I don't think they want to abandon Android. It's great for hardware companies, in that you need a quadcore CPU and 2GB of RAM to render a telephone directory or do basic multitasking.
- US: CO2 6,750,000 / 4,256,100 GWh=1.59 tons of CO2 per GWh
- Germany: CO2-810,000 / 617,600 GWh=1.31 tons of CO2 per GWh
It's certainly better than the US, but considering this big push the Germany is in for clean energy and the US is only half-ass moving in that direction, I'm a little surprised it is as close as it is.
This is because Germany now uses coal power plants instead of nuclear plants to produce the necessary electricity.
France is on the better side of this by far at: CO2-370,000 / 560,500 GWh=0.66 tons of CO2 per GWh
How surprising, nuclear energy is green energy.
Link to Original Source
Useful error messages are a technical merit. It makes development much easier. So they traded run-time vs. development time here.
If they bring [...] jobs back
I knew that Apple was an evil company, but I didn't know they dabbled in necromancy.
Nobody would say "he shared data on http", so please stop confusing the BT protocol with BT trackers.
Where's Germany? Did they not collect any data for it?
"Valve has big plans for Dota 2, no less big than what happened with Team Fortress 2, even if it took them a few years to get to where Team Fortress 2 is today."
They will never match the amount of hats TF2 has, their only chance is to add farm-able trousers.
The problem is not that we are missing some metric to calculate the loudness, that is pretty easy to define, and has been used to develop counteracting measures in ReplayGain and EBU R128 compliant loudness scanners.
The problem is that the production of music is so atrocious, most of popular and metal music is compressed into such a tiny dynamic range. Some is even clipped to digital fullscale, leading to horrible artifacts when listening. This is nothing which can be fixed by a law, it is simply (deliberate?!) bad engineering. As long as this keeps up the loudness war will not end.
From the last few pop(?) albums I listened to (Red Hot Chili Peppers, The Mars Volta), it seems that we, the listeners, are still losing big time.
I will explain the situation for Germany:
First of all, real popular shows you read about on the net normally haven't arrived on German networks, yet. Most of the time they arrive with at least one season lag, if at all. And even if you can watch the show by then, it is normally on networks which will drown you in ads every few minutes.
And don't get me started that not even today, with the full digitization of TV, you have the option to watch foreign shows undubbed in Germany. If you ever had to suffer through the German dubs of TV shows, you would no doubt also strongly consider piracy.
Of course you can wait for the DVD/BD box to arrive, containing an English audio track, but those may again arrive late or not at all. Coincidentally, GoT has been an exception here. Also, the pricing is oftentimes on the ludicrous side, and thanks to DVD and BD DRM you cannot even just get the US release.
This adds to my impression that many, many voters just voted for them because they are fed up with the old parties and system. It may very well be that these voters will leave for greener pastures in the future, causing the PP to fall below 5% again (meaning they won't get seats in state elections). Also, a good percentage of the voters are previous FDP (liberals) voters. The FDP had two positions in the past, neo-liberalism with open markets and freedom for the financial sector, and civil rights. They nearly completely expunged the latter from their party over the years (apart from the national minister Leutheusser-Schnarrenberger), and now they are paying for it: They are part of the national government, but didn't even get 2% of the votes in the Saarland. Most analysts assume that the voters left for the other bigger parties and the PP.
Dwindling sales of the RIAA labels could have two probable causes:
1. With Spotify and similar streaming services, most people can get all the music they need for 5$ a month. The offers there probably satisfy most users.
2. The CDs that get released by major labels are produced so poorly that I entirely stopped buying any major label releases (also because my taste evolved). It's completely retarded marketing on the majors end. The people buying CDs today are actually not the young people, but rather in their late twenties and thirties. Those actually know how properly mastered music sounds, and current CD releases are far from that. It's totally schizophrenic to still put out CDs, but to treat your own product in such a poor fashion that it's simply worthless.
Ian Shepherd's mentioning that one should avoid 128kbit/s encoded MP3. This is leaving out a critical piece of information. Luckily he mentioned himself that heavily (audio) compressed music (data) compresses very badly. This will be especially evident if you force the encoder to only allocate a fixed number of bits to a section, called "Constant Bitrate" (CBR) in MP3 encoders. "Busy" sections will get the same data allotment as quiet sections. This problem can be diminished by using "Variable Bitrate" (VBR) mode when encoding, which encodes to a specific target quality rather than file size. With that, (LAME) MP3s can still sound good enough around 128kbit/s, since the encoder is free to allocate more bits to critical sections and less bits to non-critical section.
In short, there is no reason to use CBR encoding, unless your target device is unable to decode VBR encoded files, or you absolutely need to know the exact bandwidth requirement of a stream. It defeats the whole point of lossy encoding, which is to reproduce the original with highest possible fidelity, not reach a target file size.