era.
They sound pretty good these days, you just have to not be so damn cheap when buying a cassette deck. A $20 boombox will sound like garbage compared to a $350 deck.
A-DAT man. (Alesis DAT).
8 tracks of uncompressed CD audio on a SVHS tape. Ability to dub over tracks without erasing previous tracks. IT was something else.
Early digital audio was recorded on to video tape or some kind of reel-to-reel system. Sony's DAT used a cassette factor storing digital uncompressed audio. ADAT used SVHS cassettes for 8-track digital recording.
They made PCM adaptors for Betamax.
Disclaimer: I am under 40
By far what hindered the pre-recorded cassette industry were three things: Dolby B, head alignment, and bin duplication.
Dolby B was pretty much a joke for the pre-recorded market. The system could work very well; when the playback deck was properly aligned and calibrated against the deck that made the recording. 99% of the consumer crap on the market at the time wasn't...and the real killer was the head alignment.
Bin duplication was solved...but almost way too late in to the cassettes life to matter; I think I started seeing the "digalog" system in the mid/early 90s. See, originally cassette tapes were duped at high speed in mass using a bin duplicator. You had a massive loop of tape as your "master", and another machine with a spool of tape to be duplicated. This thing would run the tapes at high speed, duplicating both sides simultaneously. But tape wears out, so this master loop in the bin had to be periodically swapped out for a new one. As you can imagine, the last few tapes dubbed from that master were of lower quality than the ones made when the master was fresh. The quality of cassette you got depended on the age of the master loop at the time it was recorded. Digital binning solved this, using a digital master instead of a tape one. Now every tape you dub will have the same quality since the master doesn't degrade. This also allowed even high speed dubbing which pushed for much improved heads. High speed dubbing is actually good when you have a system built for it; you run the tape so fast that wow/flutter is virtually zero. From what I've heard of the modern digital binning system; it's actually gotten really good...almost negating the need for the idea of a 1:1 speed, or half-speed transfer.
Switching to a CrO2 tape also helped. This supposedly took a special forumla of chrome tape since you were recording using the "Normal"/Type I IEC emphasis curve...but I've never been able to play with different cassette curves to see if that's the case or not. Regardless, they started using Chrome tape recorded using the playback curve of Type I, which further enhanced the fidelity when combined with things like digital binning.
Chrome tape was usually jet black and pretty shiny. I do recall seeing some Type I/Normal tapes that had an almost dark ferric compound. The blue tinge was probably from cobalt. I seem to recall reading something talking about cassette tapes with cobalt in them.
That being said, I did actually re-record an album from CD on to it's original 1977 pre-recorded cassette and with HXPro and proper bias tweaking...it sounded years better than the original recording did.
The thing about Metal is if you weren't using a super high-end tape deck; then you didn't really get the advantage. You did to a point with a low-end deck...but higher end decks with good bias calibration were a must to really take advantage of it. I still have some Type IV's in my collection that I paid close to $10 each for.
etting the bias is a HUGE part. People have no clue that tape is such a finicky creature that the amount of bais level required for a cassette varied not only brand to brand, but sometimes batch to batch. Add to this that only high-end decks had a bias adustment; most of the low end stuff people used had a very specific fixed bias level. Depending on the brand of tape, it could be too much bias or too little bias.
Too much bias, your tape sounds muddy. Too little, it's very bright. I'm not talking about flipping a Chrome/Normal switch either; but I'm talking about precise control of bias within that generic setting. Like Maxell XLII's used a different bias level than Fuji type 2's, and Maxell UR series used a slightly different bias level than TDK D series. Then you've got old tape stock which used a very low level of bias.
The *real* trick to cassettes was however Dolby HXPro. Not a noise reduction system; HXPro solved the problem of "self-bias" of high frequency content by reducing the amount of bias applied as needed. IF you used a solid bias level...a sudden jump in high frequencies would cause over-biasing.
Dolby had it's own issues. For your own tapes played back on that unit; it was fine. The real issue became trying to play that tape in other decks. Dolby required tight calibration and proper head alignment to work. It got MUCH worse as you went up in the series. Dolby C was useless on just about anything except the deck recorded it. Dolby S eluded me. I still lust after one.
With a lot of tweaking and HXPro, you could make a ferric (type I) tape sound fantastic, far beyond what you'd expect it to hear. If you're judging based on pre-recorded cassettes....then that's unfair.
The amazing thing I notice about people who use terms like "Libtards" is they always tend to be ignorant and they LOVE to post as an Anonymous Coward. Probably because you know if anyone knew who you were...they'd come punch you in the face.
I suppose you get all of your news from websites with anonymous domain registration that claim to be American. You wouldn't know fake news if it bit your dick off.