I think what earned what.cd that title wasn't necessarily just the amount but the quality, as you mentioned, as well as the obscurity of a lot of the offered material. I remember finding an early EP of an unknown local band on there, and I live in the middle of nowhere in Europe. There were also quite a few really old and niche records on there which possibly couldn't be put on streaming services due to the ownership of rights being unknown. It was the equivalent of vinyl crate digging without physical restrictions.
Additionally there was a lot of discourse about music and a lot of curated discovery mechanisms I sorely miss to this day. An algorithm is no replacement for the amount of time and care people put into the web of similar artists, playlists of recommendations and reviews. Despite it being piracy, music consumption through it felt more purposeful. It's introduced me to some of my all time favourite artists, which I've seen live and own records and merchandise of.
> I remember finding an early EP of an unknown local band on there
So there was a clever trick that smaller artists did on what.cd: put up a really generous upload credit bounty for your own music, in order to sell digital copies.
I knew a few bands in Toronto who did this as a way to make sales.
They'd put up a big bounty right after setting up a webpage offering the album for sale via Paypal, then spend a few days collecting orders (and they would get a lot of them - hundreds sometimes - because What.cd had a lot of users looking for ratio credits) and then eventually email a link to the album after a few days.
No idea what the scale of this trick/scam (call it whatever) was but anecdotally I heard about it enough.
> There were also quite a few really old and niche records on there which possibly couldn't be put on streaming services due to the ownership of rights being unknown.
Music licensing (in the US at least) is actually pretty nice for this (from the licensee perspective anyway). There are mechanical licenses which allow you to use music for many uses without contracting with the rightsholders and clearinghouses whose job is to determine where to send royalties. So you can use the music and send reporting and royalties to the clearing houses and you're done.
Of course, you may want to contract with the rightsholders if you don't like the terms of the mechanical license; maybe it costs too much, etc. If you're Spotify or similar and you have specific contracts for most of the music, and have to pay mechanical license rates for the tail, it might make sense to do so in order to boast of a larger catalog.
It's Redacted.sh, a.k.a. RED. They have around three million torrents. But like What.CD, Redacted.sh is a private tracker, so you can't just jump in and see the content.
It is worth noting that RED is particularly difficult to get a decent ratio on. Spend some time googling reddit posts, there are plenty of examples of people not being able to build solid ratios due to competing with scripted bots.
Another comment mentioned Redacted.sh as a successor. I haven't used it. I'm sure there's a subreddit around that can help. Looks like orpheus is another option if I'm reading correctly. You have to get an invite or pass an "interview" though, so be prepared to wait a while.
What.cd were extreme sticklers for quality! When you applied to get in, they did a live interview on IRC to test your knowledge of ripping, transcoding, and different kinds of compression, how torrents and private trackers work, and their code of conduct. I remember studying for it. They also had ways to make sure you weren't cheating like checking your screen, as well as very aggressive automated checks for VPNs and blocklisted IPs to prevent ban evasion and multiple accounts.
They also had good incentive structures for keeping the bar high -- you could get kicked out for having a bad ratio, so the easiest way to pump your upload up was to fulfil obscure requests for FLACs you could purchase online but were extremely difficult to purchase (if you're lucky it's just an unknown artist on Bandcamp). I discovered a lot of obscure music this way, some that I'm still looking for to this day after it shut down.
Because I cared so much about being part of that private tracker, this is what also prompted me to rent a seedbox for the first time. I paid in Bitcoin out of paranoia (I lived in Germany where the fines for piracy are HEFTY, and they actually do come after you) back when Bitcoin wasn't really worth that much, and later found that that old wallet suddenly had a couple thousand in it instead of the spare change I couldn't move!
I must have joined at a different time because all I needed for me, a total annoying script kiddie leech, just needed an invite code (or link? I forget)
Yeah, What.CD had a bunch of the local Brisbane post-rock bands from the 00s on there which was amazing to me. I at least have copies of a lot of their records!
While VAC is indeed far from competent at detecting all but the most rudimentary cheats, it is so by design. When the first third party CSGO matchmaking/league services decided to use kernel level AC, Valve publically said they would personally not do such a thing. I can't remember if any exact reasons were named at the time, but I do think it's a fair take on their end. It's not like they're locking developers into using VAC anyway.
Furthermore, more recently they have debuted VACNet, which uses machine learning, most likely to recognize certain patterns and behaviors associated with cheating. Probably still avoidable if one were to use subtle settings and knows how to act properly. But it shows they haven't given up and are trying to explore alternative methods at least. I'm admittedly not familiar with how successful it has been as I have not been playing or even following the game for a long time.
I don't know what sort of artists you know, but of all the artists I know, nobody is "completely fine" with tracing. It is okay but still frowned upon when people do it for "practice" without publishing the result, but anything that even looks remotely like it is traced gets called out and further investigated incredibly quickly.
And as for fan art, a lot of companies explicitly allow art based on their IP, as long as it's used/published by the artists themselves and the commercial rights to the work aren't sold to some other company. In Japan, there is a whole industry based around derivative works, Doujin - self-published works, that works off of what is essentially a code of honor. Companies don't go against the artists, as long as said artists adhere to certain guidelines on what they're allowed to depict (eg. no NSFW content.) Many franchises have become a lot more popular due to fan art/derivative works alone (ie. Touhou Project, Fate Series.)
Tracing is particularly unacceptable in professional settings. There’s been several cases, some even somewhat high profile, where manga and comic artists have found themselves in hot water as a result of engaging in the practice.
>Tracing is particularly unacceptable in professional settings.
Tracing is a fundamental skill in a professional settings for consistency, speed, and quality reasons. In torepaku it is the paku (pakuri) part that is not acceptable.
As a hobbyist musician even I notice Live's flaws. And while it does indeed get out of your way most of the time, when it doesn't you can't change it and it becomes frustrating. While other larger players in the industry are farther ahead, just how far behind Live really is becomes especially apparent when you look at Reaper. They're fundamentally different in their approaches, yes. But Reaper's pace for adding new features and how up-to-date they are in terms of the changing landscape of the industry (CLAP plugins, ARA2 support, etc.) is impressive considering their small team. But Ableton's focus with Live seems to be more towards adding content rather than features or large overhauls. At least that's my impression.
I genuinely love Live's workflow. It feels the most natural to me. But the ever growing list of annoyances and shortcomings make me look into other DAWs fairly frequently. Though sadly no other one has really stuck with me so far.
"Radios" in Spotify are a shadow of their former self anyway. They used to be a theoretically infinite list of songs that you could up and down vote, which would then influence the next songs to be added. Now it's just a playlist of stuff Spotify deems similar and you essentially just have to deal with it.
Discovery via their radio used to be great. Whenever I tried it more recently it was kind of awful. I've switched off of Spotify many times over the past few years, only to regrettably come back and be disappointed again.
I wish Apple would just make a proper cross platform Apple Music client, then I could switch in peace. All the other alternatives lack some of the more obscure artists I listen to regularly. And while I try to purchase as much as I can, not everything is available digitally and I don't really want to import CDs from the other side of the world.
A far less monetized and more user content focused version of "the Metaverse" already exists: VRChat. It's been around since before Covid and it is still around. Granted, yes, it is still mostly a niche hobby for some very dedicated people, not all of whom even use VR, but it exists. I think the people who would have been interested in Meta's product looked at it and thought "But we already have a less crappy version of this that's not tied to a questionable company." Especially since Meta's handling of Oculus has been far from great (i.e. requiring a Facebook/Meta account just to use any headset, as opposed to the separate account like before).
But as I said, it's still fairly niche and mostly serves as an escape for people. I think slapping the whole "buy in-world items with crypto" thing on top of that just made the target group even smaller than before. It just felt like jumping onto any tech buzz words to broaden appeal, when it actually caused the opposite. For all the data they're supposed to have, that was poor decision making imo.
This is not the default behaviour and it has to be enabled per client/platform. The first unlock after a reboot still requires the master password as well.
Looking at their careers page[1] lists a bunch of web3 positions, so it's safe to say their general plan regarding crypto/blockchain goes even beyond just NFTs as a phone feature. That's a big no from me for sure.
Maybe a short, abstract svg animation of how a certain feature would look like and behave? Probably a little more work to implement (well) and keep up to date but I've liked that sort of thing on the few sites I've seen it on in the past. Sadly can't think of any right now though.
I also remember algolia having some sort of movie search demo as their top banner a few years ago. Including their completion and such. Always struck me as a good way to introduce their service in particular.
Additionally there was a lot of discourse about music and a lot of curated discovery mechanisms I sorely miss to this day. An algorithm is no replacement for the amount of time and care people put into the web of similar artists, playlists of recommendations and reviews. Despite it being piracy, music consumption through it felt more purposeful. It's introduced me to some of my all time favourite artists, which I've seen live and own records and merchandise of.