wrigby

Often times corrosion on battery terminals, or loose connections to the bulb, can cause a flashlight to not turn on when you hit the button. In this case, hitting it into the palm of your hand a few times usually solves the problem, and the photons are free to flee the front end of the flashlight.

A great example of this technique being used stylistically is Titanium by David Guetta (ft. Sia) - listen for the kick drum masking out all of the other instruments in the mix at the end of the chorus. In this case, it's used more as an obvious effect than a transparent mixing technique (as compressors usually are).

White noise is defined as having equal energy per frequency; that is, a 10hz wide slice of spectrum centered on 100hz will have as much energy in it as a 10hz wide slice of spectrum centered on 1khz.

Pink noise has equal energy per octave; the slice of spectrum from 40hz-80hz has as much energy as the slice from 80hz-160hz and the slice from 1khz to 2khz.

Pink noise can be thought of as white noise with a very low-q (3dB per-octave, specifically) low-pass filter applied.

I was going to post this one as well - it's my all time favorite. He does a great job of making truly funny, yet incredibly intelligent jokes.

Agreed, which is my main complaint: the older (non-retina) MBP was better at sustained CPU usage (at least in my experience - this is 100% anecdotal and non-scientific). Apple used to produce a machine that was suited for the things I do, but the rMBP doesn't feel as capable as the thicker, older vanilla MBP.

It makes me consider buying a Mac Mini or Mac Pro for audio work, but I can't justify the cost right now, since audio is mainly a hobby and my MBP works fine for most of what I do (multi-track recording live events with Dante).

I was drawn to the MBP when I switched in 2009 because of the build quality, the OS, and its ability to handle professional workflows, but it seems that they're abandoning that use case. My favorite machine of all time is still my '09 Core 2 Duo MBP.

The extra portability is nice, but if I wanted portability over power, I would have bought an Air (or I suppose a Macbook now).

> Any iMac or MacBook Pro from the last 5 years is sufficient for any pro audio workflow.

Just a few days ago, Pro Tools popped up the annoying "A CPU Overload Has Occurred" dialog box while I was working on a mix. Mid-2015 rMBP, 2.5 GHz.

It was a pretty simple session, too - nothing that breaks any rules, like reverbs on inserts. 12 or so tracks and three stereo effects (on their own busses).

I'm amazed every day at how much capability my MBP puts into my hands, but it is not without limitations. To say it's sufficient for any pro audio workflow is a bit of a stretch.

I've been really impressed with Richmond, VA. The tech scene is small, but pretty healthy. It's not my favorite weather, but it has four seasons, which is a plus. Great restaurants (some DC restaurant concepts get tested there first).

I haven't spent much time in Nashville, but I've only heard good things from friends that moved there after college.

I think the assumption is that he has in-demand skills that would be used in a job at home, while the work he would be doing overseas could be done by unskilled labor. Put another way, for a highly skilled technology worker, it is better to help fill a labor shortage in their field of expertise than displace a worker that is in a region with a labor surplus. Even without charitable contributions, the economics work out better for everyone involved.

Admittedly, this assumes both a labor shortage in the technologists field and a labor surplus for unskilled workers in the foreign country, but I think both of those assumptions are supportable.

I truly have no clue. My direct experience is in network operations in the satellite communications industry, which tangentially exposed me to more traditional telcos. I couldn't speak with authority on what those buildings do nowadays.

That's a very good point - I wanted to point out that the issue is clear from a binary legal perspective, and my personal stance from an ethical perspective is that reproduction and distribution _should_ be the sole right of the original creator (unless otherwise assigned). I don't think I communicated that effectively though.

I can definitely see that it's not a simple issue, and I think you're right to point out the nuance that I didn't acknowledge.

Compulsory mechanical licenses are an interesting beast for sure. I'm not really sure what to make of them from an ethical standpoint.

After studying copyright law for music business classes in college, I think that most conversations about piracy could be enhanced by a common understanding of some concepts that current (US) copyright law is based on.

The most important, I think, is an understanding of the first-sale doctrine[1], and how it differs from reproduction and distribution rights.

Many advocates for piracy argue that distributing copyrighted materials on the Internet is no different than reselling a DVD they previously bought. However, the distinction becomes more clear when we consider that by distributing a movie or song through the Internet, we are also making a copy of it. Modern computers have made it incredibly easy to make a copy of a work, to the point that it doesn't even feel like we're copying something. Because of this, it doesn't feel wrong to share a song or movie.

The actual amount of lost sales is immaterial when addressing the binary question of whether or not someone should be allowed to share a movie publicly on the Internet. The right to reproduce and distribute a copyrighted work to the public is solely that of the copyright holder - whether your doing so results in them losing money or not.

The question of appropriate penalties, though, is much less clear, and I think it's a shame that prosecutors and rights-holders have pursued defendants as viciously as they have. In many of these cases the judgments are unfairly strict (or at least appear that way), which just makes the MPAA and RIAA look more evil, and hurts everyone in the long run.

1: https://en.wikipedia.org/wiki/First-sale_doctrine

Having worked in the telco world for a bit, I wouldn't say that your description is unusual for a remote site. Generator backup is typical, and a switching office usually isn't manned, so it makes sense that they would arrange for packages to be delivered next door. Window tinting sounds nefarious, but truly could be done just to reduce HVAC load from solar heat. It's also nice to not advertise the pair of $100k+ Cisco or Juniper big iron routers that could be in there.

The amount of equipment that makes up most telco networks is actually pretty incredible. There are tons of small, unmanned sites that house switches, routers, and fiber amplifiers.

That said, I don't doubt that there are tons of sites that look just like this and actually do have something to hide.

This is a ton of fun - thanks for sharing!

Is there a way to detect shift? I noticed that when I tried to type exclamation points, it just shot a bunch of the 1 digit onto the screen.

Just for the benefit of those looking for great coffee shops, you're speaking of Spyhouse in Minneapolis[1], right?

1: https://foursquare.com/v/spyhouse-coffee/52408489498e959bae4...

I agree, but I think GP is also considering the premium paid to live in a "walkable" area.

I've been there, and I feel your pain. My boss wanted to use it as the source of truth for one of our monitoring systems. It was... ugly.

This is from the same people that make Systems Toolkit (STK), which is well-known and used a lot in the space industry. They know what they're doing.

The reused rocket will be used to launch SES-10 later this year, not AMOS-6.

Source: http://spacenews.com/spacex-to-launch-ses-10-satellite-on-re...

My previous company used Okta, and it was a positive experience, though not overwhelmingly so. Web apps that don't integrate it are clunky, but there's no getting around that.

I have tons of memories of playing Civilization with my brothers. We would leave the game board set up for weeks at a time and play it for a couple hours every day. It's frustrating to know that such a great board game was killed off by a naming conflict.

I've been really happy using Pex[1] for releases, but it's not 100% perfect. It definitely feels less painful than other ways of doing things. At one point I used bdist_rpm for all of my projects, and then made sure I had all the dependencies installed (also through RPM, using FPM to create an RPM if it didn't exist). It was a nightmare.

1: https://github.com/pantsbuild/pex

His videos are extremely entertaining, but his disregard for safety exaggerates the danger a little bit. My understanding is that most bridge rectifiers are put in a circuit after a step-down transformer, so they're operating on a much lower AC input voltage.

Also, don't wrap the safety ground pin on test equipment with kapton tape. Just don't.

Wouldn't 'Area 201' be a more confidence inspiring name, if we're sticking to HTTP status codes?

Moment is a fantastic library; I used it to build a world clock to go across the top of a display wall UI, and it made dealing with timezones in JS painless. Huge thanks to Tim for writing it!

Makes sense. I know FlightAware operates their own network of ADS-B receivers, which augments the FAA data. I should look into whether or not that changes things, but I imagine the SWIM data feed doesn't have many holes.

I'd be interested in hearing your thoughts on the differences between using SWIM vs a commercial product like FlightAware. From my cursory glance at SWIM, it seems like it's probably better for getting flight plans and weather info, but FlightAware may be more useful for getting in-flight status. Does that seem consistent with your experience?

I was curious as to how this was done, so I took a look at the external JS that CodePen was configured to load. He's using GreenSock[1], which looks like a really cool tool for building rich interactions and animations with SVG+JS in the browser.

1: https://greensock.com/

I think it's essentially half of what Echo does. Echo has to do two separate tasks [1]: The first is to figure out exactly what direction your voice is coming from. Once it has a direction, uses beamforming [2] to get a higher SNR for your voice. These two processes (probably) happen simultaneously.

The beamforming in Pulse Audio is simply the second half of this process. Given a microphone array and a desired direction to listen in, it can control the pickup pattern of the array by delaying the signals from each mic differently.

1: I haven't really studied how Echo works, so these are mostly assumptions. 2: https://en.wikipedia.org/wiki/Beamforming

I've never gotten a better drum overhead sound than with a spaced pair of 414's (I think TL II, but it's been awhile). Love that mic.

That said, I don't think the 414 color is the same as the U87 color. My impression has been that the U87 is much more flattering to vocals, but I've admittedly never had the opportunity to use one.

I've found that the engineers who build products on open source software very rarely have the authority to donate company money, and the businesspeople that do have the authority rarely understand the benefits of it.

I think a guide on how to get your company involved in donating to OSS projects would be beneficial. Has anyone come across any good advice, or have any experience in influencing your employer to donate?