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I became the world's most prolific DJ, using code

376 pointsby redcodenlabout 3 years ago

21 comments

lhorieabout 3 years ago
Something that doesn&#x27;t seem to have been discussed from the legal angle is this: if one can make any copyright claim about these datasets qualifying as &quot;prior art&quot;, doesn&#x27;t that then open itself up for trolls to claim that the datasets infringe on existing prior art? It&#x27;s not like I can draw a pikachu, release it to public domain and make a slam dunk legal claim that all other pikachus are henceforth kosher.<p>I think Adam Neely makes a more relevant point in his videos about Dark Horse and Levitating: it doesn&#x27;t really matter what any actual infringement claim is because you can typically find relevant prior art from legitimate works of music if you dig deep enough, even without going through the exercise of autogenerating note sequences.<p>As I understand, the legal arguments focus on whether there is a clear and traceable connection between the creative process for a song and the alleged infringed work, and whether there is clear intent to omit credit where it is due. I.e. the argument already starts from the assumption that similarities and inspirations from existing works of art can and do exist.
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eweiseabout 3 years ago
I&#x27;m surprised to learn that copyright doesn&#x27;t take into account the length of notes, which to me is part of what makes melodies unique.
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almetabout 3 years ago
This is a mathematical approach to music, and lacks (from my point of view) what is the mere essence of music : choice.<p>I understand why they want to take back the copyright on music, <i>but</i> they do so in such a geeky way that it seems completely useless to me.<p>Ultimately, musicians will pick good &#x2F; cool melodies from this dataset, in the same way they do when in front of an instrument.<p>I might be missing the point ?
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nwsmabout 3 years ago
The TED talk was great, though he could have used more compelling examples than George Harrison and Sam Smith. Also great was Damien&#x27;s Twitter response to the author on using the de Brujin approach-<p>&gt; We had initially considered a “de Bruijn” sequence. But if we were to use a single file, that would have down sides:<p>&gt; If someone infringes our work, it would only be a tiny percentage (0.0000000001%?) of the “work” — so someone would argue “fair use”<p>&gt; Same idea with others incorporating ATM works in theirs (“tiny percentage”)<p>&gt; So our technical&#x2F;legal design is “One MIDI file per melody” — which I think is a legal feature, not a bug.
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benabusabout 3 years ago
But if you can&#x27;t copyright something that was created via automation (<a href="https:&#x2F;&#x2F;www.ipwatchdog.com&#x2F;2022&#x2F;02&#x2F;23&#x2F;thaler-loses-ai-authorship-fight-u-s-copyright-office&#x2F;id=146253&#x2F;" rel="nofollow">https:&#x2F;&#x2F;www.ipwatchdog.com&#x2F;2022&#x2F;02&#x2F;23&#x2F;thaler-loses-ai-author...</a>), does this even matter?
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dmitriidabout 3 years ago
Spider Robinson explored this in his 1983 story, <i>Melancholy Elephants</i>:<p><a href="http:&#x2F;&#x2F;www.spiderrobinson.com&#x2F;melancholyelephants.html" rel="nofollow">http:&#x2F;&#x2F;www.spiderrobinson.com&#x2F;melancholyelephants.html</a><p>--- start quote ---<p>There are eighty-eight notes. One hundred and seventy-six, if your ear is good enough to pick out quarter tones. Add in rests and so forth, different time signatures. Pick a figure for maximum number of notes a melody can contain. I do not know the figure for the maximum possible number of melodies--too many variables--but I am sure it is quite high.<p>&quot;<i>I am certain that is not infinity.</i><p>&quot;For one thing, a great many of those possible arrays of eighty-eight notes will not be perceived as music, as melody, by the human ear. Perhaps more than half. They will not be hummable, whistleable, listenable--some will be actively unpleasant to hear. Another large fraction will be so similar to each other as to be effectively identical: if you change three notes of the Moonlight Sonata, you have not created something new.<p>I do not know the figure for the maximum number of discretely appreciable melodies, and again I&#x27;m certain it is quite high, and again I am certain that it is not infinity<p>--- end quote ---<p>Do read it It&#x27;s scary and prescient.
mellosoulsabout 3 years ago
Previous discussions on the underlying project fwiw:<p><a href="https:&#x2F;&#x2F;news.ycombinator.com&#x2F;item?id=22301091" rel="nofollow">https:&#x2F;&#x2F;news.ycombinator.com&#x2F;item?id=22301091</a><p><a href="https:&#x2F;&#x2F;news.ycombinator.com&#x2F;item?id=22440944" rel="nofollow">https:&#x2F;&#x2F;news.ycombinator.com&#x2F;item?id=22440944</a><p><a href="https:&#x2F;&#x2F;news.ycombinator.com&#x2F;item?id=22413526" rel="nofollow">https:&#x2F;&#x2F;news.ycombinator.com&#x2F;item?id=22413526</a>
cwkossabout 3 years ago
We should pass a law to cap the maximum earnings from a single work of art to destroy the incentive for lawyers to strangle culture with predatory lawsuits.<p>Ex. Once a work of song makes $10M it should just go into the public domain. Want to make more? Keep writing more songs.
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erikschosterabout 3 years ago
Other projects in a similar spirit:<p>Tom Johnson&#x27;s Chord Catalog which organizes the 8,178 chords possible in a single octave of the piano: <a href="https:&#x2F;&#x2F;fr.wikipedia.org&#x2F;wiki&#x2F;The_Chord_Catalogue" rel="nofollow">https:&#x2F;&#x2F;fr.wikipedia.org&#x2F;wiki&#x2F;The_Chord_Catalogue</a><p>James Whitehead&#x27;s All Possible CDs: <a href="http:&#x2F;&#x2F;www.jliat.com&#x2F;APCDS&#x2F;index.html" rel="nofollow">http:&#x2F;&#x2F;www.jliat.com&#x2F;APCDS&#x2F;index.html</a><p>&gt; This “thought” experiment although based on real “physical” objects can be treated as a simple mathematical object and so allows us to explore some of the consequences of this object or objects. The important feature is that any finite series is fixed, so greater sized disks, blue ray, whatever, is not significant to the idea, that is in a finite universe there are a finite number of finite objects. The size of the bit strings set real limits on the number of possible objects; web pages typically use 24 bits to encode colors, 8 bits for red, 8 for blue, and 8 for green that gives 256 x 256 x 256 or 16,777,216 possible colors, and no more.<p>&gt; In Deleuzean terms, you could call this, all possible CDs, the “virtual plane”, thought experiment, in the case of 2 to the power 6265728000 of all possible audio on CD, a virtual set of possibilities or a virtual plane, and the actual physical CDs in the world are actualizations of these virtualalities. Actual objects, physical CDs, being intensities on this virtual plane. Actual CDs are not mere copies of there virtual counterparts, they are not re presentations of the virtual, for they have many more properties, many physical properties, color, size, shape etc., just as in the Deleuzean Virtual and Real planes, the real is not a copy of the virtual, but an intensity.<p>&gt; Using this as a model we can “experience” actualities that are physically unlikely for humans if not in practice impossible, for 2 to the power 6265728000, is approximately 10 to the power 2000000000. There are only 10 to the power 118 particles in the universe so a full and total actualization of the virtuality of CDs seems impossible.
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GLGirtyabout 3 years ago
Author has discovered a new method of torture. I tried to listen to the 2 minute sample, and rage quit after 30 seconds.
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davedxabout 3 years ago
Kinda interesting project but very clickbait title. What does this have to do with DJing?
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cycomanicabout 3 years ago
I suspect the &quot;appealing&quot; melodies amongst this are likely a small subset of the the total set.<p>The whole story reminded me of this axis of awesome (OZ comedy group) song (well worth watching): <a href="https:&#x2F;&#x2F;www.youtube.com&#x2F;watch?v=5pidokakU4I&amp;list=RD5pidokakU4I&amp;start_radio=1" rel="nofollow">https:&#x2F;&#x2F;www.youtube.com&#x2F;watch?v=5pidokakU4I&amp;list=RD5pidokakU...</a>
wodenokotoabout 3 years ago
Wasn’t there an article on the front page last week about how computer generated art wasn’t copyrightable?
irjustinabout 3 years ago
This is a similar concept of Library of Babel[0].<p>With code you really can do &quot;a thousand monkeys at typewriters&quot;, but is it meaningful?<p>[0] <a href="https:&#x2F;&#x2F;libraryofbabel.info&#x2F;" rel="nofollow">https:&#x2F;&#x2F;libraryofbabel.info&#x2F;</a>
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helsinkiabout 3 years ago
Cool - now scrape the web for new songs that match one of yours and sue them ;)
KyleJuneabout 3 years ago
Couldn&#x27;t authors who published melodies before him make copyright claims against him. Seems like he may be opening himself up to many copyright claims.
hackernewdsabout 3 years ago
is it just me or does this not feel like a &quot;lot&quot; anymore? this is $20 in storage and a 1s query now<p>&gt; They generated all songs of length n=12 with k=8 notes, this amounts to a staggering n^k = 8^12 = 68,719,476,736 unique songs.<p>&gt; All these songs are 12 notes long and have their own MIDI file which adds even more overhead. The size of this dataset is huge, 1.2TB compressed using GZIP.
snek_caseabout 3 years ago
A lot of people seem to miss the distinction between DJ (someone who mixes&#x2F;remixes music) and composer&#x2F;producer.
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GrazeMorabout 3 years ago
This only works for western music
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29athrowawayabout 3 years ago
Clickbait.
imwillofficialabout 3 years ago
This guy is nowhere near the “World’s most prolific DJ”<p>I’ve never heard of Him, and I run in those circles.<p>Interesting reading though.
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