Cool, thanks for sharing. Shannon was a bit too optimistic about when all this should happen, but he essentially describes what we have today, 65 years later.
Great sound quality, definitely better than Suno 5 and 6. It let me download a WAV file which goes unfiltered up to 20kHz (Suno goes to ~15kHz and has more artefacts).
They also seem to use a different encoding scheme which has more bandwidth and less artefacts up front. If you download a WAV from Suno, you still essentially have MP3 quality, just serialized to a WAV file. The elevenlabs WAV has full audio bandwidth instead and I checked frequency sections with a parametric EQ and noticed that e.g. the cymbals go high up in spectrum (which is not obvious in the given sample song where middle and bass frequencies dominate); with a bit of mastering the result is much better, but I posted the original here. I can also upload the WAV file if needed.
> but as soon as they get good, then any human composition will be completely devalued
I think it will take many more years until an AI is able to compose like e.g. John Williams and play a score and sound like e.g. the London Symphony Orchestra. So there is room left for human contribution. On the other hand, the majority of humans even before AI was not able to value good vs. bad musical composition and performance, and instead satisfied with the commercial slop the market was flooded over the last thirty years. Studies of e.g. Spotify consumer behaviour demonstrated for many years before AI that more and more people consume anonymous playlists never caring who composed or played the music, just using music for its functional purpose like a commodity. It's depressing, but that's how society develops.
> a curiosity, someone who does things the hard way for their own amusement
That development already started long ago. In the eighties and nineties, music schools florished and children wanted to learn instruments and play in bands or orchestras. That completely changed over the last thirty years. Musical instruments will be a curiosity in a decade or two people are going to watch in a museum, wondering why anyone would have learned these skills in the past.
Sound quality doesn't seem to have improved, especially the grand pianos still sound detuned. I hear new musical and sound features such as wild Paganini violine solos and more progressive arrangements. But in general I don't think it is better from what I've heard so far than what we had in v5 (here some of my v5 experiments for comparison: https://rochus-keller.ch/?p=1428).
Wouldn't a true Swiss person be neutral and cautious, and wouldn't they refrain from parroting all sorts of nonsense in public about other countries? Anyway, it doesn’t exactly seem like smart move when a government agency tasked with protecting its citizens’ sensitive information switches on a large scale from local, closed networks with energy-efficient desktop applications to externally hosted SaaS infrastructure, with wasteful, fragile, unsecure browser-based applications, sending each byte over many borders. This development should never have happened in the first place.
- They feel like the Swiss person above shouldn't say stuff like "the US were never friends". And... you know... they are entitled to their feelings, I guess?
- Switzerland should not have become dependent on BigTech (or any kind of external tech). Which goes in the direction of digital sovereignty.
What misconception? The administration wrote themselves few years ago: https://www.edoeb.admin.ch/de/07032023-bundesverwaltung-fueh...
Now (eventually) they seem to reconsider that this dependability might not have been a good idea. I worked for the Swiss administration myself as an external consultant for many years and have I pretty good insight.
Doesn't look like really a "v2" to me, rather v1 a bit re-arranged. A true "theory" able to explain present music (or even Jazz from the seventies) and also support its creation is still widely lacking, or just a naive variation of what was used for classical music. Tymoczko & co go a bit in a more general/useful direction where the theory eventually can also be used to define algorithms which can "compose" credible contemporary music, but still a long way to go. The latter is like the "litmus test" from my humble point of view whether a theory is indeed useful.
I agree that transclusion, particularly based on byte offsets, is not very useful for the WWW. But the concept is much more useful than what the author suggests. Maybe you have heard of Ivar Jacobson's Objectory tool. I worked with it in the nineties in large projects and it was able to transclude terms and definitions wherever they were linked, even integrated in the text flow where they appeared. That was true added value and much more useful than tools like DOORS. I myself have implemented CrossLine, which I used for large project information aggregation, creating new documents with transcluded passages from specifications and minutes put into the most useful context. In CrossLine, the unit of transclusion is an outline item. Also Jacobson's tool had useful units. I think the failure of approaches like Xanadu was not an absence of meaningful transclusion use-cases; rather to identify and integrate the right units of knowledge.
Looks interesting. But I couldn't find any practical examples or tutorials so far. Any hints? Is there a description somewhere how it is implemented, i.e. what technical concepts are used to analyze the Midi, understand the music well enough, and then invent a credible orchestration?
This project is not pointless at all. It's not about "reproducible builds", but about building a full present system from "first principles". It would be a way out of a significant dependability problem barely anyone today is aware of.
It's not my problem. It's not anyone's problem. That's my point. It's also not something that's a little further beyond the horizon or the next weakest link that attackers may target next.
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