Honestly? Just use YouTube and ublock. There’s pretty much always a better karaoke selection.
Honestly? Just use YouTube and ublock. There’s pretty much always a better karaoke selection.
I wish I knew as well. I’ve been using Chromecast Audio myself, which works with PlexAmp self-hosting my music.
The problem is Chromecast Audio has been discontinued for years of course - Google did their Google thing, and unfortunately I never found anything else like it on the market. But you can connect those devices to any speakers and sync multi-room high quality audio very easily. I managed to pick up 4 of them when they did their fire sale, and I think you can find them on eBay for now still.
Huh… That’s really not nice.
Maybe the command line version is consistent, but day to day I prefer not to do command line. I’ve tried like 5 different GUIs and they all have failed downloads, incorrect formats, and other issues just doing test downloads. I don’t know why, but it’s been a problem every time for me.
You should listen to all the yt-dlp comments, but I’ve always had trouble getting all the yt-dl variants to just download the best version and subtitles consistently.
I use 4K Video Downloader, and it’s easier to use. It has a 30 video per day limit is all, which is more than I need.
Yeah, I’m sure Finamp and the rest of the Jellyfin options people are recommending do the trick for most people, but I’m really happy with PlexAmp.
It also has Chromecast capability and is to my knowledge the only self-hosted option that does so. Really handy for casting to speaker systems, though I’m guessing many people just use Bluetooth for most off-device playback.
It’s whether the OS has hardware to make the platform “trusted.” Android does by default with Widevine, Windows does by default with TPM and Widevine, Linux does not by default.
“Trusted” here of course means, trusted by the company, not by the user. If it’s a trusted platform, it has a cryptographic key exchange space that the user does not have access to. This prevents a spoofed DRM certificate or other interception of the HD stream, which in theory prevents a stream from leaking.
“In theory” of course, because every piece of content is ripped and available DRM-free as soon as it’s released.
The headline is misleading, but the article reports it correctly.
In copyright law in the US, there is a 3-year statute of limitations. However, some jurisdictions follow the “discovery rule.” This is a court-made doctrine that allows a lawsuit to be filed beyond 3 years if the plaintiff can show they only discovered the infringement after the statute of limitations ran out, with some other extenuating factors. However, there is also the issue of damages. Under a sister legal doctrine, damages that are more than 3 years old have been barred regardless of whether the discovery rule allows a lawsuit. Effectively negating the discovery rule.
The Supreme Court in this situation held that damages follow the discovery rule. Meaning, if the discovery rule applies, then damages can be sought. The Court explicitly said it wasn’t ruling on whether the discovery rule applied.
The decision doesn’t expand or create the discovery rule that allows lawsuits beyond 3 years. That already existed.
Interestingly, this is a rare time when I agree with Gorsuch on the dissent. He basically said, “The damages is moot because the discovery rule is made up and shouldn’t even apply, so the majority is wasting its time even entertaining that damages can be sought.”
From their website: https://futo.org/what-is-futo/
What is FUTO? FUTO is an organization dedicated to developing, both through in-house engineering and investment, technologies that frustrate centralization and industry consolidation.
Ok… So what does that mean?
Through a combination of in-house engineering projects, targeted investments, generous grants, and multi-media public education efforts, we will free technology from the control of the few and recreate the spirit of freedom, innovation, and self-reliance that underpinned the American tech industry only a few decades ago.
FUTO is not reliant on any existing tech company or venture capital firm for its funding. We are not expecting quick profits. We will never cash out with a sale to a megacorporation the moment our technology begins to catch on. We will focus entirely on the mission.
If you share these goals, either as a user or a developer, we ask you to watch this space and get ready to throw off the stultifying limitations of the current state of affairs. We want to return to an era where a substantial portion of computer users can understand, control, and use their technology as they see fit without the approval or input of oligarchs. And we need your help.
Ok so… What does that mean?
Maybe the OP’s video explains these things (I hate watching videos for things like this), but I really thought I’d be able to find an explanation, in practical terms, of what this organization actually does on their own website.
Old is a state of mind, and these execs are OLD.
What does it mean that it’s “opt-in”? Meaning, my opt-out is just to never update Immich again?
I appreciate this thoughtful reply. I read it a few times, I think I understand the goal. Basically you’re systematically closing off points that leak private information or constitute a security weakness. The IP address and the ports.
For the VPS, in order for that to have no bandwidth loss, does that mean it’s only used for domain resolution but clients actually connect directly to your own server? If not and if all data has to pass through a data center, I’d assume that makes service more unreliable?
I’ve saved this. I set up unraid and docker, have the home media server going, but I’m absolutely overwhelmed trying to understand reverse proxy, Caddy, NGINX and the security framework. I guess that’s my next goal.
My good faith response to your good faith question: because having a DRM-free copy on your own server or hard drive is the only way to be sure you will be able to play it tomorrow.
Streaming services are a complex collection of licensing deals that are by design temporary. You may not hear beforehand when your favorite artist’s label’s parent company’s conglomerate’s CEO decides to pull their content because they’re going to start their own streaming service, or another service gave them a lucrative exclusive deal.
And while you’re never going to have a hard time finding Taylor Swift, that one 70s esoteric album may become instantly impossible to find once it drops off a streamer.
In the end there are no promises with a streaming service. On the other hand, you put in a small amount of work to grab MP3s or FLACs, set up your own Plex server (or Emby, etc), and you’re good for pretty much forever.
Similarly, support artists by buying their direct merch, going to shows, and so on, but they are barely seeing any Spotify money. Between Spotify and the labels, they are cleaning the plate and artists are getting whatever crumbs fall off the table (unless you’re Taylor Swift or another global artist).