(c) any evidence that the hard-drive has been 'wiped' or erased since the initiation of the litigation.
Just curious: Let's say someone wanted to do just that - wipe or erase the hard drive since the initiation of the litigation.
Theoretically, couldn't a person just set the BIOS clock to a date and time prior to the legislation, do multiple shreds and formats on the HDD, reinstall the OS with the BIOS clock still 'in the past', and have it seem as though nothing changed since the initiation of the litigation?
It would seem to me that if the BIOS clock was set to a prior point, that everything else on the HDD would follow. The BIOS clock has no intuitive knowledge of time, it only knows what it's told.
All theoretical, of course. No one would actually do such a thing, of course...
For years, Mad Magazine was one of the last holdouts to not run ads, but now they do.
This is a popular conception, but not true. The MAD comic book took real advertising, as did MAD Magazine until the Spring of 1957. Because MAD also parodied ads, these were always marked with the words "REAL ADVERTISEMENT". If you have access to the CD or DVD "complete back issues of MAD" package, you'll see them.
I honestly don't remember whether the advertising was discontinued because it wasn't profitable enough, or because Bill Gaines felt it might be a conflict of interest considering he was spoofing ads in MAD, but advertising did not return until after Gaines passed away and MAD was brought firmly under the DC corporate umbrella.
[The Linux eeePC] is a small computer that, at least in the 9" screen and 20GB SSD model, is well balanced, very practical, and an excellent example of a product where Linux makes perfect sense.
Plus, you can do things on it that would normally be beyond its scope by setting it up as a thin client to a more powerful desktop server. I've used NoMachine NX Free Edition for Linux to do something similar. All your high-power apps (and their storage and RAM requirements) can be handled on the server through the eeePC without it breaking a sweat, yet the eeePC can be carried anywhere within your wireless network range.
And when you need to travel, you can either use the eeePC as is with the apps it has and forgo the extra goodies, or connect remotely to your server by setting your server and/or your router (certain models) with a pseudo static IP via a service like DynDNS. NX uses SSH encryption, which makes it ideal for this.
They can collect royalties on the work they did at age 40 when they're 135, and they can collect on the work they did just before their retirement when they're 170. Tell me again how this makes sense?
Just what does a 170 year old musician sing about?
"Woke up this mornin' and....um....shite, what was I going to say just now?" (Lyric taken...sorta...from The I Can't Remember Squat, Your Generation Has it Easy, Get The Hell Off My Lawn Blues)
Our house has been running Ubuntu since Breezy. My children (now aged 9, 12, and 15) found it very easy to adjust to; in fact, my then-13 year old was bragging to her classmates about how Linux rocked. She is a heavy OpenOffice user, being saddled with homework and all, but she also uses it for her music, photos, and other media apps.
My two younger children don't really use word processing yet - they spend their time on various interactive sites (Gaia, Club Penguin), and yet they are fully capable of customizing their environment. My 9 year old worked out how to create gradations and such in his background, and is teaching his older sister.
The kids also appreciate the fact (as do I) that if, for whatever reason, they need to be migrated to a different computer, all we have to do is copy their $HOME directory and recopy it onto their new disk. Presto, all their email, bookmarks, chat logs, documents, and custom settings are instantly there.
My oldest is amused because she can recharge her cell phone (Motorola Razr V3) by plugging into the USB port; likewise, all her friends' digital cameras are instantly found and their photos made available simply by plugging them in, and her MP3 device has similar instant functionality. Her windows friends all have to find (or buy) and install special software just for this.
Our experience, especially with our children, is that Ubuntu is easy for a child of relatively average intelligence to grasp and use. Plus, if they only have user accounts without root privileges, those who are curious (and please show me a child who is NOT curious) can customize their environment to their hearts content without screwing any settings up.
It's been about two years of solid win in this house.
To those of us in the United States, this opens up a whole new experience...while most of the world uses widespread blogging sites and social interaction sites based here in America, for once OUR denizens will be reading their friends lists and syndicated feeds, and writing their thoughts, impressions, and pictures of their drunken selves regurgitating in public (sorry, that's facebook) on servers hosted in another country. All of a sudden we will be forced to *gasp* interact with the world around us.
This also may sharpen questions as to whether a person writing in one country is subject to the laws of the country in which the content is stored. When it affects us, then we wake up.
Meanwhile....cue the 144-page GAWDDAMMIT, KEEP THEM COMMIE RED BASTARDS' HANDS OFFN MAH LAHVJURNL followups to the official LJ announcement in 3...2...1...
They want to come after employees in the workspace for audible radio playing?
Play their game the "backfire" way. Turn the radio off for good and IGNORE their music.
If you can't hear it, you won't buy it. Simple as that.
Listen to talk, listen to sport, listen to 50+ year old music that is out of copyright (in the UK, at least), but let their music wither and die. Find other musical entertainment that doesn't involve their organization.
Get enough people to vote with their pocketbooks, they'll either change their tune (ha, so funny) or they'll sink to the bottom of the sea, blaming file sharing all the while for their loss of revenue.
EMI Music Publishing has absolutely nothing to do with EMI Music.
EMI Music Publishing publishes and controls the copyrights to sheet music, as well as producing and distributing recordings of "library music", pre-recorded background music you find in commercials, on radio and tv, and often in films. This music is not available to the general public; you must be in the audio production field to access it, and each use must be licensed.
EMI Music is the commercial record company whose record labels distribute music sold to consumers. EMI Music is what Hands is considering selling ("hand"-ing off, if you will) to Warner Music.
In the end, a few things are clear: Users of advertisement-skipping technology are essentially engaged in theft of resources.
TFA assumes the position that if a website gets a nickel for placing an ad on MY computer, and I have a mechanism in place to prevent that ad from getting to MY computer, that I am engaged in theft of resources.
This is like saying if someone gets a nickel for every time someone else can park their car in MY driveway, and I install a gate to prevent that third party from parking their car in MY driveway, that I am engaged in theft of resources.
Website operators have no right to bitch and moan if I block their ads from MY computer, because while they insist that I am stealing if I do not permit their ads to invade MY computer, they are not offering to pay me rent or other compensation for the use of MY CPU, MY RAM, MY bandwidth, MY desktop, MY browser, or even MY electricity for sending me unwanted and unrequested material.
Seven or eight years ago I went through hell with IE in Win98, because there were sites that spawned pop-up ads, and those ads spawned MORE pop-up ads as the first ads were closed, and then the other ads were busy spawning even more ads, until the only thing I could do was hit the switch and turn the damn machine off cold. That's when I learned the magic art of disabling scripts. I cannot have been the only one.
It's not RCA, it's the Victor Talking Machine Company - by the time RCA got their grubby mitts on Victor in 1929, the restrictive licensing clause had been struck down by the courts.
But yes, while the fine print on the license of the record states that the record was leased under patents and not purchased, and if counterfeit copies are made the record reverts back to Victor, the fine print on the Victrola is even better. Buried down in that microscopic text you will find that the actual Victrola machine was leased, not owned, and if records from someone other than the Victor Talking Machine Company are played on it, not only is the license revoked, the Victor Talking Machine Co. has the legal right to physically repossess the machine.
BTW, both the license on the record and on the machine state that final ownership and possession of the record fall into the purchaser's hands upon the expiration of the last patent under which either was manufactured. This was strictly a patent issue, not a copyright issue.
I don't know whether ICQ does this or not (it's been at least 8 years since I've used a standalone ICQ client), but years ago if you had a multiuser chat, each user had the option of seeing the conversation either "chat room" style (like IRC), or with each user visible in their own panel. When in panel mode, you could see your chatmates typing live - as in talk or ytalk. Everything they typed, you saw as it happened - mistakes, corrections, everything.
The simple fact is that neither analog or digital are perfectly accurate, but digital is more accurate even for loud rock music. Many many CDs today are mastered way too high, resulting in severe clipping of the waveform peaks - but that is the fault of ABUSE of the technology, not the technology itself.
Here's a small encapsulation:
Digital recording: you record from your source into an analog-to-digital converter, whereupon the bits are recorded as data. Individual tracks are mixed together, post-processing is done, but the sound quality remains "first generation" throughout. Copies do not result in degradation, so the final CD master contains the sound in as close a form to what the microphone heard as possible, barring any post-processing altering the waveform either by design (echo, reverb, chorusing) or accident (mastering at too high a level, resulting in clipping). If the multitrack original is not processed at all after the recording, then the mixed-down master consists of first-generation tracks mixed together.
Analog recording: you record from your source into a multitrack tape machine, making sure that the azimuth is correctly aligned and that the speed of the machine is constant. In order to get some sort of sound out of those microscopic 24 tracks squeezed onto a two-inch tape, some compression and equalization and noise-reduction has to be done. Oops, we've just compromised the sound signal, haven't we? Not extremely accurate.
Now those tracks have to be mixed down to a 2 track 1/4" master, because vinyl is not multitrack. But in order to do that, we have to make an analog copy from an analog master. Normally this would be a tremendous sonic problem, because when you copy from tape to tape you not only copy the signal, you also copy the noise onto a blank tape with noise of its own, thus effectively squaring the noise. Mix two tracks, get four times the noise, Mix four tracks, get sixteen times the noise. Solution? More noise reduction. That compromises the compromised signal even more. And any analog postproduction, such as adding reverb, requires still another generational loss coupled with artifacts from the analog processing.
Once we get the tape mixed down to two track, which is second generation, it has to be mastered. Cutting that analog tape onto a lacquer blank introduces even more compromise to the audio signal, because unlike a CD, you cannot record the sound wave "as-is" onto vinyl. The highs have to be boosted because otherwise their minute squiggles would be smaller than the width of the cutting stylus and they would be irretrievably lost, while the lows have to be attenuated because otherwise the cutting stylus would cut the groove straight into the adjoining grooves and the record would not play at all. So now we have a minimum of three analog (lossy) generations away from the studio master, and this final generation now introduces an equalization curve just to that the resulting vinyl can be played on its own reproduction equipment.
That lacquer disc now goes for a plating bath, where a negative matrix is pulled, being an exact copy of the lacquer but with its grooves raised instead of sunken. This matrix is then plated to produce a positive mother, which looks exactly like the original lacquer except that the grooves are microscopically larger because it's been plated twice. We are now five generations removed from the studio master - and we still are not finished. The mother is plated yet again to make the stampers, and the stampers are used to press the final record into vinyl - a thermoplastic not particularly known for its dimensional stability. Set the vinyl out in the sun for a few hours and see how accurate the sound is.
So now you have a vinyl record that is seven generations removed from the studio session master. Now it has to go on your turntable, and be subjected the tracking force of the tonearm assembly, as well as whatever sonic compromises come about because
I believe it is only possible to have the same rip twice under windows using EAC.
Please read the documentation for EAC. You may be surprised to find that EAC was written because the author wanted a Windows port for the Linux program 'cdparanoia'. EAC's entire goal is to mimic the pre-existing Linux program 'cdparanoia' in its bit-for-bit redundant checking and matching.
There are decent frontends for cdparanoia if you don't want to run it via command line. GRip happens to be excellent. But please check what you are saying before you say it; few things are more annoying than having someone announce "Oh you can't do X in Linux, you can only use Windows program Y" when, in fact, Windows program Y was developed to give Windows users the chance to use a superior program that was already established in Linux.
If you are like me, and like to see what's going on on the other side of the fence, but like the vanilla Ubuntu for the most part... then you just install Ubuntu, like normal, and then simply install the kubuntu-desktop and xubuntu-desktop meta-packages from the repositories. That will install the ENTIRE Kubuntu or Xubuntu system onto your existing Ubuntu install.
Alternatively, if you want simplicity, you could just backup your home directories (making sure you keep your.directories as well), format, and then install Ubunto Studio.
I do have Kubuntu installed over Ubuntu because there are certain KDE apps that I prefer, mostly in CD burning, but as a rule it is not recommended because both desktops get loaded up, which increases the memory load significantly.
And then there was the time that dumbass me decided to add Xubuntu to my Ubuntu/Kubuntu mix, resulting in my having to copy all my settings and files to a holding directory in my Windows XP partition using the command prompt - because with three different desktops installed, I managed to completly screw up my X Window environment and I couldn't get ANY graphical desktop to work. Had to format the partition and start from scratch.
As a semipro audio user who so far has been basically stuck with Audacity and a jack daemon that works when it feels like it, I think Ubuntu Studio looks promising. If I could only bribe someone to write a Linux version of the AKAI.SYS server that my Akai DPS24 multitrack HD recording machine uses to interface with my computer, I could finally get rid of the last vestige of Win XP on my computer.
And the idea of a font "size" is actually fairly arbitrary and fuzzy. It's generally defined as the smallest line spacing so that the descenders of one line do not collide with the ascenders of the line below. But there are many cases where this rule is violated. Consider it more like women's dress sizes rather than relating to a specific dimension.
The other factor that is lost in modern digital typesetting is that the point size does not refer to the size of the letter, but rather to the size of the piece of type on which that letter was cast. A 12 pt piece of TYPE was indeed 12 points high, but the letter was somewhat smaller because it had to fit on that piece of type. Because of that, a 12 point letter could be (and often was) different sizes, depending on the font, although the actual piece of time was the same height.
Also, I've always wondered whether this isn't really more of a "nervousness test" than anything else.
Of course it is. Remember that 60-70 years ago people were far less informed about "how things work" than we are today. We live in a gadget-infested world, and most of us at least have some rudimentary knowledge of how to swap parts out of our computers, as well as what happens between our computers, routers, modems, and colo points. Our grandparents by and large seldom grasped how their own radios worked and only knew heavy machinery, so yes, strapping someone into a device with dials and graph paper and telling him that it's a machine designed to ferret out the truth was going to make some sort of impression back then.
On the other hand, what happens when you strap someone who tells lies for a living (character actor, politician, marketeer) into any lie detector device? If they truly believe, or convince themselves to believe, that what they are saying is true even if it's not, will their statement register as truthful? What happens when someone who is insane, imbalanced, or incapable of discerning the concept of truth is examined with a polygraph?
The whole concept is full of holes, because no device can get into the individual human mind...
Naftule Brandwein, the Klezmer clarinet virtuoso, turned his back on the audience in order to keep the secret of the finger he used to achieve certain effects.
Which was idiotic considering that most likely he was not playing the same kind of clarinet his audience was. Most clarinetists play Boehm system clarinets, but both New Orleans Jazz players and Klezmer players traditionally have played Albert system clarinets. The finger wouldn't matter since the fingerings are different between the two systems.
I can think of three 20th Century Presidents right off the bat: Harding, who had been a typesetter and printer; Truman, who was (among other things) a farmer and a haberdasher, and Johnson, who among his many other odd jobs was a seasonal migrant fruit-picker.
And then there's Carter, who not only came from a background of peanut farming, but who was also possessed of (and by) quite possibly the most dysfunctional family on the face of the earth.
That's if you feel like dealing with the terminal console. If not, as suggested elsewhere, the same thing can be done by searching Synaptic and clicking the appropriate box. I find the console to be quicker, though.
Slashdot Mirror
(c) any evidence that the hard-drive has been 'wiped' or erased since the initiation of the litigation.
Just curious: Let's say someone wanted to do just that - wipe or erase the hard drive since the initiation of the litigation.
Theoretically, couldn't a person just set the BIOS clock to a date and time prior to the legislation, do multiple shreds and formats on the HDD, reinstall the OS with the BIOS clock still 'in the past', and have it seem as though nothing changed since the initiation of the litigation?
It would seem to me that if the BIOS clock was set to a prior point, that everything else on the HDD would follow. The BIOS clock has no intuitive knowledge of time, it only knows what it's told.
All theoretical, of course. No one would actually do such a thing, of course...
For years, Mad Magazine was one of the last holdouts to not run ads, but now they do.
This is a popular conception, but not true. The MAD comic book took real advertising, as did MAD Magazine until the Spring of 1957. Because MAD also parodied ads, these were always marked with the words "REAL ADVERTISEMENT". If you have access to the CD or DVD "complete back issues of MAD" package, you'll see them.
I honestly don't remember whether the advertising was discontinued because it wasn't profitable enough, or because Bill Gaines felt it might be a conflict of interest considering he was spoofing ads in MAD, but advertising did not return until after Gaines passed away and MAD was brought firmly under the DC corporate umbrella.
[The Linux eeePC] is a small computer that, at least in the 9" screen and 20GB SSD model, is well balanced, very practical, and an excellent example of a product where Linux makes perfect sense.
Plus, you can do things on it that would normally be beyond its scope by setting it up as a thin client to a more powerful desktop server. I've used NoMachine NX Free Edition for Linux to do something similar. All your high-power apps (and their storage and RAM requirements) can be handled on the server through the eeePC without it breaking a sweat, yet the eeePC can be carried anywhere within your wireless network range.
And when you need to travel, you can either use the eeePC as is with the apps it has and forgo the extra goodies, or connect remotely to your server by setting your server and/or your router (certain models) with a pseudo static IP via a service like DynDNS. NX uses SSH encryption, which makes it ideal for this.
If people are going to mindlessly drop a kilobuck on this app, keep the app and let the universal law of Fools and Their Money play itself out.
Meanwhile, change the name of the app to something more realistic, and probably prophetic: "I Was Rich".
They can collect royalties on the work they did at age 40 when they're 135, and they can collect on the work they did just before their retirement when they're 170. Tell me again how this makes sense?
Just what does a 170 year old musician sing about?
"Woke up this mornin' and....um....shite, what was I going to say just now?" (Lyric taken...sorta...from The I Can't Remember Squat, Your Generation Has it Easy, Get The Hell Off My Lawn Blues)
Our house has been running Ubuntu since Breezy. My children (now aged 9, 12, and 15) found it very easy to adjust to; in fact, my then-13 year old was bragging to her classmates about how Linux rocked. She is a heavy OpenOffice user, being saddled with homework and all, but she also uses it for her music, photos, and other media apps.
My two younger children don't really use word processing yet - they spend their time on various interactive sites (Gaia, Club Penguin), and yet they are fully capable of customizing their environment. My 9 year old worked out how to create gradations and such in his background, and is teaching his older sister.
The kids also appreciate the fact (as do I) that if, for whatever reason, they need to be migrated to a different computer, all we have to do is copy their $HOME directory and recopy it onto their new disk. Presto, all their email, bookmarks, chat logs, documents, and custom settings are instantly there.
My oldest is amused because she can recharge her cell phone (Motorola Razr V3) by plugging into the USB port; likewise, all her friends' digital cameras are instantly found and their photos made available simply by plugging them in, and her MP3 device has similar instant functionality. Her windows friends all have to find (or buy) and install special software just for this.
Our experience, especially with our children, is that Ubuntu is easy for a child of relatively average intelligence to grasp and use. Plus, if they only have user accounts without root privileges, those who are curious (and please show me a child who is NOT curious) can customize their environment to their hearts content without screwing any settings up.
It's been about two years of solid win in this house.
To those of us in the United States, this opens up a whole new experience...while most of the world uses widespread blogging sites and social interaction sites based here in America, for once OUR denizens will be reading their friends lists and syndicated feeds, and writing their thoughts, impressions, and pictures of their drunken selves regurgitating in public (sorry, that's facebook) on servers hosted in another country. All of a sudden we will be forced to *gasp* interact with the world around us.
This also may sharpen questions as to whether a person writing in one country is subject to the laws of the country in which the content is stored. When it affects us, then we wake up.
Meanwhile....cue the 144-page GAWDDAMMIT, KEEP THEM COMMIE RED BASTARDS' HANDS OFFN MAH LAHVJURNL followups to the official LJ announcement in 3...2...1...
Now Firefox users have a weapon against Danny Carlton!
I hate repeating myself...so I'm not gonna.
They want to come after employees in the workspace for audible radio playing?
Play their game the "backfire" way. Turn the radio off for good and IGNORE their music.
If you can't hear it, you won't buy it. Simple as that.
Listen to talk, listen to sport, listen to 50+ year old music that is out of copyright (in the UK, at least), but let their music wither and die. Find other musical entertainment that doesn't involve their organization.
Get enough people to vote with their pocketbooks, they'll either change their tune (ha, so funny) or they'll sink to the bottom of the sea, blaming file sharing all the while for their loss of revenue.
EMI Music Publishing has absolutely nothing to do with EMI Music.
EMI Music Publishing publishes and controls the copyrights to sheet music, as well as producing and distributing recordings of "library music", pre-recorded background music you find in commercials, on radio and tv, and often in films. This music is not available to the general public; you must be in the audio production field to access it, and each use must be licensed.
EMI Music is the commercial record company whose record labels distribute music sold to consumers. EMI Music is what Hands is considering selling ("hand"-ing off, if you will) to Warner Music.
In the end, a few things are clear: Users of advertisement-skipping technology are essentially engaged in theft of resources.
TFA assumes the position that if a website gets a nickel for placing an ad on MY computer, and I have a mechanism in place to prevent that ad from getting to MY computer, that I am engaged in theft of resources.
This is like saying if someone gets a nickel for every time someone else can park their car in MY driveway, and I install a gate to prevent that third party from parking their car in MY driveway, that I am engaged in theft of resources.
Website operators have no right to bitch and moan if I block their ads from MY computer, because while they insist that I am stealing if I do not permit their ads to invade MY computer, they are not offering to pay me rent or other compensation for the use of MY CPU, MY RAM, MY bandwidth, MY desktop, MY browser, or even MY electricity for sending me unwanted and unrequested material.
Seven or eight years ago I went through hell with IE in Win98, because there were sites that spawned pop-up ads, and those ads spawned MORE pop-up ads as the first ads were closed, and then the other ads were busy spawning even more ads, until the only thing I could do was hit the switch and turn the damn machine off cold. That's when I learned the magic art of disabling scripts. I cannot have been the only one.
It's not RCA, it's the Victor Talking Machine Company - by the time RCA got their grubby mitts on Victor in 1929, the restrictive licensing clause had been struck down by the courts.
But yes, while the fine print on the license of the record states that the record was leased under patents and not purchased, and if counterfeit copies are made the record reverts back to Victor, the fine print on the Victrola is even better. Buried down in that microscopic text you will find that the actual Victrola machine was leased, not owned, and if records from someone other than the Victor Talking Machine Company are played on it, not only is the license revoked, the Victor Talking Machine Co. has the legal right to physically repossess the machine.
BTW, both the license on the record and on the machine state that final ownership and possession of the record fall into the purchaser's hands upon the expiration of the last patent under which either was manufactured. This was strictly a patent issue, not a copyright issue.
I don't know whether ICQ does this or not (it's been at least 8 years since I've used a standalone ICQ client), but years ago if you had a multiuser chat, each user had the option of seeing the conversation either "chat room" style (like IRC), or with each user visible in their own panel. When in panel mode, you could see your chatmates typing live - as in talk or ytalk. Everything they typed, you saw as it happened - mistakes, corrections, everything.
That was fun, in a morbid sort of way...
Interesting argument, but fundamentally flawed.
The simple fact is that neither analog or digital are perfectly accurate, but digital is more accurate even for loud rock music. Many many CDs today are mastered way too high, resulting in severe clipping of the waveform peaks - but that is the fault of ABUSE of the technology, not the technology itself.
Here's a small encapsulation:
Digital recording: you record from your source into an analog-to-digital converter, whereupon the bits are recorded as data. Individual tracks are mixed together, post-processing is done, but the sound quality remains "first generation" throughout. Copies do not result in degradation, so the final CD master contains the sound in as close a form to what the microphone heard as possible, barring any post-processing altering the waveform either by design (echo, reverb, chorusing) or accident (mastering at too high a level, resulting in clipping). If the multitrack original is not processed at all after the recording, then the mixed-down master consists of first-generation tracks mixed together.
Analog recording: you record from your source into a multitrack tape machine, making sure that the azimuth is correctly aligned and that the speed of the machine is constant. In order to get some sort of sound out of those microscopic 24 tracks squeezed onto a two-inch tape, some compression and equalization and noise-reduction has to be done. Oops, we've just compromised the sound signal, haven't we? Not extremely accurate.
Now those tracks have to be mixed down to a 2 track 1/4" master, because vinyl is not multitrack. But in order to do that, we have to make an analog copy from an analog master. Normally this would be a tremendous sonic problem, because when you copy from tape to tape you not only copy the signal, you also copy the noise onto a blank tape with noise of its own, thus effectively squaring the noise. Mix two tracks, get four times the noise, Mix four tracks, get sixteen times the noise. Solution? More noise reduction. That compromises the compromised signal even more. And any analog postproduction, such as adding reverb, requires still another generational loss coupled with artifacts from the analog processing.
Once we get the tape mixed down to two track, which is second generation, it has to be mastered. Cutting that analog tape onto a lacquer blank introduces even more compromise to the audio signal, because unlike a CD, you cannot record the sound wave "as-is" onto vinyl. The highs have to be boosted because otherwise their minute squiggles would be smaller than the width of the cutting stylus and they would be irretrievably lost, while the lows have to be attenuated because otherwise the cutting stylus would cut the groove straight into the adjoining grooves and the record would not play at all. So now we have a minimum of three analog (lossy) generations away from the studio master, and this final generation now introduces an equalization curve just to that the resulting vinyl can be played on its own reproduction equipment.
That lacquer disc now goes for a plating bath, where a negative matrix is pulled, being an exact copy of the lacquer but with its grooves raised instead of sunken. This matrix is then plated to produce a positive mother, which looks exactly like the original lacquer except that the grooves are microscopically larger because it's been plated twice. We are now five generations removed from the studio master - and we still are not finished. The mother is plated yet again to make the stampers, and the stampers are used to press the final record into vinyl - a thermoplastic not particularly known for its dimensional stability. Set the vinyl out in the sun for a few hours and see how accurate the sound is.
So now you have a vinyl record that is seven generations removed from the studio session master. Now it has to go on your turntable, and be subjected the tracking force of the tonearm assembly, as well as whatever sonic compromises come about because
Just wandering, couldn't this be construed as fraud? Taken as an attempt to intentionally deceive people?
Well, this is the MySpace page of a politician. Intentional deception and politics are usually never far apart.
I believe it is only possible to have the same rip twice under windows using EAC.
Please read the documentation for EAC. You may be surprised to find that EAC was written because the author wanted a Windows port for the Linux program 'cdparanoia'. EAC's entire goal is to mimic the pre-existing Linux program 'cdparanoia' in its bit-for-bit redundant checking and matching.
There are decent frontends for cdparanoia if you don't want to run it via command line. GRip happens to be excellent. But please check what you are saying before you say it; few things are more annoying than having someone announce "Oh you can't do X in Linux, you can only use Windows program Y" when, in fact, Windows program Y was developed to give Windows users the chance to use a superior program that was already established in Linux.
If you are like me, and like to see what's going on on the other side of the fence, but like the vanilla Ubuntu for the most part... then you just install Ubuntu, like normal, and then simply install the kubuntu-desktop and xubuntu-desktop meta-packages from the repositories. That will install the ENTIRE Kubuntu or Xubuntu system onto your existing Ubuntu install.
Alternatively, if you want simplicity, you could just backup your home directories (making sure you keep your .directories as well), format, and then install Ubunto Studio.
I do have Kubuntu installed over Ubuntu because there are certain KDE apps that I prefer, mostly in CD burning, but as a rule it is not recommended because both desktops get loaded up, which increases the memory load significantly.
And then there was the time that dumbass me decided to add Xubuntu to my Ubuntu/Kubuntu mix, resulting in my having to copy all my settings and files to a holding directory in my Windows XP partition using the command prompt - because with three different desktops installed, I managed to completly screw up my X Window environment and I couldn't get ANY graphical desktop to work. Had to format the partition and start from scratch.
As a semipro audio user who so far has been basically stuck with Audacity and a jack daemon that works when it feels like it, I think Ubuntu Studio looks promising. If I could only bribe someone to write a Linux version of the AKAI.SYS server that my Akai DPS24 multitrack HD recording machine uses to interface with my computer, I could finally get rid of the last vestige of Win XP on my computer.
And the idea of a font "size" is actually fairly arbitrary and fuzzy. It's generally defined as the smallest line spacing so that the descenders of one line do not collide with the ascenders of the line below. But there are many cases where this rule is violated. Consider it more like women's dress sizes rather than relating to a specific dimension.
The other factor that is lost in modern digital typesetting is that the point size does not refer to the size of the letter, but rather to the size of the piece of type on which that letter was cast. A 12 pt piece of TYPE was indeed 12 points high, but the letter was somewhat smaller because it had to fit on that piece of type. Because of that, a 12 point letter could be (and often was) different sizes, depending on the font, although the actual piece of time was the same height.
Also, I've always wondered whether this isn't really more of a "nervousness test" than anything else.
Of course it is. Remember that 60-70 years ago people were far less informed about "how things work" than we are today. We live in a gadget-infested world, and most of us at least have some rudimentary knowledge of how to swap parts out of our computers, as well as what happens between our computers, routers, modems, and colo points. Our grandparents by and large seldom grasped how their own radios worked and only knew heavy machinery, so yes, strapping someone into a device with dials and graph paper and telling him that it's a machine designed to ferret out the truth was going to make some sort of impression back then.
On the other hand, what happens when you strap someone who tells lies for a living (character actor, politician, marketeer) into any lie detector device? If they truly believe, or convince themselves to believe, that what they are saying is true even if it's not, will their statement register as truthful? What happens when someone who is insane, imbalanced, or incapable of discerning the concept of truth is examined with a polygraph?
The whole concept is full of holes, because no device can get into the individual human mind...
Read this Wikipedia section about trademark abandonment and genericide and you will understand.
You mean Wikipedia this section, don't you?
(Jimmy Wales oughta be damned glad that 'Wikipedia' makes no sense as a verb...)
Naftule Brandwein, the Klezmer clarinet virtuoso, turned his back on the audience in order to keep the secret of the finger he used to achieve certain effects.
Which was idiotic considering that most likely he was not playing the same kind of clarinet his audience was. Most clarinetists play Boehm system clarinets, but both New Orleans Jazz players and Klezmer players traditionally have played Albert system clarinets. The finger wouldn't matter since the fingerings are different between the two systems.
I can think of three 20th Century Presidents right off the bat: Harding, who had been a typesetter and printer; Truman, who was (among other things) a farmer and a haberdasher, and Johnson, who among his many other odd jobs was a seasonal migrant fruit-picker.
And then there's Carter, who not only came from a background of peanut farming, but who was also possessed of (and by) quite possibly the most dysfunctional family on the face of the earth.
Nothing says natural and intuitive to a non-technical user like "sudo tar -C /opt -x -z -v -f firefox-1.5.0.3.tar.gz".
You're right. Try this: "sudo apt-get install mozilla-firefox" .
That's if you feel like dealing with the terminal console. If not, as suggested elsewhere, the same thing can be done by searching Synaptic and clicking the appropriate box. I find the console to be quicker, though.
What's more interesting is that the USPTO itself includes the phrase "Super Hero" AS A DESCRIPTION for trademark registrations:
04.01.07 - Aliens; Apollo (mythology); Athena (mythology); Caped characters (super heroes); Ghosts; Mythological beings; Super heroes; Zeus (mythology)
Can DC/Marvel now sue the US Patent and Trademark Office?