The evidence will always with circumstantial. But it's compelling evidence - the chances that someone altered this, for whatever reason, is considerably lower than the chances that someone edited the files on pirated software.
Only an install. The difference is almost semantic however.
But, of course, they only used the full pirated software package "because of the bureaucracy." So, what makes you suppose that they stopped there - that they even bother to get a complete licence for this software?
With this logic, the only way to prove that they weren't using pirated software is to shut down microsoft for the week, and count the number of copies of sound forge on every machine, and count the number of licences purchased. Since microsoft would never let this happen, they are free to use whatever pirated software they impunity, since a count of the software is impossible.
We have missed the real issues at hand with all this 'well, maybe they have a legitimate reason to be using a cracked copy'.
The true answer to whether microsoft had a legitemate licence for this particular install of sound forge will never, ever be known now. It will always be a subject of speculation. But, this is not the pertinent issue.
The pertinent issue is that one of the foremost anitpiracy advocates has failed to keep piracy out of its own organization. In an ideal world, this would cause people to rethink the idea of software licenses, and perhaps develop a methods whereby the end users' (who pays to use the software) and the software makers' (who extracts payment for the use of the software) interests are allied, instead of at odds, as they are now. Like, maybe some kind of blanket license.
Of course, this is as likely to happen as it is likely that people stop using pirated software.
That, in my opinion, is complete and utter bollocks. As a professional sound engineer and media producer, I've been using sound forge almost daily for almost a decade. It has always been pretty much the most versatile, powerful sound editor available.
You are confusing multitracking software with a sound editor. Vegas solves a whole bunch of problems that Sound Forge isn't designed to touch. Likewise, Vegas or other software like Protools can't hold a candle against Sound Forge when you are performing the tasks that Sound Forge was designed to do. That is why Vegas and Sound Forge are so well integrated with each other. They are pretty much two complementary parts of the same package.
Furthermore, I used to work at microsoft, and can attest that Sound Forge was in use there during the period that 4.5 was the current version.
As someone who's worked in a large company, I know what a hassle it can be to requisition software.
Furthermore, you can go and perform the search yourself - the evidence is there. Whether or not it sounds reasonable, the evidence is incontrovertible.
Somewhere out there, Radium is having a little IRC reunion party.
>Porn and P2P traffic certainly overlap to a large >extent, as anyone who ever downloaded "Harry >Potter" only to find it to actually be "Big Tits >23" can confirm.
My commiserations. The sequel is nowhere near as good as the original. Or the other sequels.
>As for the statistics - most of them are far from >mysterious if you read the actual statistics and >not the dumbed-down headline version that >mainstream media turns them into.
Aha! That was my problem.
Well, almost.
I always read the statistical methodology - and it reads as sound as an electoral polling box - very worrying indeed! All those bit torrents! All that spam! All that pronography!
But, fortunately the people who created the statistic always have a wonderful box that I could buy to fix the problem they had just discovered.
"Don't worry, Mr. Cary Sherman - we'll deliver the bit-torrent statistic for you."
Can someone tell me how many percentage points there are in all the internets?
I'm pretty certain that about 70% is pron, 50% is spam mail and at least 85% of all internet traffic was in the form of mysterious, partisan, hard to prove or disprove, statistics about internet traffic.
"[i]When mentioning the MP3.com lawsuits, the article fails to mention the paradox of it's greatest innovation and fatal flaw. The reason MP3.com became so huge and the reason it got sued was because of a service that allowed you to put your CD in your PC at home, scan it for authenticity, then be able to access those songs from anywhere.[/i]"
1. This wasn't why mp3.com got huge. They got huge because they got all their content for free, and were funded for over a billion dollars.
2. The service you discuss was just one of many they departed on when they realized that gigabytes of craptacular mp3s weren't very interesting to anyone, and that much of the talent they were trying to attract was avoiding them like the plague, since any good music is drowned by the voices of a hundred bedroom musicians.
3. When the brought this out, all my friends were at each other's houses 'authorizing' each other's entire cd collections to their mp3 locker accounts : it was faster than ripping them on the old 4X cd burners and Pentium IIs.
So you are saying that an mp3 on an ipod played via FM out of my old dad's radio sounds better than the ipod on it's own.
Or maybe you are just trying to sell old radios?
"Is Real abandoning the corporate market to Windows and Macromedia?"
With Real's focus on music offerings, and open sourcing it's player and server technology, it definitely looks like Real is soon going to be dropping support of the corporate market. It's also the word I am hearing from multiple vendors and colleagues in my line of work.
I run a small media production group, providing video services for a medium sized tech company, of about 2,500 people, growing rapidly. Half our user base is Unix, and so Real is the only viable option for providing them with video.
Is Real no longer going to be serving customers like myself?
If someone stops one clock, the other clock will instantly stop in the opposite position, 9e.g if the first one stopped at 6 o'clock, the other one would stop at noon). No information is transferred since the measurement on the first clock is completely random.
What about the the information that someone stopped the other clock?
>Explain to me how they get compensated when they
>sell a shitload of albums.
>
>Hint: They don't.
Sure they get compensated.
http://mercenaryaudio.com/probwitmusby.html
See, by the end of the deal, they are up one rogering, and have had their arse handed to them in a bag. The >bag is free.
>I wonder if at night they supply them with saws, >arms and other cutting devices and let them at each >other? Turns out they're cost effective as well!
The first rule of Robot Club is _no_ talking about Robot Club.
From the conclusion of 'The Effect of File Sharing on Record Sales: An Empirical Analysis'
"the financial incentive for creating recorded music are quite weak. Few of the artists who create one of the roughly 30,000 albums released each year in the US will make a living from their sales because only a few albums are ever profitable. In fact, only a small number of established acts recieve contracts with royalty rates ensuring financial suffieciency while the remaining artists must rely on other sources of income like touring or other jobs."
Indies exist because the music is there to be listened to - it's a labour of love for all involved. Music production and distribution requires pretty massive sacrifice and compromise in one's life - even those who are able to eak a living out of their record label or musical offerings have given up a great deal in terms of financial stability and life choices, like having a family, or building a retirement fund.
The majors aren't the only reason for this - not all music is of value to anyone but it's creator (:>) but they are the reason that the selection of music on your radio is limited and sounds the same, and that the chain stores only sell their trite crap.
Juniper's router interconnect product is being announced shortly, and will allow users to interconnect T640s already installed in their network - no forklift upgrade. Cisco just wants to get something in the news before it rolls out, so that they don't seem quite so much the technological also-rans that they are, in this space.
Considering the number of delays this box's development has undergone, one can only imagine how many exciting 'Cisco features' have been left in to make this rush to market possible.
Slashdot Mirror
Well, I guess it depends how friendly your dealer is feeling today doesn't it?
Well, I guess that one was free, in a way.
You are thinking of the $60 Sound Forge Studio, or the 30 day trial on many of Sonic Foundry's former products.
The evidence will always with circumstantial. But it's compelling evidence - the chances that someone altered this, for whatever reason, is considerably lower than the chances that someone edited the files on pirated software.
Only an install. The difference is almost semantic however.
But, of course, they only used the full pirated software package "because of the bureaucracy." So, what makes you suppose that they stopped there - that they even bother to get a complete licence for this software?
With this logic, the only way to prove that they weren't using pirated software is to shut down microsoft for the week, and count the number of copies of sound forge on every machine, and count the number of licences purchased. Since microsoft would never let this happen, they are free to use whatever pirated software they impunity, since a count of the software is impossible.
We have missed the real issues at hand with all this 'well, maybe they have a legitimate reason to be using a cracked copy'. The true answer to whether microsoft had a legitemate licence for this particular install of sound forge will never, ever be known now. It will always be a subject of speculation. But, this is not the pertinent issue. The pertinent issue is that one of the foremost anitpiracy advocates has failed to keep piracy out of its own organization. In an ideal world, this would cause people to rethink the idea of software licenses, and perhaps develop a methods whereby the end users' (who pays to use the software) and the software makers' (who extracts payment for the use of the software) interests are allied, instead of at odds, as they are now. Like, maybe some kind of blanket license. Of course, this is as likely to happen as it is likely that people stop using pirated software.
M$ doesn't - I've worked there.
This won't be too hard to find out with a couple of subpoenas, once Sony takes them to court.
Furthermore, M$ is still liable regardless.
Yup, they do. I used to sit next to the guy that wrote the windows 98 theme.
They have a whole building devoted to media production.
That, in my opinion, is complete and utter bollocks. As a professional sound engineer and media producer, I've been using sound forge almost daily for almost a decade. It has always been pretty much the most versatile, powerful sound editor available.
You are confusing multitracking software with a sound editor. Vegas solves a whole bunch of problems that Sound Forge isn't designed to touch. Likewise, Vegas or other software like Protools can't hold a candle against Sound Forge when you are performing the tasks that Sound Forge was designed to do. That is why Vegas and Sound Forge are so well integrated with each other. They are pretty much two complementary parts of the same package.
Furthermore, I used to work at microsoft, and can attest that Sound Forge was in use there during the period that 4.5 was the current version.
As someone who's worked in a large company, I know what a hassle it can be to requisition software.
Furthermore, you can go and perform the search yourself - the evidence is there. Whether or not it sounds reasonable, the evidence is incontrovertible.
Somewhere out there, Radium is having a little IRC reunion party.
>Porn and P2P traffic certainly overlap to a large
>extent, as anyone who ever downloaded "Harry
>Potter" only to find it to actually be "Big Tits
>23" can confirm.
My commiserations. The sequel is nowhere near as good as the original. Or the other sequels.
>As for the statistics - most of them are far from
>mysterious if you read the actual statistics and
>not the dumbed-down headline version that
>mainstream media turns them into.
Aha! That was my problem.
Well, almost.
I always read the statistical methodology - and it reads as sound as an electoral polling box - very worrying indeed! All those bit torrents! All that spam! All that pronography!
But, fortunately the people who created the statistic always have a wonderful box that I could buy to fix the problem they had just discovered.
"Don't worry, Mr. Cary Sherman - we'll deliver the bit-torrent statistic for you."
Can someone tell me how many percentage points there are in all the internets? I'm pretty certain that about 70% is pron, 50% is spam mail and at least 85% of all internet traffic was in the form of mysterious, partisan, hard to prove or disprove, statistics about internet traffic.
Hear, hear. We've got a PLETHORA of distribution methods already.
Until we have a method to make content production viable, there's going to be nothing to stream.
Except they could sing.
"[i]When mentioning the MP3.com lawsuits, the article fails to mention the paradox of it's greatest innovation and fatal flaw. The reason MP3.com became so huge and the reason it got sued was because of a service that allowed you to put your CD in your PC at home, scan it for authenticity, then be able to access those songs from anywhere.[/i]" 1. This wasn't why mp3.com got huge. They got huge because they got all their content for free, and were funded for over a billion dollars. 2. The service you discuss was just one of many they departed on when they realized that gigabytes of craptacular mp3s weren't very interesting to anyone, and that much of the talent they were trying to attract was avoiding them like the plague, since any good music is drowned by the voices of a hundred bedroom musicians. 3. When the brought this out, all my friends were at each other's houses 'authorizing' each other's entire cd collections to their mp3 locker accounts : it was faster than ripping them on the old 4X cd burners and Pentium IIs.
Cray XD1
So you are saying that an mp3 on an ipod played via FM out of my old dad's radio sounds better than the ipod on it's own. Or maybe you are just trying to sell old radios?
"Is Real abandoning the corporate market to Windows and Macromedia?" With Real's focus on music offerings, and open sourcing it's player and server technology, it definitely looks like Real is soon going to be dropping support of the corporate market. It's also the word I am hearing from multiple vendors and colleagues in my line of work. I run a small media production group, providing video services for a medium sized tech company, of about 2,500 people, growing rapidly. Half our user base is Unix, and so Real is the only viable option for providing them with video. Is Real no longer going to be serving customers like myself?
I had it running on my desktop for a week, and it didn't find a single alien.
What about the the information that someone stopped the other clock?
>Explain to me how they get compensated when they >sell a shitload of albums. > >Hint: They don't. Sure they get compensated. http://mercenaryaudio.com/probwitmusby.html See, by the end of the deal, they are up one rogering, and have had their arse handed to them in a bag. The >bag is free.
>I wonder if at night they supply them with saws,
>arms and other cutting devices and let them at each
>other? Turns out they're cost effective as well!
The first rule of Robot Club is _no_ talking about Robot Club.
From the conclusion of 'The Effect of File Sharing on Record Sales: An Empirical Analysis' "the financial incentive for creating recorded music are quite weak. Few of the artists who create one of the roughly 30,000 albums released each year in the US will make a living from their sales because only a few albums are ever profitable. In fact, only a small number of established acts recieve contracts with royalty rates ensuring financial suffieciency while the remaining artists must rely on other sources of income like touring or other jobs." Indies exist because the music is there to be listened to - it's a labour of love for all involved. Music production and distribution requires pretty massive sacrifice and compromise in one's life - even those who are able to eak a living out of their record label or musical offerings have given up a great deal in terms of financial stability and life choices, like having a family, or building a retirement fund. The majors aren't the only reason for this - not all music is of value to anyone but it's creator ( :>) but they are the reason that the selection of music on your radio is limited and sounds the same, and that the chain stores only sell their trite crap.
There's bucket loads of innovation. However, the cartel that is the music industry prevents it from being played or distributed where you can hear it.
Check out:
http://www.oemradio.com
http://www.somafm.com
or (at the risk of a personal plug
http://www.groovetronica.com
This is a just a bid for PR.
Juniper's router interconnect product is being announced shortly, and will allow users to interconnect T640s already installed in their network - no forklift upgrade. Cisco just wants to get something in the news before it rolls out, so that they don't seem quite so much the technological also-rans that they are, in this space.
Considering the number of delays this box's development has undergone, one can only imagine how many exciting 'Cisco features' have been left in to make this rush to market possible.