I had a tunnel with them I was using for a while, but ended up turning it off a couple of months ago.
Any request to a CDN will be slower since you’re not hitting the cache closest to your actual ISP, and since it’s “a VPN” a lot of things start to break, need more captchas, or get blocked for you since there’s a higher level of abuse from HE’s tunnel broker IP blocks.
Oh wow, I didn’t know they were still around! I used that to get an IPv6 address more than a decade ago; I think they used the bastardized IPv4-mapped-to-v6 address format at the time. But iirc it involved extra network hops because it was tunneled rather than routed, but maybe I’m misremembering.
zfs send/recv support? That seems to be the missing piece in the low-end cloud storage world. There's rsync.net and zfs.rent, but those seem to be targeting 10+ TiB. (My current solution is a 1 TiB 'storage' VPS for $3/month, running Debian ZFS on root. Works nicely, but scrubbing 600 GiB takes over a day!)
I'm not sure a one week trial is long enough, considering you're asking for annual payment up front. For instance, I didn't want to 'start the clock' by creating an account.
Borgbase has a 2 repo / 10 GB free tier, and lots of object storage services offer 20-75 GB free.
There was a 50% off coupon code for https://www.interserver.net/vps/storage.html that brought it down from $6/month to $3/month. Not sure if the code is still active or if it works for larger plans.
[no time for video, so if these are answered let me know...]
Two things I never got about the iPod:
Why not add a second headphone jack so two people could listen and share the experience?
Why didn't Apple preload some music (maybe classical stuff in the public domain, performed by affordable Eastern European orchestras) for a better out of the box experience? Think about kids getting an iPod at Christmas; until it was sync'd to a computer, there wasn't much to do with it.
Two headphone jacks is precisely the sort of feature that a developer would find handy but might not make sense from a product view. For one, people will immediately wonder, which jack should I use? Are they different in some way? Or worse, if you put the jacks side by side, they might wonder if you need a specific jack style, like airplanes.
It's also less pretty. More jacks is more ports is less sleek. I know, dumb, but the whole point of the iPod was that it was a beautiful, intuitive MP3 player.
Preloaded music is also less sleek, less luxury. While Apple did eventually start providing preloaded music, it was kinda controversial, and at least for me, ended up just sitting on my iPhone taking up space. I also suspect the lack of music might have been a forcing function to onboard you to iTunes as soon as possible.
> the TPS-L2 had a "hotline" button which activated a small built-in microphone, partially overriding the sound from the cassette, and allowing one user to talk to the other over the music
> Sony Chairman Akio Morita added these features to the design for fear the technology would be isolating. Though he "thought it would be considered rude for one person to be listening to his music in isolation"), people bought their own units rather than share and these features were removed for later models.
The iPod wasn't that type of device. It was an addition to iTunes. It did have a folder structure but the music files were 4 letter codes. As soon as iTunes associated a new iPod it wiped the hard drive and loaded it's own configurations and files.
iTunes on the otherhand, early on, did come with a small music selection. This would be OS9 era bands and musicians who were just famous enough to be featured but not famous enough to cost a fortune in licensing music. Also you could sign up for a monthly newsletter where Apple sent you a code to download featured artists.
Also, after years of service I cracked open my 2nd gen iPod. It was dense, there was not a spot available to add another headphone jack. Every cubic mm was occupied with battery, HD, control board, and display.
I clicked on whatever affordance I had to click that allowed that album to be installed, and I enjoyed the music. I felt like a weirdo for not being annoyed and wondered what I had randomly configured that made the album's presence optional for me.
It seems like everyone else's experience was that the album took up precious space and was not removable.
Should ship in July (!). Based on the Nordic nRF52840. $9 for Xenon (BLE+mesh), $15 for Argon (BLE+mesh+wifi(ESP32-S0WD)), $29 for Boron (BLE+mesh+LTE). I like that it has an onboard lithium cell charge circuit.
Altruistic? I can take ~$147 and purchase a share of BRKB, putting BH to work for me and sharing in the company's profit. How can I get a piece of that sweet YC action?
A quick scan didn't reveal to me whether he's time aligning the signals during the subtraction. I've played with listening to the wav-mp3 signal before, and I seem to recall that the mp3 encoder would introduce a little delay.
I added a transient pulse in front of the music so that I could (visually) time align the signals before subtracting them.
(Dependencies: python 2.7, lame, GNU make, mpg123, and (if you use FLAC files as input) flac. Tested on my Linux PC with LAME 64bits version 3.99.5 and mpg123 1.14.4 from the debian stable package repository. Run with -h to get some "help".)
It uses lame to compress and mpg123 to decompress, and I don't know if there's something special going on but the output WAVs always seem to have the same number of samples as the original. And they seem to be aligned - if you use this program you'll find that the difference between WAV and 128kbps MP3 is somewhat noisy, but WAV vs 320kbps MP3 is pretty much silent.
(Or maybe you'll find something totally different! Who knows. I only tested this on my system.)
Neat, thanks for running the experiment to see how differing MP3 encoder settings affect the lost portion. This explains why 320kbps is generally accepted amongst DJs, as any loss is significantly less than that caused by the club sound system :P
I did a blind test when I was in my 20s, and while on a couple of tracks I could actually tell the difference between 320kbps and the original, I did have to concentrate. And I couldn't really have said that one was necessarily better than the other; the effect was as if one type of noise-y sound was being replaced with a subtly different type of sound with the same noise-y quality. Different, but overall the same.
Listening to the diff of one of those tracks today was interesting! All I can hear is the drums... and where the sound I'm thinking of plays, it sounds like rather quiet interference! But the drums as I recall sounded absolutely identical. Interesting that the ears can detect one thing but not the other.
(I didn't bother to re-run the full comparison, as I'm no longer in my 20s. One good (?) thing about getting old is that your hearing deteriorates, and issues such as this become moot. You can also afford the disk space to just compress everything at 320kbps. Then you don't have to worry about it, and it fits OK on your phone too.)
(Note: no idea what mp3 encoder Audacity uses, and I'm sure the results will vary with encoder settings as well.)
I just fired up Audacity and generated a click track, with the first click at 1 second in. The exported 44.1k wav file, when loaded in Audacity, shows the click at exactly 44100 samples in.
The exported mp3 file, when loaded, shows the click to be around 46357 samples in. (It's a bit hard to measure, because the encoded has smeared the pulse.) Somewhere between 51-52 ms late relative to the wav file.
Listening to the wav and mp3 ticks summed, the delay is obvious--they are not in sync at all. Adding 2257 samples of silence to the front end of the wav file puts them back in audible sync.
He is probably dealing with this, given that the audio piece is not just "tomsdiner.wav - timsdiner.mp3". There's a lot of processing happening after that:
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Verse one finds the narrator in a bustling diner, making observations about her environment. The focus of this text is external to it's author, as opposed to later verses which exist in a more subjective, internal space. Using different settings to harvest the lost material, I was able to isolate both clear, pitched content and more ephemeral transient signals.
Using the python library headspace, and a reverb model of a small diner, I began to construct a virtual 3-d space. Beginning by fragmenting and scrambling the more transient material, I applied head related transfer functions to simulate the background conversation one might hear in a diner. Tracking the amplitude of the original melody in the verse, I applied a loose amplitude envelope to these signals. Thus, a remnant of the original vocal line comes through in its amplitude contour.
Having constructed this background, prominent pitches from the original melody appear and disappear, located variously in this virtual space. These ephemeral sounds hint at a familiar melody, playing with aural memory and imagination, a flickering apparition hovering at the border of consciousness.
