171 karma · joined July 12, 2018
I'm in the midst of a major music library overhaul and would not know how I'd ever get it done without Beets. For example, it's clearing out embedded images, fetching new hi-res artwork and verifying FLAC integrity, as I go through artist by artist.
It has long been my testbed for gapless playback on various hardware and software, often to my disappointment. (I'm not sure the experience is even available on streaming platforms, where things are normally playlists of disparate blobs of data, where perhaps "this track is not available in your region".)
"And with the industry-leading reliability of macOS, healthcare systems can count on mini when providing critical care."
A bit out of character, and also – what?!
The Photos app has been so deeply integrated into the OS it’s almost difficult to imagine it not being there.
Not that I would mind, I recently switched to Android so I can rsync my .dng files around, thankyouverymuch.
Daniel Ek has his background in ads, SEO and related stuff –basically every possible way to make a buck using this newfangled internet thing – including selling virtual clothes for virtual dolls to kids age 9-17.
The teaming up with Martin Lorentzon was never about music, but simply finding an untapped market, a niche in which to apply their particular set of skills of hawking stuff online. They teamed up with the guy behind µTorrent and eventually convinced the major labels to buy into the idea (by getting a cut). The idea that they are on the side the art form, let alone artists, is pure mythogenesis to serve their brand.
Recently, music hasn't been enough to feed the growth. They want to colonize podcasts, an open ecosystem, and have put billions of dollars into investments and deals locking popular podcasts onto their platforms. They now intend to do the same with audio books.
Spotify has from the very start had an incestuous relationship with labels and various middlemen. It was never a fair game, they make special deals whenever it serves their purpose (driving the price down). Everyone involved is guaranteed to make a cut before the artist, and the entire ecosystem is built upon the idea that the less they pay out to the artist, the better their numbers look. Nowadays they don't even pay out anything at all unless you have 1000 streams, which just happens to be about two thirds of the catalogue. Is it in their best interest to keep songs with 500 streams from getting more streams, or not?
Why would they care about money laundering, or legitimate artists having their entire body of work deleted by a middleman because someone maliciously sent a bot their way?[1] The cheaper they can amass content, the better. Hence these backroom deals with what are basically content farms. What the featured article describes is not only sanctioned, it's the entire strategy going forward.
Once generative AI comes further along, what their algorithm will push will continue to be what serves their bottom line, i.e. the cheap stuff. You'll soon see the audio book equivalent of Johan Röhr, churning out thousands of books, narrated in real time by a non-human voice, algorithmically pushing out authentic works from all the lists.
This stuck ut immediately to me trying the app out, which made me read about it on your blog[0]. Oddly, when accessing Ente on the web (Safari on a Mac), the thumbnails look right but the full view is sRGB.
I understand Flutter has made some progress in this department [1], but I guess there's more going on here?
The fundamentals of the project look absolutely great! Hope to become a user very soon.
[0]https://ente.io/blog/tech/display-p3/ [1]https://github.com/flutter/flutter/issues/55092#issuecomment...
Maybe Pierre can pull it off himself. He’s clearly knowledgeable and has strong convictions and Darktable is incredibly powerful, so I’m hoping the good bits from either camp can be reconciled into something lasting, minding the bus factor.
Darktable’s issues and lack of coherent stewardship is quite noticeable.
Or, at least this is my understanding of it – that they've prioritized serving audio FAST, rather than waiting an extra second for the higher bitrate to buffer. I find it absolutely infuriating and can't un-notice it. For some reason, it seems to behave the same if the bandwidth/latency is great or poor, or whether files are cached or not.
I don't use other services, but never experience this with any other player (including my own Navidrome setup), even if the files are the exact same.
Surely I can't be the only one who's noticed?
It does run on Windows, and on the Mac you have the option av installing the current versions from Adobe. Even without an active subscription, you'll still have access to the library module (i.e. all your metadata) and can do various exports etc.
In terms of the Mac experience, it was quickly downhill from Mojave in my opinion (though I'm more fond of Snow Leopard or possibly Mavericks aesthetically), plus the 32 bit cutoff which kills important backwards compatibility for me.
I already leverage some of the really nifty Mac features like Target Disk Mode, cloning and booting from external drives etcetera, to enable some hardware agnostic behavior, and will eventually move to virtualization, probably through Proxmox.
Not having upgrades introduce breaking changes (Notes.app, I'm looking at you!) is such a relief.
Sometimes I wish for a return a that feeling of preciousness, instead of incomprehensible amounts of data carelessly shoved down wider and wider tubes.
For my own sneakernet-like uses, I turn to git-annex. See use case “The Nomad” here: https://git-annex.branchable.com/
I thought I could use shared albums to pool everyone's photos and use that pool to make backups, but that's not possible. Which isn't at all clear to people, in my experience.
Support for borg remotes was recently added, which I think will be very useful.
What is the privacy implications of two users (both with administrator accounts) sharing an Apple Silicon Mac?