538 karma · joined September 28, 2011
Typekit used to cost around £50/year - and allowed agencies to use webfonts on their client sites. Now the clients have to spend £26.50 / month on a product they don't actually need in order to get a font on their website...
It was only last year that I discovered that Adobe has changed the license terms so that it’s no longer permitted. At the same time you can also no longer take out a subscription solely to Adobe fonts - it’s only available as part of a Creative Cloud subscription.
So in order to comply with license terms a client has to take out a subscription for an Adobe product e.g Photoshop in order to legally use a font on their website.
Any wonder why most designers despaired on hearing of the Figma purchase?
Although it’s designed for use with a Gaggia Classic a number of users on the Discord server have already successfully installed it on the Rancilio Silvia
But audiobooks suffer from some of the same malaise as the publishing industry in general - in that it's both blessed and cursed by Amazon.
Audible has a stranglehold on the audiobook market - but as Brandon Sanderson recently said "The deal Audible demands of ... [authors] ... is unconscionable". The fact that they only pay 40% of the sale price to the author for an _exclusive_ deal (25% if not exclusive) is frankly criminal.
It's bad for authors, but the knock-on effects on the industry where one player has a 90% market-share and a exploitative relationship with the creators is considerable.
About 12 years ago I spoke to one of the leading audiobook production studios about contract work editing audiobooks. The hourly rate they paid was terrible - barely a working wage. Worse still, the rate was based on per finished hour rather than per hour worked, so the liability for a poor quality reading / recording was entirely put on a contractor who had no control over it. Other engineers who were working in the field basically did the job for beer money between other gigs.
So - I can't imagine that AI won't replace a great deal of audiobook production - but that's because even now, with best-selling authors the economics barely work thanks to one behemoth of a player. With lower volume books it'll be a labour of love or an AI reading that is the only viable means of production.
[1] https://www.brandonsanderson.com/state-of-the-sanderson-2022...
My understanding of why you actually want the ‘peaks’ is because there’s a point at which you have to drop the blade back into the water to begin the new stroke. I’d guess you need to do that at the trough of the cycle in order cause the least disruption to the free speed generated.
From experience it’s also definitely true that for a boat to be balanced it’s absolutely essential the rowers move in sync.
As a result he’s devoted much of his retirement to reporting on innovation in treating and managing Parkinson’s.
If, like me, you’re unfamiliar with ship terminology I’d suggest not getting too hung up on understanding exactly what bit of the ship he’s talking about. There’s lots of great historical detail - but O’Brian also tells a fabulous story.
I don’t want music and podcasts mixing - and I resent the fact that screen estate that should be given to helping me find great new music is instead given to desperate attempts to shove podcasts in my face.
I was instantly put off - because while it might be true there’s just way too many variables to claim a 68% improvement was down to your design system.
I looked into making one during the pandemic - but i think lack of auto-focus was one of the things that caused me to rule it out at the time…
There’s a legal obligation in the UK for bus operators to supply live vehicle location positions and static timetable data to the Bus Open Data Service here : https://data.bus-data.dft.gov.uk
He’d bought it immediately planning to hand it over to the business… wasn’t quite so keen once they laid him off!