Re: When I was ten...
and also...they're gingas
376 posts • joined 19 Jan 2016
Only available in East, bin selected processors...this is a FinTech play. Interesting hardware specs have been known to happen in the world of algo-trading.
And scale up makes perfect sense if your data is a single stream - like a stock ticker. Ive seen systems that could run 1 core much, much faster than anything visible on Intels webpage. They came in special system builds not generally advertised and long, long series of instructions about how long they could be run and how much cooling needed to be delivered. One server might be 10x the price of something that appeared to be similar on paper if not for the bin selected processor...and pay for itself within a few days of being deployed. After that, it's just power bills and profit.
Take a look at the Phase One camera platform...and bring your checkbook.
6 x 4.5cm sensor
6 micron pixel size
150 Megapixel resolution
The latest generation sensor backs are so beefy they run the Capture One software on the camera itself to speed processing to the tethered computer.
They also cost more than a Toyota Camry, and cannot make phone calls.
In a perfect world he would...but Trump apparently filed. The fact that his tax team played the rules like a pinball machine could result in big fines and/or bankruptcy but probably aren't going to lead to prison.
McAfee is in a different situation if he didn't file at all.
So this guy creates his own TAB (Graphic showing where to put your fingers on the fingerboard) that somehow exactly matches where some other legal copyright holder says to put your fingers on the fingerboard... The actual copyright owner (the song publisher) has an agreement with the second entity.
Aside from occasional chord inversions, there is usually only one or two practical ways to play a song on a guitar fingerboard. I don't think this is "Derivative" and more than me sitting down and hand copying the latest Neal Stephenson book in longhand would be "derivative". If this is his business/livlihood, best fix would be to license to TABs from the copyright holder, or just do away with the tabs and come up with a different format for displaying fingerboard positions.
Yeah, when the jackbooted thugs from Adobe came round my house to move me off of CS6 I had to hide in the basement.
Adobe didn't *force* anyone to do squat. If you didn't have a license or buy a license during the months long period when they announced the pricing shift, yeah, you now need to buy a subscription or find a piece of 11 year old software on the shelf. But CS6 still updates just fine.
I was expecting the normal commentard discussion on how you can use the Gimp/Paint Shop Pro/Microsoft paint whatever to do "The same thing" and save literally tens of dollars. The Adobe CC suite is aimed at creative teams, and delivers excellent functionality. If you make a living with these tools - they are not egregiously priced compared to most software in that space, and either your company has a license or you can take the entire subscription off your taxes (in the US). IF you are a causal user, you can always do a 30 day trial and then never buy the license at all. But Adobe has not yet forced anyone to do anything against their will.
My ex got hired on as a "Picker" for Whole Foods....walking the grocery story and pulling orders for online shoppers. A very dehumanizing hiring process was followed by a days training about how to log in daily to get your hours for the day, if you didn't log into in a very short window there would be nothing available.
For the next few weeks, I watched her get more and more frustrated an nothing was ever available, even if she logged in an hour before the window and pounded the refresh button like an arcade controller. As she had lost her day job due to Covid, this frustration really took a toll on her. After about three weeks, she was eventually terminated because she never was able to get any hours.
Usenet had (has, I guess) just as many weird and wacko corners in it as 4chan+FB combined.
There was a fairly high degree of anonymity, and identity control available if you took time to learn how to craft your headers properly. It also was not generating revenue from selling advertising and what personal information could be scraped. It was just a mighty informational battleground of trolls, sock puppets, binaries for about anything you could imagine, and quite a few very normal, fairly tech savvy people. Possibly the knee high barrier to competency on the platform kept the moron ratio more manageable.
The funny thing is, there was some real wacko stuff out there, but the nature of Usenet (the anonymity, sock puppets, trolls etc) meant it wasn't treated as any sort of legitimate news outlet, and the media never had stories like "AGHLTFC today performed a troll invasion on alt.folklore.urban. Gabe Newell flamed" or any such nonsense.
The opposite of this anonymity is Facebooks whole "Since you like dogs, you probably like guns. If you like guns, you probably think like these people..." approach to user engagement with an end goal of harvesting as much information about you as possible to create a more valuable profile to sell.
Anonymity has gotten much more difficult...
So, you propose that audio engineering is a parasitic non-profession that should be eliminated by making all recording consumers into the audio engineers.
For audiophiles and enthusiasts, I see nothing wrong with proposing that recording could be made so that an enthusiast could do their own personal mix and even master. There are EXCELLENT freeware tools out there to do so (Notably the venerable Cakewalk DAW has been resurrected, massively bug fixed, and now is released as freeware by BandLab https://bandlab.com - If you're into this stuff, and haven't checked it out, it's worth the download for sure).There's aspects of your proposal of an exchange of raw tracks that could be pretty cool, or really cool for an artist or label. I upvoted you because there are aspects of that proposal that I really do like.
I do get to wonder about end user playback, though...Will the end user based mix and master same happen with each individual radio station, will your car now get to have a DSP console built in? Clock radio? Boombox?
Not an insurmountable problem, but an interesting one. Like I said, there's aspects of this that I really like...but then again, I am an Audio engineer and am not above hearing someone else recording (or my own, even) and thinking that the mix engineer must have stepped out for a bathroom break to clean their ears in a particular section.
The standards for audio recordings= standards, such as the threshold defined as zero dB, all go back to the RIAA (boo, hiss) creating a standard that allowed vintyl records to be mass produced and played on the radio, given the limitations of the equipment of the day. The Producers and Engineers guild of NARAS has a bit more to say on the issue, but the net result is to make the final product as reproducible and accessible as possible
I know I am being trolled, but hell, I'll feed the energy creature a bit...Audio engineering covers everything from original signal chain through mastering. Should each listener get to pick their own placement for the overheads and kick drum mic? By your argument, Software engineers could also be considered non-essential - all a company should need to do is provide a SDK and everyone could just roll their own from there.
The original (Admittedly off topic) conversation came from someone who had some sort of pathological aversion to compressors and limiters. My response was and still is, that these are signal chain tools that are used in EVERY commercial recording -correctly, the end result just sounds natural and correct. Think of your favorite commercial recording - that one that is just a beautiful, evocative balance of tones and harmonies. I PROMISE you that both compression and limiting was performed on that recording, unless your favorite recording was created before the advent of the LA-2 and it's successors.
I'll concede that some stuff is poorly engineered or over engineered (I have an aversion to pitch correction for vocals that borders on an allergy). I'd like to think that my approach yields as "natural" a recording as I can achieve - but so long as music is mass produced in the form of CDs and digital recording for streaming and distribution services, there will be a need for those that understand how sound and frequencies work and how to properly wield the tools to shape them.
Re-reading my post, you're making an awful lot of assumptions about the state of these recordings after mixing and what had to happen in mastering. If a final mix is clipping anywhere when it hits mastering - it wasn't set up right for mastering and would get thrown back. If a mastered recording is clipping anywhere - It wasn't mastered correctly (that is, to the published standards) or (more likely) the properly mixed recording is hitting the front end of your playback system too hot and overpowering the pre-amp.
The drum effect you are talking about is called 'side chaining' and is not a mastering step - it happens in the mix, and can sound like ass if not done well, but is smooth like butter when done properly.
"Turn off your compressors and limiters" is a pretty naive statement. Mastering is a technical process much more than an artistic one. There are well understood values for LUFS and peakDB values to ensure best possible playback on consumer devices and streaming services. . In fact, most engineers do it through a completely several set of monitors different from than what was used for mixing - "reference standard crappy speakers" to simulate most consumer quality gear. I personally master on a set of powered 6" monitors, then check it back through JBL 4310s. Once it it sounding good on the small monitors it usually sounds amazing on the big ones.
Compression is part of the signal chain for all broadcast, and all streaming services. It's not a bad thing at all or some kind of sonic sin.
I was doing some hard core audio engineering last week, preparing a series of mixed audio recordings for production of CD disks as well as streaming services, making sure that the recordings are of the proper loudness levels and peak dBs for correct playback on those platforms.
This process is called "Mastering"
And per the naming convention standards of the P&E guild of National Academy of Recording Arts and Science (NARAS...Aka "The Grammys" )...Each of the final output files is labeled "SONG TITLE- MASTER"
I am a terrible person for using such derogatory and insensitive language.
Consider this my public apology.
When I shot film, I was an Olympus guy, professionally. Optics of the Zuiko lenses were really the superior product (IMO only second to Leitz) and it was a system that was every bit as extensive as Nikon. Still have a pile of OM bodies and Zuiko glass...OM-1n, OM-2, OM-4 and the OM3-T because I didn't sell them when they were worth anything. When I switched to digital (a bit late) I tried to stay in Olympus but the 4:3 format and lens incompatibility with my quiver of glass mean't I would have to rebuy it all anyway. I switched to Canon full frame since I had to re-buy the glass anyway and haven't looked back.
The process of choosing a camera platform is completely different from the film days...An OM-1 was just a mechanical light tight box with a shutter, an OM-3 or OM-4 is the same light tight box with a better light meter...but you changed the "Sensor" with every roll of film, and so the investment was in the glass.
Now, the sensor is generally fixed in the camera (excepting pro stuff like Phase One). And, yeah, for the consumer market, there are silly good digital cameras built into most cell phones so why even bother with a point and shoot? Olympus really never even entered the digital pro market - OM-D is OK at best compared to competitive systems, and so, there's no real product other than something pro-sumer.
The medical imaging and other optical stuff is apparently doesn't go with this spin off...I hope whatever is left of Olympus continues to thrive but they're been personally irrelevant to me for years.
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