How? If anything, this gives a path forward for people who can't afford to take months away from work to study for the bar exam or pay Barbri for a prep course. Compare it to professional pilots, who can work towards the 1500 hours they need for their ATP license while getting paid to do flight instructing, towing banners, flying charters or cargo, and so forth.
Why would you blow it up with a SMPS? I built a PSU for mine with a 5V switch-mode wall wart that originally powered a USB hub and it works fine. There's a 100uf filter cap on the 5V rail inside the machine already that will smooth things out. The real danger is letting the 5V rail get too much over voltage; that's what happens with the original power supplies, and it will cook the RAM chips in a hurry.
This is a great article, but I take issue with the "character matters" section. Blakey was a notorious heroin addict and was known for introducing his young sidemen to the drug. A lot of the stories are here: https://www.organissimo.org/forum/topic/80777-whats-the-deal...
From the thread:
Jamil Nasser told me (re: Dan's interview and the junkie question); when the band went on the road, Blakey stocked up with dope ahead of time. So the typical situation was - they are in some town, middle of nowhere; everybody is strung out and desperate. So Blakey says, 'let me go out and see what I can find' - he comes back with the stuff he already had, marks it up about 10 times, says, 'well, this was all I could get but it's pretty expensive." He takes their "share" out of the gig money, they go home with nothing, he takes all the cash.
Disagree. I've had them in Saigon in addition to here in the States, and a good banh mi roll is much crispier on the outside. That's not the texture you want for a cheese steak -- it has to be really soft.
What if someone gives you a binary that they claim is built from a particular source code? If you don't decompile it, how do you know if that's true or not? Or what if you can't trust your compiler (a la https://www.win.tue.nl/~aeb/linux/hh/thompson/trust.html)?
The breadth of that tool is just incredible. I'm about to submit my first PR to them to fix a couple of bugs in their PEF parser (classic Mac OS PowerPC executables), but it's absolutely bonkers that they have that support to begin with, and that it all works as well as it does. I'm very pleased to see my tax dollars going to something like that.
Plenty of use today in amateur radio, especially amongst QRPers (low power enthusiasts, signals <= 5 watts). It's easy to build transmitters/receivers for, and it's more efficient than, say, voice modes like SSB in terms of spectrum usage and how far you can get per watt.
Wow, so much beeping -- sidetones all over the place. You need some way of tuning. Speaking from experience, CW operators love a narrow crystal filter to help with selectivity!
FWIW, it takes way more than 1 second for the engines to spool up. And an engine not producing sufficient thrust would not doom the plane -- as long as the airplane makes it to V1 (decision speed), it should be able to fly with a single engine failure after that point. And the pilots should already have talked through the takeoff and come up with a go / no-go based on distance: "if we're after this point and we haven't reached V1, we'll abort".
That's more due to exclusionary zoning than building codes. There is no reason why we couldn't build, for instance, a boarding house under modern building codes, which would create more affordable housing on the low end. The reason that doesn't get built is that the zoning doesn't allow it.
Not sure how old your son is, but this is what I'm doing with my 5 year old with the same issue. Find some good old-school funk from the late '70s / early '80s with a four-on-the-floor type of drum beat. Zapp, Cameo, Gap Band, or something like that. Get your son to count along "1-2-3-4" with each of the beats and clap his hands on "2" and "4". Once he's reliable at doing that when you don't start it for him, then get him to stomp his foot on "1" and "3", or just "1". Once he's got that down, there are all sorts of things you can do. He can copy rhythms you clap, or if he's good with notation, he can practice writing down a rhythm you clap.
Alternatively, you could always get him drum lessons. This is the meat and potatoes of what a good drum teacher would cover.
I agree with you on the vast majority of this, but I think it's a bridge too far to put intonation above feel unconditionally.
You are correct that keeping time (what an engineer would call "maintaining a common time base between transmitter and receiver") is necessary to play together with other musicians. But what musicians would call "feel" is what an engineer would call "phase modulation" -- whether a note is ahead of the beat, on the beat, or behind the beat; and by how much. Especially in Black American music (jazz, blues, soul, R&B, and a bunch of pop that's been influenced by those styles), there is a lot of crucial information there beyond what is conveyed in the "gridded" rhythms that are conveyed in Western musical notation. If you are not aware of this, you will still have problems playing with other musicians. From personal experience, it is anxiety-inducing to play with musicians who are ignorant of their beat placement and as a consequence have what an engineer would call "jitter" -- their timekeeping is correct on average, but on each given beat, they might be a little bit ahead or a little bit behind. You can play with a metronome for ages and never realize you're doing this wrong, as you're not consistently rushing or dragging, you're just inconsistent.
I think the article takes the "discrimination is important" quote as cryptic and philosophical when it has a very real meaning. Compare it to an interview with the great Dizzy Gillespie:
> Interviewer: What’s it take to make a great trumpet player?
> Dizzy Gillespie: (long pause) Well, the first thing is to be a master shit detector. Detect what is valid and what is not.
And to the well-known Feynman quote:
> The first principle is that you must not fool yourself and you are the easiest person to fool.
What Monk is getting at is that when you're woodshedding (practicing by yourself) and trying to build up your playing and improvisation, you have to be your own critic a lot of the time. Are you really playing something hip, or are you playing something corny? Are you swinging? Are you making the chord changes? Are your time and intonation as good as you think? Amongst all the other musicians you hear, live and recorded, are you selecting the influences that are really going to build your playing in the way you want? If you're coming up with ideas on your own, are they really fresh and valid, or are they just the first thing that came to your mind?