ta2112

This chair is amazing! It's giving Phantom Menace Viceroy Nute Gunray. It's true though, nobody asked, and wheelchairs are probably better. Unless it can gallop at 30mph. And then I definitely DO NEED THIS!

Tuning pitches to one another is wildly complicated. The rabbit hole goes unfathomably deeper than this introductory stuff on ratios and equal temperament. High schools physics introduces basic concepts in a way that works in certain situations and can be confirmed somewhat through experimentation. However, when you go deeper into any subject, fluid mechanics and material tolerances come to mind, those simple introductions cease to resemble the complexity of the systems. Music is no exception. I remember being surprised by the many ways this platonic explanation of pitches breaks down when confronted by real instruments in real air heard by real ears. Welcome to beautiful complexity of music!

Example 1: Pianos are tuned with stretch tuning, where the high notes are tuned higher than their theoretical pitches, and vice versa for low notes. That's because of a thing called inharmonicity, where the overtones of short piano strings don't form perfect ratios with the fundamental. Maybe that has something to do with short strings vibrating more like metal cylinders than rods?

Example 2: French horns have a lot of tubing! The valves let you include different lengths of tube into the air column. With a single valve combination, the player can hit the fundamental and all the partials up until their lips can no longer take it. To play a scale or melody, they switch between different horn lengths, choosing the partial that will sound closest to the pitch they're going for. Really, all brass instruments function this way, I just mention French horns because I like them.

Example 3: String quartets tune their chords with each other on the fly. If you listen to a string quartet practice, they'll spend a good amount of time holding and adjusting intonation to each other. So unlike in the equal tempered world of keyboard tuning, strings and most instrumental ensembles are constantly adjusting to make their harmonies sound sweeter. Equal temperament doesn't come into play, unless you add a piano, which sort of forces everybody to uncomfortably conform to the limitations of set it and live with it keyboard tuning.

Also most things worth arguing over fall somewhere in the middle, and won’t have an absolute right answer. It sounds like the author has learned something important though.

Seriously! Every music theory blog post and video is like this. They're going to explain something like modes or maybe altered dominant scales, and they start out explaining intervals. Seriously stop, not from the beginning again! That's not your audience.

I guess the low B should be about 31Hz

"But you yada yadaed over the best part."

"No I mentioned the bisque."

Exactly! Also, that random ride across the bridge towards Marin is taking forever

I like moving over for motorcycles. It's a little thing, but costs me nothing and is totally available as a recognition. Maybe it's like saying, "I see you." I had wondered if it was helpful. Now that you told me it's not necessary, I guess I'll continue doing it anyways.

Disable silent mode.

I can add a bit of information to what might be behind this bug.

In MIDI, there are NOTE_ON and NOTE_OFF events, for when you press and release each key. The NOTE_ON has pitch and velocity parameters. The NOTE_OFF just has pitch parameter (maybe it has velocity as well I can't quite remember, it's off the point). So if you push middle C, it might look like this:

NOTE_ON 60 (middle C) 98 (velocity), NOTE_OFF 60

Some keyboards never send NOTE_OFF events, instead they send NOTE_ON with velocity 0. On these keyboards, pressing middle C looks like this:

NOTE_ON 60 98, NOTE_ON 60 0

Both are valid MIDI streams, and all stream processors should react appropriately to both. This app likely does not correctly map zero velocity NOTE_ON events to NOTE_OFF with the same pitch.

This error can be made for calculating the length of any curve. If you add the deltas in only one dimension, then you end up with a bounding box length measurement that doesn't follow the contours of the curve. It's a misuse of calculus, that can be done with or without the visualization.

These are neat! I guess you have to be comfortable with geometric proofs for them to really pop as obvious visual proofs, and certainly Archimedes was. I would have just started summing until it got close to 1/3, which is brutish by comparison to these beauties.

> that’s why CD music had a sample rate of 22000 Hz. Modern sound cards however tend to use sampling rates twice as high - 44100 Hz or 48000 Hz or even 96000 Hz.

Not exactly the point of the article, but this is all sort of wrong. CDs use a sample rate of 44.1 kHz per channel, not 22 kHz. I'd hazard this cuts down on rounding errors from having only one sample per 22kHz range. DAT used 48 kHz I believe to align evenly with film's 24 frames per second. 96 kHz is commonly used for audio today, and the additional accuracy is useful when editing samples without producing dithering artifacts within human hearing range.

Am I the only one thinking that "Cagey News" sounds like anti-marketing?

> It is the mark of the marvelous toleration of the Athenians that they let this continue for decades and that it wasn't till Socrates turned seventy that they broke down and forced him to drink poison.

Savage.

I've noticed this with movies. If a movie is being advertised a lot, it's usually a bad movie. Why else are they trying so hard?

The opposite happened with the Matrix. I think I saw 1 bus stop poster for it, and didn't know what it was until multiple people at work said, "you have to see it!" Too bad they never made a sequel.

Ah hah, this is what I think. LLMs are the ultimate bullshitting machines! When you need to produce some BS fast, an LLM is definitely the right tool for that job.

For me it's 1:1. I read aloud in my head at the same pace that I speak. It seems slow, but little by little I get through what I need. Also, I don't know how to do it another way. So it goes.

Oh that’s interesting. I can see your point. I guess it’s a bit ambiguous and can mean either thing. As the other responder mentioned, the backwards construction in the original sounds like 19th century literature, and from context I know they mean removing x and adding y. But in another context it could mean the opposite. Thanks for pointing that out!

All three read the same to my own grammatical understanding.

Dukas should get a mention alongside Disney. Paul Dukes wrote the symphonic poem L’Apprenti Sorcier (1897) based on Goethe’s poem, which was later animated by Disney for the film Fantasia.

The mammoths are walking over some pre-existing footprints, but they don't leave any prints of their own. I guess I'm getting hung up on little things. For a prompt of a few words, it looks pretty nice!

> He would say it is E7b10 because that g natural is coming from the minor modes so it’s actually the fourth degree which has been flattened.

I'm guessing you mean Emin7b10.

It's in interesting take, but a bit weird considering you wouldn't stack the chord that way. You want to voice the G# below the G, E G# D G, making a major 7 interval which sounds good. If you instead voice it E G D G#, then the G to G# will form a minor 9th which is pretty clashy, generally avoided, and doesn't sound like the Hendrix chord anymore. Try it out, tab (0 7 6 7 8 x) vs (0 7 5 7 9 x). This is a standard jazz voicing rule of thumb, although I forget the name of it.

Yes! There must be millions of Finale files out there that will otherwise become unreadable.

Oh no! I'll need to get to work converting all those old Finale files to MusicXML or something. Hopefully they will release a tool for viewing and converting Finale files beyond the 1 year retirement.

> The mysterious deaths were often blamed on syphilis to undermine the womens’ reputations, and many doctors and dentists inexplicably cooperated with the powerful company’s disinformation campaign.

What is wrong with people?!

> Even large window sizes are still just discrete calculations before the model goes back to sleep.

This describes me! I wake up, do a bunch of stuff, and then go back to sleep.

Just when I finally almost forgot about it, this comment rips it back into my poor brain.

Me too, but it may be because as a teenager I listened to heavy metal. It was awesome, and I still like hearing those songs occasionally. But it's so loud and exhausting that I don't seek it out. Instead, I'm usually drawn back to Motown and R&B from the 60s and 70s, which is definitely before my time.

And THIRD. Real problems are really hard to solve. If they weren't, then everyone would solve them and you couldn't make any money on your solution. So while I'm midway working my way through a solution, everyone decides to stop by my desk and say, "Why don't you just do X? Problem solved!" Funny, X is the very first thing I thought of myself, but it's more complicated than that. So I keep working through my solution, casually nodding at the peanut gallery as it cycles by.