Wow! Great link. I’m better than average but… yeah, I’d upgrade her to goddess. She’ll just carve a new axe handle when she feels like it. Truly humbling.
No one has yet mentioned that getting good tone quality on a trombone is perhaps its biggest challenge.
The same as true with violin and viola. The older and more primitive and instrument is, the more work you have to do.
Contrast this with the trombone’s cousins, the baritone and euphonium, which have infinitely better tone quality with little to no effort at all.
I will get downvoted for this, but modern players like Trombone Shorty have nowhere near the tone of players like Tommy Dorsey. this is clearly a matter of preference because he could nail that smooth smooth sound if you wanted to. I just don’t like the blatty sound.
I suppose you're right. What I liked about it was this very specific graf, which gave me a lot to think about as a (potential) future implementor. It tells me this person has thought deeply about these issues and I feel like I have a much better grasp of the concept of a durable workflow than I did after reading TFA. Thank kindly for spending so much time on my comment.
> Once you need retries, backoff, timeouts, cancellation, versioning, visibility, task routing, rate limits, leases, heartbeats, stuck-worker detection, replay/debugging semantics, workflow migration, fanout/fanin, long timers, audit trails, and operator tooling, the “just use a database” story becomes “build a poor copy of a workflow engine plus a bunch of workers.” pretty quick.