Hello. I’ve been silenced, removed and blocked enough on lemmy dot ml for being a filthy leftist but not a falling in line defending totalitarian states full blown authoritarian communist. Sooo I’m blocking everything from lemmy dot ml so I don’t have to be bothered with any more of that nonsense. If you are on lemmy dot ml and commenting on me I will not see it. Ta ta.

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Joined 3 years ago
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Cake day: July 2nd, 2023

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  • I made the same journey. Used Tidal 1-2 years but never felt quite comfortable with it. The one that shall not be mentioned have got a lot in the UI right.

    I’m still quite new to Qobuz but I like it much better. Their recommendations are much better, the search is much better, more info about fringe artists and sometimes albums too. Some bands/artists with the same name have confused albums but it’s expected and okay I think.

    Over all I’d say that Tidal is a great streaming service but Qobuz has music nerd appeal that reminds me of walking into my favourite record stores and chatting about new releases and recommendations from somebody that actually cares.

    Getting back to you question, I see room for improvement but I’m much more comfy with Qobuz than I ever was with Tidal.


  • That is me putting it in embellished words of amusement instead of saying that the software ran numbers through the dongle if it was present so that the logic on the dongle would correct it but if it was not present it would allow the run and save except the altered numbers would have a unnoticeably tiny miscalculation that would accumulate over the numerous edits and saves during the project duration.

    Because I assumed that people would put it together themselves. Which apparently most people did. But some people still need everything spelled out for them. Ironically those that credit themselves more intelligent than everybody else.


  • Welp, I heard the story back in the mid nineties from someone that worked in an architect office. One save or a few without a dongle makes basically no difference but systematic license abuse will make you have to spend man hours to redraw the entire thing before delivering it to the customer. Considering how absolutely hysterical some corporate anti piracy measures were at the time I would not say it is not unbelievable, this being very early internet era and all.

    I recall some other corporate oriented software that would after some time only print blank pages without explanation if it detected a crack, there were a few console games that would corrupt your entire memory card with all your saves from everything, and music software and VSTs that would spread a cracked warez version to “the scene” that would have a trojan do other nasty things to your computer as a pre-emptive revenge.

    But you do you and have all the smarts. Who knows, I’m probably AI too.












  • I think it was AutoCAD that had the most diabolical dongle of all. Some ancient version of the software would seemingly work without the dongle, leading cheap offices buying less licences than installs and plenty of architects installing them on their home computers. Everything seems to work fine, except every save a tiny fraction of a decimal far far away is off. Way too small for anyone to notice. Until they have been working for weeks and months on a project. And then and only then do they realize that all the lines have been slowly drifting apart.


  • It goes against your concept of the Fediverse. You are just as much trying to force your personal preference on others with this argument of slippery slope of Microsoft nonsense.

    I think it is great if different instances have different profiles that cater to different audience instead of everything just being the same with different domain names. If it is all the same it may as well be a single instance and the entire point of federating is lost.





  • Intent is really important, along with a good script, good characters and the pacing of the story. The intent can be a statement, or an artistic vision, or just having a damn good story to tell. Originality is really important too, something I haven’t seen before or at least not told in this way.

    I’m not too bothered about production quality as I’m happily enjoying movies from 70s exploitation and 80s b-movies to low budget oddities, art house flicks, auteurs and the occasional cineast pieces. There are a lot of hidden gems in the lower layers of the movie industry, made by people with a vision that worked with what they had to pull through.

    I don’t care much for template big budget flicks like romance, action-comedy or superheroes, unless it’s something recommended to me as something that stands out from the genre. I don’t mind that people watch them, they just aren’t my thing. (Though I do sometimes watch series below my uptight movie snobbery as a sort of relaxing enjoyment and dirty pleasure.)

    Anyway, I want a movie to be a journey and a great movie is something I’m fully immersed in and takes turns I didn’t expect and that is making me think about it after. I’m very subjective in what I like and don’t care much for neither clout or critics or cineast cred.

    Recent great movies I’ve watched, not selected for any particular reason other than I found them great and watched them recently:

    • Walker (1987) by Alex Cox.

    • Tideland (2005) by Terry Gilliam.

    • Noriko’s Dinner Table (2005) by Sion Sono.