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We need to talk about the future of the compact disc. How much longer will it exist?

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When Luminate, the company that monitors music sales and streaming consumption, released its weekly numbers last week, I sighed over the year-to-date sales of compact discs. For the week ending Nov. 16, only 1,652,136 CDs have been sold in Canada all year. That’s a drop of 13.4 per cent from the same time last year. Looking at the U.S., a billion discs were sold in 2001. Last year, the number was 33 million.

Yes, we still had Black Friday and the whole holiday shopping period to go, but when the calendar flips to 2024, CD sales will still see another year-over-year decline.

Meanwhile, vinyl sales are up almost 24 per cent over 2022, despite prices being ludicrously high. More than a million new LPs have sold so far this year. Factor in the bustling market for used vinyl — something that Luminate does not track — and it’s conceivable that vinyl will outsell CDs in 2023. Because of its high price point, vinyl has already generated more revenue than its shiny 5-inch cousin.

When the CD made its public debut in December 1982, we were told that this was an End of History moment. Through the magic of digital technology, the ultimate in audio reproduction had been achieved. What’s more, CDs were purportedly indestructible. “Perfect sound forever,” they said.

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This, of course, wasn’t true. No, you couldn’t scratch a CD all to hell and not have it skip. Even if you leave a CD alone, it’s susceptible to the glue holding the plastic and aluminum layers together will eventually dry out, causing everything to separate and leading to a phenomenon known as “disc rot.” Given that the estimated lifespan of a CD is somewhere between 50 and 100 years, we’re very close to the time when the first discs issued will be reaching the end of their usefulness.

Despite the “perfect sound forever” bumpf we were sold, there have been attempts to replace the CD with something better. In the late 1990s, we started hearing about Super Audio CDs, an upgraded version of the compact disc co-developed by the OGs of the technology, Sony and Philips. An SACD could store more than four gigabytes of data (and up to 8.5 gigs in a “dual-layer” format), which was way more than the 640 megabytes of a standard CD. SACDs also had a much higher sampling rate (2.82 MHz compared to the CD’s 44.1 kHz), meaning that audio resolution was substantially better. And instead of being able to decode to two-channel stereo, SACDs had up to six channels of audio of 100 minutes each and still left room for data like photos and liner notes.

SACDs had a competitor in the form of High Definition Compact Discs which had spun off from technology developed by Microsoft in the mid-1980s. There was also a proposal for a disc about the size of a Loonie, but I don’t think it ever made it to market. The damn things were so small they were a choking hazard.

Despite the superior high fidelity of both formats and a robust number of releases (6,000 for SACD and 5,000 for HDCD), the marketplace didn’t care. No one wanted to repurchase their music libraries so soon after having done that in the transition from vinyl to CD in the ’80s. Besides, you needed to purchase special digital players in order to use the discs. (I have a shelf of SACDs that were given to me and nothing to play them on.)

But the CD’s biggest foe wasn’t another physical format. The future was a whole new form of amorphous digital music. First, it was attacked by the illegal file-sharing introduced by Napster and its descendants. Then came iTunes and legitimate digital downloads. And then after that, streaming. In all cases, convenience, access, and low cost trumped possession when it came to music.

At first, the audio quality of these digital files was substandard when compared to CDs, thanks to compression algorithms. Some streaming platforms promise CD-quality audio. Eventually, we started to hear about things like Hi-Res Audio and FLAC files which were not compressed to hell but had better-than-CD audio quality. They still needed to be purchased through digital music storefronts like ProStudioMasters and 7 Digital Canada and often require audiophiles to upgrade their hardware. But this time, people started paying attention. Uptake has been slow but exponentially faster than what we saw with SACD and HDCD.

Now, though, streaming has caught up. Apple Music, Amazon Music, Deezer, Tidal, Qobuz, and a few others offer millions of songs in higher resolution than the old 16-bit/44.1 kHz spec we get with CDs. (Spotify is lagging but promises to up its game soon.) It’s Hi-Res Audio with the same convenience and access to old-school streaming. Some platforms charge more for the better sound while others are swapping out their old CD-quality files for new Hi-Res ones.

The thing I’m most excited about is Dolby ATMOS, Apple’s Spatial Audio, and Sony’s 360 Reality Audio). Each technology allows for mixing music into multiple channels, either physically (i.e. using multiple speakers) or through software that offers an immersive audio experience through just two channels (read: headphones/earbuds).

Earlier this year, I was lucky enough to visit an ATMOS remixing facility in L.A. where I was played new ATMOS versions of songs by Faith No More and The B52s. Wow. And then last week, I was invited by Universal Music Canada to hear ATMOS-enhanced versions of Beatles hits created with all sorts of machine learning that teased out incredible multi-channel detail from songs that were recorded on old mono machines at Abbey Road back in the 1960s.  Just … wow.

The downside? I heard these songs using a setup that required up to 14 carefully placed speakers and hundreds of watts of amplification. My wife will never allow that in the house.

Other hardware is still lagging behind. If you have a newer iPhone (<2017 and using iOS11 or better), you can listen to FLAC files, but only through Apple File’s app and not at full-tilt Hi-Res levels because of the capabilities of the iPhones onboard Digital-to-Analogue Converter (DAC).

And don’t even think of listening to these files on any device with wireless Bluetooth headphones or earbuds because that tech just doesn’t have the bandwidth to transfer all the data encoded in a Hi-Res file. The only option to achieve maximum audio quality is to connect headphones with a wire through a Lightning-to-3.5 mm adapter and then through an external DAC. It’s an expensive workaround. (FYI: I use DragonFly external DAC. I love it.)

The upshot of all this is that after more than 40 years, it’s possible to stream millions of songs in better-than-CD quality for about the cost of a single compact disc. This is where the recorded music industry, audio gear manufacturers, and mobile phone makers are headed, too. Even though music consumers have been largely indifferent to audio quality since the days of Napster — access and convenience proved to be more important than proper high fidelity — they’re going to get better-sounding music whether they know it or not.

The next question is, “How long can the CD hold out?” We’ll find out. And my guess it’ll be sooner than later.

 

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Here is how to prepare your online accounts for when you die

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LONDON (AP) — Most people have accumulated a pile of data — selfies, emails, videos and more — on their social media and digital accounts over their lifetimes. What happens to it when we die?

It’s wise to draft a will spelling out who inherits your physical assets after you’re gone, but don’t forget to take care of your digital estate too. Friends and family might treasure files and posts you’ve left behind, but they could get lost in digital purgatory after you pass away unless you take some simple steps.

Here’s how you can prepare your digital life for your survivors:

Apple

The iPhone maker lets you nominate a “ legacy contact ” who can access your Apple account’s data after you die. The company says it’s a secure way to give trusted people access to photos, files and messages. To set it up you’ll need an Apple device with a fairly recent operating system — iPhones and iPads need iOS or iPadOS 15.2 and MacBooks needs macOS Monterey 12.1.

For iPhones, go to settings, tap Sign-in & Security and then Legacy Contact. You can name one or more people, and they don’t need an Apple ID or device.

You’ll have to share an access key with your contact. It can be a digital version sent electronically, or you can print a copy or save it as a screenshot or PDF.

Take note that there are some types of files you won’t be able to pass on — including digital rights-protected music, movies and passwords stored in Apple’s password manager. Legacy contacts can only access a deceased user’s account for three years before Apple deletes the account.

Google

Google takes a different approach with its Inactive Account Manager, which allows you to share your data with someone if it notices that you’ve stopped using your account.

When setting it up, you need to decide how long Google should wait — from three to 18 months — before considering your account inactive. Once that time is up, Google can notify up to 10 people.

You can write a message informing them you’ve stopped using the account, and, optionally, include a link to download your data. You can choose what types of data they can access — including emails, photos, calendar entries and YouTube videos.

There’s also an option to automatically delete your account after three months of inactivity, so your contacts will have to download any data before that deadline.

Facebook and Instagram

Some social media platforms can preserve accounts for people who have died so that friends and family can honor their memories.

When users of Facebook or Instagram die, parent company Meta says it can memorialize the account if it gets a “valid request” from a friend or family member. Requests can be submitted through an online form.

The social media company strongly recommends Facebook users add a legacy contact to look after their memorial accounts. Legacy contacts can do things like respond to new friend requests and update pinned posts, but they can’t read private messages or remove or alter previous posts. You can only choose one person, who also has to have a Facebook account.

You can also ask Facebook or Instagram to delete a deceased user’s account if you’re a close family member or an executor. You’ll need to send in documents like a death certificate.

TikTok

The video-sharing platform says that if a user has died, people can submit a request to memorialize the account through the settings menu. Go to the Report a Problem section, then Account and profile, then Manage account, where you can report a deceased user.

Once an account has been memorialized, it will be labeled “Remembering.” No one will be able to log into the account, which prevents anyone from editing the profile or using the account to post new content or send messages.

X

It’s not possible to nominate a legacy contact on Elon Musk’s social media site. But family members or an authorized person can submit a request to deactivate a deceased user’s account.

Passwords

Besides the major online services, you’ll probably have dozens if not hundreds of other digital accounts that your survivors might need to access. You could just write all your login credentials down in a notebook and put it somewhere safe. But making a physical copy presents its own vulnerabilities. What if you lose track of it? What if someone finds it?

Instead, consider a password manager that has an emergency access feature. Password managers are digital vaults that you can use to store all your credentials. Some, like Keeper,Bitwarden and NordPass, allow users to nominate one or more trusted contacts who can access their keys in case of an emergency such as a death.

But there are a few catches: Those contacts also need to use the same password manager and you might have to pay for the service.

___

Is there a tech challenge you need help figuring out? Write to us at onetechtip@ap.org with your questions.

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Google’s partnership with AI startup Anthropic faces a UK competition investigation

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LONDON (AP) — Britain’s competition watchdog said Thursday it’s opening a formal investigation into Google’s partnership with artificial intelligence startup Anthropic.

The Competition and Markets Authority said it has “sufficient information” to launch an initial probe after it sought input earlier this year on whether the deal would stifle competition.

The CMA has until Dec. 19 to decide whether to approve the deal or escalate its investigation.

“Google is committed to building the most open and innovative AI ecosystem in the world,” the company said. “Anthropic is free to use multiple cloud providers and does, and we don’t demand exclusive tech rights.”

San Francisco-based Anthropic was founded in 2021 by siblings Dario and Daniela Amodei, who previously worked at ChatGPT maker OpenAI. The company has focused on increasing the safety and reliability of AI models. Google reportedly agreed last year to make a multibillion-dollar investment in Anthropic, which has a popular chatbot named Claude.

Anthropic said it’s cooperating with the regulator and will provide “the complete picture about Google’s investment and our commercial collaboration.”

“We are an independent company and none of our strategic partnerships or investor relationships diminish the independence of our corporate governance or our freedom to partner with others,” it said in a statement.

The U.K. regulator has been scrutinizing a raft of AI deals as investment money floods into the industry to capitalize on the artificial intelligence boom. Last month it cleared Anthropic’s $4 billion deal with Amazon and it has also signed off on Microsoft’s deals with two other AI startups, Inflection and Mistral.

The Canadian Press. All rights reserved.

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Kuwait bans ‘Call of Duty: Black Ops 6’ video game, likely over it featuring Saddam Hussein in 1990s

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DUBAI, United Arab Emirates (AP) — The tiny Mideast nation of Kuwait has banned the release of the video game “Call of Duty: Black Ops 6,” which features the late Iraqi dictator Saddam Hussein and is set in part in the 1990s Gulf War.

Kuwait has not publicly acknowledged banning the game, which is a tentpole product for the Microsoft-owned developer Activision and is set to be released on Friday worldwide. However, it comes as Kuwait still wrestles with the aftermath of the invasion and as video game makers more broadly deal with addressing historical and cultural issues in their work.

The video game, a first-person shooter, follows CIA operators fighting at times in the United States and also in the Middle East. Game-play trailers for the game show burning oilfields, a painful reminder for Kuwaitis who saw Iraqis set fire to the fields, causing vast ecological and economic damage. Iraqi troops damaged or set fire to over 700 wells.

There also are images of Saddam and Iraq’s old three-star flag in the footage released by developers ahead of the game’s launch. The game’s multiplayer section, a popular feature of the series, includes what appears to be a desert shootout in Kuwait called Scud after the Soviet missiles Saddam fired in the war. Another is called Babylon, after the ancient city in Iraq.

Activision acknowledged in a statement that the game “has not been approved for release in Kuwait,” but did not elaborate.

“All pre-orders in Kuwait will be cancelled and refunded to the original point of purchase,” the company said. “We remain hopeful that local authorities will reconsider, and allow players in Kuwait to enjoy this all-new experience in the Black Ops series.”

Kuwait’s Media Ministry did not respond to requests for comment from The Associated Press over the decision.

“Call of Duty,” which first began in 2003 as a first-person shooter set in World War II, has expanded into an empire worth billions of dollars now owned by Microsoft. But it also has been controversial as its gameplay entered the realm of geopolitics. China and Russia both banned chapters in the franchise. In 2009, an entry in the gaming franchise allowed players to take part in a militant attack at a Russian airport, killing civilians.

But there have been other games recently that won praise for their handling of the Mideast. Ubisoft’s “Assassin’s Creed: Mirage” published last year won praise for its portrayal of Baghdad during the Islamic Golden Age in the 9th century.

The Canadian Press. All rights reserved.

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