FunkWhale: Decentralized Music Server
funkwhale.audio
funkwhale.audio
Recommended for those wanting to ditch spotify. Redirect the subscription fee to buying an album or two each month. Get a few friends to do the same. The artists get much more royalties and you have a more personal collection.
Besides, if you're going through all that networking hassle, you're better off doing things right. Get a real firewall like pfSense, then setup a separate network just for outside facing services. To access those services locally create firewall rules that allow traffic 1 way: from your trusted network to your outside facing network. While you're at it, consider making separate networks for IoT devices, and maybe even another for untrusted guest devices. You can use VLANs or physical interfaces if your firewall has enough ports.
My home network has 12 VLANs, but each VM cluster node only has 2 NICs
This seems to have been fixed in the 10.7.0 RCs, and they've been quite wonderful.
The only feature I find lacking is being able to use Jellyfin on a Chromecast, via their iOS app. It seems to be blocked by the lack of upstream SDK support: https://github.com/jellyfin/jellyfin-expo/issues/16
I use (and recommend) the Kodi addon as the client. I had stability issues with the jellyfin Android (TV) app, but Kodi runs on all sorts of platforms and it's very well supported. I use it for music, too (there's a dedicated music player for it in f-droid called "gelli.")
So I've been trying Ultrasonic, using the subsonic API feature of Funkwhale, and it's working pretty well. Not as slick as Google Play Music ever was, but better than Otter (for now).
Pretty much this. The music is basically promotion for the merch, which actually makes money.
Cassette and vinyl sales are also important because in addition to the nostalgic (hissy/scratchy but also warm and saturated) "analog" sound the physical recording is a fun collector's item and something you can show off.
Hopefully live shows will return at some point as well.
For streaming music, let's say you're listening to the artists music in the USA (meaning your streams are worth the most). Let's also assume an average song length of 4 minutes and an average per-stream payment to the artist of $0.003526648542 dollars since you're in the USA[1]. In this world, if you listen to that artist for 3 hours a day, every day, for all 30 days in a month, then you will listen to 1350 songs from that artist and earn them ~$4.76 with all your listening.
So while it is possible that you could listen to an artist so much on a streaming platform that you give them more than if you buy an album, I wouldn't call it super likely.
[0] - https://www.recordingconnection.com/reference-library/record...
[1] - https://www.igroovemusic.com/blog/wie-viel-erhalte-ich-pro-s...
This could be really cool especially for a lot of older music that isn't on streaming platforms.
as usual, this depends on where in the world you are. Some legal systems do make a difference here.
"Making a noncommercial mix tape (as in, an analog audiocassette) of copyrighted songs is immune from claims of copyright infringement, thanks to the Audio Home Recording Act of 1992, 17 U.S.C. § 1008."
Some info here...
http://jolt.law.harvard.edu/articles/pdf/v07/07HarvJLTech377...
The top 50 albums over those 2 years are a quarter of my listens, the top 100 are just over a third.
Even if two-thirds of that album count is bad metadata (e.g. the same song counted against multiple different albums/compilations/etc.) it would still be prohibitively expensive to consume anywhere near the same breadth of content if I had to acquire perpetual rights (from Bandcamp/iTunes/etc.) for everything rather than effectively renting them out for a single play (from Spotify).
The other thing I like about the streaming model is that artist remuneration correlates to how impactful their work subsequently is to my life (i.e. how many times I listen to it both during discovery and then over the subsequent years/decades) rather than how effective their marketing is at convincing me to buy the album up front.
I may have the wrong end of the stick here, but it sounds like you think all artists get a certain fee per stream, where as the reality is far from that (depending on many factors).
The project is also looking for maintainers, as the lead developer might not be able to contribute for much longer. If you have the inclination to do so, definitely reach out to them :)
(https://en.wikipedia.org/wiki/Grooveshark, for the youngins.)
There's a project that makes this data available as linked data: https://wiki.musicbrainz.org/LinkedBrainz
Given the social/federation aspects, it seems like it's a much better replacement for Soundcloud. You could use it to distribute freely licensed stuff (assuming you're respecting copyrights) or more importantly your own music as a musician (which I am not). I could see a lot of value in interoperating with Mastodon. You "boost" a new song by a musician you follow. Some of your Mastodon followers see it and listen and comment directly on the song. Others look at the person's Funkwhale profile for a better catalogue view to explore further. Etc. Could be a great future.
As an aside, I'm glad I didn't bother with Funkwhale: https://funkwhale.audio/en_US/code-of-conduct/.
I am very respectful towards homosexuals, transsexuals, women in highly technical roles, people struggling with disabilities or mental illnesses, am very open to interesting political discussion even with my ideological opponents, and always ready to change my mind if proven wrong.
But I have a very bad feeling any social-justice driven CoC can and will be abused, and in the long term no one is safe from being labeled a racist, misogynist, homophobe, transphobe or any currently fashionable -ist or -phobe one day. When there's a sufficiently malevolent will, there's a way.
Just wanted to say that.
That's basically music.
Questions of copying, design, originality, costing and ownership become more detailed, complicated, and fractious, the nearer you move the conversation toward to code.
That probably explains why they never use DRM-based app stores like those from Apple, Valve, Epic, Sony, etc..
So some things that come with caveats are worth investing in. And there is some good in the majors. Throwing out the bad without the baby is the tricky part.
Mind you, this is only one of the basic cases. There are plenty of other use-cases for such a service that does not even involve copyright abuse. Imagine an indie label that sets up an instance to promote their artists. Or a music school that puts performance from their teachers/students.
There are plenty of ethical reasons for something like Funkwhale to exist, it's not on the developers to ensure that it is only going to be used in a way that doesn't cause the ire of the big-baddie RIAA.
I've been thinking about how I'd do this to ditch my library on what was Google Play Music and is now YouTube Music.
[1]: https://audius.co/
I made a Music library and added 10 random tracks. Instead of reading the ID3 tags, it labeled the artist for each of them as "Various Artists" because they couldn't find a match using whatever service they use.
In Sweden as an example, it's OK to share with a small group of friends[1].
[1] https://translate.google.com/translate?sl=auto&tl=en&u=https...
I do think that federated services will finaly set media free. But I also expect that copyright holders will try their best to kill a few servers that are big enough to catch their attention.
Arr matey
(Edit: I tried funkwhale out as a way to privately share a small online radio station's music library with its DJs. It didn't suit our needs ultimately -- I felt the UI & search / filtering affordances were lacking for our use case -- but you could use it in a hybrid public/private way like that if you want. Libraries have some access control features.)