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| jonwil | DocScrutiizer05, thanks for pointing me at Fahrplan, I installed it on my device and the featureset/UI is exactly what I need. Looking at the source code, I can see that writing a backend for it should be possible as well. | 00:24 |
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| jonwil | Anyone here know anything about creating debian packaging? | 01:49 |
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| Oksanaaa | Is there any difference between lossy ogg and lossless flac in https://archive.org/details/GoodBadAndTheUgly-HugoMontegroOrchestra-24Bit ? My ears are too tired to tell the difference. | 09:47 |
| Oksanaaa | Coyote would be much more sensitive, I guess; they speak very quickly, so bitrate may matter to them. | 09:48 |
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| KotCzarny | trick with current lossy conversions is that you have to know what to look for | 09:52 |
| KotCzarny | and with good bitrate you would need to turn up the volume quite much | 09:53 |
| KotCzarny | often they cut 16+kHz to save bandwidth | 10:10 |
| KotCzarny | which are hardly audible, but help sound waves to propagate | 10:10 |
| KotCzarny | and greatly depend on music style, ie. music vs loud noise | 10:12 |
| Maxdamantus | 16 kHz is probably a bit low a cutoff for music, probably expected for videos on youtube at 720p quality iirc | 10:12 |
| KotCzarny | maxd, 'often' not 'always' | 10:12 |
| Maxdamantus | V0 mp3s should usually have a cutoff around 19 or 20 kHz or something. | 10:12 |
| KotCzarny | not to mention it also depends on your audio amp/speakers | 10:13 |
| Maxdamantus | I remember there being a video on Youtube about this stuff from vsauce or something, and it provided a sample of a 17 kHz sine wave and said only some people would be able to hear it. | 10:14 |
| KotCzarny | yup, we lose our hearing capabilities with age | 10:14 |
| Maxdamantus | I couldn't hear it, but was pretty sure I could hear 17 kHz sine waves .. it just wasn't included in the 720p encoding. | 10:14 |
| KotCzarny | simple graphical fft would provide clear answer in such case though | 10:15 |
| Maxdamantus | Could see a cutoff below 17 kHz in the spectrogram, was audible in the 1080p version, where the spectrogram showed a solid line as expected. | 10:15 |
| Oksanaaa | 44.1KHz sampling rate for both ogg lossy and flac lossless, in this case. Morricone music from various movies. | 10:15 |
| KotCzarny | Oksanaaa: bitrate? | 10:15 |
| Maxdamantus | tbh, I don't like those versions of those songs. | 10:15 |
| * Maxdamantus often listens to different versions of most of them. | 10:16 | |
| Oksanaaa | Bitrate is 96Kbps for ogg and 1466Kbps for flac | 10:16 |
| KotCzarny | 96kbit isnt good | 10:16 |
| Maxdamantus | Ecstacy of Gold, Fistful of Dollars, Aces High, Sixty Seconds to What, Titoli | 10:16 |
| KotCzarny | you better grab those flacs and reencode to 160-192kbit oggs yourself | 10:17 |
| Oksanaaa | I would like to split the tracks, it's currently just Side1 and Side2 | 10:17 |
| KotCzarny | or grab a player that understands .cue files | 10:17 |
| Oksanaaa | Somebody scanned from vinyl, apparently | 10:17 |
| KotCzarny | vinyl rips are interesting in that they are DIFFERENT than digital material | 10:18 |
| KotCzarny | much warmer/vibrant | 10:18 |
| KotCzarny | but different from original | 10:18 |
| Maxdamantus | Though you can probably achieve the same "warmth"/"vibrance" using equalisers. | 10:19 |
| Maxdamantus | on a theoretical 44.1 kHz digital source that the vinyl might've been made from. | 10:19 |
| KotCzarny | maxd, possible, but tricky | 10:19 |
| Maxdamantus | just depends on the player. | 10:20 |
| Oksanaaa | Grabbing the flacs, definitely. Not sure they would stay on archive.org for long; 1976 doesn't sound like public domain material | 10:20 |
| KotCzarny | imo music should have similar timeout for copyright as patents | 10:20 |
| KotCzarny | 15-20 years max | 10:20 |
| KotCzarny | but that's me. | 10:21 |
| KotCzarny | why bach family doesnt sue all those thiefs! | 10:21 |
| * Maxdamantus has "The Legendary Italian Westerns" which he converted to flac himself from CD. | 10:21 | |
| KotCzarny | what about celts heritage? | 10:21 |
| Maxdamantus | (Ennio Morricone) | 10:21 |
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| KotCzarny | anyway, storage is cheap nowadays, so it's best to have lossless versions, and just compress for n900 etc | 10:23 |
| Maxdamantus | Vinyl usually seems silly to me. If you want something 24-bit, why not just play the 16-bit stuff through a speaker and record it in 24-bit using a microphone? | 10:23 |
| Maxdamantus | Similar effect. | 10:23 |
| * Maxdamantus just plays the flacs on his N900. | 10:24 | |
| Oksanaaa | Nod | 10:24 |
| KotCzarny | :) | 10:25 |
| Oksanaaa | Would be nice. But I don't even try to keep up with these laws. There are categories like: 1) kind artists who release music under good licence (Felipe Sarro); 2) new art which is sharply guarded against piracy (not worth the trouble); 3) old art which is shared around easily; 4) antique art which is officially in public domain. Maybe, several other categories, such as lost art, or something. | 10:26 |
| Maxdamantus | and yes, the logic for extending copyright seems broken to me. | 10:27 |
| Oksanaaa | 16-bit to 24-bit upscaling makes sense only when speaker and microphone are high enough quality to actually improve the quality of the recording. | 10:27 |
| KotCzarny | they are just afraid people would discover old music is good and stop buying new thing ;) | 10:28 |
| KotCzarny | *things | 10:28 |
| Oksanaaa | Copyright extension? Copyright holders do not want to lose their source of income. | 10:28 |
| Maxdamantus | A few years ago when people were talking about the TPPA here, there was a musician here (in NZ) that came out and said for musicians' sake the copyright duration should be extended from 50 years to 75 years because they depend on those dividends. | 10:29 |
| Maxdamantus | His most well-known song, has since moved into the public domain. | 10:29 |
| Oksanaaa | Nice, name? | 10:29 |
| Maxdamantus | which is pretty much the only well-known song from NZ in that time period. | 10:29 |
| Maxdamantus | Ray Columbus. | 10:29 |
| Maxdamantus | he actually died recently .. maybe that's why. | 10:29 |
| Maxdamantus | anyway, the point is that he clearly didn't make the song under the expectation that he would still be getting money from it 75 years later (I doubt he expected to be getting money from it even 20 years later), so it's hard to say that the 75-year duration encouraged him to make that music. | 10:31 |
| Maxdamantus | which is supposedly the point of copyright: provide rights to content so people have a reason to produce it. | 10:31 |
| Maxdamantus | This is the song btw: https://www.youtube.com/watch?v=begMgjEBdAw | 10:34 |
| Oksanaaa | Just phase it out slowly. Not sudden jump from copyright to public domain, but gradual change with different steps of Creative Commons inbetween. | 10:34 |
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| Oksanaaa | Thank you. Unfortunately, I am used to far less repetitive lyrics. | 10:41 |
| KotCzarny | hehe, nice argument for 'reason to produce music' | 10:44 |
| KotCzarny | if they are given too much, they stop | 10:44 |
| KotCzarny | ;) | 10:44 |
| KotCzarny | if given too little, they stop | 10:45 |
| Oksanaaa | Lawl, limit it by sum of money, instead of number of years? | 10:58 |
| KotCzarny | yeah, first year is big, next 5 years half of it, next 10 1/4, then stop/just donations | 10:59 |
| KotCzarny | its funny that we live in a world with rules to forbid spreading IDEAS | 10:59 |
| KotCzarny | unless you pay, hah | 10:59 |
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| Oksanaaa | Problem is to somehow make "money limit" depend on actual quality of the piece of art, instead of being absolute. | 12:10 |
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