radiowave

My experience has been that CertBot doesn't play well with CNAME delegation, but it's probably very situational, like depending upon which DNS hosting provider plugin you're using.

My solution was to give up on CertBot and use dehydrated instead. This did require me to come up with a script to make the necessary API call to the DNS hosting, which dehydrated will then run as necessary.

Yes, Whisker is exactly what came to mind for me as well.

I don't currently use Smalltalk, most of my code is now written (and read) in vscode. The means available for showing the context around the code under consideration (splitting and resizing panes, hunting through lists of tabs, scrolling around) feel pretty crude by comparison.

Right. It's a question of context. And here we all are on a website that is basically purpose built for taking things out of context. We might just need to manage our expections in this regard.

Brings to mind the phrase, "the innate animosity of inanimate objects".

(Can't remember now where I chanced upon this.)

Granted, I should have been clearer about my intended point, which is just the hazard of assuming that the letter(s) after the dB tell you the reference, because sometimes they don't.

Though that's still incomplete, because (more of the context stuff that you just have to know already) the "A" here refers to the frequency-weighting scheme used in the measurement, and not to the reference level (which is SPL).

It should probably be given as: dB(A) SPL, or dB SPL (A-weighted).

At a rough guess from the audio samples, that array is producing an acceptance angle much narrower than any Soundfield mic is capable of. The noise source is only 45 degrees off-axis; I'd say any first-order microphone polar pattern (i.e. those a Soundfield mic is capable of) would capture more of the noise than is demonstrated here.

Of course, you can improve on the rejection of off-axis sound by instead using a microphone with a more specialized polar patten (e.g. a shotgun mic), but then you lose the property of the pattern being steerable merely by signal processing.

Lastly, such an array of dirt cheap pressure sensitive mic capsules with some clever computation behind them strikes me as the sort of thing you could throw Moore's law at, if you could justify the quantity. Whereas, Soundfield mics don't make much sense unless you're working with very precisely machined pressure-gradient capsules.

Still, I get the feeling it'll be a while yet before this technique starts looking viable for audio production work, but it's very interesting.

I think that might have been a joke.

My dad worked on something similar, when during the 1980s the coal-fired station he worked at had to convert to two-shift operation, from the three-shift operation that it's 1950s design had intended. He described this process as, "bashing hell out the machines to make them do things they weren't designed to."

One interesting detail was that the more rapid startup and cooldown of turbines meant that blade spacing couldn't be as tight as before, reducing efficiency during operation. (The turbine casing has less thermal mass than the rotor, and hence contracts faster during cooldown. The spacing of the blades needs to account for this.)

Your example is the exact answer.

I remember him from the Squeak Smalltalk mailing list, probably early 2000s. He wrote a set of bindings for the pcre regular expression library, which I used quite a bit, but which was never picked up for inclusion in Squeak (because pcre "isn't portable enough").

And, with his intellectual property hat on, he was a regular source of advice to the Squeak community (none of it in an official capacity, he would hasten to add) as they worked through the process of relicensing from the original Squeak License to MIT.

Right. And also, the photographer likely wants high ISO film, to be able to take a very short, crisp exposure of the moment of impact, without needing to gamble on the amount of cloud cover, and hence available light.

ISO 1600 colour film will have been available at the time, but was probably pretty poor compared to B&W.

Changing the focal length doesn't inherently change the perspective, and (resolution and lens aberations aside) is exactly equivalent to cropping.

What changing the focal length does do is (e.g.) make you stand further back, and that changes the perspective, causing distance compression, etc.

There's a lot from the D-50 that's missing on an MT-32, like 50% of the ROM capacity, and all of the filters and effects.

And on top of that, DigitalNativeDance is an outlier. It was (for its day) such a profligate use of ROM that it's not even representative of what a D-50 could do, in general.

Not that this contradicts your main point about GM constraining the choice of sounds.