I love KCRW, but they are a unique case. Every major, minor and wannabe Hollywood producer, director, agent, band, and screenwriter listens to KCRW. As a musician, getting your music heard on KCRW is a surefire way to land lucrative placement deals in films and TV. Many of these wealthy and influential listeners donate to the station, giving them a healthy flow of cash directly from their target audience.
Did you use BabelFish for that translation? Because it's not very accurate. I don't steal songs, but I do have over 100gb of music files, from my CDs, and from artists who share their music DRM-free on sites like Magnatune, Jamendo and mp3Tunes.
I haven't yet run out of music to listen to. Try Sufjan Stevens on Emusic, or C. Layne on Magnatune, or Thierry Blanchard on Jamendo.
I'm too cheap to pay 99 cents for a song, if (as with iTMS) that song is crippled with DRM, stripped of 90 percent of its data, comes with no physical media or artwork, and yet is treated as a single physical copy rather than a media service (e.g. no option to download again if file is corrupt, deleted or destroyed).
I got an iTunes card for Christmas a couple of years ago, and I tried using it to download an album. Five of the 11 song files were corrupt and unplayable, but Apple would not refund my money or authorize a new download.
Predixis does it by a proprietary algorithm for their MusicMagicMixer, but I'm sure it measures BPM, dynamic range, amount of change over time, the unique sonic characteristics of different instruments, etc. In practice it's not perfect, but it is a great tool for creating unusual and effective mixes.
About 1/3 of the Macs I've seen in recording studios in the last two years were still running OS9 with ProTools. This is because OSX was so late to the game with professional audio capability.
I'm not confused. I'm a freelance composer and sound designer, and much of my work involves sending mp3 files to clients for approval. AAC files don't play on my mp3 player, which I use to transport my music, and they don't impress potential clients who can't figure out how to play them on their own computers. AAC is not proprietary, but neither is it mainstream.
I try not to talk to cowards, but I have to say that, no, AAC is not a better encoder. It is better sonically than iTunes' mp3 encoder, but about equal to LAME. But even if it were better sonically than LAME, it would still be AAC, and create files that I can't play elsewhere, or share with others. The autoloaded program(s) take up memory, which is a resource, last I checked. As for intelligent handling, I mean that as a composer and sound designer, I have thousands of audio files that are sometimes there and sometimes not, depending on which project I am working on. Other programs do a better job of sensing which files are currently available, and which aren't, and which are duplicates. iTunes duplicates menu is tedious and often inaccurate.
Because iTunes is proprietary, and tightly tied to iTMS -- which is DRM-ridden, and the iPOD, which also has usage restrictions. The iPod is an external hard drive. So why can't music files be accessed as data files? Why is it so difficult to move files back and forth between multiple computers and your iPod?
Apple makes money on drmTunes and on iPods, not on iTunes. So they have no incentive to make iTunes play nicely with other mp3 players, or other sources of digital music. Songbird can fill that void nicely.
There are plenty of things wrong with iTunes: The mp3 encoder is inferior to LAME. The Windows version autoloads iPod programs that steal system resources -- even if you don't have an iPod, and even if iTunes isn't running. The tagging system is nonstandard. There are no options (such as with Predixis MusicMagicMixer) to create playlists based on the audio itself, rather than id3 tags. There is no intelligent handling of files on servers or external hard drives. There is no intelligent handling of duplicate or missing files. I could go on and on...
It's interesting that France, home of almost-legal p2p for copyrighted files, is also the center of activity for Jamendo, which is one of the most interesting and innovative, non-controversial ways to use peer file sharing software. It's a music sharing website, but all artists release their music under Creative Commons licenses, and you can download albums on eMule or BitTorrent networks, which saves Jamendo on bandwidth.
I would have assumed that encouraging legal downloading of mainstream, copyrighted files would have discouraged the growth of shared, open alternatives. But the opposite seems to be true.
Basic economics doesn't apply in this scenario, because the few large oil companies are international bodies, with little respect for markets. They strong-arm subsidies from governments in every country in which they operate, and do not have to participate in a fair, free market.
Copyright gives you the exclusive right to make copies. It does not give you ownership of all said copies. If a consumer buys a CD, the consumer owns that copy of the music. And if the consumer has Fair Use rights to make a copy, then the consumer owns that copy as well.
The mp3.com service didn't actually upload your audio. It just checked to see if you had the CD in the drive, then it linked you to their copy they had already made on their server. That was why they got shut down -- the initial, unauthorized copy on the server.
The new Music Locker supposedly physically uploads all of your files to your own storage space. Think of it as purchasing a combination of online storage and a media streamer.
Not a fair comparison. iTunesMS runs in iTunes, an application which you download. Google's video store runs inside a browser window.
As for wasting resources, iTunes is the one to complain about, with its iPod services running in the background, even if you don't have an iPod.
Most online music stores, including iTunes, post any album sold by CD Baby, unless the artist opts out of digital sales.
CD Baby will sell anyone's music -- all you have to do to get on iTunes/Napster, etc., is to send 5 CDRs of your album to CD Baby, and wait for the music stores to update their databases.
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You contrasted Bush to Hitler. Comparison deals with similar traits. Contrast deals with dissimilar traits.
The joke's on them. Geeks don't HAVE biceps.
I love KCRW, but they are a unique case. Every major, minor and wannabe Hollywood producer, director, agent, band, and screenwriter listens to KCRW. As a musician, getting your music heard on KCRW is a surefire way to land lucrative placement deals in films and TV. Many of these wealthy and influential listeners donate to the station, giving them a healthy flow of cash directly from their target audience.
Did you use BabelFish for that translation? Because it's not very accurate. I don't steal songs, but I do have over 100gb of music files, from my CDs, and from artists who share their music DRM-free on sites like Magnatune, Jamendo and mp3Tunes.
I haven't yet run out of music to listen to. Try Sufjan Stevens on Emusic, or C. Layne on Magnatune, or Thierry Blanchard on Jamendo.
I'm too cheap to pay 99 cents for a song, if (as with iTMS) that song is crippled with DRM, stripped of 90 percent of its data, comes with no physical media or artwork, and yet is treated as a single physical copy rather than a media service (e.g. no option to download again if file is corrupt, deleted or destroyed).
I got an iTunes card for Christmas a couple of years ago, and I tried using it to download an album. Five of the 11 song files were corrupt and unplayable, but Apple would not refund my money or authorize a new download.
Predixis does it by a proprietary algorithm for their MusicMagicMixer, but I'm sure it measures BPM, dynamic range, amount of change over time, the unique sonic characteristics of different instruments, etc. In practice it's not perfect, but it is a great tool for creating unusual and effective mixes.
What abilities DO you have? Do you give them away for free, or do you work for a living?
About 1/3 of the Macs I've seen in recording studios in the last two years were still running OS9 with ProTools. This is because OSX was so late to the game with professional audio capability.
I'm not confused. I'm a freelance composer and sound designer, and much of my work involves sending mp3 files to clients for approval. AAC files don't play on my mp3 player, which I use to transport my music, and they don't impress potential clients who can't figure out how to play them on their own computers. AAC is not proprietary, but neither is it mainstream.
I try not to talk to cowards, but I have to say that, no, AAC is not a better encoder. It is better sonically than iTunes' mp3 encoder, but about equal to LAME. But even if it were better sonically than LAME, it would still be AAC, and create files that I can't play elsewhere, or share with others. The autoloaded program(s) take up memory, which is a resource, last I checked. As for intelligent handling, I mean that as a composer and sound designer, I have thousands of audio files that are sometimes there and sometimes not, depending on which project I am working on. Other programs do a better job of sensing which files are currently available, and which aren't, and which are duplicates. iTunes duplicates menu is tedious and often inaccurate.
Because iTunes is proprietary, and tightly tied to iTMS -- which is DRM-ridden, and the iPOD, which also has usage restrictions. The iPod is an external hard drive. So why can't music files be accessed as data files? Why is it so difficult to move files back and forth between multiple computers and your iPod?
Apple makes money on drmTunes and on iPods, not on iTunes. So they have no incentive to make iTunes play nicely with other mp3 players, or other sources of digital music. Songbird can fill that void nicely.
There are plenty of things wrong with iTunes: The mp3 encoder is inferior to LAME. The Windows version autoloads iPod programs that steal system resources -- even if you don't have an iPod, and even if iTunes isn't running. The tagging system is nonstandard. There are no options (such as with Predixis MusicMagicMixer) to create playlists based on the audio itself, rather than id3 tags. There is no intelligent handling of files on servers or external hard drives. There is no intelligent handling of duplicate or missing files. I could go on and on...
It's interesting that France, home of almost-legal p2p for copyrighted files, is also the center of activity for Jamendo, which is one of the most interesting and innovative, non-controversial ways to use peer file sharing software. It's a music sharing website, but all artists release their music under Creative Commons licenses, and you can download albums on eMule or BitTorrent networks, which saves Jamendo on bandwidth.
I would have assumed that encouraging legal downloading of mainstream, copyrighted files would have discouraged the growth of shared, open alternatives. But the opposite seems to be true.
Just the right to make copies. Big difference.
What he said before sounded crazy, but he turned out to be right, but what he says now sounds crazy.
Basic economics doesn't apply in this scenario, because the few large oil companies are international bodies, with little respect for markets. They strong-arm subsidies from governments in every country in which they operate, and do not have to participate in a fair, free market.
Copyright gives you the exclusive right to make copies. It does not give you ownership of all said copies. If a consumer buys a CD, the consumer owns that copy of the music. And if the consumer has Fair Use rights to make a copy, then the consumer owns that copy as well.
The mp3.com service didn't actually upload your audio. It just checked to see if you had the CD in the drive, then it linked you to their copy they had already made on their server. That was why they got shut down -- the initial, unauthorized copy on the server. The new Music Locker supposedly physically uploads all of your files to your own storage space. Think of it as purchasing a combination of online storage and a media streamer.
They were TRYING to collect samples. They flew it through the wake of a comet.
Don't judge the safety of space by a comet's wake, just like you shouldn't judge the calmness of the water while in the wake of a speedboat.
A disproportionate number of iPod owners use Macs, and most filesharing software is for PCs.
Not a fair comparison. iTunesMS runs in iTunes, an application which you download. Google's video store runs inside a browser window. As for wasting resources, iTunes is the one to complain about, with its iPod services running in the background, even if you don't have an iPod.
Most online music stores, including iTunes, post any album sold by CD Baby, unless the artist opts out of digital sales. CD Baby will sell anyone's music -- all you have to do to get on iTunes/Napster, etc., is to send 5 CDRs of your album to CD Baby, and wait for the music stores to update their databases.
But this is above and beyond a venue license. This is an additional digital file license that is paid by the DJ, not by the venue.
Totally different. Those are for the Asian market. Apple, unlike BMW, doesn't actually manufacture anything, for any of their markets.
Apple = BMW? Since when are BMWs built in China?