Works great for me. Definitely not as many seeders as they were during it’s heyday, but still a decent number. I’ve downloaded a couple semi-obscure films in the past couple of months and they downloaded just fine in an hour-or-two even with only one seed.

That’s encouraging. Wind Waker might be my favorite.

Hmm. That doesn’t sound particularly enjoyable. I haven’t played a Zelda game since Skyward Sword, and that one really rubbed me the wrong way. Formulaic and dull. I suppose that’s why the next entry made such drastic changes. I might just emulate BotW someday to see what all the fuss is about.

I’ve got it up and running in Yuzu with prod.keys 18.0. At least I watched the opening cinematic. Not that interested in playing. Just seeing if it was true.

LOL at people worried about spoilers for a Zelda game.

Presumably until you get into a car accident or pulled over for any other reason. Then, it’s probably off to jail with you. At least I hope.

Biblical literalists have “answers” to all of these, and yes, most of them amount to magic. You can’t reason them out of a position they didn’t reason themselves into.

Still, it’s good to constantly question this stuff to inform anyone still on the fence.

The best I can figure is that the 4M$20 track was popular on a streaming service that pays better, and vice versa for whatever reason.

That’s more than $45!

I got free beer at a show once 20+ years ago, too.

I pay Distrokid ~$20 a year to distribute my music to a lot of streaming services, but I do not pay individual streaming services. I never really expected much return. I wasn’t disappointed! Haha!

Maybe some kind of increasing scale for revenue depending on larger numbers of listens.

My break down by track is pretty inconsistent, too. I’ve got a single track with over a million listen that made me 36 cents. My most popular track has over 4M listens, and it’s responsible for half that $45. Distrokid doesn’t say which streaming service that revenue comes from, either. Some pay more than others, I imagine.

I have to wonder about the logistics. He can’t be running them on his own single Internet connection. Or could VPNs handle it so it would appear his listens are coming from all over the world? $10M is a lot of money. How long did it take to amass that?

Me? Honestly, I think it would be obvious to any discerning listener what music is actually made by a person, and what music is AI generated, but really, there’s so much music out there of wildly varying quality thanks to accessibility of production tools these days, it probably is literally impossible to tell the difference anymore.

Searching my username should do it. Not sure what streaming services you’re subscribed to. It’s all on YouTube, too.

A little bit, for sure. Tempered harshly by the fact I’ve spent thousands of hours and thousands of units of cash on a hobby that paid me back $45. Good thing I don’t do it for the money!

Wow. I’m a hobbyist musician. I have ~12 million listens across various streaming services and have made a whopping $45 in the two years since I finally released ~25 years worth of material. (Which is a lot of why it’s my hobby and not a living.)

I can’t imagine the numbers this guy had to pull off to make that much.

They died well before mobile formatting was a concern. I suppose other aspect ratios were getting more popular then. That and the security issues the other poster mentioned probably contributed.

Never thought I’d miss frames. Though really, I always wondered exactly why they got dogpiled into nonexistence. Formatting issues?

Oooh. I’m sure I can find those in Korea. Thanks!

So, the capacitor can mitigate the spring weakening. Good to know. Replacing a cap is probably much easier than taking the switches apart and bending the springs.