http://www.musenet.org/
logged on a month or so before a rather young WiRED magazine ran an article on it. "museriots" and whatnot ensued. have yet to see as rich and rewarding an online community as micromuse of 1995.
that article sucked ass, and made me pine for the days of... well... pine.
gopher never took me to badly-written malfactual articles on crap i and ten-thousand other slashdot readers already knew more about than the authors.
i also find it a bit suspect that web browsers were what made the internet "big shit". certainly the newly graphical nature of the web played a role, but from my perspective (rural southeast america circa mid-summer mid-nineties), it was simply the appearance of national ISP's with toll-free dialup that was the catalyst - that is, it's the last mile, silly.
signal-to-noise ratio never recovered from AOL coming on the net. indirectly, they should take the blame for the heinous use of language and complete lack of content in the above-referenced article.
back to silly flash movies for me.
This is wonderful news! All the shows and movies these people make suck terribly anyway. They've got a government license to beam this crap through our bodies, but we're not allowed to copy it. Fine! They should just stop producing content. Perhaps the 15% will read instead. This comment's lame - sorry bout that. I'm just sick to death of television. Of course, I'm sitting in a master control suite in a tv station right now. Alone. Reaching out to the nameless masses of geeks. Well, at least the wine store will be open when I get off work.
My method is to wait until someone posts something to slashdot about independent musicians, reply blathering on about lack of a business model, then gratuitously link to my own site (http://towndowner.com/) as an example.
I give everything away. If I could make merchandise for free, I'd give that away, too. My day job isn't great, but it's not terrible. Hell, it's been three years since I had to work at a pizzeria.
Someday I'll set up a paypal account and probably garner about five bucks a year. Who cares? -- I could quote Andrei Tarkovsky (sorry - I proselytize via digression) on why people make art to begin with, but I'd rather just blame it all on a low self-esteem. I like to think I'm a more valuable person because I make music.
I spent a decade trying to figure out how to make money on music, and concluded that even if it is possible, it's too great a distraction from the music-making itself. My new goal is to get emails from people I've never met before telling me what they think of the music. I doubt this will happen, but I thank the original poster for giving me yet another opportunity to beg for response. Everybody out there - feel free to listen to my music and tell me what you think of it. Or do something more productive. Please, though, if you would like to respond, be merciless. I have enough false friends in RL.
So as to not be totally self-serving, I'd like to mention there's a netlabel on archive.org named Sundays in Spring. I enjoy their (very melancholy verse-chorus-verse-style) music.
IPA used to contribute to nearly all my projects, and it was a very good time. I've since switched to a Belgian Abbey-style ale, which is a very much nicer time, though I tend to fall asleep sometime through the fourth.
you're impeccably correct; however, there are very good digital-to-analog converters in "prosumer" sound cards such as M-Audio, RME, and other companies' lines.
the $100 price differential between crappy consumer cards and very nice prosumer cards is likely enough to keep stupid DRM profitable, if only for a few months out of the year (thanks to "hackers", who are likely helping society out in general, through their nefarious curiosity and technoguile).
yes, i talk like this when i've been drinking.
god, i wish the gods had recently granted me mod powers - if they had, i'd immediately mod this funny. maybe i've drunk too much belgian beer (i'm in virginia, usa, but i know a good thing when i taste one) - but i really think the author meant to be funny. perhaps not. at any rate, this entire article is exactly what i expect from and love about slashdot - it's completely useless, yet sadly interesting.
yay mp3s. eat my stool. use two spaces after sentences. i'm drunk.
reason number one:
because the operating system doesn't have lots of supercool metadata built into the operating system like the BeOS did.
reason number two:
patient: "Doc, it hurts when I do this."
doctor: "Don't do that."
stop using your own random extensions, silly.
question:
why aren't desktop systems using "magic number" file typing, or whatever the hell that's called? or are they? i dunno - not my problem.
well, i can give you my take on it, as a musician.
we steal from one another. all the time, since the beginning of time.
the Red Hot Chili Peppers have said in articles: "listen to your favorite songs - steal the chords, write new words - that's what we do!"
perhaps you're not a chili peppers fan... Bela Bartok and Zoltan Kodaly travelled 'round Hungary in the early 1900's collecting folk music, then turned around and used the melodies in their symphonies.
recently some parodists almost got in hot water over their use of a Woody Guthrie song: This Land Is Your Land. Woody published the following announcement in one of the songbooks he used to mimeograph and send to people: "This song is Copyrighted in U.S., under Seal of Copyright # 154085, for a period of 28 years, and anybody caught singin' it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do." Ludlow Music, the RIAA, and Johnny Law are all operating upon his work against his interests. Beyond that, the melody of This Land Is Your Land is an old traditional tune Woody Guthrie himself stole from the Carter family.
Most jazz musicians improvise on pieces already written by others.
So that's an example each from rock, classical, folk, and jazz, of how musical creation does not take place in a vacuum.
Making new combinations of the 12 notes western music typically uses without quoting from or building upon music of the last 75 years basically impedes artistic progress.
We used to be able to defend ourselves with the Fair Use components of copyright law - but further laws passed since then CLASSIFY ANY NETWORK TRANSMISSION OF MEDIA AS 'COMMERCIAL USE' - meaning your emailing Mom an.mp3 of 'happy birthday' infringes Warner's rights. yes, we still have fair use rights for nonprofit educational use, but it is illegal to use the tools designed for such.
i'm not sure if i've made my point, but i'm going to plug my music anyway: http://towndowner.com
it's all creative commons-licensed stuff, and my goal has shifted: i used to want to sell CDs for 10 bucks to my fellow townspeople; now i want to receive compliments from strangers. ultimately, people translate that money into self-worth anyway - so why not cut out one step?
Re:Dilema.
on
Games Knoppix
·
· Score: 2, Interesting
regarding your audigy, did you check that it's appropriate output channels are unmuted and volume raised? often by default they're muted and potted down on startup. and audigy has so many channels in its mixing matrix that it takes me five minutes to figure out which one's the main out.
one of two:
a. we already know how to play mp3's - are they going to build soundcards? are they going to make homemade soundcards illegal?
b. if we can learn how to make the tones we can learn how to unmake them.
or maybe i'm a dork who should've stayed lurking.
regardless of what the bill is for or against, shouldn't we hear about upcoming bills more than a week before they're heard?
how are we to direct our "representatives" if we are ignorant of their activities?
it's the low end vinyl has trouble with - specifically, low frequencies at high volumes could cause the needle to jump out of the groove. cd's likely do have a bit more high-end.
none of this is, by the way, news. it is, rather, a long-standing religious debate, of equal parts fact and fiction.
tubes sound better than transistors when operated out of their (originally) intended range - when overdriving them. transistors accentuate overtones (the part of a sound that's more tone than pitch (in a hideous nutshell)) on a strangely, unnaturally even, mathematical basis; tubes accentuate them in an irregular, somehow musical manner.
when operating within their intended ranges - ie, putting music through them, rather than something (like an electric guitar) you *want* distorted - there shouldn't be much difference between a tube and a transistor.
there is some. i'm not sure who here can hear it. i've got great studio reference monitors for my studio - the speakers are amazing, worth more than everything else i own combine - and i've spent years training my ears - nowhere near those of a mastering engineer or somesuch but i think i do okay - and i can tell the difference between 192k CBR (lame-encoded; keep all frequencies) mp3's and the original wav's on maybe two or three records (Roger Waters' Amused to Death; Peter Gabriel's UP come to mind).
I blame the whole harsh/cold-sound of digital to lousy mastering; or mastering to a different aesthetic. The Beatles CDs, for example, sound like crap, and still haven't been remastered. This is sacrilege. Most CD issues of Dark Side of the Moon are overly crisp, though now-defunct Mobile Fidelity Sound Labs did a wonderful job of it, surpassing the 20th Anniversary remastering easily. Sorry, I'm digressing - but while I'm on it - does anyone else think the guitar parts on the Zeppelin "Boxed Sets" are way too loud in the mix, yet fine on the big boxed set/individually released remasters?
most audiophile tube solutions seem to be add on preamp-tubes, so you're still getting all your power via newfangled ('harsh-sounding'?) transistors anyway.
real audiophiles want tube power amps because they glow and suggest an extra layer of meaning to visiting neophytes. anyway...
Slashdot Mirror
while i agree,
what if microsoft released an add-on HD-DVD drive that could also be used with a computer? might be a nice trick.
(though i'm rooting for BluRay - we have the Professional Discs for video at work and they're great. cartridge instead of anti-scratch coating.)
http://www.musenet.org/ logged on a month or so before a rather young WiRED magazine ran an article on it. "museriots" and whatnot ensued. have yet to see as rich and rewarding an online community as micromuse of 1995.
my web site's been prepared for IE7 since 1996 or so.
Sorry about your bike. Okay, my first thought was, "Sweet, I pirated "The Bicycle Thief".".
that article sucked ass, and made me pine for the days of... well... pine. gopher never took me to badly-written malfactual articles on crap i and ten-thousand other slashdot readers already knew more about than the authors. i also find it a bit suspect that web browsers were what made the internet "big shit". certainly the newly graphical nature of the web played a role, but from my perspective (rural southeast america circa mid-summer mid-nineties), it was simply the appearance of national ISP's with toll-free dialup that was the catalyst - that is, it's the last mile, silly. signal-to-noise ratio never recovered from AOL coming on the net. indirectly, they should take the blame for the heinous use of language and complete lack of content in the above-referenced article. back to silly flash movies for me.
This is wonderful news! All the shows and movies these people make suck terribly anyway. They've got a government license to beam this crap through our bodies, but we're not allowed to copy it. Fine! They should just stop producing content. Perhaps the 15% will read instead. This comment's lame - sorry bout that. I'm just sick to death of television. Of course, I'm sitting in a master control suite in a tv station right now. Alone. Reaching out to the nameless masses of geeks. Well, at least the wine store will be open when I get off work.
I had always heard that Rosebud was William Randolph Hearst's pet name for his girlfriend's clitoris.
that cat spent 20 minutes trying to tell you to clean the floor.
that's all you do - bird imitations?
My method is to wait until someone posts something to slashdot about independent musicians, reply blathering on about lack of a business model, then gratuitously link to my own site (http://towndowner.com/) as an example.
I give everything away. If I could make merchandise for free, I'd give that away, too. My day job isn't great, but it's not terrible. Hell, it's been three years since I had to work at a pizzeria.
Someday I'll set up a paypal account and probably garner about five bucks a year. Who cares? -- I could quote Andrei Tarkovsky (sorry - I proselytize via digression) on why people make art to begin with, but I'd rather just blame it all on a low self-esteem. I like to think I'm a more valuable person because I make music.
I spent a decade trying to figure out how to make money on music, and concluded that even if it is possible, it's too great a distraction from the music-making itself. My new goal is to get emails from people I've never met before telling me what they think of the music. I doubt this will happen, but I thank the original poster for giving me yet another opportunity to beg for response. Everybody out there - feel free to listen to my music and tell me what you think of it. Or do something more productive. Please, though, if you would like to respond, be merciless. I have enough false friends in RL.
So as to not be totally self-serving, I'd like to mention there's a netlabel on archive.org named Sundays in Spring. I enjoy their (very melancholy verse-chorus-verse-style) music.
IPA used to contribute to nearly all my projects, and it was a very good time. I've since switched to a Belgian Abbey-style ale, which is a very much nicer time, though I tend to fall asleep sometime through the fourth.
you're impeccably correct; however, there are very good digital-to-analog converters in "prosumer" sound cards such as M-Audio, RME, and other companies' lines. the $100 price differential between crappy consumer cards and very nice prosumer cards is likely enough to keep stupid DRM profitable, if only for a few months out of the year (thanks to "hackers", who are likely helping society out in general, through their nefarious curiosity and technoguile). yes, i talk like this when i've been drinking.
god, i wish the gods had recently granted me mod powers - if they had, i'd immediately mod this funny. maybe i've drunk too much belgian beer (i'm in virginia, usa, but i know a good thing when i taste one) - but i really think the author meant to be funny. perhaps not. at any rate, this entire article is exactly what i expect from and love about slashdot - it's completely useless, yet sadly interesting. yay mp3s. eat my stool. use two spaces after sentences. i'm drunk.
reason number one: because the operating system doesn't have lots of supercool metadata built into the operating system like the BeOS did. reason number two: patient: "Doc, it hurts when I do this." doctor: "Don't do that." stop using your own random extensions, silly. question: why aren't desktop systems using "magic number" file typing, or whatever the hell that's called? or are they? i dunno - not my problem.
IT and Facilities Management will merge - that simple. administering windows boxes and unclogging toilets aren't too dissimilar to begin with.
well, i can give you my take on it, as a musician.
.mp3 of 'happy birthday' infringes Warner's rights. yes, we still have fair use rights for nonprofit educational use, but it is illegal to use the tools designed for such.
we steal from one another. all the time, since the beginning of time.
the Red Hot Chili Peppers have said in articles: "listen to your favorite songs - steal the chords, write new words - that's what we do!"
perhaps you're not a chili peppers fan... Bela Bartok and Zoltan Kodaly travelled 'round Hungary in the early 1900's collecting folk music, then turned around and used the melodies in their symphonies.
recently some parodists almost got in hot water over their use of a Woody Guthrie song: This Land Is Your Land. Woody published the following announcement in one of the songbooks he used to mimeograph and send to people: "This song is Copyrighted in U.S., under Seal of Copyright # 154085, for a period of 28 years, and anybody caught singin' it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do." Ludlow Music, the RIAA, and Johnny Law are all operating upon his work against his interests. Beyond that, the melody of This Land Is Your Land is an old traditional tune Woody Guthrie himself stole from the Carter family.
Most jazz musicians improvise on pieces already written by others.
So that's an example each from rock, classical, folk, and jazz, of how musical creation does not take place in a vacuum.
Making new combinations of the 12 notes western music typically uses without quoting from or building upon music of the last 75 years basically impedes artistic progress.
We used to be able to defend ourselves with the Fair Use components of copyright law - but further laws passed since then CLASSIFY ANY NETWORK TRANSMISSION OF MEDIA AS 'COMMERCIAL USE' - meaning your emailing Mom an
i'm not sure if i've made my point, but i'm going to plug my music anyway: http://towndowner.com
it's all creative commons-licensed stuff, and my goal has shifted: i used to want to sell CDs for 10 bucks to my fellow townspeople; now i want to receive compliments from strangers. ultimately, people translate that money into self-worth anyway - so why not cut out one step?
regarding your audigy, did you check that it's appropriate output channels are unmuted and volume raised? often by default they're muted and potted down on startup. and audigy has so many channels in its mixing matrix that it takes me five minutes to figure out which one's the main out.
one of two: a. we already know how to play mp3's - are they going to build soundcards? are they going to make homemade soundcards illegal? b. if we can learn how to make the tones we can learn how to unmake them. or maybe i'm a dork who should've stayed lurking.
i'm waiting for the day some script kiddie hacks into their teacher and makes them do vaudeville dancing in front of the class.
regardless of what the bill is for or against, shouldn't we hear about upcoming bills more than a week before they're heard? how are we to direct our "representatives" if we are ignorant of their activities?
it's the low end vinyl has trouble with - specifically, low frequencies at high volumes could cause the needle to jump out of the groove. cd's likely do have a bit more high-end. none of this is, by the way, news. it is, rather, a long-standing religious debate, of equal parts fact and fiction. tubes sound better than transistors when operated out of their (originally) intended range - when overdriving them. transistors accentuate overtones (the part of a sound that's more tone than pitch (in a hideous nutshell)) on a strangely, unnaturally even, mathematical basis; tubes accentuate them in an irregular, somehow musical manner. when operating within their intended ranges - ie, putting music through them, rather than something (like an electric guitar) you *want* distorted - there shouldn't be much difference between a tube and a transistor. there is some. i'm not sure who here can hear it. i've got great studio reference monitors for my studio - the speakers are amazing, worth more than everything else i own combine - and i've spent years training my ears - nowhere near those of a mastering engineer or somesuch but i think i do okay - and i can tell the difference between 192k CBR (lame-encoded; keep all frequencies) mp3's and the original wav's on maybe two or three records (Roger Waters' Amused to Death; Peter Gabriel's UP come to mind). I blame the whole harsh/cold-sound of digital to lousy mastering; or mastering to a different aesthetic. The Beatles CDs, for example, sound like crap, and still haven't been remastered. This is sacrilege. Most CD issues of Dark Side of the Moon are overly crisp, though now-defunct Mobile Fidelity Sound Labs did a wonderful job of it, surpassing the 20th Anniversary remastering easily. Sorry, I'm digressing - but while I'm on it - does anyone else think the guitar parts on the Zeppelin "Boxed Sets" are way too loud in the mix, yet fine on the big boxed set/individually released remasters? most audiophile tube solutions seem to be add on preamp-tubes, so you're still getting all your power via newfangled ('harsh-sounding'?) transistors anyway. real audiophiles want tube power amps because they glow and suggest an extra layer of meaning to visiting neophytes. anyway...
man, that link kind of got me into gentoo. but i drive a volvo stationwagon. much the same thing, but i can cross creeks.