On ICT law, politics and other digital stuff
The European Union Intellectual Property Office published a chart to advocate the superiority of the trademark registration over the domain registration as a tool to protect a brand or a business name. But these information are legally incomplete and technically wrong.
Let’s see why. Continue reading “The EUIPO wrong notion of Internet Domains”
Audiophile hardware… pardon, equipment, is expensive. Full stop.
It is a “given” that to enjoy “true” music you must allocate a budget that equals the purchase of a supercar otherwise, as Califano (an Italian singer) used to sing, tutto il resto ? noia (everything else is spleen.) But is it actually so?
Currently I’m listening some Antonio Vivaldi’s concerts played by Yo Yo Ma, in CD – quality (44/16) FLAC format through a couple of bookshelf B&W loudspeakers connected to my old (sorry again, “vintage”) amplifier that receive the analogue signal from a thunderbolt DAC made by? Zoom Japan. Not factoring the computer, the whole setup costs well below a thousand Euros and the quality is very good.
Of course an audiophile would strongly disagree with this statement. He would surely start talking about the superiority of the brand X’s amplifier or the absolute need of a thousand Euros-per-meter loudspeaker cable to have the music flows more “liquid” and so on. And he will rebuff with a pity look in his eyes whoever says something different: ignorant can’t actually understand the “truth”, so let them listen at their Iphone’s earbuds.
To some extent this audiophile is right: expensive rigs can produce awesome results. But a simple logic shows that this statement is wrong and doesn’t match the reality of the digital music industry.
First, it is false that an 100.000 Euros music set up sounds 100 times better than a 1.000,00 Euros one. The more you get close to physical limitation of whatever equipment, the price of each improving step raises more and more and the quality result is more and more less than proportional.
Second, the majority of the music labels still sells their music in CD quality, i.e. the 1980, Red Book standard (16 bit, 44Khz) and even those CD advertised as “24bit recorded” are actually downsampled to the usual standard. With vinyl there was some sense in purchasing costly turntables to minimize the impact of the moving parts on the quality of the electrical signal to be sent the amplifier. Digital files free us from this need. Sure, there are different quality level in digital-to-analogue conversions (DAC) hardware. But a lot of what is sold right now is just “whistles-and-bells”. Spending money for a DAC able to handle 24bit/192Khz or DSD128 streams is useless because, right now, none of the big music labels are releasing high resolution versions of their catalogue, limiting to a very little niche of contents. So where is the point in spending huge monies to buy something that is of no use?
Third (or, maybe, Second, continued), high resolution files make sense only if the music to be played contains a very high dynamic range (from the lows of drums and percussion to the highs of violins and triangle), high personality musical instruments and great players. “Dirty” music like blues (think of John Lee Hooker) or rock (Jimi Hendrix jumps in) is not enhanced by? “better” mastering, as there is no improvement in overmastering a Lady Gaga tune. Furthermore, a lot of the music available on the market is a “bookshelf product”, i.e. something that has been designed to be sold in a very short timeframe, just to be replaced by the next new “version”. Can you actually tell the (musical) difference in the “artistic” production of what is currently sold as “music”? It is not a coincidence that, more and more, “artists” are known more for their eccentricity or fashion look than for their “cultural” production. This is not a rant about how better was the good ol’time music, but a precise cost-benefit analysis: no need to invest in better recorded music, if what has to be sold doesn’t worth it and – more important – if the customer base is not willingly to pay the premium price.
Conclusion: a logic approach to the sound quality that involves a look at the marketing digital strategy of the music industry and the account of the Far East sound-handling devices’ quality shows that it doesn’t make sense to waste money into “audiophile level” equipment.
What we do need is just better music.
I was looking for an HI-Res album to buy and I found it on HIRESAUDIO.COM. When I tried to buy the tunes, here is what I got:
The short story is: if I want to pay for a legitimate copy I have to wait don’t know how much time.
Why on Earth, apart being a law-abiding lawyer (no pun intended), should I restrain myself from looking for some torrent? (BTW, should I do it, who might blame me, since I already paid for “SIAE TAX” on my terabytes of storage?)
Copyright stakeholders are still living in the last century, don’t they?
Although PGP is widely spread and used since 25 years, after the first, early complaints nobody heard a single hiss from the FBI and its siblings about the? IOS-like “problems”. Maybe this is because of the open source license attached to PGP that allows whoever has enough brain, power and money to find ways to crack it. In the past, for instance, the FBI has been able to crack a Truecrypt password belonging to a suspect.
To balance people rights with the needs of the investigation, Apple might just go open source or, at least, disclose to the law enforcement community the IOS source code, thus allowing the “good guys” to develop long-term tools for forensic purposes.
Of course, to Apple, this is an absolutely nonviable option, nevertheless the point stays: should a government be entitled to access each and every source code of critical software?
To put it short, the Apple vs FBI quarrel involves the role of proprietary copyright and has about nothing to do with the “we protect our customer rights” claim.
The not uncommon practice in the ICT/Mobile business of “doctoring”products to look good on benchmarks has find its way into the automotive (and God knows into how many others) business.
Volkswagen, though, isn’t the only to blame because, true, they cheated, but no public supervising authority? ever glimpsed at the software ran by its vehicles, only focusing on “hardware” tests. And – I guess – even if the controllers would have thought of examining the software, they would have been prevented to do so by “the need of protecting Intellectual Property” that – as the “National Security Excuse” – is a buzzphrase to stop any further investigation on controversial matters.
Volkswagen’s Dieselgate shows once more that (a certain way to think of) Intellectual Property – as well of Privacy – has neatly changed its role from being a tool to protect legitimate interests into a shield for wrongdoings.
Were the Volkswagen software released under an open source licensing model, the fear of being exposed would have forced the company to play by the book and would have allowed a true and thorough check by the competent authorities, avoiding a major damage for the industry, investors, employees and citizens.