Ying-Chun Liu (PaulLiu) escribe:
By ears, there's no difference between mp3 and wav
It depends on the ears, certainly. It also depends on the bitrate
chosen for the MP3 file and also on the audio outboard used (at 128
Kbps there's no difference with a portable player but the difference
becomes
Ying-Chun Liu (PaulLiu) [EMAIL PROTECTED] writes:
So, for creative works, the source is hard to be defined by format.
It's the creativity of a work that allows it to be covered by
copyright. Non-creative works -- e.g. a plain listing of the digits of
a mathematical constant -- are generally
On Tue Mar 27 20:54, Jason Spiro wrote:
2007/3/27, Don Armstrong [EMAIL PROTECTED]:
On Tue, 27 Mar 2007, Jason Spiro wrote:
Maybe if debian-legal or I wrote the license (I have never written a
license before, but maybe I could modify the MIT license) we could
get Teosto to agree on more
* Don Armstrong:
Well, it actually seems rather strange to me for an organization which
is designed to protect artists disallowing artists from determining
how their own works are licensed,
This is common practice for organizations that collect royalties on
behalf of composers. If you want
On 3/28/07, Andrew Donnellan [EMAIL PROTECTED] wrote:
On 3/28/07, Don Armstrong [EMAIL PROTECTED] wrote:
Well, it actually seems rather strange to me for an organization which
is designed to protect artists disallowing artists from determining
how their own works are licensed, so I'm trying
On 3/28/07, Matthew Johnson [EMAIL PROTECTED] wrote:
Yes that's the contract you have to sign to be part of Teosto (which you
have
to do if you ever want to make a living in Finland as a musician).
Ouch. As was indicated earlier this seems standard for all performance
rights organisations.
--
Francesco Poli [EMAIL PROTECTED] wrote in message
news:[EMAIL PROTECTED]
Exactly, and in some cases an author/maintainer *may* prefer to modify a
lossy-compressed form directly.
In some other cases, he/she *may* prefer working on uncompressed data
and recompress afterward...
Yes, I'm really
In message
[EMAIL PROTECTED], Andrew
Donnellan [EMAIL PROTECTED] writes
On 3/28/07, Matthew Johnson [EMAIL PROTECTED] wrote:
Yes that's the contract you have to sign to be part of Teosto (which you
have
to do if you ever want to make a living in Finland as a musician).
Ouch. As was indicated
The entire draft can be found at the end of the message. I belive some
positive changes have been made, but some changes are for the worse.
Here is my analysis of the license. This is more a general analysis, but I
am trying to point out any DFSG-freeness problems I find.
I have no real
2007/3/28, Andrew Donnellan [EMAIL PROTECTED] wrote:
On 3/28/07, Matthew Johnson [EMAIL PROTECTED] wrote:
Yes that's the contract you have to sign to be part of Teosto (which you
have
to do if you ever want to make a living in Finland as a musician).
Ouch. As was indicated earlier this seems
On Wed, 28 Mar 2007 14:01:02 -0400 Joe Smith wrote:
Francesco Poli [EMAIL PROTECTED] wrote in message
news:[EMAIL PROTECTED]
Exactly, and in some cases an author/maintainer *may* prefer to
modify a lossy-compressed form directly.
In some other cases, he/she *may* prefer working on
Joe Smith [EMAIL PROTECTED] writes:
It seems to me that the preferred form of modification seems to
depend on the desired modification.
Yes. Though I keep advocating the GPL's definition of source, I
recognise the ambiguity of preferred in that definition.
Since this is Debian, I will use
Matthew Johnson [EMAIL PROTECTED] wrote:
Yes that's the contract you have to sign to be part of Teosto (which you have
to do if you ever want to make a living in Finland as a musician).
Please, ask Finland's *legislators* if the situation there is really
that anti-competitive closed shop. I've
Joe Smith [EMAIL PROTECTED] wrote:
1. The model files, lighting, and animation information. This can be used to
regenerate the movie.
2. The original raw frames of the rendered video.
3. The compressed final video stream.
[...]
So which one(s) should be considered source?
Obviously 1, but
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