An ISWC is an identifier attached to a musical work by a performing rights organization (BMI, ASCAP, etc).

An ISRC is an identifier attached to a sound recording by a record label or artist. It's contained in the metadata of a digital audio file like AAC or MP3.

There is currently no way to correlate the two nor are there any plans to do so. This is an egregious oversight. The ISWC connects the musical work to the author. The solution is staring everyone in the face.

Like the movie industry, writers get hind tit.

Georg Frederic Handel used to take his composition students for pork sausages and beer after their lessons, saying "Pigs and composers are only appreciated after they're dead".

k.

Maybe I'm unclear on the concept, but I thought "social media" was defined by the graph database model. YT is subscribe/watch/comment and a one-to-many model derived from broadcast media (the Tube part of YouTube; remember cathode ray tubes?).

FB and Twitter are creatures of the internet, a network of networks. The real meat is who follows whom and the groups and aggregations that are derived from that. FFS, Myspace was closer to a social network than YT.

k.

Why did Darwin want to go to the Galapagos Islands?

k.

Github employees are known as Hubbers? Da fuq?

k.

It was just sensor prioritization and allocation, not autonomous flight.

The U-2, a Kelly Johnson design for Lockheed, flies at the "coffin corner" at altitude. It's stall speed is 5 kts below overspeed, a problem solved by analog autopilots.

k.

GG resigns from The Intercept because he objected to being edited (and fact-checked, but that's besides his point). Then he drops 10k words that show why he needs to be edited.

Read what The Intercept's Editor-in-Chief Betsy Reed had to say.

k.

$6.00 gets you 40 seats. It's a steal.

k.

Now, now, don't be so hard on DNS-and-BIND. This just might be Paul Vixie's burner account, the one he sh1tposts from.

Twenty fücking years I've been on this hell site and it has always (FR1ST P0S7!) been (Natalie Portman) a (covered in hot grits) place (Netcraft confirms...) to (Jon Katz) sh1tpost (Jon Fücking Katz). Twas ever thus.

k.

Can we just throw this crap into a subduction zone? Along with all our garbage? And the Republican Party? And Rush Limbaugh? And all Slashdotters? Please?

k.

You're a white male. You've never been called a faggöt, nïgger, kïke, sp!c, or cünt.

But you will die on this hill so you can call someone a faggöt, nïgger, kïke, sp!c, or cünt.

We see you.

k.

There's a cop's knee on your neck.

You can't breathe.

Ciao, babe.

k.

This is the problem: the fetishizing of a narcissistic sociopath.

Something called "statesmanship" used to be a requirement for office, the basic skill of not saying anything to make matters worse than they already are.

"Common decency" was also a requisite for participating in our national conversation, but that ship got stuck with a limpet mine called "political incorrectness" and sank without a trace.

"Expertise" was another requirement, though the bar was always low: a passing familiarity with the US Constitution. Middle school stuff.

But no, the GOP went full kakistocracy and put this spectacle in the White House as cover for their self-dealing, democracy be damned.

In before "oRaNgE mAn bAd".

k.

Over the pole?

k.

Don't be like Radio Shack, Apple. Professionals do not use Bluetooth headphones.

1. Latency: Bluetooth has circuitry that introduces a time delay. Wired headphones do not.

2. Bandwidth: Bluetooth uses an audio codec based on AAC, which tops out at 350kb/sec, 1/4 the bandwidth of uncompressed 44.1kHz PCM digital audio. A ten foot wire has none of these limitations.

Beats are shitty, overpriced headphones with zinc weights added to the earpiece to give them some heft. Stick with AKG; you can get a pair of K240s for under US$90.

k.

I have a back catalog of 1/2" mother tapes recorded on a Tascam 38 (8 channel open reel), mostly on Ampex 456, one of the affected tape brands (Ampex 499 and 3M 226 are affected as well). Pro audio people have known about this binder problem for three decades, as well as the convection oven cure. A friend in the same situation bought a food dehydrator on Amazon with a circular 11" chamber, perfect for a 10 1/2" reel.

Even if you do manage to remediate the binder problem, unless you've stored your tapes in a climate and humidity-controlled vault you can kiss anything above 10kHz goodbye after a few years.

Now, here's a conundrum: I have audio cassettes the same age as the 1/2" mother tapes, stored in the same sub-optimal conditions, but nearly all of them have retained more high end. None have a flaking problem. My end-of-night rough mixes from 1985 sound better than the source tapes.

You would think going digital would be a remedy for this, but what do you do with a 400k single-sided Mac formatted floppy disk from 1986 that has all your old MIDI sequences? Or 16-bit PCM audio recorded on a VHS videocassette?

Writing notes on manuscript paper is still the most permanent record.

k.