The volume license edition, you mean. Vista's volume license version requires activation, though bunch of vista boxes can work together to provide group activation, twice a year.
loudness is, indeed, the issue. If one pitch is "quieter" than the rest, that can be a problem. A pianist can compensate, but only so much. It's certainly much more difficult to compensate in difficult music.
Phase issues also happen frequently in recording. The sound level of an instrument in a recording is as important as the pitch it's playing - at least in some music.
It's inherently imperfect; there are no perfect solutions for the tuning of instruments such as piano. You have to pick which interval you want to be perfect and you have to know that the rest won't be perfect.
I also find the phase issues on piano and other instruments to be interesting. If the hammer doesn't hit all the strings for a given pitch at the same time, there will be phase issues. Of course, there will always be phase issues, but it can be pretty bad - depending on the piano.
well, she doesn't play trumpet or any transposing instrument, so it doesn't matter to her. The transposing instruments still tune to the same A as everyone else in the orchestra... it's just that their "A" might be a "B" or an F#.
I know what you mean. Of course, a lot of newer stuff has so much pitch correction that you think you're listening to a keyboard. Lay off the Autotune/Melodyne a little! Of course, they try to adjust it to sound more human, but then it just sounds strangely out of tune.
Interesting. I wonder if he always had perfect pitch, but had never developed it.
I developed good relative pitch in college (and have lost it, somewhat, years later.) I can "remember" for some time how, say, D sounds after playing piano for while, but eventually I "forget."
especially string players (with no frets.) It's very difficult, if not impossible, for them to play continually in equal temperament (unless playing with an equal temperament instrument such as piano.) The usual definition of Equal temperament is that octave is (usually) divided into 12 evenly spaced pitches. Modern day keyboard instruments are all tuned like this. It's fairly effective compromise, as all the keys (C Major, F minor, Eb minor, etc.) all sound the same. Unfortunately, a fifth or even a third for a given key is slightly out of tune (the half step and the octave are the only perfectly in tune intervals on a modern day piano.) In the other systems, there may be a perfectly tuned fifth and third for a given key, but other keys may sound horribly out of tune. Certainly, equal temperament is a more practical solution than constantly retuning a piano to a different pitch each time you drastically change keys.
Unrelated - My wife has perfect pitch - and I sometime "detune" my clavinova to D mean tone or some other system and play something in Eb minor. I certainly notice the difference, but it drives her crazy. She also has great difficulty when required to tune her violin for Baroque music (A 415.)
that's a good sense of "relative" pitch. It's pretty handy for all of us who don't have perfect pitch. One of the annoying things for people with perfect pitch is that most of them (if not all of them) start hearing all pitches (even when they're perfectly in tune) sharp. With good relative pitch, you have no issue starting off on a different A.
You can be trained to have good relative pitch, but I'm not so sure you can "learn" perfect pitch (although there are methods for developing perfect pitch - I've never met anyone who succeeded.)
Yes, but not nearly to the same degree. Clipping is usually considered a bad thing in classical, but it's still present in some loud orchestral recordings. Compression is usually used much more sparingly in classical, but it is used in certain recordings.
The problem is usually that the loud passages require a lower level in order to avoid clipping during recording, but the softer passages may require a higher gain to catch all the details. In classical, this can happen all within an eight minute piece, so a little compression shrinks the gap between the loudest passages and the softest passages. It's certainly a compromise, but it's probably better to have a little compression and hear all the details during quiet passages than it would be to have no compression, but not be able to hear that pianissimo passage.
Excessive compression does sound terrible in classical recordings, however.
Well, I don't know how old her husband is... but she would have been 61 in 1989. There isn't a ton of information about her, but she was diagnosed with cancer in 1970 and basically stopped playing pubically in 1976. She did die from cancer, though. I don't know how the 80's and 90's were for her, but she did say that people complained about her appearance and someone even told her that it was "impolite to look ill."
Sure, she could have been behind the whole thing, but I doubt that. I don't know any serious classical musicians who would be happy releasing recordings of someone else under his or her name. Most classical musicians strive to make their own, unique interpretations of music. Then again, maybe she was bitter due to her illness and lack of success. Who knows?
My first guess would be that someone wanted to make some money using her name - or maybe someone felt that she didn't receive enough public attention and wanted to use these falsely attributed recordings to give her her due.
Anyway, I expect to see some lawsuits over this... but I doubt there will be a lot of money involved, as classical doesn't sell nearly as well as the latest manufactured pop star.
My point being that given a sufficient quantity of recordings of the same piece with the same instrumentation, you'd likely miss a duplicate... especially if you weren't looking for duplicates. I seriously have my doubts that the average pop/rock listener has better trained ears than classical listeners. Electric guitars aren't always distinctive, either - especially if you distort them in similar ways and run them through the same plugins. After all, quite a few of them are mass produced, too. Sure, one could expect a bunch of bands to sound different, but if you picked obscure bands, you could probably get away with it... especially if few people are listening to it.
I doubt that a waveform analysis would yield a false positive on a live performance... I could see an entirely MIDI performance yielding the same waveform (provided you used the same sounds) but not live or semi-live acoustic instrument recordings.
is simplified by the fact that it's solo piano. Unlike solo string works, intonation is not a distinguishing characteristic for solo piano. And anyway, the musical content is the same for the pieces.
Also, there must be thousands of recordings of the transcendental etudes (I have several in my cd case, alone) spanning probably 100 years or so. Classical musicians often listen to recordings of the piece they're working on to get ideas on interpretation.
Imagine if you had thousands of bands playing the same song, and using the same instrumentation - I'm willing to bet I could copy one of the renditions... change the mp3 info, and no one would notice the duplicate. It's not that amazing of a story, really. I suspect her husband told her that he would touch up her recordings to make them sound better. I doubt she wanted this, but who knows? Anyway, it sounds like a few minutes work on pro tools or some other DAW. Heck, Audacity would suffice for this sort of thing, I would imagine.
and I've never heard of her... but then again, there are a ton of pianists out there.
Sounds like her husband was no stranger to Pro Tools...
No matter how well known a classical musician is, there will not be 1/40th the amount of recording sales that your average pop "artist" generates on a given album. Remember Milli Vanilli?
and for those who like a little competition in the computer hardware field, that's a bad thing. Guess what folks? Once Intel regains all the share it lost to AMD, those chip prices aren't going to go down.
in consulting. One of our clients wants to have at least 4-way SMP on each new box. With virtualization becoming so popular, those additional cores are going to help.
I wonder if AMD is going to focus on 4+ cores to maximize its hypertransport bus - and focus less on 2 core and less systems.
Slashdot Mirror
The volume license edition, you mean. Vista's volume license version requires activation, though bunch of vista boxes can work together to provide group activation, twice a year.
Not me - I specifically wrote in "not to be spent on hookers" on my last check to the IRS.
great for those people who are still suspicious of that new fangled X11 thing.
loudness is, indeed, the issue. If one pitch is "quieter" than the rest, that can be a problem. A pianist can compensate, but only so much. It's certainly much more difficult to compensate in difficult music.
Phase issues also happen frequently in recording. The sound level of an instrument in a recording is as important as the pitch it's playing - at least in some music.
It's inherently imperfect; there are no perfect solutions for the tuning of instruments such as piano. You have to pick which interval you want to be perfect and you have to know that the rest won't be perfect.
I also find the phase issues on piano and other instruments to be interesting. If the hammer doesn't hit all the strings for a given pitch at the same time, there will be phase issues. Of course, there will always be phase issues, but it can be pretty bad - depending on the piano.
well, she doesn't play trumpet or any transposing instrument, so it doesn't matter to her. The transposing instruments still tune to the same A as everyone else in the orchestra... it's just that their "A" might be a "B" or an F#.
I know what you mean. Of course, a lot of newer stuff has so much pitch correction that you think you're listening to a keyboard. Lay off the Autotune/Melodyne a little! Of course, they try to adjust it to sound more human, but then it just sounds strangely out of tune.
Interesting. I wonder if he always had perfect pitch, but had never developed it.
I developed good relative pitch in college (and have lost it, somewhat, years later.) I can "remember" for some time how, say, D sounds after playing piano for while, but eventually I "forget."
especially string players (with no frets.) It's very difficult, if not impossible, for them to play continually in equal temperament (unless playing with an equal temperament instrument such as piano.) The usual definition of Equal temperament is that octave is (usually) divided into 12 evenly spaced pitches. Modern day keyboard instruments are all tuned like this. It's fairly effective compromise, as all the keys (C Major, F minor, Eb minor, etc.) all sound the same. Unfortunately, a fifth or even a third for a given key is slightly out of tune (the half step and the octave are the only perfectly in tune intervals on a modern day piano.) In the other systems, there may be a perfectly tuned fifth and third for a given key, but other keys may sound horribly out of tune. Certainly, equal temperament is a more practical solution than constantly retuning a piano to a different pitch each time you drastically change keys.
Unrelated - My wife has perfect pitch - and I sometime "detune" my clavinova to D mean tone or some other system and play something in Eb minor. I certainly notice the difference, but it drives her crazy. She also has great difficulty when required to tune her violin for Baroque music (A 415.)
that's a good sense of "relative" pitch. It's pretty handy for all of us who don't have perfect pitch. One of the annoying things for people with perfect pitch is that most of them (if not all of them) start hearing all pitches (even when they're perfectly in tune) sharp. With good relative pitch, you have no issue starting off on a different A.
You can be trained to have good relative pitch, but I'm not so sure you can "learn" perfect pitch (although there are methods for developing perfect pitch - I've never met anyone who succeeded.)
Yes, but not nearly to the same degree. Clipping is usually considered a bad thing in classical, but it's still present in some loud orchestral recordings. Compression is usually used much more sparingly in classical, but it is used in certain recordings.
The problem is usually that the loud passages require a lower level in order to avoid clipping during recording, but the softer passages may require a higher gain to catch all the details. In classical, this can happen all within an eight minute piece, so a little compression shrinks the gap between the loudest passages and the softest passages. It's certainly a compromise, but it's probably better to have a little compression and hear all the details during quiet passages than it would be to have no compression, but not be able to hear that pianissimo passage.
Excessive compression does sound terrible in classical recordings, however.
India will work at taking those jobs that much harder.
More tech workers means more bonuses for executives when they're all laid off.
That's why you should always send your backups to /dev/null.
That way, they can't be stolen.
I clicked on the "full 20 year realtime version." It's a little boring.
I live in New Hampshire. They make up the difference by gouging you on property tax. There's no free lunch.
gloating. Perhaps they know of an OS with a better record?
Well, I don't know how old her husband is... but she would have been 61 in 1989. There isn't a ton of information about her, but she was diagnosed with cancer in 1970 and basically stopped playing pubically in 1976. She did die from cancer, though. I don't know how the 80's and 90's were for her, but she did say that people complained about her appearance and someone even told her that it was "impolite to look ill."
Sure, she could have been behind the whole thing, but I doubt that. I don't know any serious classical musicians who would be happy releasing recordings of someone else under his or her name. Most classical musicians strive to make their own, unique interpretations of music. Then again, maybe she was bitter due to her illness and lack of success. Who knows?
My first guess would be that someone wanted to make some money using her name - or maybe someone felt that she didn't receive enough public attention and wanted to use these falsely attributed recordings to give her her due.
Anyway, I expect to see some lawsuits over this... but I doubt there will be a lot of money involved, as classical doesn't sell nearly as well as the latest manufactured pop star.
My point being that given a sufficient quantity of recordings of the same piece with the same instrumentation, you'd likely miss a duplicate... especially if you weren't looking for duplicates. I seriously have my doubts that the average pop/rock listener has better trained ears than classical listeners. Electric guitars aren't always distinctive, either - especially if you distort them in similar ways and run them through the same plugins. After all, quite a few of them are mass produced, too. Sure, one could expect a bunch of bands to sound different, but if you picked obscure bands, you could probably get away with it... especially if few people are listening to it.
I doubt that a waveform analysis would yield a false positive on a live performance... I could see an entirely MIDI performance yielding the same waveform (provided you used the same sounds) but not live or semi-live acoustic instrument recordings.
is simplified by the fact that it's solo piano. Unlike solo string works, intonation is not a distinguishing characteristic for solo piano. And anyway, the musical content is the same for the pieces.
Also, there must be thousands of recordings of the transcendental etudes (I have several in my cd case, alone) spanning probably 100 years or so. Classical musicians often listen to recordings of the piece they're working on to get ideas on interpretation.
Imagine if you had thousands of bands playing the same song, and using the same instrumentation - I'm willing to bet I could copy one of the renditions... change the mp3 info, and no one would notice the duplicate. It's not that amazing of a story, really. I suspect her husband told her that he would touch up her recordings to make them sound better. I doubt she wanted this, but who knows? Anyway, it sounds like a few minutes work on pro tools or some other DAW. Heck, Audacity would suffice for this sort of thing, I would imagine.
and I've never heard of her... but then again, there are a ton of pianists out there.
Sounds like her husband was no stranger to Pro Tools...
No matter how well known a classical musician is, there will not be 1/40th the amount of recording sales that your average pop "artist" generates on a given album. Remember Milli Vanilli?
and for those who like a little competition in the computer hardware field, that's a bad thing. Guess what folks? Once Intel regains all the share it lost to AMD, those chip prices aren't going to go down.
Well, if you're using WEP, you should still do it. Someone's probably cracked your encryption long ago...
It makes me think about turning off WPA, though.
in consulting. One of our clients wants to have at least 4-way SMP on each new box. With virtualization becoming so popular, those additional cores are going to help.
I wonder if AMD is going to focus on 4+ cores to maximize its hypertransport bus - and focus less on 2 core and less systems.
"It's already fixed in subversion..."
Some of us are happy with FreeBSD's userland, thank you. The last thing most FreeBSD users would want would be the entire GNU userland and libc.