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Gave this a go, it's an easy install with pip, and results are pretty quick even on an old macbook. Splits into 2stems (vocals/accompaniment) on some random songs I chose actually quite good using the pretrained models provided. Of course, ripping the vocals out of the accompaniment takes out a good chunk of the middle frequencies so some songs sound a bit wonky. Worth a play if you are interested.


Same thoughts here. I ran Thriller, Alligator by Of Monsters and Men, and In Hell I'll be in Good Company by The Dead South on the 2 / 5 / 4 stems, respectively. Impressive results. Definitely agree that some of the middle frequencies show some error.

It would be really cool to create "music mappers"/life sounds tracks like what you can do with pictures & art styles (e.g. https://medium.com/tensorflow/neural-style-transfer-creating...)


known nothing about the results, i suspect that mid-ranges are poorer mainly because human frequency response is most sensitive towards mid-range aka vocal-pitch frequency


It's really good on the 2-stem stuff. On the 4-stem model, it's a bit shy about the bass part, and parts drift in and out. I'd like to try it on a FLAC.


Same, Rage Against The Machine - Killing In the Name came out sounding great. Very cool.


Very similar items are ~65c (USD) on aliexpress, can imagine the suppliers are the same.


Ours are of much higher quality and actually work with your iPhone and not like the crap they sell on alibaba. Don't make assumptions dude.


Epic tale of a troll in an online Mafia game, where the players seem obsessed with doxing. A tad long but worth the read.


There is a similar, perhaps more significant problem with Twitter's abuse reporting tool[0]. To submit the form, users are required to tick the box that notes they accept the following:

"I understand that Twitter may provide third parties, for example the reported user, with details of this report, such as the reported Tweet. Your contact information, like your email address, will not be disclosed."

I think it highly likely that would encourage further abuse. This has prevented me using the tool in the past, and makes me think Twitter doesn't quite understand the issue.

[0]: https://support.twitter.com/forms/abusiveuser


What's wrong with this? they say "Your contact information, like your email address, will not be disclosed". They just tell the person who's twitter account it is something like, "By the way, it's this tweet that was reported as abusive and they said it was abusive in this way" am I misunderstanding this?


That's also my reading. They warn that they may share the report itself, such as the reported tweet and the comments (e.g. the "further description of the problem" field) to the reported, but will not share contact/identifying reporter information. That seems fine to me, one needs to know what he's being accused of to mount a defense.


We're using ISDN for studio linkups in between radio stations, and for remote location -> studio connections. Would love to use Skype in it's place, major barrier is lack of fine-tuned control over gain, disabling AGC, etc. Video broadcast does seem to be the focus here, but Skype could be incredibly useful in radio broadcasting too.

I think the radio industry would definitely pay for an advanced software client, especially considering so many potential guests have Skype setup at home. Having control over guests gain and more detailed metering in the client would be brilliant.


Can you educate a know-nothing what 'gain' is in this context?


Well I'm likely using the wrong technical term, but it's the one most often used in my industry (in my experience). I'm referring to adjusting the original strength of the signal. That is, the signal level at the point it enters the audio mixer of the computer. I'd love to be able to control how that signal level is amplified, or at least make it easy for guests to manually.

I'm not great at explaining but if you search for 'gain in an audio context' I'm certain there'll be better explainers!


Not something I would use as I haven't got too annoyed with the web yet, but that is one excellent, common-sense interface,


Glad to see more entrants not backed/beholden to major labels, congrats. Very clean and well designed site, pleasant to use.

Bandcamp currently has most of the indie diy music distribution market, do you consider them your competitor? What would you consider your advantages over them - to artists? Bandcamp take a much smaller cut (15% on digital, 10% on merch [edit: forgot PayPal fees 4-6%]), offer free downloads, and are agnostic in the sense they are just a platform: customisable pages etc.

Good luck too!


Glad you like it. Bandcamp is certainly a competitor at this point however we'll have to see how we evolve, more as a buying platform or discovery platform.

As to the advantages over Bandcamp, they are just a store, we help provide exposure as well, allowing artists to be discovered via various channels.


Can you elaborate on these various channels? It's easy to say you provide exposure, but once you have 500k bands, how do you offer any individual band valuable exposure?


I'm particularly fond of the attention they paid to hand-drawing the symbol, it certainly seems simple and quick.


On visiting a download link in Firefox (latest) posted in this thread (https://mega.co.nz/#!jFlzGQiZ!CL2dMi5IAYLUp3ZQ5JS7nmW0sYtudf...) I got the same message - however I can't click anywhere to hide the modal. If you are gonna have such a message at least let me close it!


Putting a "Design by @DCURTIS" tagline in the footer is really weird, to me it implies some connection (where there is none). If you are going to copy without permission, don't imply that you have permission like this. I know it probably just comes default in the WP theme, but this applies to you and the theme creator.

I know many will argue it shouldn't matter, but it really makes me subconsciously think less of the blog author and the post's content.


In many cases, giving credit to the author is a necessary condition for copying without the author's permission.


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