dweymouth

OpenSubsonic (https://opensubsonic.netlify.app) is the closest. It's a collaborative effort to extend and modernize the Subsonic API, which had become a sort of de-facto standard API. Navidrome, Gonic, LMS (Lightweight Music Server, not Lyrion/Logitech), and other servers implement the API, and Supersonic, Symfonium, and other clients consume it. (And it's backward compatible with the original Subsonic, so older Subsonic clients will work, just not support all the new features that have been added.

Why is that relevant to their argument?

This is exactly how the data binding APIs in Fyne (another Go GUI toolkit) work. And it's also an optional feature, so if you want to handle things by registering callbacks and calling setters yourself you can do that too.

If you're a news site and you want Google to have a link like "News on Inflation", then just give your article the title "Unpacking the latest inflation data" and save the actual info for the article itself. A lot of internet publishers have already figured this out and it's why you see titles like "These 3 states have the most affordable homes" that just entice you to click on the link.

But in this case with slow speed, it's the massive (literally) amount of mass of the cargo ship that gives it an un-intuitively large amount of energy.

Not to mention that eating undercooked meat is a bigger infection risk than living with a pet cat, especially an indoor-only cat.

I drink coffee every morning and have for pretty much my entire adult life. People might be better off for it because coffee in moderation is healthy and has various bioactive compounds in addition to caffeine that can reduce risk of some diseases... but I don't think the caffeine itself has any cognitive benefits for me at all compared to if I were to never drink coffee. It's just an addiction I'm completely adapted to, and skipping a morning coffee just means I'm a bit extra tired and sluggish through the day. Maybe dopaminergic stimulants are different, especially for people with true ADHD, and they can maintain an effect over time even at a dosage plateau.

Have you tried my client (github.com/dweymouth/supersonic)? I started this for a similar reason last year - I'm curious to hear your feedback, and if you were interested in contributing I'd love some more help!

Ironically, the two main legal drugs (excluding caffeine) - tobacco and alcohol - have some of the worst long term effects. Others can have long term effects though, like MDMA is somewhat neurotoxic but not to a degree that matters with infrequent acute use, but it becomes very relevant if someone were to use it regularly.

Speaking technically, methanol isn't produced during distillation, it's concentrated. Since it boils at a lower point than ethanol, it disproportionately comes out in the "heads" of a distillation run. The source wine/beer/mash already has all the methanol in it, it's just it's not a problem when present in the small quantities in a non-distilled drink, alongside with a much greater amount of ethanol. (Ethanol can actually act as an antidote to methanol since your body processes it first and can then excrete much of the methanol unmetabolized)

https://squabbles.io is the best alternative I've seen. The Fediverse is a cool idea in theory but I think at this point in time it's not ready for primetime. It's too complicated for casual users to figure out, plus federation invites drama all of its own - e.g. Beehaw, a major Lemmy instance, has defederated with lemmy.world

Animals devour to survive. Humans (in first world countries at least) don't need to do that. We eat meat because we like it, not because we need to. And we have the choice to do otherwise. In fact, plant based alternatives are healthier for us (look up the China study), and for the planet (most Amazon deforestation is to grow cattle feed). There is no need for most of us to eat any animal products at all.

Hmm that's a good point, that you can use the ultrasonic bandwidth of the LP, which is useless for analog audio, to increase the bitrate. I'd say it's a bit generous to give an LP a bandwidth of 50 kHz, especially in the inner tracks though. I think what I was getting at would apply where the bandwidth of the analog signal you want to encode is as wide as the bandwidth of your media though. Take compact cassettes, let's say they have a bandwidth of 18 kHz and a dynamic range of 60 dB. If you want to encode an arbitrary audio signal with a bandwidth of 18 kHz and with 60 dB dynamic range, you could only do that in the usual analog way. But if you wanted to encode a digital telephone signal (say at 8 kHz bandwidth, 30 dB dynamic range) maybe you could use the 18 kHz cassette bandwidth to encode that signal digitally.

That's when it's used as a "bit crusher" effect by converting to 10/12 bit samples by simple truncation, rather than dithering (randomized rounding up or down to the nearest quantization value, with P(round_up) = the relative closeness of the sample to the upper quantization value).

With dithering, the only difference a smaller bit depth makes is a higher noise floor, with the noise being just background white noise (like tape hiss). With most pop music a 10 bit depth with dithering would likely not be audibly worse, since pop music is usually compressed into like the top 10dB of the dynamic range.

Broadcast NTSC did actually modulate the color signal into a "comb-shaped" frequency spectrum that was overlaid onto the complimentary "comb-shaped" spectrum of the B+W signal, because they didn't want to have to re-allocate higher broadcast channel bandwidths to be able to support color (and therefore have fewer channels available). The comb-shaped nature of the spectrum is an artifact of the discrete lines the picture signal is made up of, and the pause between each line when the electron beam reset itself and prepared to draw the next line. The fact they were able to figure out how to do color in the same bandwidth in a backward-compatible way is actually kind of insane, and I've seen it mentioned somewhere as one of the, if not THE most impressive engineering achievements of the 20th century.

Could it handle CD-quality FLAC audio?

I doubt it, since CD-quality audio is already objectively better (for human hearing) than analog audio on LPs. The only thing LPs are better at, sound quality wise, is extension into the ultrasonic range of 20-30+ kHz (which we can't hear anyway) but the SNR and distortion metrics are much worse in the ultrasonic band than the audible range.

I'm not sure if this is a named principle, but it seems intuitively obvious to me that on any particular encoding medium (magnetic tape, vinyl groove, etc.), you can encode "more" data in an analog way than digital, since with digital encoding you need to be able to make distinct symbols onto the medium, and represent any signal fluctuation with a series of such symbols; whereas with analog encoding a tiny fluctuation in what's recorded to the medium can correspond to a tiny fluctuation in the signal. Of course the tradeoff is that digital data is much more immune to distortion from imperfections in the medium.

If the same track width and pit sizes on CDs were used to encode audio in an analog way like LaserDisc does video (the continuous distance between pits being modulated by the signal), no doubt it could encode well into the ultrasonic range and surround audio channels via modulating them into different frequency bands. But it would have its own characteristic "surface noise" and "pops and clicks" just like vinyl.

192kHz/24bit is definitely overkill but I wouldn't call 16/44 overkill; I'd say it's just about perfect and the engineers who decided on that standard when the CD came to market knew what they were doing.

The frequency range of human hearing does cover all the way to 20 kHz, and maybe a tiny bit beyond especially for kids and teenagers. That says 40kHz minimum sampling rate, 44.1 is enough to cover the full range, give a tiny bit for the antialiasing filter rolloff band, and the exact number was chosen IIRC because it fit well into repurposing existing 80s video recorders for digital audio.

The dynamic range of human hearing from threshold of audibility to threshold of pain is slightly wider than the theoretical 96 dB of 16-bit audio, but with dithering the effective dynamic range can be > 105 dB. Of course most popular music only uses a tiny bit of that range, but movies and even classical full-orchestral music can use 60 dB and beyond, for which 10 bits wouldn't be adequate.