the fusion part of the design doesn't provide the lion's share of the yield - as proved by Castle Bravo. it was designed as a ~3Mt design, but thanks to the U238 tamper and all the very fast neutrons the fusion stage provided, they ended up with 15Mt that they were quite unprepared for.
most of the yield comes from fissioning the U238 tamper, which gives a ton of fallout. Pu239 fission initiates the fusion stage, which provides craploads of neutrons which will fission the U238.
the rules of MAD are still in place i think. nuke anyone at all, and you're as good as nuked yourself.
countries with nukes are diverse enough that you couldn't bomb one ideology without pissing off some nuclear power. we have communists (China), mafia states (sadly Russia), capitalist states (USA, UK), social democracies (France, sort of), Islamic states (Pakistan), and India which is kinda a bit of everything. then there's Israel... the whole political spectrum in all it's shades of madness and reason have nukes.
DAT recorders... a staple of film sound acquisition until just recently when flashcards finally replaced them. 48k.
all digital video formats that have ever existed have had 48k audio (except for some misguided prosumer "long play" modes that were 32k).
35mm soundtracks were dependent on multiplexes accepting enough downtime to install the new heads... but they actually used a type of QR code for dolby since it's inception (between the perf holes in the left side of the print, you'll see dense clouds of points with a tiny dolby logo in the middle).
Laserdiscs have carried ac-3 audio at... 48k
48k was ubiquitous from the moment there was media to record to... 44.1k was a compromise because the media didn't exist yet.
what i mean by lagging behind is that given the fall of CDs, there's no reason for the music industry to not standardize on something that actually requires cheaper electronics for a better sound (i'm talking about the brickwall filter). it's also a neat multiple of 96k, 192k, etc, meaning that only trivial adjustments are needed rather than complex filters to convert between them... again at higher quality (as in bad filters will affect the audible passband, not just the ultrasonic fairyland well above it).
while the music industry is catching up, they really need to consider including loudness as a requirement for mastering (where the volume slamming happens is actually premastering, though it's referred as mastering, to the chagrin of the people that run the replication plants).
you're making the assumption that nobody who owns a diesel car gets it maintained properly. if i were to catch a mechanic taking short cuts like that, i'd demand a refund and report them to the EPA. i know not everyone is me, but it seems your argument against diesel cars assumes the worst case in every case.
also, petrol cars can have problems - seen a mitsubishi older than 2 years lately? shocking things.
mp3 is typically mid/side stereo. it uses all the bits it can. it'll only saturate on digital silence. if the signal is mono, the mid channel gets all the bits, the side channel gets none but syntactic overhead.
that said, radio facilities have a lot of legacy mp2 based gear. this is much worse for listening, but strangely it seems to survive re-encoding slightly better [citation needed]. i put it down to less efficiency = more redundancy.
44.1 was chosen to fit reasonably well in an NTSC video signal... there's some antique A/D converters out there that output composite and intended to use VHS tapes as media.
48 would have been better, and this was rectified with DVD, but the music industry lags behind...
your methodology is wrong, or your soundcard is doing it wrong.
read the aes article, and try to reproduce their experiment and try it on yourself. if you still pick a difference, then you get to be king of the digital england.
i've heard of straw men, but i love where you've taken it! straw generations!
i'm going to start using this term.
i'm turning 30 soon, so i presume i'm in your straw generation.
i've heard a lot of music. live, recorded, on good gear, on bad gear, in well tuned rooms, in poorly tuned rooms, in bars, in weird gypsy caves in ancient cities, in stadiums, or right into my ear from a cute, naked singer, chelsea hotel #2 style (this is the best way to listen to music).
i don't just pump the top 40 into my cloth-ears through white buds of mediocrity, though i look around and am tempted to believe some of my peers do. but to take myself as an average, i can't possibly reach that conclusion.
perhaps you fancy yourself to be markedly above average?
i don't think you'll get much disagreement if you were to frame your argument "FLAC sounds better than your average mp3", though you'd still need to qualify that with "by average, i assume a mean bitrate of 128kbps and Xing as a reference encoder".
you'll never do an ABX though - it might lead to disturbing conclusions about the cables your stereo uses and the money spent on them.
here's a tip - use pro gear. it's cheaper and sounds better than the upper tier of the hi-fi market.
the BG noise level in any venue will be well into the 80dB area, even when everyone's been hushed. even at a quiet gig for quiet music (like a chamber orchestra in a polite suburb).
to get clear of that, the band need to play well into hearingdamageville.
if you wear plugs, you'll be getting at very best 20dB attenuation, and it'll be a non flat response - you'll definitely lose all the high end from about 10K up. also, you'll be hearing your own body at deafening levels.
if you don't wear plugs, then you'll be stripping your ears bare, and that triangle will indeed sound like a crackle.
if the band is not that loud, you'll suffer the noise floor of your surroundings and bang goes those extra 8 bits plus a lot more.
training doesn't make one's senses better. it trains the observer's brain to relay the appropriate signals, rather than ignoring them.
i can spot a boom mic in shot almost subliminally. i can spot jitter of all kinds, motion-compensation artifacts, compression artefacts, spots on film (white and black), and can even tell if a cameraman was running out of film, and when the roll was likely to end by looking at the subtle increase in spottiness. other people can't spot these things.
that said, my eyes are pretty poor. my ears are pretty poor, but i can spot when a (perceptibly) lossy source has been used in a master well before i whip out the spectral view. other people can't.
that said, decent mp3 (lame preset standard, or even medium) flies by undetected. ditto the equivalent transparent settings in all audio encoders. ditto a decent h.264 compared to the film scans it came off, when viewed with the same chroma sampling (otherwise it'd be cheating to compare 4:4:4 with 4:2:0).
my wife can tell you every ingredient that goes into a tiny sample of food. i need twice as large a sample to correctly identify only half as many ingredients. my senses are trained (though not as well), but not as sensitive. good thing considering i work in media production, not food.
my point - you're fooling yourself if you think you have better senses than an average joe - you've just trained you brain to pick different things. they probably enjoy the movie more than you...
the trick is getting noise from the real world to sit quietly below the 7 dB loudness that a 16 bit noise floor gives us with an ideal listening environment (ie 83 dB SPL when presented with pink noise at -20dBFS in digital land).
i really hope EBU R-128 gains more momentum. it's been adopted in the broadcast industry very fast, but that's preaching to the choir. i don't think it'll ever make headway in the music industry unless apple rename it "iLevel" and insist on it - rejecting any music submitted to their store that doesn't meet the spec that they totally invented.
university has never been about getting a job. that's a pretty recent idea.
technical college, or whatever local equivalent, or apprenticeships, traineeships, etc are about getting jobs.
what we need now is a taller ivory tower that takes the place of old universities, so the current crop of universities can carry on being glorified technical colleges.
Slashdot Mirror
oops, me fail nuclear physics, become DVD author and armchair commentator.
i'd read the above somewhere, but forgotten half of it :)
sounds like something out of Young Frankenstein.
actually, you get more fallout. much more.
the fusion part of the design doesn't provide the lion's share of the yield - as proved by Castle Bravo. it was designed as a ~3Mt design, but thanks to the U238 tamper and all the very fast neutrons the fusion stage provided, they ended up with 15Mt that they were quite unprepared for.
most of the yield comes from fissioning the U238 tamper, which gives a ton of fallout. Pu239 fission initiates the fusion stage, which provides craploads of neutrons which will fission the U238.
the rules of MAD are still in place i think. nuke anyone at all, and you're as good as nuked yourself.
countries with nukes are diverse enough that you couldn't bomb one ideology without pissing off some nuclear power. we have communists (China), mafia states (sadly Russia), capitalist states (USA, UK), social democracies (France, sort of), Islamic states (Pakistan), and India which is kinda a bit of everything. then there's Israel... the whole political spectrum in all it's shades of madness and reason have nukes.
DAT recorders... a staple of film sound acquisition until just recently when flashcards finally replaced them. 48k.
all digital video formats that have ever existed have had 48k audio (except for some misguided prosumer "long play" modes that were 32k).
35mm soundtracks were dependent on multiplexes accepting enough downtime to install the new heads... but they actually used a type of QR code for dolby since it's inception (between the perf holes in the left side of the print, you'll see dense clouds of points with a tiny dolby logo in the middle).
Laserdiscs have carried ac-3 audio at... 48k
48k was ubiquitous from the moment there was media to record to... 44.1k was a compromise because the media didn't exist yet.
what i mean by lagging behind is that given the fall of CDs, there's no reason for the music industry to not standardize on something that actually requires cheaper electronics for a better sound (i'm talking about the brickwall filter). it's also a neat multiple of 96k, 192k, etc, meaning that only trivial adjustments are needed rather than complex filters to convert between them... again at higher quality (as in bad filters will affect the audible passband, not just the ultrasonic fairyland well above it).
while the music industry is catching up, they really need to consider including loudness as a requirement for mastering (where the volume slamming happens is actually premastering, though it's referred as mastering, to the chagrin of the people that run the replication plants).
this thing is zero emissions. it doesn't bleed. we can't kill it.
and this year it grows hot...
you're making the assumption that nobody who owns a diesel car gets it maintained properly. if i were to catch a mechanic taking short cuts like that, i'd demand a refund and report them to the EPA. i know not everyone is me, but it seems your argument against diesel cars assumes the worst case in every case.
also, petrol cars can have problems - seen a mitsubishi older than 2 years lately? shocking things.
i find even in the most chilled out circles, if you have a go at bicyclists, you're guaranteed a successful troll. everyone's got their rage button.
i think the legal challenges are probably more do to with having to pay more danger money, and possible liability for cancer deaths of miners.
mining is the best paid industry in my country. more safety is always good of course.
you don't remember correctly.
mp3 is typically mid/side stereo. it uses all the bits it can. it'll only saturate on digital silence. if the signal is mono, the mid channel gets all the bits, the side channel gets none but syntactic overhead.
that said, radio facilities have a lot of legacy mp2 based gear. this is much worse for listening, but strangely it seems to survive re-encoding slightly better [citation needed]. i put it down to less efficiency = more redundancy.
are you michael kristopiet or something?
why don't you put us all out of our misery and ABX yourself - you clearly have time to do it.
44.1 was chosen to fit reasonably well in an NTSC video signal... there's some antique A/D converters out there that output composite and intended to use VHS tapes as media.
48 would have been better, and this was rectified with DVD, but the music industry lags behind...
your methodology is wrong, or your soundcard is doing it wrong.
read the aes article, and try to reproduce their experiment and try it on yourself. if you still pick a difference, then you get to be king of the digital england.
i've heard of straw men, but i love where you've taken it! straw generations!
i'm going to start using this term.
i'm turning 30 soon, so i presume i'm in your straw generation.
i've heard a lot of music. live, recorded, on good gear, on bad gear, in well tuned rooms, in poorly tuned rooms, in bars, in weird gypsy caves in ancient cities, in stadiums, or right into my ear from a cute, naked singer, chelsea hotel #2 style (this is the best way to listen to music).
i don't just pump the top 40 into my cloth-ears through white buds of mediocrity, though i look around and am tempted to believe some of my peers do. but to take myself as an average, i can't possibly reach that conclusion.
perhaps you fancy yourself to be markedly above average?
there are many flavours of mp3.
i don't think you'll get much disagreement if you were to frame your argument "FLAC sounds better than your average mp3", though you'd still need to qualify that with "by average, i assume a mean bitrate of 128kbps and Xing as a reference encoder".
you'll never do an ABX though - it might lead to disturbing conclusions about the cables your stereo uses and the money spent on them.
here's a tip - use pro gear. it's cheaper and sounds better than the upper tier of the hi-fi market.
when was the last gig you went to?
the BG noise level in any venue will be well into the 80dB area, even when everyone's been hushed. even at a quiet gig for quiet music (like a chamber orchestra in a polite suburb).
to get clear of that, the band need to play well into hearingdamageville.
if you wear plugs, you'll be getting at very best 20dB attenuation, and it'll be a non flat response - you'll definitely lose all the high end from about 10K up. also, you'll be hearing your own body at deafening levels.
if you don't wear plugs, then you'll be stripping your ears bare, and that triangle will indeed sound like a crackle.
if the band is not that loud, you'll suffer the noise floor of your surroundings and bang goes those extra 8 bits plus a lot more.
you really don't know what you're talking about.
training doesn't make one's senses better. it trains the observer's brain to relay the appropriate signals, rather than ignoring them.
i can spot a boom mic in shot almost subliminally. i can spot jitter of all kinds, motion-compensation artifacts, compression artefacts, spots on film (white and black), and can even tell if a cameraman was running out of film, and when the roll was likely to end by looking at the subtle increase in spottiness. other people can't spot these things.
that said, my eyes are pretty poor. my ears are pretty poor, but i can spot when a (perceptibly) lossy source has been used in a master well before i whip out the spectral view. other people can't.
that said, decent mp3 (lame preset standard, or even medium) flies by undetected. ditto the equivalent transparent settings in all audio encoders. ditto a decent h.264 compared to the film scans it came off, when viewed with the same chroma sampling (otherwise it'd be cheating to compare 4:4:4 with 4:2:0).
my wife can tell you every ingredient that goes into a tiny sample of food. i need twice as large a sample to correctly identify only half as many ingredients. my senses are trained (though not as well), but not as sensitive. good thing considering i work in media production, not food.
my point - you're fooling yourself if you think you have better senses than an average joe - you've just trained you brain to pick different things. they probably enjoy the movie more than you...
we're talking about sample rates (kHz). you seem to be talking about bit rates (kbps).
the trick is getting noise from the real world to sit quietly below the 7 dB loudness that a 16 bit noise floor gives us with an ideal listening environment (ie 83 dB SPL when presented with pink noise at -20dBFS in digital land).
i really hope EBU R-128 gains more momentum. it's been adopted in the broadcast industry very fast, but that's preaching to the choir. i don't think it'll ever make headway in the music industry unless apple rename it "iLevel" and insist on it - rejecting any music submitted to their store that doesn't meet the spec that they totally invented.
see that's more like it. it's one thing to naively look up "US aid WWII", and another to actually know what to search for.
may the mods be with you.
I gots to know! - Punk
how do you placebo control for surgery? cut them open and stitch them up without making any changes? how do you get that past an ethics committee?
yes, but there's the payoff that in a hospital you have a chance to actually get better.
if you go into a hospital with cancer, there's at least a chance that you might leave without it.
made me discreetly lol at my desk.
university has never been about getting a job. that's a pretty recent idea.
technical college, or whatever local equivalent, or apprenticeships, traineeships, etc are about getting jobs.
what we need now is a taller ivory tower that takes the place of old universities, so the current crop of universities can carry on being glorified technical colleges.