Re: I'm curious...
@Rob Daglish - replacing the battery on the Note 8 isn't that tricky. Sounds like you could use a new one.
76 posts • joined 31 May 2012
@Rob Daglish - replacing the battery on the Note 8 isn't that tricky. Sounds like you could use a new one.
If my LG watch is anything to go by, weight isn't a problem. By comparison to similarly-sized conventional watches it's much, much lighter. To me that's a bonus, albeit not a major selling point.
Well I like it, so far.
I caught a TGV out of Paris last week. Having the SNCF app I'd previously installed on my Android phone pop up on my LG watch and tell me which platform to head to in advance of arrival at the somewhat disorientating station (it had also been nagging me to get a move on some time before) proved remarkably useful.
Don't care what it's called, it's bloody good! Very, very impressive results.
>In the UK, music copyright expires after 50 years - so anything before 1964 is now "free" unless reprotected. Over the next few years all the classic recordings of the 1960's and 1970's become free of copyright unless someone recreates the copyright
Incorrect. It's being gradually ramped up to 70 years. Everything from 1963 onwards remains in copyright until 2034 thanks to hard lobbying by the music industry of the EU. Funnily enough that keeps everything recorded by The Beatles in copyright with the exception of their first single.
Expect to see a push to extend copyright to 90 years in the early 2030s...
This would raise revenue considerably because you could make licenses available world-wide, safe in the knowledge that overseas viewers would actually be paying for the BBC and not just freeloading it.
No you couldn't, because the programmes shown on the BBC are licensed and sold on a per-territory basis. The BBC couldn't sell general access outside the UK - just as you can't legitimately buy a UK Sky card outside the country or get the UK's iPlayer service (there's something else for international subscribers that shows old programmes).
Of course there are well-known hoops some people jump through in order to get decoder cards, usually to watch Sky Sports, but "officially" it doesn't happen.
If you have a high-hertz-rate TV (I think ours is 400Hz) will the TV's own interpolation effectively resolve the Chromecast flicker issue? I've never noticed anything amiss with ours.
does the S-pen become indispensable, or does it remain a merely 'nice-to-have' feature?
I guess that depends entirely on the user. I use mine occasionally rather than regularly, so I guess I fall into the latter category, but I do use it and when I do I'm glad it's there.
And I have 128GB in my Note 3
Vinyl has one MASSIVE advantage - it is a direct measurement of the sound being reproduced.
It's an approximation, an analogue copy representing an electrical signal in the limited resolution of a piece of plastic. That's why it has limited dynamic range, roughly equivalent to 12-13 bit digital and various forms of harmonic distortion appear both above and below the frequencies being reproduced.
A photocopy is an analogue copy - look at a fourth or fifth generation photocopy, or listen to a tape to tape to tape to tape copy, then consider the record manufacturing process of analogue copies of master tapes -> disc master -> father copy -> mother copy -> stampers -> vinyl. At each stage there will inevitably be some deterioration in the reproduction, albeit much less than the two examples given here. That's what happens in the analogue world as you progress from one generation to the next.
Vinyl may offer "a direct measurement of the sound being reproduced" but it's a flawed one, and what is digital audio if not a "measurement of the sound being reproduced"?
I run a record company. One of our longest releases in its 24-bit FLAC version (a Wagner opera) takes up 2.6GB. So if I want to carry much of this kind of thing around with me I do need a lot of space, hence the big MicroSD.
Depends on how you use it. My Note 3 phone (32GB) has a 128GB MicroSD card in it that I bought when I'd filled the original 64GB card. I certainly wouldn't by a tablet without a card slot.
Get a Samsung S-View cover. Replaces the back with a leather-type cover that opens like a book (turning the screen on as it does), looks smart, and protects the phone. I don't particularly care for the plastic backs on Samsung phones, but I've not used one since I got mine. Brilliant idea!
Whats's that Movies and Music? Isn't this what the Cloud was made for? I for One love XBMC (Movies), and Google Music... For umm Music streaming.
You're assuming the cloud is everywhere and permanently available. It may be to you but it certainly isn't out here in the sticks where I live in rural France. Or when I'm on a plane. Or if I visit another country and don't want horrendous roaming costs. That's why I stuck a 128GB SD RAM card into my Note 3 and filled it with good music. Google Music is fine for what it is, but it's not comprehensive WRT my musical tastes and sometimes you can find yourself wrestling with it to get it to play what you want. Movies on a phone screen? Not at my age with my eyesight, even on a Note 3! But music, absolutely, yes.
No way would I buy a phone without a memory slot. The more the merrier.
Should've used plastic instead of metal
>“We have an engineer in the (PHL) lab who says that while maybe you can’t see the difference initially, you can feel the difference. I used to scold him for that, saying that’s not an argument, but sure enough after a little while of viewing this stuff when I go back to a Full HD panel the first thing I notice is the pixel grid in the display, and it bothers me.”
Sounds suspiciously like the kind of crap you hear from certain elements in the hi-fi industry about 24-bit audio vs. 16-bit audio...
I stuck a 128GB memory card in my Note 3. Result? 160GB of memory, no spinning disc, much greater flexibility. The iPod Classic is indeed obsolete.
>I'm not seeing anything that looks like a redefinition in the specifications. Anyone care to elaborate?
It's a phone. You don't need to carry a mobile.
>And what exactly is Amazon contributing for its 30%??? Nothing to assist in the creative (or marketing) process, I suspect...
A vast global market for the product, coupled with delivery infrastructure, reading software and products, and a retailing environment that works brilliantly well.
Of course there's no reason why Hachette (and others) couldn't do the same thing, but having just visited their website I saw nothing to suggest I could buy a book from them directly, electronically or otherwise. Why is this?
Wobbly ZX81 16k RAM packs! Used to sit the computer on a book so the RAM pack would dangle over the edge and not get knocked. Happy hours typing in machine code from Your Sinclair only to get a single digit wrong and crash the whole thing. Them were't days....
Brilliant! Even better than the €500 audiophile USB cables I was told about recently...
The frequency response of the multitrack tapes on which Neil Young's early recordings would have been made wouldn't be much different to that of a CD, whilst the dynamic range would be considerably lower. The masters likewise. As the author says, there's unlikely to be anything much of musical value above 20kHz on the masters, even if anyone could actually hear it.
I my experience of checking out high quality modern digital 96Khz and 192kHz classical recordings from the likes of Linn, what you're mainly getting is silence and the upper harmonics of electronic interference. Musically speaking only the occasional cymbal (and very little else) does much beyond about 22kHz.
>I understand you can get even better results dubbing digital-to-analog on a high-end quarter-inch open-reel deck.
I have a couple of high end Studer open-reel tape machines. If I wasted my time copying digital recordings onto tape I could enjoy added tape hiss. Mmmm
Records that played from the inside out were common in broadcasting before tape. But yes, you need a non-automatic turntable to play them.
When the first vinyl records were released they were heavy so as to seem familiar to the shellac discs they replaced. The thickness of the vinyl has no real bearing on sound quality - there are a hundred and one other ways in which this was and is compromised as a master tape makes its way to a vinyl master. Cramming more and more onto a side is the biggest culprit here.
But the modern fetish for 45rpm heavy virgin vinyl is more about extracting cash from mugs. I've heard significantly better sound quality from regular mint 80s pressings than from the modern allegedly audiophile equivalent. And both are beaten hands down in just about every way (apart from added distortion, rumble, wow and flutter, dynamic range limitation etc.) by any halfway competent digital reproduction.
Decca started issuing FFRR recordings in 1945 and LPs in 1950, so your albums aren't "early". In fact most Decca vinyl pressings in the early days were pretty grim and sounded much better in their Ace Of Clubs budget reissues at the end of the 50s and thereafter.
Personally, given the choice between mint 50s vinyl and mint 70s or 80s vinyl of the same recording I'd go for the 80s unless there was a very good reason not to.
(This all refers to classical music releases, BTW)
I have a Rega Planar 78 (based on the Planar 2) which runs at one speed and one speed only: 78rpm. But it's also set up with 78rpm stylii which are designed to fit shellace grooves that are around 4 times wider than vinyl microgrooves, and would sound pretty grim on this release - if any of the narrower ones could actually track the groove.
I suspect the reason, beyond total gimmick, for the higher speeds "under the label" is due to huge treble drop-off at the centre thanks to the much reduced linear velocity of the grooves that close to the hole. Given the way regular LPs suffer end-of-side distortion, those faster centre grooves must sound abysmal. I'm guessing they're not expecting many people to actually bother setting systems up to play them.
One final thing that demands correction: a completely mint shellac 78 is very shiny. When I see a 78 with a matte finish I give it a very wide berth as it's clearly completely shagged from being played to death, usually with a very heavy steel needle.
>The only exception to that rule seem to be kids who're just old enough to write "ipod" on their wish lists...
My son got a mid-range Samsung phone for his 13th birthday and I stuck a spare 32GB SD card in it. I haven't seen his old 4th generation iPod Nano for a long time...
>Has memory management in Android improved since the release of the Galaxy Note 1, or is it still bad?
Yes, hugely. My Note 1 was the same. No such issues with my Note 3.
>All that Neil needs to do is to persuade music download sites and app stores to supply uncompressed audio.
Try Qobuz.com - they sell non-lossy downloads in a multitude of formats (compressed and uncompressed, CD quality and higher) and have a streaming service that lets you choose between 320kbps MP3 and CD-quality FLAC. They've been around here in France for a while - they launched in the UK last December, apparently.
>or isn't FLAC lossless???
The FLACs I play on my Galaxy Note 3 certainly are.
I took my Note 3 skiing on Sunday. Fortunately I wasn't water-skiing.
Thank you for posting this...
I'd say the Guardian's headline is rather less ridiculous than the present article suggests:
>Conservative party deletes archive of speeches from internet
>Decade's worth of records is erased, including PM's speech praising internet for making more information available
Come on, Andrew, the Tories can fight their own battles. You don't need to win the next election for them...
100% of iPads here are runnign iOS5 - but then they're both iPad 1s and never even got the chance to see how slowly they'd run on iOS6...
I was planning to use the FM Radio on my Note 1 for English commentary at the Spanish Grand Prix this year. Then I remembered I was using Bluetooth headphones...
I think it depends on the Gallery's "Content to display" settings - you can set it up to open online libraries (e.g. Dropbox, Facebook, Picasa) as well as locally held files. This may slow things down a bit...
> I ran into the "Insufficient Storage available" error once too often for my liking.
Not a problem any more - the Note 3 treats all the phone's internal memory as one, rather than dividing it between Phone and Internal SD RAM. The old phone needed a lot of manual relocation of apps into SD RAM if you were a prolific installer - this no longer applies. My apps go straight into the full 32GB of available space, and I keep my data on an external 64GB card. All runs very smoothly
> When I hover over the screen, it thinks I'm writing. It is far too sensitive.
Stylus settings have improved significantly since the Note 1...
Not mentioned in this review but useful to me: it has ANT+ connectivity, which turns out to be very useful for gadget-minded cyclists - the self-same folk who'll also appreciate a setting buried deep in the set-up menus that allows you to increase screen sensitivity so you can use it whilst wearing gloves. These two things alone, coupled with the brighter screen, have been put to good use when I'm out and about with the phone, which in my case is an upgrade from the Note 1.
As for the size of the thing, as a grown man I've yet to find the trouser pocket too small for a Note. And when you get to my age, the screen size really helps you to read the damn thing!
>Users don't just want the Start button back. They want the start MENU back.
Not bloody likely, thanks. After using Windows 8, going back to a Win7 installation is horrible - especially the crappy Start Menu!
That'll be the psychoacoutsically-shaped dither noise that lowers the effective noise floor (to human ears) of 16-bit recordings to something closer to 19-20 bits then? It's put there for a reason, and you almost certainly can't hear it, any more than you can tell a well-prepared 16-bit recording from the 24-bit master it originated from in just about any studio listening test you care to try.
There's a huge amount of bollocks talked around sample rates and bit depths and it's increasingly a meaningless numbers game. You can read some of that in this thread, alas.
We sell 320kbps MP3, 16-bit FLAC and 24-bit FLAC downloads. The music is generally classical (there's a little jazz and blues too) and the recordings are all over 50 years old. FLAC has for a long time been the favoured format for our download customers, with very few opting for MP3 when they have the choice. (If I had a pound for every Mac user struggling to play FLACs in iTunes and e-mailing me about it... but that's another story.)
24-bit downloads have definitely seen strong growth - people are either getting high quality DACs on their computers or burning them to DVD-R for their Oppo "plays-everything-you-can-throw-at-it" decks. But they don't need another new disc-based format, and CD sales continue to fall.
IMO the major record companies need to wake up and smell the coffee: lossless downloads at higher resolutions (even if just about none of their customers can hear a difference) could be the 80s CD boom all over again and make them a fortune. But sticking the likes of the first Velvets album - one of the worst-recorded classic albums of the 1960s - on yet another new high-resolution format just shows how disconnected from the real world the suits at Universal are.
Massive fail, heading to a closed-down record store near you...
>So I can type quickly and accurately on the iPhone's screen. Once the distances get a little larger (Nexus 4) I have a hard time moving my fingers that far with the same level of accuracy. Actually sometimes I have to move my entire hand, depending on how I'm holding the phone. Result is that I can't type nearly as fast on the bigger screen as the smaller screen.
So install Swype then. Leave the iPhone's typing speed in the dust...
More commonly PCM digital recordings were made using Beta rather than VHS (better picture quality = greater reliability), with different PCM units built for PAL and NTSC systems. (I believe 44.1kHz was chosen as the sampling rate for CDs as it divided equally well for use on both 50Hz and 60Hz systems, just as 78rpm or thereabouts was judged a suitable compromise for records decades earlier).
If you view one of these tapes what you see is a series of bar-code-like stripes on the screen across a number of columns. Digital data, stored visually in the analogue domain. You've got to love it!
Hard to edit, aren't they! Especially when recorded on both sides...
Certainly potential sound quality was better from cassette than it was from the awful cartridges we used to use for jingles and so on - but they could be cued up and were designed for broadcasting, unlike the cassette. Horses for courses - the jingles had ended up largely on MiniDisc by the late 90s; quicker to cue and much better sound quality, but lacking the quick-fire one-jingle-in-a-big-plastic-box appeal of the cart. Steve Wright (in the Afternoon) was a brilliant cart operator!
CD data discs, such as those with MP3s on them.
Studer A710 cassette decks were the standard BBC installation for radio studios, certainly in the main London broadcast centres in the 90s. Studer and Telefunken reel to reel machines were found in studios, but not Revox - these were the "domestic" products (most commonly the PR-99) that radio producers got to play with in their offices, alongside domestic hi-fi equipment (from the usual suspects).
Personally I prefer the sound of my Nakamichi DR-2 to anything I ever heard from the Studer decks, but they were reliable workhorses, required to make two copies of everything we broadcast for legal back-up and archiving, so the decks in the main studios in Broadcasting House certainly put in a lot of hours.
I've ended up with an Elcasette recorder that used to be Mike Oldfield's portable recorder of choice. It has a single tape marked "Sea Shanties" which still plays. Can't say I've ever tried recording with it, but it's a nice thing to have in the "museum" of odd formats I've built up: alongside the Nakamichi, the DCC, the 1974 Pioneer quadrophonic 8-track cartridge player/recorder, the Tascam 8-track cassette multitrack, various Studer, Revox and Ampex monsters, an open-reel dictation machine that once belonged to Hammond Innes... - all designed to use the miracle format that is rust-on-plastic...