4,415 karma · joined February 16, 2010
if you haven't read (one of the many) walkthroughs yet, go ahead and find some interesting things just being a fly on the proverbial wall.
Star Control 2 is a game where the game is incidental, and the real hero is the story writing.
basically, use only cash (no debit or credit cards ever), no housing purchase, live in a tent on public land, do not register for a driver's license, and don't have a passport. No internet account, so no bitcoin (which needs a steady internet connection) - crypto currencies are not the answer because they depend on you being online, and it's super easy to get caught in the mesh with the KYC (know your customer) laws.
You might be able to get by with paper bitcoin but no one really wants to take your offline coins.
don't get any traffic tickets or cross paths with police, always avoid anyone who looks like they are in some kind of authority capacity.
If you do encounter an OS level issue that can't be solved by first or 2nd tier local support, wiping from internet recovery is the next step, followed by sending it back to Apple (if you are within applecare) for direct replacement.
The Apple Business team is incredible, and is much better than regular genius bar service at the apple store.
They are pricy on the whole, but it's worth it if you have a need for macs in your environment.
A lot of the cutting edge of acoustic research is from people wanting to make materials and spaces do certain things with sound.
For example, this article describes a system that lets sound through one way This was described in https://www.scientificamerican.com/article/a-one-way-street-... ("an acoustic circulator") - the need will come from things like this.
And for musicians, artists, and instrument makers to make use of materials, devices, and spaces like this. That would be my answer to your question of where the need/why will come from.
Imagine needing to write a DAW module to deal with "one way sound" that results from using an acoustic circulator in a musical production or a song.
Saying that audio has "different set of constraints from other types of workloads" and giving up on fundamental algorithm research is just defeatist, throwing in the towel, and frankly really insulting to human advancement.
Come on, we need some new algorithms and just saying "whelp it can't be done" is kind of ... not the hacker spirit.
It could be that we need quantum algorithms for parallel processing what previously was thought to be serial. Just from reading your well reasoned paragraph, I can see we desperately need fundamental algorithm research in sound processing.
An imaginary scenario might to to invent an algorithm to convert/transform sound/pressure wave information into another domain, one that is not dependent on serial time, and then do the operations, and then re-convert it back to the time domain that we usually associate with sound processing. Where, within this alternative domain, parallel processing is possible.
We do stuff like this all the time in other disciplines. Even stuff like the FFT was an attempt to transform and make certain "unsolvable" problem solvable in another form.
That's the kind of math research that I'm referring to.
There needs to be significant number theory and computer science algorithmic work related to sound and how we represent sound with data.
GPU's currently cannot work with sound data in the processing chain, and multicore is basically just used to scale horizontally (ie to have more plugins or instruments)
New algorithms are needed to scale out audio processing, as well as make use of new hardware types (for example, using the gpu)
Lossless (when used properly and able to algorithmically guarantee what comes out == what goes into the compression toolchain) avoids the whole issue altogether, and that's what's valuable about it.
Focusing on whether compression captures every nuance of uncompressed sound is the wrong battle. The real battle is against careless distributors and bad artifacts introduced by poor compression settings and often incorrectly coded compression utilities used throughout the music industry.
(ie we on hn might all be using Lame or the Fraunhofer mp3 encoders, but a lot of music producers/distributors will be using custom / closed source encoders, or even audio workstations with the encoder implemented in hardware, and those might or might not be encoding mp3 correctly.)
My personal workstation at the side of my desk has 6 pcie nvme ssd's and I can add 4 more without breaking the lane bank.
or some problems with time dilation.
BUT don't call it "kangaroo jumps 50000 km and we need it cause reality says so"
There are people who "throw away" the coupon by not returning the old battery, but hey that's on them.