In the interests of remaining off of instagram (and still getting work hopefully) I’ve made an ad for myself. I know this is the wrong audience because like half of y’all are audio engineers too but I had fun making this so here it is #recording #mixing #getfedihired
In the interests of remaining off of instagram (and still getting work hopefully) I’ve made an ad for myself. I know this is the wrong audience because like half of y’all are audio engineers too but I had fun making this so here it is #recording #mixing #getfedihired
Absolutely!
The thing that will kill creep glasses this time is the same thing that killed them last time (Google Glass, remember those?) - public opprobrium.
If you see anyone wearing them, assume they are recording (because they can hide that fact if they want) -- and then, more importantly, ensure everyone around *knows* the creep is recording them without permission.
Do this loudly and visibly. Stop, point directly at them, and yell "HEY, GLASSHOLE - STOP RECORDING PEOPLE WITHOUT PERMISSION" and continue by telling everyone "Hey, that guy <points> is recording people"...
Humiliate them, publicly. Shame them. Ostracize them. If someone you know is using them, go hard, and make sure everyone else you know knows they are doing it.
That is what will make them stop. Make the personal cost to their dignity, social acceptance, embarassment, everything total out more than the creepy voyeurism is worth, and they will drop it like a hot potato.
Filming women without their consent and knowledge is absolutely disgusting and creepy as hell. Posting it online makes it even more despicable.
Our governments are refusing to protect us from this abuse.
Companies selling creep glasses equipped with camera should be publicly shunned to bankruptcy.
"The man who filmed her had posted over a hundred similar videos on his TikTok page, and he is not the only one making this kind of content."
Absolutely!
The thing that will kill creep glasses this time is the same thing that killed them last time (Google Glass, remember those?) - public opprobrium.
If you see anyone wearing them, assume they are recording (because they can hide that fact if they want) -- and then, more importantly, ensure everyone around *knows* the creep is recording them without permission.
Do this loudly and visibly. Stop, point directly at them, and yell "HEY, GLASSHOLE - STOP RECORDING PEOPLE WITHOUT PERMISSION" and continue by telling everyone "Hey, that guy <points> is recording people"...
Humiliate them, publicly. Shame them. Ostracize them. If someone you know is using them, go hard, and make sure everyone else you know knows they are doing it.
That is what will make them stop. Make the personal cost to their dignity, social acceptance, embarassment, everything total out more than the creepy voyeurism is worth, and they will drop it like a hot potato.
I gave a talk at Rust Zürisee about how to connect with a ceph cluster directly.
Enjoy! 🦀
https://youtu.be/TrPyUVundbM 🎬
#rust #rustlang #talk #recording
I gave a talk at Rust Zürisee about how to connect with a ceph cluster directly.
Enjoy! 🦀
https://youtu.be/TrPyUVundbM 🎬
#rust #rustlang #talk #recording
*I'm saying we, since I would need to work with an expert. I am not only totally blind (who knows if this would be accessible), but I know nothing about this sort of thing.*
To make a very long story short, I am aware that there is severe frequency loss in acoustic recordings. That is why they sound so tinny, even when compared to the earliest electrics. Some voices are affected more than others, but even the ones with the best recordings still experience some of it. With the advances in technology at our disposal in 2025, however, I am wondering if it would be possible to attempt to restore some of those frequencies. Ideally, it might sound like something from the 1940's, but I doubt that is possible, at least with the earlier records, so at least the 1920's or 1930's would be great.
The thing is, I don't know exactly what is lost. So my idea is to record a modern singer (with at least a somewhat similar voice to the original) on period equipment and digitally symultaneously. In this way, we would have the live singer, plus two very different recordings. We could then compare the live, electric, and acoustic versions with a device or software that measures frequencies. Once we have determined what is lost, we could then try to restore the actual records in question.
If we were doing this with a cylinder machine, it would be very easy. Not only can one literally still record at the Edison Museum, but there are people today who record in wax with both real machines and reproductions, including commercially! However, the first singer whom I have in mind for this, Francesco Tamagno, recorded on disks, which complicates everything. I was very familiar with cylinder recording prior to designing this project, though I had never done it myself, but I knew absolutely nothing about 78s. Then, I learned.
https://www.scienceandmediamuseum.org.uk/objects-and-stories/making-gramophone-records
As I was saying, it is beyond complicated! Even if we took a chance and recorded the wax master and then used it for playback, skipping the step of actually making a shellac record, there is still the issue of finding recording equipment from Tamagno's time, which is ridiculously rare and doubtlessly too expensive for most people to consider buying. You might ask why we couldn't just use a cylinder machine, since they were certainly around in 1903. The problem is that their frequency loss was different from shellac records, so it would ruin the experiment if the difference was significant. Is it? Can anyone tell me? Do we even need to make a modern recording, or is technology good enough that we can simply add in the frequences from previous knowledge? If this can be perfected, or at least made feasible, there are hundreds of singers whose voices can finally be let out of the can, at least a little, and made to sound more life-like! Many of these didn't live to see electric recordings. I'm sure everyone would jump on this if I said Enrico Caruso was on the list, for example. But he, too, recorded on disks. I wonder if we can skip the recording experiment and use a singer, such as Tito Schipa (my personal favourite), whose recordings span both the acoustic and electric eras, from 1913 to 1964, as a control and gauge the frequency loss that way. If we wanted someone who recorded earlier, we could try someone like Alessandro Bonci or Mattia Battistini, but both only made it to the 1920's.
#78s #acoustic #cylinders #electric #music #opera #production #project #recording #records #restoration #science #SoundRestoration #technology
