C++ coder required

>On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
>> >On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
>> He preferred a share in the product as opposed to money as he wanted
to
>be
>> involved in this particular project. 
>
>There's your real problem. In fact, the first thing I would have asked
is:
>shared royalties? (and in reply to "No", "Then you're my competition ...
>and I take no prisoners.").
>
>A lot of programmers, I think, are wising up to the traditional
>contract-for-hire arrangement. You see: it's a lot of brain-busting
creativity to put
>into something that is -- in effect -- a form of authoring and writing
>(not engineering; yes, I'm talking to you, fellow DSP'ers!) and to have
the
>fruits of one's creativity go out to someone else with nothing to show
for it
>but some money, is way too much to lose.
>
>It's a lot like slicing off layers of your brain to give to someone else
>as a brain transplant donor.
>
>If you do the following you may get more takers: (1) ensure the actual
>coding be distributable and distributed open source, (2) contract only
for the
>fitting of the code to the application on hand (the widget) -- which
>qualifies as a service analogous to being an editor, rather than a form
of
>writing or engineering, (3) keep the original developers' names on the
code,
>copyrighting it in their names (but to be distributed under copyleft).
>
>Better yet, look for freely distributed DSP libraries that do VST, take
>them and adapt them to your projects.
>
>Either way, in the process, you'll also make your operation more
>Millennial-friendly in appearance, rather than something more reminiscent
of the
>Sears, McDonalds, Walmarts, Microsofts of the world and the previous
century.

It's not like that at all. He wanted royalties, I prefer to pay up front.
He wanted to be a part of the company and not just involved in one
product.

I work in the music industry as a writer. All of my 6 books in print have
been pirated, all of my sound libraries that I earned royalties from for
companies like Emu and Roland have been pirated. I have yet to receive
monies from a film score I wrote and I have had all my site content
duplicated on torrent sites.

The reality of our industry is that we have such little earning power
left, due to the lack of longevity of any product, that we have tp
collaborate with competitors and release products regularly. That way we
get about 1-3 months worth of revenue before the content is available
everywhere.

This is the world we live in today. 
---------------------------------------
Posted through http://www.DSPRelated.com

On Saturday, January 23, 2016 at 5:08:10 AM UTC-5, zukan wrote:
> >On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
> >> >On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
> >> He preferred a share in the product as opposed to money as he wanted
> to
> >be
> >> involved in this particular project. 
> >
> >There's your real problem. In fact, the first thing I would have asked
> is:
> >shared royalties? (and in reply to "No", "Then you're my competition ...
> >and I take no prisoners.").
> >
> >A lot of programmers, I think, are wising up to the traditional
> >contract-for-hire arrangement. You see: it's a lot of brain-busting
> creativity to put
> >into something that is -- in effect -- a form of authoring and writing
> >(not engineering; yes, I'm talking to you, fellow DSP'ers!) and to have
> the
> >fruits of one's creativity go out to someone else with nothing to show
> for it
> >but some money, is way too much to lose.
> >
> >It's a lot like slicing off layers of your brain to give to someone else
> >as a brain transplant donor.
> >
> >If you do the following you may get more takers: (1) ensure the actual
> >coding be distributable and distributed open source, (2) contract only
> for the
> >fitting of the code to the application on hand (the widget) -- which
> >qualifies as a service analogous to being an editor, rather than a form
> of
> >writing or engineering, (3) keep the original developers' names on the
> code,
> >copyrighting it in their names (but to be distributed under copyleft).
> >
> >Better yet, look for freely distributed DSP libraries that do VST, take
> >them and adapt them to your projects.
> >
> >Either way, in the process, you'll also make your operation more
> >Millennial-friendly in appearance, rather than something more reminiscent
> of the
> >Sears, McDonalds, Walmarts, Microsofts of the world and the previous
> century.
> 
> It's not like that at all. He wanted royalties, I prefer to pay up front.
> He wanted to be a part of the company and not just involved in one
> product.
> 
> I work in the music industry as a writer. All of my 6 books in print have
> been pirated, all of my sound libraries that I earned royalties from for
> companies like Emu and Roland have been pirated. I have yet to receive
> monies from a film score I wrote and I have had all my site content
> duplicated on torrent sites.
> 
> The reality of our industry is that we have such little earning power
> left, due to the lack of longevity of any product, that we have tp
> collaborate with competitors and release products regularly. That way we
> get about 1-3 months worth of revenue before the content is available
> everywhere.
> 
> This is the world we live in today. 
> ---------------------------------------
> Posted through http://www.DSPRelated.com

*This is the world we live in today.*

Sad, but very true..

It goes on in each and every industry - there is no respect for intellectual property anymore

Talking about VST pluging - once something becomes popular (e.g. sells a thousand copies or more) it gets cracked and appears on some websites 
At least this  is the impression I got from reading some blogs of vst plugin developers
Heck, Cubase 7 was cracked by Team Air in a short period of time despite Steinberg employing a team of software engineers specializing just in code encryption and obfuscation (in addition to core team of dsp algorithm experts)  - didn't help much

So good luck with your vst plugin, just make sure you get some money for it before it gets stolen

On Sat, 23 Jan 2016 04:08:07 -0600, "zukan" <111488@DSPRelated> wrote:

>>On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
>>> >On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
>>> He preferred a share in the product as opposed to money as he wanted
>to
>>be
>>> involved in this particular project. 
>>
>>There's your real problem. In fact, the first thing I would have asked
>is:
>>shared royalties? (and in reply to "No", "Then you're my competition ...
>>and I take no prisoners.").
>>
>>A lot of programmers, I think, are wising up to the traditional
>>contract-for-hire arrangement. You see: it's a lot of brain-busting
>creativity to put
>>into something that is -- in effect -- a form of authoring and writing
>>(not engineering; yes, I'm talking to you, fellow DSP'ers!) and to have
>the
>>fruits of one's creativity go out to someone else with nothing to show
>for it
>>but some money, is way too much to lose.
>>
>>It's a lot like slicing off layers of your brain to give to someone else
>>as a brain transplant donor.
>>
>>If you do the following you may get more takers: (1) ensure the actual
>>coding be distributable and distributed open source, (2) contract only
>for the
>>fitting of the code to the application on hand (the widget) -- which
>>qualifies as a service analogous to being an editor, rather than a form
>of
>>writing or engineering, (3) keep the original developers' names on the
>code,
>>copyrighting it in their names (but to be distributed under copyleft).
>>
>>Better yet, look for freely distributed DSP libraries that do VST, take
>>them and adapt them to your projects.
>>
>>Either way, in the process, you'll also make your operation more
>>Millennial-friendly in appearance, rather than something more reminiscent
>of the
>>Sears, McDonalds, Walmarts, Microsofts of the world and the previous
>century.
>
>It's not like that at all. He wanted royalties, I prefer to pay up front.
>He wanted to be a part of the company and not just involved in one
>product.
>
>I work in the music industry as a writer. All of my 6 books in print have
>been pirated, all of my sound libraries that I earned royalties from for
>companies like Emu and Roland have been pirated. I have yet to receive
>monies from a film score I wrote and I have had all my site content
>duplicated on torrent sites.
>
>The reality of our industry is that we have such little earning power
>left, due to the lack of longevity of any product, that we have tp
>collaborate with competitors and release products regularly. That way we
>get about 1-3 months worth of revenue before the content is available
>everywhere.
>
>This is the world we live in today. 
>---------------------------------------
>Posted through http://www.DSPRelated.com

That sets the context well.   Getting good people that have integrity
and understand how IP ownership works is always difficult.  Stick to
your guns and good look on your search.


Eric Jacobsen
Anchor Hill Communications
http://www.anchorhill.com

On 1/23/2016 1:40 PM, Eric Jacobsen wrote:
> On Sat, 23 Jan 2016 04:08:07 -0600, "zukan" <111488@DSPRelated> wrote:
>
>>> On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
>>>>> On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
>>>> He preferred a share in the product as opposed to money as he wanted
>> to
>>> be
>>>> involved in this particular project.
>>>
>>> There's your real problem. In fact, the first thing I would have asked
>> is:
>>> shared royalties? (and in reply to "No", "Then you're my competition ...
>>> and I take no prisoners.").
>>>
>>> A lot of programmers, I think, are wising up to the traditional
>>> contract-for-hire arrangement. You see: it's a lot of brain-busting
>> creativity to put
>>> into something that is -- in effect -- a form of authoring and writing
>>> (not engineering; yes, I'm talking to you, fellow DSP'ers!) and to have
>> the
>>> fruits of one's creativity go out to someone else with nothing to show
>> for it
>>> but some money, is way too much to lose.
>>>
>>> It's a lot like slicing off layers of your brain to give to someone else
>>> as a brain transplant donor.
>>>
>>> If you do the following you may get more takers: (1) ensure the actual
>>> coding be distributable and distributed open source, (2) contract only
>> for the
>>> fitting of the code to the application on hand (the widget) -- which
>>> qualifies as a service analogous to being an editor, rather than a form
>> of
>>> writing or engineering, (3) keep the original developers' names on the
>> code,
>>> copyrighting it in their names (but to be distributed under copyleft).
>>>
>>> Better yet, look for freely distributed DSP libraries that do VST, take
>>> them and adapt them to your projects.
>>>
>>> Either way, in the process, you'll also make your operation more
>>> Millennial-friendly in appearance, rather than something more reminiscent
>> of the
>>> Sears, McDonalds, Walmarts, Microsofts of the world and the previous
>> century.
>>
>> It's not like that at all. He wanted royalties, I prefer to pay up front.
>> He wanted to be a part of the company and not just involved in one
>> product.
>>
>> I work in the music industry as a writer. All of my 6 books in print have
>> been pirated, all of my sound libraries that I earned royalties from for
>> companies like Emu and Roland have been pirated. I have yet to receive
>> monies from a film score I wrote and I have had all my site content
>> duplicated on torrent sites.
>>
>> The reality of our industry is that we have such little earning power
>> left, due to the lack of longevity of any product, that we have tp
>> collaborate with competitors and release products regularly. That way we
>> get about 1-3 months worth of revenue before the content is available
>> everywhere.
>>
>> This is the world we live in today.
>> ---------------------------------------
>> Posted through http://www.DSPRelated.com
>
> That sets the context well.   Getting good people that have integrity
> and understand how IP ownership works is always difficult.  Stick to
> your guns and good look on your search.
>

Is he looking for a "coder" or a "programmer". That was a common 
distinction back the last time I massaged software. Perhaps 
you've hear of the the latest and greatest from Intel, --- *THE 
8085*.
P.S. I saw Whirlwind's memory before it was donated to the 
Smithsonian ;}

On Sat, 23 Jan 2016 04:08:07 -0600, zukan wrote:

>>On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
>>> >On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
>>> He preferred a share in the product as opposed to money as he wanted
> to
>>be
>>> involved in this particular project.
>>
>>There's your real problem. In fact, the first thing I would have asked
> is:
>>shared royalties? (and in reply to "No", "Then you're my competition ...
>>and I take no prisoners.").
>>
>>A lot of programmers, I think, are wising up to the traditional
>>contract-for-hire arrangement. You see: it's a lot of brain-busting
> creativity to put
>>into something that is -- in effect -- a form of authoring and writing
>>(not engineering; yes, I'm talking to you, fellow DSP'ers!) and to have
> the
>>fruits of one's creativity go out to someone else with nothing to show
> for it
>>but some money, is way too much to lose.
>>
>>It's a lot like slicing off layers of your brain to give to someone else
>>as a brain transplant donor.
>>
>>If you do the following you may get more takers: (1) ensure the actual
>>coding be distributable and distributed open source, (2) contract only
> for the
>>fitting of the code to the application on hand (the widget) -- which
>>qualifies as a service analogous to being an editor, rather than a form
> of
>>writing or engineering, (3) keep the original developers' names on the
> code,
>>copyrighting it in their names (but to be distributed under copyleft).
>>
>>Better yet, look for freely distributed DSP libraries that do VST, take
>>them and adapt them to your projects.
>>
>>Either way, in the process, you'll also make your operation more
>>Millennial-friendly in appearance, rather than something more
>>reminiscent
> of the
>>Sears, McDonalds, Walmarts, Microsofts of the world and the previous
> century.
> 
> It's not like that at all. He wanted royalties, I prefer to pay up
> front.
> He wanted to be a part of the company and not just involved in one
> product.
> 
> I work in the music industry as a writer. All of my 6 books in print
> have been pirated, all of my sound libraries that I earned royalties
> from for companies like Emu and Roland have been pirated. I have yet to
> receive monies from a film score I wrote and I have had all my site
> content duplicated on torrent sites.
> 
> The reality of our industry is that we have such little earning power
> left, due to the lack of longevity of any product, that we have tp
> collaborate with competitors and release products regularly. That way we
> get about 1-3 months worth of revenue before the content is available
> everywhere.
> 
> This is the world we live in today.

I'm probably going to get dumped on for saying this, but the whole notion 
of copyright really evolved in Europe in the 18th century, and while 
patent law in some form or another goes back to the ancient Greeks it had 
a lot more with who had royal favor than with who actually invented 
something.

Personally I think that copyright law really only works in an environment 
where there is significant capital investment in reproducing a work, and 
where everyone values the notion of copyright.  That's why you didn't see 
it come about until after movable type was ubiquitous, and it's why -- I 
believe -- that it's going to follow moving type into obsolescence.

Copyrights were already starting to fray with the invention of the 
copier, cassette tape and VCR, but in the digital age they become so 
difficult to enforce that -- in my opinion -- the constraints placed on 
individuals to do so cause more damage to society than the good caused by 
keeping their integrity.

The world has changed, and we need to find a way to fund creative efforts 
like book-writing and audio sampling, without putting everyone's digital 
devices in chains.

-- 
www.wescottdesign.com

On Sat, 23 Jan 2016 14:50:09 -0600, Richard Owlett wrote:

> On 1/23/2016 1:40 PM, Eric Jacobsen wrote:
>> On Sat, 23 Jan 2016 04:08:07 -0600, "zukan" <111488@DSPRelated> wrote:
>>
>>>> On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
>>>>>> On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
>>>>> He preferred a share in the product as opposed to money as he wanted
>>> to
>>>> be
>>>>> involved in this particular project.
>>>>
>>>> There's your real problem. In fact, the first thing I would have
>>>> asked
>>> is:
>>>> shared royalties? (and in reply to "No", "Then you're my competition
>>>> ... and I take no prisoners.").
>>>>
>>>> A lot of programmers, I think, are wising up to the traditional
>>>> contract-for-hire arrangement. You see: it's a lot of brain-busting
>>> creativity to put
>>>> into something that is -- in effect -- a form of authoring and
>>>> writing (not engineering; yes, I'm talking to you, fellow DSP'ers!)
>>>> and to have
>>> the
>>>> fruits of one's creativity go out to someone else with nothing to
>>>> show
>>> for it
>>>> but some money, is way too much to lose.
>>>>
>>>> It's a lot like slicing off layers of your brain to give to someone
>>>> else as a brain transplant donor.
>>>>
>>>> If you do the following you may get more takers: (1) ensure the
>>>> actual coding be distributable and distributed open source, (2)
>>>> contract only
>>> for the
>>>> fitting of the code to the application on hand (the widget) -- which
>>>> qualifies as a service analogous to being an editor, rather than a
>>>> form
>>> of
>>>> writing or engineering, (3) keep the original developers' names on
>>>> the
>>> code,
>>>> copyrighting it in their names (but to be distributed under
>>>> copyleft).
>>>>
>>>> Better yet, look for freely distributed DSP libraries that do VST,
>>>> take them and adapt them to your projects.
>>>>
>>>> Either way, in the process, you'll also make your operation more
>>>> Millennial-friendly in appearance, rather than something more
>>>> reminiscent
>>> of the
>>>> Sears, McDonalds, Walmarts, Microsofts of the world and the previous
>>> century.
>>>
>>> It's not like that at all. He wanted royalties, I prefer to pay up
>>> front.
>>> He wanted to be a part of the company and not just involved in one
>>> product.
>>>
>>> I work in the music industry as a writer. All of my 6 books in print
>>> have been pirated, all of my sound libraries that I earned royalties
>>> from for companies like Emu and Roland have been pirated. I have yet
>>> to receive monies from a film score I wrote and I have had all my site
>>> content duplicated on torrent sites.
>>>
>>> The reality of our industry is that we have such little earning power
>>> left, due to the lack of longevity of any product, that we have tp
>>> collaborate with competitors and release products regularly. That way
>>> we get about 1-3 months worth of revenue before the content is
>>> available everywhere.
>>>
>>> This is the world we live in today.
>>> ---------------------------------------
>>> Posted through http://www.DSPRelated.com
>>
>> That sets the context well.   Getting good people that have integrity
>> and understand how IP ownership works is always difficult.  Stick to
>> your guns and good look on your search.
>>
>>
> Is he looking for a "coder" or a "programmer". That was a common
> distinction back the last time I massaged software. Perhaps you've hear
> of the the latest and greatest from Intel, --- *THE 8085*.
> P.S. I saw Whirlwind's memory before it was donated to the Smithsonian
> ;}

I kinda commented on that.  He is from the UK, so the language may be 
different -- personally I'd advertise for a "software engineer" (and look 
for someone who can at least broadly read a schematic).

-- 

Tim Wescott
Wescott Design Services
http://www.wescottdesign.com

Tim Wescott wrote:
> On Sat, 23 Jan 2016 04:08:07 -0600, zukan wrote:
>
>>> On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
>>>>> On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
>>>> He preferred a share in the product as opposed to money as he wanted
>> to
>>> be
>>>> involved in this particular project.
>>>
>>> There's your real problem. In fact, the first thing I would have asked
>> is:
>>> shared royalties? (and in reply to "No", "Then you're my competition ...
>>> and I take no prisoners.").
>>>
>>> A lot of programmers, I think, are wising up to the traditional
>>> contract-for-hire arrangement. You see: it's a lot of brain-busting
>> creativity to put
>>> into something that is -- in effect -- a form of authoring and writing
>>> (not engineering; yes, I'm talking to you, fellow DSP'ers!) and to have
>> the
>>> fruits of one's creativity go out to someone else with nothing to show
>> for it
>>> but some money, is way too much to lose.
>>>
>>> It's a lot like slicing off layers of your brain to give to someone else
>>> as a brain transplant donor.
>>>
>>> If you do the following you may get more takers: (1) ensure the actual
>>> coding be distributable and distributed open source, (2) contract only
>> for the
>>> fitting of the code to the application on hand (the widget) -- which
>>> qualifies as a service analogous to being an editor, rather than a form
>> of
>>> writing or engineering, (3) keep the original developers' names on the
>> code,
>>> copyrighting it in their names (but to be distributed under copyleft).
>>>
>>> Better yet, look for freely distributed DSP libraries that do VST, take
>>> them and adapt them to your projects.
>>>
>>> Either way, in the process, you'll also make your operation more
>>> Millennial-friendly in appearance, rather than something more
>>> reminiscent
>> of the
>>> Sears, McDonalds, Walmarts, Microsofts of the world and the previous
>> century.
>>
>> It's not like that at all. He wanted royalties, I prefer to pay up
>> front.
>> He wanted to be a part of the company and not just involved in one
>> product.
>>
>> I work in the music industry as a writer. All of my 6 books in print
>> have been pirated, all of my sound libraries that I earned royalties
>> from for companies like Emu and Roland have been pirated. I have yet to
>> receive monies from a film score I wrote and I have had all my site
>> content duplicated on torrent sites.
>>
>> The reality of our industry is that we have such little earning power
>> left, due to the lack of longevity of any product, that we have tp
>> collaborate with competitors and release products regularly. That way we
>> get about 1-3 months worth of revenue before the content is available
>> everywhere.
>>
>> This is the world we live in today.
>
> I'm probably going to get dumped on for saying this, but the whole notion
> of copyright really evolved in Europe in the 18th century, and while
> patent law in some form or another goes back to the ancient Greeks it had
> a lot more with who had royal favor than with who actually invented
> something.
>

Yep. The term is common between "a monopoly on the sales & manufacture
of a device" and "a monopoly on trade in good <x>". IOW, The Hudson's 
Bay Company had a royal patent on the North American fur trade.

> Personally I think that copyright law really only works in an environment
> where there is significant capital investment in reproducing a work, and
> where everyone values the notion of copyright.  That's why you didn't see
> it come about until after movable type was ubiquitous, and it's why -- I
> believe -- that it's going to follow moving type into obsolescence.
>

Very interesting idea.

> Copyrights were already starting to fray with the invention of the
> copier, cassette tape and VCR, but in the digital age they become so
> difficult to enforce that -- in my opinion -- the constraints placed on
> individuals to do so cause more damage to society than the good caused by
> keeping their integrity.
>

And another way to look at it is that money may be slowly going obsolete.

The net effect of all this "free" might be expressed in accelerating
deflation.

> The world has changed, and we need to find a way to fund creative efforts
> like book-writing and audio sampling, without putting everyone's digital
> devices in chains.
>

This hasn't worked, so far. Kindle style books are the only thing that
works now, SFAIK. I only say that from a distance; they may be
pirated more than I know.

-- 
Les Cargill

On Monday, January 25, 2016 at 9:19:41 AM UTC-5, Les Cargill wrote:
> Tim Wescott wrote:
> > On Sat, 23 Jan 2016 04:08:07 -0600, zukan wrote:
> >
> >>> On Thursday, January 21, 2016 at 8:51:08 AM UTC-6, zukan wrote:
> >>>>> On Wed, 20 Jan 2016 09:09:05 -0600, zukan wrote:
> >>>> He preferred a share in the product as opposed to money as he wanted
> >> to
> >>> be
> >>>> involved in this particular project.
> >>>
> >>> There's your real problem. In fact, the first thing I would have asked
> >> is:
> >>> shared royalties? (and in reply to "No", "Then you're my competition ...
> >>> and I take no prisoners.").
> >>>
> >>> A lot of programmers, I think, are wising up to the traditional
> >>> contract-for-hire arrangement. You see: it's a lot of brain-busting
> >> creativity to put
> >>> into something that is -- in effect -- a form of authoring and writing
> >>> (not engineering; yes, I'm talking to you, fellow DSP'ers!) and to have
> >> the
> >>> fruits of one's creativity go out to someone else with nothing to show
> >> for it
> >>> but some money, is way too much to lose.
> >>>
> >>> It's a lot like slicing off layers of your brain to give to someone else
> >>> as a brain transplant donor.
> >>>
> >>> If you do the following you may get more takers: (1) ensure the actual
> >>> coding be distributable and distributed open source, (2) contract only
> >> for the
> >>> fitting of the code to the application on hand (the widget) -- which
> >>> qualifies as a service analogous to being an editor, rather than a form
> >> of
> >>> writing or engineering, (3) keep the original developers' names on the
> >> code,
> >>> copyrighting it in their names (but to be distributed under copyleft).
> >>>
> >>> Better yet, look for freely distributed DSP libraries that do VST, take
> >>> them and adapt them to your projects.
> >>>
> >>> Either way, in the process, you'll also make your operation more
> >>> Millennial-friendly in appearance, rather than something more
> >>> reminiscent
> >> of the
> >>> Sears, McDonalds, Walmarts, Microsofts of the world and the previous
> >> century.
> >>
> >> It's not like that at all. He wanted royalties, I prefer to pay up
> >> front.
> >> He wanted to be a part of the company and not just involved in one
> >> product.
> >>
> >> I work in the music industry as a writer. All of my 6 books in print
> >> have been pirated, all of my sound libraries that I earned royalties
> >> from for companies like Emu and Roland have been pirated. I have yet to
> >> receive monies from a film score I wrote and I have had all my site
> >> content duplicated on torrent sites.
> >>
> >> The reality of our industry is that we have such little earning power
> >> left, due to the lack of longevity of any product, that we have tp
> >> collaborate with competitors and release products regularly. That way we
> >> get about 1-3 months worth of revenue before the content is available
> >> everywhere.
> >>
> >> This is the world we live in today.
> >
> > I'm probably going to get dumped on for saying this, but the whole notion
> > of copyright really evolved in Europe in the 18th century, and while
> > patent law in some form or another goes back to the ancient Greeks it had
> > a lot more with who had royal favor than with who actually invented
> > something.
> >
> 
> Yep. The term is common between "a monopoly on the sales & manufacture
> of a device" and "a monopoly on trade in good <x>". IOW, The Hudson's 
> Bay Company had a royal patent on the North American fur trade.
> 
> > Personally I think that copyright law really only works in an environment
> > where there is significant capital investment in reproducing a work, and
> > where everyone values the notion of copyright.  That's why you didn't see
> > it come about until after movable type was ubiquitous, and it's why -- I
> > believe -- that it's going to follow moving type into obsolescence.
> >
> 
> Very interesting idea.
> 
> > Copyrights were already starting to fray with the invention of the
> > copier, cassette tape and VCR, but in the digital age they become so
> > difficult to enforce that -- in my opinion -- the constraints placed on
> > individuals to do so cause more damage to society than the good caused by
> > keeping their integrity.
> >
> 
> And another way to look at it is that money may be slowly going obsolete.
> 
> The net effect of all this "free" might be expressed in accelerating
> deflation.
> 
> > The world has changed, and we need to find a way to fund creative efforts
> > like book-writing and audio sampling, without putting everyone's digital
> > devices in chains.
> >
> 
> This hasn't worked, so far. Kindle style books are the only thing that
> works now, SFAIK. I only say that from a distance; they may be
> pirated more than I know.
> 
> -- 
> Les Cargill

"This hasn't worked, so far. Kindle style books are the only thing that 
works now, SFAIK. I only say that from a distance; they may be 
pirated more than I know."

All useful books in demand are pirated, even those with only paper editions - someone turns all the pages and puts them on scanner..
Heck, Google does in on massive scale - it's called book digitation project or something like that - going to all libraioes, scanning all books then doing OCR
Electronic books, kindle or whatever, are the easiest to pirate
- once your have your software setup the labor is zero

On 1/25/2016 9:21 AM, Tom Gardner wrote:

> As everybody here reads comp.risks, don't they (and
> if not, why not), they will have seen
> <http://www.rvs.uni-bielefeld.de/publications/Reports/KempLancasterPowerCuts201512V3.pdf>
> referenced in
> <http://catless.ncl.ac.uk/Risks/29.22.html#subj1>
>
> The relevant bit is that when, not if, electric power
> is out, buying necessities is /much/ easier with paper
> money than with electronic money ;}
>

We old folks get to watch the morning news.
Seems Sweden [IIRC} has plans to totally eliminate paper money.

Tom Gardner wrote:
> On 25/01/16 14:26, Les Cargill wrote:
>>
>> And another way to look at it is that money may be slowly going obsolete.
>
> As everybody here reads comp.risks, don't they (and
> if not, why not), they will have seen
> <http://www.rvs.uni-bielefeld.de/publications/Reports/KempLancasterPowerCuts201512V3.pdf>
> referenced in
> <http://catless.ncl.ac.uk/Risks/29.22.html#subj1>
>
> The relevant bit is that when, not if, electric power
> is out, buying necessities is /much/ easier with paper
> money than with electronic money ;}
>
>
>> The net effect of all this "free" might be expressed in accelerating
>> deflation.
>
> Cheap doesn't work. When something becomes cheap
> enough, a rich person can buy up the entire supply
> and become a monopoly supplier. And you know what
> comes next.
>

Except it appears to be too much trouble to do
that in the real world.

It *wasn't* too much trouble for Marcus Licinus Crassus, but
that was a long time ago, the world was simpler and
Romans were notoriously bloody-minded.

He basically sought rents rather than purely cornered markets -
he was able to control the landing of goods to manipulate price.

The Romans didn't do their usual and simply kill him off for
doing it, either.  "Too rich to kill"* or something.

*Movie reference - "Giant".

> Fortunately that could never ever happen, could it.
>


Paging the Hunt Brothers... your silver contracts
are ready :)

https://en.wikipedia.org/wiki/Silver_Thursday


-- 
Les Cargill