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21,326,114 | We're developing a solution which uses Ektron. As part of our solution we all have local IIS instances (localhost) and deploy to this local instance as part of the development life cycle.
The problem is that after a deployment and once dll's are replaced IIS restarts and the app pool is recycled, this means that Ektron dll's need to reload themselves.
This process takes an extended amount of time.
Is there anyway to improve the loading time of "Ektron" | 2014/01/24 | [
"https://Stackoverflow.com/questions/21326114",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/41543/"
] | Same problem here. I found this: <http://brianpereras.blogspot.com/2013/06/ektron-85-86-workarea-is-slow-compared.html>
That says that the help documentation was moved to be retrieved from an online source (documentation.ektron.com). We're running Ektron 9, and I just made this change and it seems much faster on first load (after iisreset).
The solution is to set documentation.ektron.com to 127.0.0.1 in your hosts file. | There is not, this is just how IIS works. Instead of running a local instance of Ektron it's a good idea just to point your web.config file to the database of your test database and copy the /workarea folder to your local PC. You can't edit ektron locally but you can change the data on your test server and it will show up locally. |
1,960,105 | while working on templates weird problem occured:
when templates are being rendered (i guess), in code, right before the
doctype, strange character is being placed. I call it "strange"
because if I select it, copy it and try to paste nothing is pasted.
This "dot" is seen only if I do "view source" in webkit browsers.
now, layout breaks.
while checking rendered code in internet explorer web developer
toolbar, I've seen that also doctype is pasted within body tag, so I
have an impression that both, opening and closing, head tags are
somehow being ignored.
(i've checked it now and yes, If I take out opening and closing head
tags from my template, that is exactly what happens).
this is rendered code in ie web developer toolbar:
<http://i48.tinypic.com/noby81.gif>
please help! | 2009/12/24 | [
"https://Stackoverflow.com/questions/1960105",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/236135/"
] | Perhaps what you're seeing is the Byte Order Mark, or its byte-reversed counterpart, the Zero Width No-Break Space. Some text editors place it at the beginning of text files in order to help detect the encoding of the file. You can use a tool such as od to see the exact byte sequence. | I think that answer is easy. Open all of your files (html) envolved on extends or includes with the vim editor. Probably you will see in the first line some strange characters. Remove this and your problem is resolved. I don't know what the reason for this but it resolve the problem. |
1,960,105 | while working on templates weird problem occured:
when templates are being rendered (i guess), in code, right before the
doctype, strange character is being placed. I call it "strange"
because if I select it, copy it and try to paste nothing is pasted.
This "dot" is seen only if I do "view source" in webkit browsers.
now, layout breaks.
while checking rendered code in internet explorer web developer
toolbar, I've seen that also doctype is pasted within body tag, so I
have an impression that both, opening and closing, head tags are
somehow being ignored.
(i've checked it now and yes, If I take out opening and closing head
tags from my template, that is exactly what happens).
this is rendered code in ie web developer toolbar:
<http://i48.tinypic.com/noby81.gif>
please help! | 2009/12/24 | [
"https://Stackoverflow.com/questions/1960105",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/236135/"
] | Perhaps what you're seeing is the Byte Order Mark, or its byte-reversed counterpart, the Zero Width No-Break Space. Some text editors place it at the beginning of text files in order to help detect the encoding of the file. You can use a tool such as od to see the exact byte sequence. | The easiest way to resolve problems with BOM in templates is to change FILE\_CHARSET in your settings.py to 'utf-8-sig' |
1,960,105 | while working on templates weird problem occured:
when templates are being rendered (i guess), in code, right before the
doctype, strange character is being placed. I call it "strange"
because if I select it, copy it and try to paste nothing is pasted.
This "dot" is seen only if I do "view source" in webkit browsers.
now, layout breaks.
while checking rendered code in internet explorer web developer
toolbar, I've seen that also doctype is pasted within body tag, so I
have an impression that both, opening and closing, head tags are
somehow being ignored.
(i've checked it now and yes, If I take out opening and closing head
tags from my template, that is exactly what happens).
this is rendered code in ie web developer toolbar:
<http://i48.tinypic.com/noby81.gif>
please help! | 2009/12/24 | [
"https://Stackoverflow.com/questions/1960105",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/236135/"
] | The easiest way to resolve problems with BOM in templates is to change FILE\_CHARSET in your settings.py to 'utf-8-sig' | I think that answer is easy. Open all of your files (html) envolved on extends or includes with the vim editor. Probably you will see in the first line some strange characters. Remove this and your problem is resolved. I don't know what the reason for this but it resolve the problem. |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | * Our music did not originate from the harmonic
series to which you are referring. People played what
sounded good and what was within their ability to play well. Subsequently, it was discovered that some musical systems - for example our western musical tradition using certain tuning conventions (not all musical systems throughout the world, and not all of our tuning conventions, except with a bit of fudging) had a satisfying scientific basis.
There is no evidence to support the notion that the math of the harmonic series came first, and music followed. On the contrary -people were making music long before it was discovered. See: ***[Prevailing theories about discovery of harmonic intervals](https://music.stackexchange.com/questions/67307/prevailing-theories-about-discovery-of-harmonic-intervals/67338#67338)*** - and they were not about to change the way they made music because Pythagoras (or some other mathematician...) discovered the harmonic series.
* Music which spanned many octaves would not sound good - it would
sound disjointed and unsatisfying. It would also be very difficult to
play. Even if we say that some systems were developed based on the discovery of the overtones series, that would only be after the chromatic octave was condensed and organized into its present form. Playing music and listening to music in the manner you are suggesting just doesn't work.
**Bottom Line:** Our taste and ears, and our ability to play our music are the determining factors, not a mathematical algorithm for building the chromatic octave using the harmonic series, discovered by a mathematician with musical curiosity. | I don't agree with your premise. Many songs have melodies that range over an octave. On the piano, you play a chord with your right hand, and that is all on the same octave (can you stretch your hand much more than that? I can't), but what is your left hand doing? Playing notes in a different octave. I could go on: choirs, symphonies, your favorite band all have ranges greater than one octave. |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | I don't agree with your premise. Many songs have melodies that range over an octave. On the piano, you play a chord with your right hand, and that is all on the same octave (can you stretch your hand much more than that? I can't), but what is your left hand doing? Playing notes in a different octave. I could go on: choirs, symphonies, your favorite band all have ranges greater than one octave. | There's no "squishing" -- an "octave" is just the difference between one note and another note with double the frequency of the first note. For example, the octave of A with frequency of 440Hz is another A with a frequency of 880Hz.
The word "octave" implies that the frequency range is divided into eight divisions, but that is just an artifact of the way much of Western music has historically been organized. There is nothing to prevent anyone from dividing that frequency range into any number of divisions, nor is there any rule that the divisions must be equal. (And other musical traditions, for instance Indian music, use different divisions).
Having said that, there are certain intervals that are generally perceived as having certain qualities (e.g., a "minor third" sounding "sad"), and Western music uses these qualities to convey emotion.
In the end, it's all about frequencies and math.
Last but not least, the practice of using "tempered" scales in Western music is relatively recent (e.g., Bach composed the "Well-Tempered Clavier" pieces to illustrate the use of the tempered scale). For more on this see [Why are there both sharps and flats?](https://music.stackexchange.com/questions/67046/why-are-there-both-sharps-and-flats). |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | Notes in a scale are chosen such that the pitches of those notes (and their harmonic partials) have interesting relationships with each other.
It *is* entirely possible that some people might like a scale made of notes whose fundamental pitches matched the harmonic series - there's nothing wrong with that idea as *one* way to make a scale.
However, there are lots of ways to make a scale that allows interesting frequency relationships between notes. It simply isn't logical to think that would require the notes to *directly follow* the harmonic series, and indeed in the diatonic scale that Western music has adopted as the primary scale, they don't (even though there are some clear correspondences). | There's no "squishing" -- an "octave" is just the difference between one note and another note with double the frequency of the first note. For example, the octave of A with frequency of 440Hz is another A with a frequency of 880Hz.
The word "octave" implies that the frequency range is divided into eight divisions, but that is just an artifact of the way much of Western music has historically been organized. There is nothing to prevent anyone from dividing that frequency range into any number of divisions, nor is there any rule that the divisions must be equal. (And other musical traditions, for instance Indian music, use different divisions).
Having said that, there are certain intervals that are generally perceived as having certain qualities (e.g., a "minor third" sounding "sad"), and Western music uses these qualities to convey emotion.
In the end, it's all about frequencies and math.
Last but not least, the practice of using "tempered" scales in Western music is relatively recent (e.g., Bach composed the "Well-Tempered Clavier" pieces to illustrate the use of the tempered scale). For more on this see [Why are there both sharps and flats?](https://music.stackexchange.com/questions/67046/why-are-there-both-sharps-and-flats). |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | Only the low notes of the harmonic series are far apart. As they go higher, the notes of the harmonic series get closer and closer together. The fifth octave of the harmonic series already contains (approximately) all the notes of the chromatic scale.
So, I would say that squishing isn't the right word for what's going on. Instead, why do we use this fifth octave of the harmonic series instead of a lower (or higher) part?
Well, sometimes we do use the lower part. For example, bugle calls (like Taps and Reveille) use the second and third octaves of the harmonic series since those are the notes that a bugle can (easily) play. But perhaps these are not the most interesting songs.
Ultimately it does all come down to aesthetics, but there are possibly some mathematical reasons why the fifth octave is a good choice. If you care about harmonics, then you may also care about harmonics of harmonics (ie the circle of fifths). The diatonic fifth (the third harmonic and first non-octave harmonic) needs a diatonic fourth to get back to the octave. But the harmonic used for the diatonic fourth doesn't come until the 21st harmonic which is in the fifth octave.
If we insist on thinking of squishing, then scales are almost squished by definition. A scale is usually just what we call a set of notes all squished into one octave and then put in order.
For chords, the situation is different. We often think of a chord as existing in one octave (or two when stacking thirds) because there are prototypical instances of each note all within a single octave. But in practice, the situation is different. Consider instruments that actually play chords. A piano player playing two-handed chords will often span three octaves limited only by hand span and finger count. A guitar player will typically play two octave chords, limited by hand span and string count. When multiple performers play at the same time, things get even more spread out. | There's no "squishing" -- an "octave" is just the difference between one note and another note with double the frequency of the first note. For example, the octave of A with frequency of 440Hz is another A with a frequency of 880Hz.
The word "octave" implies that the frequency range is divided into eight divisions, but that is just an artifact of the way much of Western music has historically been organized. There is nothing to prevent anyone from dividing that frequency range into any number of divisions, nor is there any rule that the divisions must be equal. (And other musical traditions, for instance Indian music, use different divisions).
Having said that, there are certain intervals that are generally perceived as having certain qualities (e.g., a "minor third" sounding "sad"), and Western music uses these qualities to convey emotion.
In the end, it's all about frequencies and math.
Last but not least, the practice of using "tempered" scales in Western music is relatively recent (e.g., Bach composed the "Well-Tempered Clavier" pieces to illustrate the use of the tempered scale). For more on this see [Why are there both sharps and flats?](https://music.stackexchange.com/questions/67046/why-are-there-both-sharps-and-flats). |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | It's helpful to remember that we're not playing *just* fundamentals. Every time we strike a key or blow a note, we get the fundamental and a whole set of overtones. Psychoachoustically speaking, our ears are used to this and they capture all of these frequencies together as a pitch and a quality of some sort.
If we play notes from the harmonic series across the entire range of the piano, they sound disconnected. They don't sound like a chord. This is because our brain is smart. It noticed that the set of overtones it heard did not line up well with what it learned things sound like over the last few million years. The loudness of each harmonic isn't quite right for it to be a single source. Thus, the ear quickly breaks the sound into multiple series of harmonics, and you get the disjoint sound.
When you play a chord where the notes are closer together, the loudnesses of the overtones are closer to what we learned things sound like millions of years ago. We start to hear the sound as more of a single sound and less like a set of individual sounds. Qualitatively, we find the notes of the chord form one unit that acts together. When the notes are far apart, we don't get that qualitative feel.
Interestingly enough, [throat singers](https://www.youtube.com/watch?v=vC9Qh709gas) do the exact opposite. A throat singer starts with a very rich set of overtones (like what the human voice can create), and then carefully crafts their vocal tract to be resonant with one of the overtones. When our ears hear this, they do not expect to see one resonant frequency sticking out over the top of what is otherwise a well behaved set of overtones. The result is that it sounds like one is "singing two notes at once," because our ears decouple that odd overtone from the rest of the sound, treating it as though it's a separate sound source. | There's no "squishing" -- an "octave" is just the difference between one note and another note with double the frequency of the first note. For example, the octave of A with frequency of 440Hz is another A with a frequency of 880Hz.
The word "octave" implies that the frequency range is divided into eight divisions, but that is just an artifact of the way much of Western music has historically been organized. There is nothing to prevent anyone from dividing that frequency range into any number of divisions, nor is there any rule that the divisions must be equal. (And other musical traditions, for instance Indian music, use different divisions).
Having said that, there are certain intervals that are generally perceived as having certain qualities (e.g., a "minor third" sounding "sad"), and Western music uses these qualities to convey emotion.
In the end, it's all about frequencies and math.
Last but not least, the practice of using "tempered" scales in Western music is relatively recent (e.g., Bach composed the "Well-Tempered Clavier" pieces to illustrate the use of the tempered scale). For more on this see [Why are there both sharps and flats?](https://music.stackexchange.com/questions/67046/why-are-there-both-sharps-and-flats). |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | * Our music did not originate from the harmonic
series to which you are referring. People played what
sounded good and what was within their ability to play well. Subsequently, it was discovered that some musical systems - for example our western musical tradition using certain tuning conventions (not all musical systems throughout the world, and not all of our tuning conventions, except with a bit of fudging) had a satisfying scientific basis.
There is no evidence to support the notion that the math of the harmonic series came first, and music followed. On the contrary -people were making music long before it was discovered. See: ***[Prevailing theories about discovery of harmonic intervals](https://music.stackexchange.com/questions/67307/prevailing-theories-about-discovery-of-harmonic-intervals/67338#67338)*** - and they were not about to change the way they made music because Pythagoras (or some other mathematician...) discovered the harmonic series.
* Music which spanned many octaves would not sound good - it would
sound disjointed and unsatisfying. It would also be very difficult to
play. Even if we say that some systems were developed based on the discovery of the overtones series, that would only be after the chromatic octave was condensed and organized into its present form. Playing music and listening to music in the manner you are suggesting just doesn't work.
**Bottom Line:** Our taste and ears, and our ability to play our music are the determining factors, not a mathematical algorithm for building the chromatic octave using the harmonic series, discovered by a mathematician with musical curiosity. | Notes in a scale are chosen such that the pitches of those notes (and their harmonic partials) have interesting relationships with each other.
It *is* entirely possible that some people might like a scale made of notes whose fundamental pitches matched the harmonic series - there's nothing wrong with that idea as *one* way to make a scale.
However, there are lots of ways to make a scale that allows interesting frequency relationships between notes. It simply isn't logical to think that would require the notes to *directly follow* the harmonic series, and indeed in the diatonic scale that Western music has adopted as the primary scale, they don't (even though there are some clear correspondences). |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | * Our music did not originate from the harmonic
series to which you are referring. People played what
sounded good and what was within their ability to play well. Subsequently, it was discovered that some musical systems - for example our western musical tradition using certain tuning conventions (not all musical systems throughout the world, and not all of our tuning conventions, except with a bit of fudging) had a satisfying scientific basis.
There is no evidence to support the notion that the math of the harmonic series came first, and music followed. On the contrary -people were making music long before it was discovered. See: ***[Prevailing theories about discovery of harmonic intervals](https://music.stackexchange.com/questions/67307/prevailing-theories-about-discovery-of-harmonic-intervals/67338#67338)*** - and they were not about to change the way they made music because Pythagoras (or some other mathematician...) discovered the harmonic series.
* Music which spanned many octaves would not sound good - it would
sound disjointed and unsatisfying. It would also be very difficult to
play. Even if we say that some systems were developed based on the discovery of the overtones series, that would only be after the chromatic octave was condensed and organized into its present form. Playing music and listening to music in the manner you are suggesting just doesn't work.
**Bottom Line:** Our taste and ears, and our ability to play our music are the determining factors, not a mathematical algorithm for building the chromatic octave using the harmonic series, discovered by a mathematician with musical curiosity. | It's helpful to remember that we're not playing *just* fundamentals. Every time we strike a key or blow a note, we get the fundamental and a whole set of overtones. Psychoachoustically speaking, our ears are used to this and they capture all of these frequencies together as a pitch and a quality of some sort.
If we play notes from the harmonic series across the entire range of the piano, they sound disconnected. They don't sound like a chord. This is because our brain is smart. It noticed that the set of overtones it heard did not line up well with what it learned things sound like over the last few million years. The loudness of each harmonic isn't quite right for it to be a single source. Thus, the ear quickly breaks the sound into multiple series of harmonics, and you get the disjoint sound.
When you play a chord where the notes are closer together, the loudnesses of the overtones are closer to what we learned things sound like millions of years ago. We start to hear the sound as more of a single sound and less like a set of individual sounds. Qualitatively, we find the notes of the chord form one unit that acts together. When the notes are far apart, we don't get that qualitative feel.
Interestingly enough, [throat singers](https://www.youtube.com/watch?v=vC9Qh709gas) do the exact opposite. A throat singer starts with a very rich set of overtones (like what the human voice can create), and then carefully crafts their vocal tract to be resonant with one of the overtones. When our ears hear this, they do not expect to see one resonant frequency sticking out over the top of what is otherwise a well behaved set of overtones. The result is that it sounds like one is "singing two notes at once," because our ears decouple that odd overtone from the rest of the sound, treating it as though it's a separate sound source. |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | We don't. But notes in close harmony do work well together, probably better than a 1 in one octave, 3 in the next and 5 in the next to that. And do try singing that sort of sequence! A lot of instruments only have a three octave or so range anyway.
You mention scales. Can't imagine how they would be played if the notes weren't pretty close to each other, can you? | There's no "squishing" -- an "octave" is just the difference between one note and another note with double the frequency of the first note. For example, the octave of A with frequency of 440Hz is another A with a frequency of 880Hz.
The word "octave" implies that the frequency range is divided into eight divisions, but that is just an artifact of the way much of Western music has historically been organized. There is nothing to prevent anyone from dividing that frequency range into any number of divisions, nor is there any rule that the divisions must be equal. (And other musical traditions, for instance Indian music, use different divisions).
Having said that, there are certain intervals that are generally perceived as having certain qualities (e.g., a "minor third" sounding "sad"), and Western music uses these qualities to convey emotion.
In the end, it's all about frequencies and math.
Last but not least, the practice of using "tempered" scales in Western music is relatively recent (e.g., Bach composed the "Well-Tempered Clavier" pieces to illustrate the use of the tempered scale). For more on this see [Why are there both sharps and flats?](https://music.stackexchange.com/questions/67046/why-are-there-both-sharps-and-flats). |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | I don't agree with your premise. Many songs have melodies that range over an octave. On the piano, you play a chord with your right hand, and that is all on the same octave (can you stretch your hand much more than that? I can't), but what is your left hand doing? Playing notes in a different octave. I could go on: choirs, symphonies, your favorite band all have ranges greater than one octave. | We don't. But notes in close harmony do work well together, probably better than a 1 in one octave, 3 in the next and 5 in the next to that. And do try singing that sort of sequence! A lot of instruments only have a three octave or so range anyway.
You mention scales. Can't imagine how they would be played if the notes weren't pretty close to each other, can you? |
67,581 | If I play out the harmonic series on the piano, the notes are far apart over multiple octaves and I was wondering why we squish everything into one octave to create chords/scales? | 2018/03/05 | [
"https://music.stackexchange.com/questions/67581",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/48345/"
] | * Our music did not originate from the harmonic
series to which you are referring. People played what
sounded good and what was within their ability to play well. Subsequently, it was discovered that some musical systems - for example our western musical tradition using certain tuning conventions (not all musical systems throughout the world, and not all of our tuning conventions, except with a bit of fudging) had a satisfying scientific basis.
There is no evidence to support the notion that the math of the harmonic series came first, and music followed. On the contrary -people were making music long before it was discovered. See: ***[Prevailing theories about discovery of harmonic intervals](https://music.stackexchange.com/questions/67307/prevailing-theories-about-discovery-of-harmonic-intervals/67338#67338)*** - and they were not about to change the way they made music because Pythagoras (or some other mathematician...) discovered the harmonic series.
* Music which spanned many octaves would not sound good - it would
sound disjointed and unsatisfying. It would also be very difficult to
play. Even if we say that some systems were developed based on the discovery of the overtones series, that would only be after the chromatic octave was condensed and organized into its present form. Playing music and listening to music in the manner you are suggesting just doesn't work.
**Bottom Line:** Our taste and ears, and our ability to play our music are the determining factors, not a mathematical algorithm for building the chromatic octave using the harmonic series, discovered by a mathematician with musical curiosity. | Only the low notes of the harmonic series are far apart. As they go higher, the notes of the harmonic series get closer and closer together. The fifth octave of the harmonic series already contains (approximately) all the notes of the chromatic scale.
So, I would say that squishing isn't the right word for what's going on. Instead, why do we use this fifth octave of the harmonic series instead of a lower (or higher) part?
Well, sometimes we do use the lower part. For example, bugle calls (like Taps and Reveille) use the second and third octaves of the harmonic series since those are the notes that a bugle can (easily) play. But perhaps these are not the most interesting songs.
Ultimately it does all come down to aesthetics, but there are possibly some mathematical reasons why the fifth octave is a good choice. If you care about harmonics, then you may also care about harmonics of harmonics (ie the circle of fifths). The diatonic fifth (the third harmonic and first non-octave harmonic) needs a diatonic fourth to get back to the octave. But the harmonic used for the diatonic fourth doesn't come until the 21st harmonic which is in the fifth octave.
If we insist on thinking of squishing, then scales are almost squished by definition. A scale is usually just what we call a set of notes all squished into one octave and then put in order.
For chords, the situation is different. We often think of a chord as existing in one octave (or two when stacking thirds) because there are prototypical instances of each note all within a single octave. But in practice, the situation is different. Consider instruments that actually play chords. A piano player playing two-handed chords will often span three octaves limited only by hand span and finger count. A guitar player will typically play two octave chords, limited by hand span and string count. When multiple performers play at the same time, things get even more spread out. |
11,870 | When do I know that I need to sharpen my crampons?
In documentaries, I have seen people [filing](http://www.technologystudent.com/equip1/hfile2.htm) their crampons. | 2016/05/30 | [
"https://outdoors.stackexchange.com/questions/11870",
"https://outdoors.stackexchange.com",
"https://outdoors.stackexchange.com/users/2303/"
] | Searching the [climbing dictionary](http://www-dft.ts.infn.it/~esmargia/mountain/climbing_dict.html) for "spit" shows that this is the french term for a "bolt".
So the answer is simple: The translation of the guidebook isn't perfect. "Spit anchors" are bolted anchors (or rappels) on these routes. (Which actually matches my observation there.) | A spit is not just any bolt. Spit means almost exclusively (especially among cavers, who care more about the what they are clipping into) the hand-drilled bolts now sold as [Cheville autoforeuse](https://www.petzl.com/BE/en/Sport/Anchors/CHEVILLE-AUTOFOREUSE) by Petzl. They used to be sold by the [Spit](http://www.spit.fr/) company and AFAIK they are still made by them but are sold by Petzl. The Spit company still sells a lot of [industrial bolts](http://www.spit.fr/?List-of-sub-range&acti_code=chevillage), but no climbing certified bolts.
Nowadays Petzl sells spits for caving single rope technique use, not for climbing and mountaineering.
They usually use the thin M8 thread, although wider designs existed. They may require bringing your own hangers (8 mm, sold by Petzl as Vrillee, Coudee and Clown). If the hangers are in place they should be tightened by an M13 wrench before use.
The spits are prone to rust and on old routes they cannot be trusted 100 %. They are very short, because they are drilled by hand and are sensitive to the exact depth of the hole. If the hole is too deeep, the hanger will be pushing the bolt out of the rock.
Cavers never use spits (even new ones) as a single point anchors. On top of a pitch they should always be doubled. |
11,870 | When do I know that I need to sharpen my crampons?
In documentaries, I have seen people [filing](http://www.technologystudent.com/equip1/hfile2.htm) their crampons. | 2016/05/30 | [
"https://outdoors.stackexchange.com/questions/11870",
"https://outdoors.stackexchange.com",
"https://outdoors.stackexchange.com/users/2303/"
] | Searching the [climbing dictionary](http://www-dft.ts.infn.it/~esmargia/mountain/climbing_dict.html) for "spit" shows that this is the french term for a "bolt".
So the answer is simple: The translation of the guidebook isn't perfect. "Spit anchors" are bolted anchors (or rappels) on these routes. (Which actually matches my observation there.) | To add a little to Vladimir F's good explanation of Spits......In climbing and mountaineering, in Spain/ France at least, Spits refers to the old type of bolt that was often drilled to a very shallow depth. Because of their age and shallow depth any climber these days (post 2000) should really try his or her hardest NEVER to take a fall on one of these..... If you hear/read that a route is "protected" with spits.... you should interpret this to mean: "bring your own trad protection, or be prepared for some very scary pitches that you can not risk a fall on" |
11,870 | When do I know that I need to sharpen my crampons?
In documentaries, I have seen people [filing](http://www.technologystudent.com/equip1/hfile2.htm) their crampons. | 2016/05/30 | [
"https://outdoors.stackexchange.com/questions/11870",
"https://outdoors.stackexchange.com",
"https://outdoors.stackexchange.com/users/2303/"
] | A spit is not just any bolt. Spit means almost exclusively (especially among cavers, who care more about the what they are clipping into) the hand-drilled bolts now sold as [Cheville autoforeuse](https://www.petzl.com/BE/en/Sport/Anchors/CHEVILLE-AUTOFOREUSE) by Petzl. They used to be sold by the [Spit](http://www.spit.fr/) company and AFAIK they are still made by them but are sold by Petzl. The Spit company still sells a lot of [industrial bolts](http://www.spit.fr/?List-of-sub-range&acti_code=chevillage), but no climbing certified bolts.
Nowadays Petzl sells spits for caving single rope technique use, not for climbing and mountaineering.
They usually use the thin M8 thread, although wider designs existed. They may require bringing your own hangers (8 mm, sold by Petzl as Vrillee, Coudee and Clown). If the hangers are in place they should be tightened by an M13 wrench before use.
The spits are prone to rust and on old routes they cannot be trusted 100 %. They are very short, because they are drilled by hand and are sensitive to the exact depth of the hole. If the hole is too deeep, the hanger will be pushing the bolt out of the rock.
Cavers never use spits (even new ones) as a single point anchors. On top of a pitch they should always be doubled. | To add a little to Vladimir F's good explanation of Spits......In climbing and mountaineering, in Spain/ France at least, Spits refers to the old type of bolt that was often drilled to a very shallow depth. Because of their age and shallow depth any climber these days (post 2000) should really try his or her hardest NEVER to take a fall on one of these..... If you hear/read that a route is "protected" with spits.... you should interpret this to mean: "bring your own trad protection, or be prepared for some very scary pitches that you can not risk a fall on" |
546,483 | I know that the strength of the magnetic field and the speed by which the conductor passes the magnetic field have an effect on magnetic induction for the voltage output on a generator.
I also know that when conducting electricity from a source to and end user that the longer the distance the thicker the wire needs to be or else eddie currents and resistance will cause the wire to overheat (and thus either melt or cause a fire hazard.)
What I want to know is that when building my DIY generator, do I also need to adjust the wire size to the length of wire? Will using a thicker wire or thinner wire make an impact on efficiency of magnetic induction to produce electricity?
For example, if I want to be sure I have a greater voltage output or whatever (with less resistance or impedance,) do I increase the thickness of the wire or decrease the thickness of the wire? | 2021/02/04 | [
"https://electronics.stackexchange.com/questions/546483",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/275866/"
] | The thickness of a wire directly impacts the resistance per unit length. Resistance (when current flows through it) causes voltage drop. Other than that, the thickness of a wire has no noticeable effect upon the voltage induced in it due to a changing magnetic field.
>
> if I want to be sure I have a greater voltage output or whatever (with less resistance or impedence), do I increase the thickness of the wire or decrease the thickness of the wire?
>
>
>
Current flowing through a resistance causes a) a voltage drop, and b) heat. Neither of these things are usually wanted in a device such as a generator. Therefore your wire should be thick enough to handle the expected current with minimal, or at least acceptable, resistance. A thicker wire will have lower resistance.
It should be noted that, as is often the case, there are diminishing returns from ever increasing the thickness of the wire. If the efficiency of your device is already, say 95%, it may or may not be worth it to increase the thickness of your wire to increase your efficiency to 96%. Besides the fact copper costs money, thicker wire also adds bulk. When wires get too bulky to fit in the space that is allotted to them, one may need to use a larger structure to hold those wires. In transformers, for example, once one gets to the point where the number of turns of wire can no longer fit in the "window" within a core, one has to shift to a larger core. So, use wire that is thick enough to handle your current with acceptable losses, but don't go overboard, because the payoff may be less than the cost.
On a side note, you wrote:
>
> I also know that when conducting electricity from a source to and end use that the longer the distance the more thicker the wire needs to be or else eddie currents and resistance will cause the wire to overheat (and thus either melt or cause a fire hazard).
>
>
>
Wire size has nothing to do with eddy currents, and you may want to use wire that is larger than the minimum needed to prevent fire. Or not. It depends upon the losses in your wire, and whether they are acceptable. | A longer wire has more resistance. A plumper wire has less resistance.
The amount of voltage you will be able to generate will be proportional to the field strength and the number of turns(loops) of wire in your coil.
Thinner wire allows you to have more turns in the same volume of coil, but more turns means extra wire length, which means more resistance, which will increase your losses. Essentially thinner wire allows more voltage, but less current.
Thicker wire means you can fit less turns in the same volume, which means less resistance and less losses for the same amount of current, but less induced voltage, so thicker wire allows less voltage but more current.
Before you go thinking of making your coil larger to get more turns of thicker wire, you need a stronger field to penetrate a thicker coil, or it will do more harm than good and waste material.
You can find the length of a single turn and use resistance and size of different wire gauges to calculate how many turns and how much resistance you had for different wire sizes easily enough, but this will only get you so far. To really figure things out ahead of time you use advanced math to predict your field strength to estimate output current and voltage.
Every size of wire has a limit to how much current can flow on it without overheating and will heat up proportional to I\$^2\$R, where I is current and R is resistance.
Without advanced math skills, the best thing to do is experiment.
If you haven't already, learn current, voltage, resistance, series and parallel circuits, Ohm's Law, Watt's Law, Resistance in series and in parallel, Kirchhoff's Laws. That small list of formulas will let you calculate basic voltage/power/resistance/current calculations like figuring out wire size. Then learn about capacitance and inductance if you're not sick of it by then. You can also learn about magnetics and use tools like Finite Element Magnetic Modeller(free) to simulate things and somewhat simplify your design process. It increases the amount you can figure out about a magnetic system at whatever skill level you're at, but the only way to use it properly is higher math and programming. |
546,483 | I know that the strength of the magnetic field and the speed by which the conductor passes the magnetic field have an effect on magnetic induction for the voltage output on a generator.
I also know that when conducting electricity from a source to and end user that the longer the distance the thicker the wire needs to be or else eddie currents and resistance will cause the wire to overheat (and thus either melt or cause a fire hazard.)
What I want to know is that when building my DIY generator, do I also need to adjust the wire size to the length of wire? Will using a thicker wire or thinner wire make an impact on efficiency of magnetic induction to produce electricity?
For example, if I want to be sure I have a greater voltage output or whatever (with less resistance or impedance,) do I increase the thickness of the wire or decrease the thickness of the wire? | 2021/02/04 | [
"https://electronics.stackexchange.com/questions/546483",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/275866/"
] | The thickness of a wire directly impacts the resistance per unit length. Resistance (when current flows through it) causes voltage drop. Other than that, the thickness of a wire has no noticeable effect upon the voltage induced in it due to a changing magnetic field.
>
> if I want to be sure I have a greater voltage output or whatever (with less resistance or impedence), do I increase the thickness of the wire or decrease the thickness of the wire?
>
>
>
Current flowing through a resistance causes a) a voltage drop, and b) heat. Neither of these things are usually wanted in a device such as a generator. Therefore your wire should be thick enough to handle the expected current with minimal, or at least acceptable, resistance. A thicker wire will have lower resistance.
It should be noted that, as is often the case, there are diminishing returns from ever increasing the thickness of the wire. If the efficiency of your device is already, say 95%, it may or may not be worth it to increase the thickness of your wire to increase your efficiency to 96%. Besides the fact copper costs money, thicker wire also adds bulk. When wires get too bulky to fit in the space that is allotted to them, one may need to use a larger structure to hold those wires. In transformers, for example, once one gets to the point where the number of turns of wire can no longer fit in the "window" within a core, one has to shift to a larger core. So, use wire that is thick enough to handle your current with acceptable losses, but don't go overboard, because the payoff may be less than the cost.
On a side note, you wrote:
>
> I also know that when conducting electricity from a source to and end use that the longer the distance the more thicker the wire needs to be or else eddie currents and resistance will cause the wire to overheat (and thus either melt or cause a fire hazard).
>
>
>
Wire size has nothing to do with eddy currents, and you may want to use wire that is larger than the minimum needed to prevent fire. Or not. It depends upon the losses in your wire, and whether they are acceptable. | If you want more voltage use a stronger magnet or spin it faster.
If you want more current use a stronger magnet (more speed won't help much)
At some strength of magnet the stator will be saturated and increasing the magnetic field will not show much gain.
When winding the stator there's a trade-off between more turns giving more voltage or fewer turns giving more current, you should use enough wire to fill the winding slots (so for fewer turns use thicker wire, or parallel wires).
If you use thinner wire you will loose more energy to the wire's resistance.
So to answer your question yes you should adjust the wire cross-section inversely to the length of the wire so that the slots stay full. Another approach is to use two wires in parallel instead of a single thicker wire. |
546,483 | I know that the strength of the magnetic field and the speed by which the conductor passes the magnetic field have an effect on magnetic induction for the voltage output on a generator.
I also know that when conducting electricity from a source to and end user that the longer the distance the thicker the wire needs to be or else eddie currents and resistance will cause the wire to overheat (and thus either melt or cause a fire hazard.)
What I want to know is that when building my DIY generator, do I also need to adjust the wire size to the length of wire? Will using a thicker wire or thinner wire make an impact on efficiency of magnetic induction to produce electricity?
For example, if I want to be sure I have a greater voltage output or whatever (with less resistance or impedance,) do I increase the thickness of the wire or decrease the thickness of the wire? | 2021/02/04 | [
"https://electronics.stackexchange.com/questions/546483",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/275866/"
] | The thickness of a wire directly impacts the resistance per unit length. Resistance (when current flows through it) causes voltage drop. Other than that, the thickness of a wire has no noticeable effect upon the voltage induced in it due to a changing magnetic field.
>
> if I want to be sure I have a greater voltage output or whatever (with less resistance or impedence), do I increase the thickness of the wire or decrease the thickness of the wire?
>
>
>
Current flowing through a resistance causes a) a voltage drop, and b) heat. Neither of these things are usually wanted in a device such as a generator. Therefore your wire should be thick enough to handle the expected current with minimal, or at least acceptable, resistance. A thicker wire will have lower resistance.
It should be noted that, as is often the case, there are diminishing returns from ever increasing the thickness of the wire. If the efficiency of your device is already, say 95%, it may or may not be worth it to increase the thickness of your wire to increase your efficiency to 96%. Besides the fact copper costs money, thicker wire also adds bulk. When wires get too bulky to fit in the space that is allotted to them, one may need to use a larger structure to hold those wires. In transformers, for example, once one gets to the point where the number of turns of wire can no longer fit in the "window" within a core, one has to shift to a larger core. So, use wire that is thick enough to handle your current with acceptable losses, but don't go overboard, because the payoff may be less than the cost.
On a side note, you wrote:
>
> I also know that when conducting electricity from a source to and end use that the longer the distance the more thicker the wire needs to be or else eddie currents and resistance will cause the wire to overheat (and thus either melt or cause a fire hazard).
>
>
>
Wire size has nothing to do with eddy currents, and you may want to use wire that is larger than the minimum needed to prevent fire. Or not. It depends upon the losses in your wire, and whether they are acceptable. | Motors and transformers and other similar wirewound devices will always be more efficient if the area allocated for the winding is packed as full as possible. So the basic idea is to use the thickest copper wire that still allows you to get the correct number of turns.
If it just barely fits, then it is right. If it fits with lots of extra space, go up one wire size.
This should make sense. Voltage and inductance depend only on number of turns. Resistance depends on length and diameter of wire. You want to minimize resistance for best efficiency. |
271,065 | I was aligning 3D files in Altium and at some point I noticed these solid vertical lines had appeared. They seem to stretch from top to bottom of the entire document and I can't seem to remove them. I tried resetting Altium but that didn't work. How did I add these lines and how can I delete them?
[](https://i.stack.imgur.com/UnpoL.png) | 2016/11/23 | [
"https://electronics.stackexchange.com/questions/271065",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/50628/"
] | They are guides.
Go Tools/Grid Manager. Theres ahould be all those guides.
[](https://i.stack.imgur.com/mmUqN.png) | Just to update this, in the latest version of Altium this has been changed.
It is now in "Properties" > "Guide Manager"
In this section you can edit, place, hide, and remove these "Work Guides" |
37,485,198 | I am trying to edit the FitPro theme developed by Livemesh for a client. The website has a bad page load speed and I am trying to find where all the CSS and Javascript are called so I can optimize the above the-fold-content.
When using chrome tools, I see where this is happening in the sources tab, it references "(index)" which I am lead to believe is just a name chrome is giving the file that has rendered the content?
How do I figure out specifically what file it is? Because I can't find it. The header, index, front page...they all just reference functions that I can't find without doing a mass search (downloading content now so that I can do this), but this seems like a real pain in the behind.
Is there a better way to know what file to look for? | 2016/05/27 | [
"https://Stackoverflow.com/questions/37485198",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/3582689/"
] | This was fixed by adding [HttpGet] attribute to the get method for the form. | I think that you forgot to send content-type header for your form post. Try adding some of content-types from this answer: <https://stackoverflow.com/a/35452170/1727132> |
3,961 | When my daughter was 6 months old, she liked to crawl over to our floor lamp and play with it (which is dangerous). Instead of trying to correct her behavior, we simply moved the lamp behind a child gate.
Now she is 10 months old, and she likes playing with our flashy, blinky internet router. We can't really move it, so we spent a week constantly correcting her when she went to play with it. She seems to have learned not to touch it.
My question is, what age is average for kids to relate cause and effect, and to be able to learn from discipline? Could she have learned not to touch the lamp as a 6 month old? | 2012/01/07 | [
"https://parenting.stackexchange.com/questions/3961",
"https://parenting.stackexchange.com",
"https://parenting.stackexchange.com/users/1530/"
] | It all depends on your definition of discipline. When my now 4 year old daughter was about 17mo old we would tell her "no,no, you can't climb up the stairs right now" (for example) and she would look at us, smile this devious smile and do it anyway. The doctor said it is clear she understands what she is doing so it is time to start time out. Conventional wisdom says time out starts being effective around 2ish but in her case she responded and began listening when we said no no.
Moving a younger child from a dangerous situation and redirecting his/her behavior can be viewed, for a child of that age range, to be discipline. You are removing something fun. As you discovered the child will learn. I am not sure that is responding to discipline as much as just internalizing a lesson.
Before this question can be answered discipline, as you see it, needs to be defined. | Cause and effect comes only much later, and it is difficult to talk about average since there are so big individual differences. But a 1-1,5 years old kid can surely learn (after many repetitions) that something is not allowed. No need to explain her any details, just firmly say "No" and remove her from the forbidden place. You need to be alert, but eventually she will give up :-)
Most probably younger babies can learn too, but at that age it is usually not an issue as they can't yet move that much :-) I don't have the time now, but it may be worth to google for Piaget who may have some more concrete study results regarding this. |
3,961 | When my daughter was 6 months old, she liked to crawl over to our floor lamp and play with it (which is dangerous). Instead of trying to correct her behavior, we simply moved the lamp behind a child gate.
Now she is 10 months old, and she likes playing with our flashy, blinky internet router. We can't really move it, so we spent a week constantly correcting her when she went to play with it. She seems to have learned not to touch it.
My question is, what age is average for kids to relate cause and effect, and to be able to learn from discipline? Could she have learned not to touch the lamp as a 6 month old? | 2012/01/07 | [
"https://parenting.stackexchange.com/questions/3961",
"https://parenting.stackexchange.com",
"https://parenting.stackexchange.com/users/1530/"
] | It all depends on your definition of discipline. When my now 4 year old daughter was about 17mo old we would tell her "no,no, you can't climb up the stairs right now" (for example) and she would look at us, smile this devious smile and do it anyway. The doctor said it is clear she understands what she is doing so it is time to start time out. Conventional wisdom says time out starts being effective around 2ish but in her case she responded and began listening when we said no no.
Moving a younger child from a dangerous situation and redirecting his/her behavior can be viewed, for a child of that age range, to be discipline. You are removing something fun. As you discovered the child will learn. I am not sure that is responding to discipline as much as just internalizing a lesson.
Before this question can be answered discipline, as you see it, needs to be defined. | First of all, make sure you have "TRAINED" the child to not do something, as mentioned above that can mean for very yound simply saying "no" and making it clear your expectation. Second, be CONSISTENT, if you only occasionally correct then your correction at any age will be ineffective. Third, DISCIPLINE is appropriate only after you have trained the child and are committed to being consistent (both parents). Finally, affirm the child when they behave correctly and make it fun to obey. Whatever you do, do not respond in anger but in love. |
3,961 | When my daughter was 6 months old, she liked to crawl over to our floor lamp and play with it (which is dangerous). Instead of trying to correct her behavior, we simply moved the lamp behind a child gate.
Now she is 10 months old, and she likes playing with our flashy, blinky internet router. We can't really move it, so we spent a week constantly correcting her when she went to play with it. She seems to have learned not to touch it.
My question is, what age is average for kids to relate cause and effect, and to be able to learn from discipline? Could she have learned not to touch the lamp as a 6 month old? | 2012/01/07 | [
"https://parenting.stackexchange.com/questions/3961",
"https://parenting.stackexchange.com",
"https://parenting.stackexchange.com/users/1530/"
] | It all depends on your definition of discipline. When my now 4 year old daughter was about 17mo old we would tell her "no,no, you can't climb up the stairs right now" (for example) and she would look at us, smile this devious smile and do it anyway. The doctor said it is clear she understands what she is doing so it is time to start time out. Conventional wisdom says time out starts being effective around 2ish but in her case she responded and began listening when we said no no.
Moving a younger child from a dangerous situation and redirecting his/her behavior can be viewed, for a child of that age range, to be discipline. You are removing something fun. As you discovered the child will learn. I am not sure that is responding to discipline as much as just internalizing a lesson.
Before this question can be answered discipline, as you see it, needs to be defined. | Babies as young as 5 months can [recognize prosocial behaviour](http://www.pnas.org/content/early/2011/11/21/1110306108.abstract). By 8 months, they will even sympathize with characters who punish evildoers. From those results, it's safe to say that babies have a sense of morality, at least when it comes to interpersonal relationships.
You might be able to extrapolate that babies around that age can recognize obedience as prosocial behaviour when they see it. Whether they believe that that applies to themselves is a different issue. Also, the rule about touching routers and lamps has to be learned, whereas a rule about not stealing from others is likely to be innate. Finally, at any age, curiosity can always override obedience.
Short answer: at 5 months, the foundations of morality are definitely there. Whether that means that obedience is possible at that age, I don't know. Your own anecdote suggests that it certainly is possible by 10 months. Then again, some teenagers and even adults never learn. =) |
24,521,219 | We are currently in an AX 2012 R2 shared environment mode -- multiple DEV AX instances and multiple developers using them. This is not working well. The company wants to give each developer a beefy laptop to create his/her own environment.
Some of the features would be:
1. Integrate with TFS
2. Be able to interact with other servers and server-based products and applications in teh corporation
3. Be able to run multiple versions of AX 2012 R2, 2012 R3 etc.
4. Be able to load current model and data from production
I see two options in terms of installation:
1. Install AX and have it be part of the corporate domain
2. Install AX in a Hyper-V environment with my own domain controller
Is the feature set possible with both of the above types of installation? Any Pros and Cons?
I'm not even sure I'm asking the right questions as infrastructure is not my cup of tea.
Thank you. | 2014/07/02 | [
"https://Stackoverflow.com/questions/24521219",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/264776/"
] | You will waste oceans of time by having each developer set up her own environment on her own. AX setup involves several servers and services and takes weeks not minutes.
Better is to use a VM for each environment, then use a pool of shared VM's managed by specialist for each environment.
Of cause you will need a monster host machine for each developer.
* + Flexible
* - Expensive
Alternatively use central servers and a shared development environment. This may be good enough, if there is not many developers.
* + Not so expensive
* - Flexible
* - Development interference working on the same system
[Microsoft Life Cycle services](http://www.youtube.com/watch?v=pNZ3jPyiqR8) may be of help especially in you need AX 2012 R3.
* + Easy of use
* - Limited to some AX version only
* - Expensive??? | if you need 'to run multiple versions of AX 2012 R2, 2012 R3 etc' you are looking at a VM solution of one kind or another(or alot of ssds you swap frequently)--if you are disciplined with check-ins and code review there is a good whitepaper from microsoft that is mostly applicable
<http://blogs.msdn.com/b/axsa/archive/2012/10/22/tfs-integration-with-microsoft-dynamics-ax-2012-and-automated-scripts-for-build-and-deployment.aspx>
re: tfs there is some support out of the box, but setting up a credible Continuous Integration situation is another story really
also see: <http://dynamicsaxadmin.codeplex.com/> |
10,811,710 | >
> **Possible Duplicate:**
>
> [Headers already sent by PHP](https://stackoverflow.com/questions/8028957/headers-already-sent-by-php)
>
>
>
When i use header( 'Location: index.php) in php code it display this error message.
**Warning: Cannot modify header information - headers already sent by (output started at D:\xampp\htdocs\OnlineCode\online\survey\code\index.php:55) in D:\xampp\htdocs\OnlineCode\online\survey\code\index.php on line 62**
how can i fixed this ? | 2012/05/30 | [
"https://Stackoverflow.com/questions/10811710",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1407725/"
] | make sure there is no echo or print statement before redirecting the header.It cause this error when we use echo or print before redirecting the header. | This occurs when output has already been started. You have to put the header() calls before any output occurs. Even spaces outside of php tags count as output. It may be helpful to just post the page's code where we can look at it. |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | The biggest risks are that they destroy the equipment, not that they get hurt. At least not until you introduce them to soldering irons!
I would recommend not using lithium ion batteries for power - since they can explode if shorted. Regular AA batteries will get hot if shorted (enough to cause burns/fires after awhile) but arent likely to explode. The best power supply would be one with an adjustable current limit which helps avoid damaging equipment or people.
Some components like capacitors can explode if run over their voltage rating or with polarity reversed - sometimes with a very scary bang. But even that isnt too risky unless it gets in your eyes.
As long as they dont do anything incredibly stupid they will be fine. Electricity at the voltages used in microcontrollers isnt going to hurt anyone.
(As an example of "incredibly stupid" - in our high school electronics lab someone decided to find out what happens if you short out a 120v electrical outlet with a piece of solder. The answer is that it glows for a second, then violently explodes and sprays molten solder a good 10-15 feet. I recommend *not* repeating that experiment!) | The only risk I can think of is short circuiting. If they are working with batteries make sure to explain this. The danger of short circuiting is for one that it can make the wires really hot. If a battery is short circuited with something of low resistance, like a wire, it could potentially cause the battery to explode.
The Arduino limitations should be taught as well, so they don't damage the controller, for example (by a too high current drawn from and/or too high input voltage on pins). |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | 1. This probably goes without saying, but avoid using power sources with significant "oomph", or have some mechanism that limit the current/power that is hard to get around. Certainly less than 12V is good, and preferably limit to 1A or less.
2. Along with 1, batteries are trouble (namely Lithium based batteries). They generally can provide a lot of current when shorted, and in the case of Lithium-based batteries (Li-ion, Li-Po), can catch fire if abused.
3. Polarized capacitors are trouble (electrolytics/tantalum). When reverse biased, they don't behave like capacitors, but usually like a short. With enough current, the capacitor will heat up. In the case of electrolytics the electrolyte will evaporate, and the cap will burst. I believe tantalum ones will catch fire.
Note that there are bipolar (non-polar) electrolytic capacitors. These are perfectly fine to use.
4. Do encourage good circuit practices from the start. These include (but are not limited to):
a. Turning off/disconnecting all power sources before modifying a circuit
b. Keep circuits relatively well organized (you may want to provide layouts for the students to build). This will not only reduce errors, but hopefully will make debugging easier, and decreases the likelihood of anything dangerous happening.
c. Double checking (or triple checking) never hurts. You'd be surprised (or maybe not so surprised) how often students ask why their circuit isn't working just to find an obvious problem because it was "too simple" for them to check.
That being said, it sounds like a perfectly fine idea to me teaching kids about circuits. | The only risk I can think of is short circuiting. If they are working with batteries make sure to explain this. The danger of short circuiting is for one that it can make the wires really hot. If a battery is short circuited with something of low resistance, like a wire, it could potentially cause the battery to explode.
The Arduino limitations should be taught as well, so they don't damage the controller, for example (by a too high current drawn from and/or too high input voltage on pins). |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | Safety? There is only one thing to be done. Teach them not to stick their faces directly over the circuit. Stand back when you turn on the circuit "just in case". A few "flame ons" here and there will then only hurt your pocket book and make you look sooooo much cooler. Faux danger and learning all in one.
Learning by explosion/smoke/heat is as valid as any other and perhaps more so. | The only risk I can think of is short circuiting. If they are working with batteries make sure to explain this. The danger of short circuiting is for one that it can make the wires really hot. If a battery is short circuited with something of low resistance, like a wire, it could potentially cause the battery to explode.
The Arduino limitations should be taught as well, so they don't damage the controller, for example (by a too high current drawn from and/or too high input voltage on pins). |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | The biggest risks are that they destroy the equipment, not that they get hurt. At least not until you introduce them to soldering irons!
I would recommend not using lithium ion batteries for power - since they can explode if shorted. Regular AA batteries will get hot if shorted (enough to cause burns/fires after awhile) but arent likely to explode. The best power supply would be one with an adjustable current limit which helps avoid damaging equipment or people.
Some components like capacitors can explode if run over their voltage rating or with polarity reversed - sometimes with a very scary bang. But even that isnt too risky unless it gets in your eyes.
As long as they dont do anything incredibly stupid they will be fine. Electricity at the voltages used in microcontrollers isnt going to hurt anyone.
(As an example of "incredibly stupid" - in our high school electronics lab someone decided to find out what happens if you short out a 120v electrical outlet with a piece of solder. The answer is that it glows for a second, then violently explodes and sprays molten solder a good 10-15 feet. I recommend *not* repeating that experiment!) | Safety? There is only one thing to be done. Teach them not to stick their faces directly over the circuit. Stand back when you turn on the circuit "just in case". A few "flame ons" here and there will then only hurt your pocket book and make you look sooooo much cooler. Faux danger and learning all in one.
Learning by explosion/smoke/heat is as valid as any other and perhaps more so. |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | The biggest risks are that they destroy the equipment, not that they get hurt. At least not until you introduce them to soldering irons!
I would recommend not using lithium ion batteries for power - since they can explode if shorted. Regular AA batteries will get hot if shorted (enough to cause burns/fires after awhile) but arent likely to explode. The best power supply would be one with an adjustable current limit which helps avoid damaging equipment or people.
Some components like capacitors can explode if run over their voltage rating or with polarity reversed - sometimes with a very scary bang. But even that isnt too risky unless it gets in your eyes.
As long as they dont do anything incredibly stupid they will be fine. Electricity at the voltages used in microcontrollers isnt going to hurt anyone.
(As an example of "incredibly stupid" - in our high school electronics lab someone decided to find out what happens if you short out a 120v electrical outlet with a piece of solder. The answer is that it glows for a second, then violently explodes and sprays molten solder a good 10-15 feet. I recommend *not* repeating that experiment!) | I was breadboarding with TTL from an early age, back in the days when solder had a lot more lead, a TV chassis was live, and mercury tilt switches were clear glass bulbs freely sold with no awkward questions.
Steel wool and jumper cables were the limit of our destructive nature. Although not many speaker cones survived for long either. Once or twice we did very dangerous things with multi-tapped transformers and CRT yokes from those same TV's.
We did this in sheds where asbestos was routinely cut and nibbled. One of my lay friends went home one day and told his parents I made bombs in the garage. This took a while to die down even in those days.
As for short circuiting, the "crowbar" approach always held an allure. After all it does protect everything downstream and the fuse is serving a purpose.
Nowadays every home should have RCD/earth leakage protection and our work areas a big fat red mushroom switch.
Boards and shields with screw terminals and pins are way safer.
My wife has a Master's and does not what to do with a soldering iron.
Should you get your Raspberry Pi on and teach them to code instead ? If anything this is more dangerous and they probably won't learn any more Python once they realise that C projects run 10 times faster.
It bothers me dreadfully that these processors are often used as sledgehammers to drive in thumbtacks. Many applications could be served by dedicated devices such as 555 timers or counter-scalers. Maybe we just like to dabble.
Anticipate fire, anticipate burns. A bucket of sand for fire. (I still wonder how we could make DC powerpacks for 5V and 12V and use the same connectors) - can't have halon any more either.
Of course, then there is the risk from the project. Let's say a controller for a live steam engine. What are the risks from a sketch gone bad ? |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | 1. This probably goes without saying, but avoid using power sources with significant "oomph", or have some mechanism that limit the current/power that is hard to get around. Certainly less than 12V is good, and preferably limit to 1A or less.
2. Along with 1, batteries are trouble (namely Lithium based batteries). They generally can provide a lot of current when shorted, and in the case of Lithium-based batteries (Li-ion, Li-Po), can catch fire if abused.
3. Polarized capacitors are trouble (electrolytics/tantalum). When reverse biased, they don't behave like capacitors, but usually like a short. With enough current, the capacitor will heat up. In the case of electrolytics the electrolyte will evaporate, and the cap will burst. I believe tantalum ones will catch fire.
Note that there are bipolar (non-polar) electrolytic capacitors. These are perfectly fine to use.
4. Do encourage good circuit practices from the start. These include (but are not limited to):
a. Turning off/disconnecting all power sources before modifying a circuit
b. Keep circuits relatively well organized (you may want to provide layouts for the students to build). This will not only reduce errors, but hopefully will make debugging easier, and decreases the likelihood of anything dangerous happening.
c. Double checking (or triple checking) never hurts. You'd be surprised (or maybe not so surprised) how often students ask why their circuit isn't working just to find an obvious problem because it was "too simple" for them to check.
That being said, it sounds like a perfectly fine idea to me teaching kids about circuits. | Safety? There is only one thing to be done. Teach them not to stick their faces directly over the circuit. Stand back when you turn on the circuit "just in case". A few "flame ons" here and there will then only hurt your pocket book and make you look sooooo much cooler. Faux danger and learning all in one.
Learning by explosion/smoke/heat is as valid as any other and perhaps more so. |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | 1. This probably goes without saying, but avoid using power sources with significant "oomph", or have some mechanism that limit the current/power that is hard to get around. Certainly less than 12V is good, and preferably limit to 1A or less.
2. Along with 1, batteries are trouble (namely Lithium based batteries). They generally can provide a lot of current when shorted, and in the case of Lithium-based batteries (Li-ion, Li-Po), can catch fire if abused.
3. Polarized capacitors are trouble (electrolytics/tantalum). When reverse biased, they don't behave like capacitors, but usually like a short. With enough current, the capacitor will heat up. In the case of electrolytics the electrolyte will evaporate, and the cap will burst. I believe tantalum ones will catch fire.
Note that there are bipolar (non-polar) electrolytic capacitors. These are perfectly fine to use.
4. Do encourage good circuit practices from the start. These include (but are not limited to):
a. Turning off/disconnecting all power sources before modifying a circuit
b. Keep circuits relatively well organized (you may want to provide layouts for the students to build). This will not only reduce errors, but hopefully will make debugging easier, and decreases the likelihood of anything dangerous happening.
c. Double checking (or triple checking) never hurts. You'd be surprised (or maybe not so surprised) how often students ask why their circuit isn't working just to find an obvious problem because it was "too simple" for them to check.
That being said, it sounds like a perfectly fine idea to me teaching kids about circuits. | I was breadboarding with TTL from an early age, back in the days when solder had a lot more lead, a TV chassis was live, and mercury tilt switches were clear glass bulbs freely sold with no awkward questions.
Steel wool and jumper cables were the limit of our destructive nature. Although not many speaker cones survived for long either. Once or twice we did very dangerous things with multi-tapped transformers and CRT yokes from those same TV's.
We did this in sheds where asbestos was routinely cut and nibbled. One of my lay friends went home one day and told his parents I made bombs in the garage. This took a while to die down even in those days.
As for short circuiting, the "crowbar" approach always held an allure. After all it does protect everything downstream and the fuse is serving a purpose.
Nowadays every home should have RCD/earth leakage protection and our work areas a big fat red mushroom switch.
Boards and shields with screw terminals and pins are way safer.
My wife has a Master's and does not what to do with a soldering iron.
Should you get your Raspberry Pi on and teach them to code instead ? If anything this is more dangerous and they probably won't learn any more Python once they realise that C projects run 10 times faster.
It bothers me dreadfully that these processors are often used as sledgehammers to drive in thumbtacks. Many applications could be served by dedicated devices such as 555 timers or counter-scalers. Maybe we just like to dabble.
Anticipate fire, anticipate burns. A bucket of sand for fire. (I still wonder how we could make DC powerpacks for 5V and 12V and use the same connectors) - can't have halon any more either.
Of course, then there is the risk from the project. Let's say a controller for a live steam engine. What are the risks from a sketch gone bad ? |
139,461 | I have been learning how to work with [Arduino Uno](http://arduino.cc/en/Main/ArduinoBoardUno) R3, and it seems very intuitive and exciting for me. As many agree, I see lots of benefits of learning to use it at a young age.
I would like to start a volunteer class for the local kids in my neighbourhood to teach them how to start small projects with the Arduino. This also includes learning how to work with a breadboard and other related devices and objects that go along with creating cool projects with Arduino.
What are the safety concerns of teaching 10 to 15 year olds to work with an Arduino (or similar) microcontrollers? Is there an existential risk that is high enough to make it a bad idea, legally or otherwise, to teach such a course to kids that age? | 2014/11/21 | [
"https://electronics.stackexchange.com/questions/139461",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/58740/"
] | Safety? There is only one thing to be done. Teach them not to stick their faces directly over the circuit. Stand back when you turn on the circuit "just in case". A few "flame ons" here and there will then only hurt your pocket book and make you look sooooo much cooler. Faux danger and learning all in one.
Learning by explosion/smoke/heat is as valid as any other and perhaps more so. | I was breadboarding with TTL from an early age, back in the days when solder had a lot more lead, a TV chassis was live, and mercury tilt switches were clear glass bulbs freely sold with no awkward questions.
Steel wool and jumper cables were the limit of our destructive nature. Although not many speaker cones survived for long either. Once or twice we did very dangerous things with multi-tapped transformers and CRT yokes from those same TV's.
We did this in sheds where asbestos was routinely cut and nibbled. One of my lay friends went home one day and told his parents I made bombs in the garage. This took a while to die down even in those days.
As for short circuiting, the "crowbar" approach always held an allure. After all it does protect everything downstream and the fuse is serving a purpose.
Nowadays every home should have RCD/earth leakage protection and our work areas a big fat red mushroom switch.
Boards and shields with screw terminals and pins are way safer.
My wife has a Master's and does not what to do with a soldering iron.
Should you get your Raspberry Pi on and teach them to code instead ? If anything this is more dangerous and they probably won't learn any more Python once they realise that C projects run 10 times faster.
It bothers me dreadfully that these processors are often used as sledgehammers to drive in thumbtacks. Many applications could be served by dedicated devices such as 555 timers or counter-scalers. Maybe we just like to dabble.
Anticipate fire, anticipate burns. A bucket of sand for fire. (I still wonder how we could make DC powerpacks for 5V and 12V and use the same connectors) - can't have halon any more either.
Of course, then there is the risk from the project. Let's say a controller for a live steam engine. What are the risks from a sketch gone bad ? |
156,833 | I have a poweredge 2850 with 6 drives and a RAID controller. I want to set up 3 pairs of RAID1 arrays to use a 1-webserver, 2 fileserver and 3backup.
Is this even possible and how do I configure it?
I see 3 drives when I check the files systems in Ubuntu but I don't know where to go from here. I had to add the gnome GUI to check things out because the command line was too difficult. Once I am configured I will disable the GUI. | 2010/06/25 | [
"https://superuser.com/questions/156833",
"https://superuser.com",
"https://superuser.com/users/41029/"
] | >
> I want to set up 3 pairs of RAID1 arrays to use as
>
> 1-webserver, 2 fileserver and 3backup.
>
>
> Is this even possible and how do I configure it?
>
>
>
This is possible, and if you want to keep things really separated (e.g. no files uploaded to the array with webserver data) it will work. But:
* RAID is not backup. Repeat this mantra a few times.
If lightning strikes, a PSU dies and takes out the system, if a thief lugs the server home, if .... then you loose primary data and backup. Good advice is not to store the backup on the manin system as primary data.
* Three arrays are really not needed. One if enough. Just put the contents in different folders and assign quota's if needed.
* Three mirrors is rather wasteful. I would consider RAID10 (with 4 drives).
>
> I see 3 drives when I check the files systems in Ubuntu
>
>
>
That seems normal. You have three arrays (each considting of two drives, which the RAID controller hides from you).
>
> I had to add the gnome GUI to check things out because the command line
> was too difficult. Once I am configured I will disable the GUI.
>
>
>
Meh. For a home system and testing a GUI is not all that bad. It is more software, more to keep up to date, more which can fail. And if you rolled out a 100 servers then I would suggest to learn the CLI. But for a single learning home system. Use the GUI and learn how things work. | Installing GUI on a server is an epic fail. It's like having compile tools on it.
In my opinion raid1 is like shooting yourself in groins with 6 drives. I'd simply go with Raid6. (Anything just no Raid1).
For the question:
You need to grab an install disc like [minimal](https://help.ubuntu.com/community/Installation/MinimalCD)/netinst.
When it boots and blinks, type: expert
After that, you get a REALLY expert setup, expert options. Set up your raid through the install. That's all.
(Yes, there is no easy way around. At least I don't know any. Maybe Windows provides some easier way.. but you have to pay the price for that.) |
695,355 | I've a 3 gigabyte ISO file on my Ubuntu virtual machine on VirtualBox, and I would like to burn this file to a *real* DVD. I know that I can burn an ISO file to a DVD using right-clicking on the file and choosing "Write To Disc", but if I try that, my real DVD is not listed. How can I make sure that my real DVD is listed so I can burn the ISO file to it? | 2013/12/31 | [
"https://superuser.com/questions/695355",
"https://superuser.com",
"https://superuser.com/users/285825/"
] | Storage
1. Click on the SATA or IDE depending on your system
2. Click the **+** symbol to the right for add **CD/DVD**
3. Say leave empty
4. Click on the device labelled **Empty**
5. Goto the right side of the screen
6. Click the drop down next to the tiny CD icon and select your real CD/DVD drive letter.
**Host Drive d:** for example.
7. Click passthrough
8. Click Ok
reboot the VM and try again. | You do not need *passthrough* at all. Just grab the CD/DVD driver from the rim of your VM windows after starting it.
But there are also other solutions, like writing your *iso* image to a folder shared between host and guest, and then use the host's instruments to burn the image to DVD. |
32,798 | I'm looking for a chip- or coin-like item that has the following qualities of poker chips, but without the association with gambling:
* high quality materials
* approximately same size and weight (not paper)
* attractive design
* multiple colors
Does anyone know of something like this? | 2016/10/19 | [
"https://boardgames.stackexchange.com/questions/32798",
"https://boardgames.stackexchange.com",
"https://boardgames.stackexchange.com/users/18708/"
] | Tiddlywinks.
You can buy small plastic discs from most toyshops. | Some Connect-Four chips are pretty much the same as poker chips, they even stick together in a cool way; that's the case for the ones made by MB. |
32,798 | I'm looking for a chip- or coin-like item that has the following qualities of poker chips, but without the association with gambling:
* high quality materials
* approximately same size and weight (not paper)
* attractive design
* multiple colors
Does anyone know of something like this? | 2016/10/19 | [
"https://boardgames.stackexchange.com/questions/32798",
"https://boardgames.stackexchange.com",
"https://boardgames.stackexchange.com/users/18708/"
] | Most games of checkers have cool designs and stack and are pretty durable. They're obviously not poker chips. They generally only come in red or black, but I've spray painted them different colors to make generic Magic the Gathering tokens (the fact that they stack is nice for things that make lots of 1/1 dudes...) and they come out pretty good. Just a quick coat, let it dry, flip it and do another quick coat.
You can often buy checkers games for cheap from thrift stores. | Some Connect-Four chips are pretty much the same as poker chips, they even stick together in a cool way; that's the case for the ones made by MB. |
15,958 | >
> “But concerning that day and hour no one knows, not even the angels of heaven, nor the Son, but the Father only.
>
>
>
[Matthew 24:36](http://www.biblegateway.com/passage/?search=Matthew%2024:36&version=ESV)
---
The Gospel of Matthew tells us that Jesus will return *someday*. All Christians yearn for his return.
But why is Jesus scheduled to return *only* once at some indefinite time in the future?
Why can't He periodically visit Earth?
Is he "busy" visiting other planets? Does he need to do "chores" in Heaven? | 2013/05/03 | [
"https://christianity.stackexchange.com/questions/15958",
"https://christianity.stackexchange.com",
"https://christianity.stackexchange.com/users/1100/"
] | St. Thomas makes the only rational point that can answer this question.
>
> the tree of life was corruptible, otherwise it could not be taken as food; since food is changed into the substance of the thing nourished.
>
>
>
So if the tree (either of them) were meant to fix its consumers bodies and give them natural immortality it has to drop its fruit and if it can drop its fruit, then it can drop its limbs and if it can.drop its limbs, it can drop its trunk and if it can drop its trunk, it can wither up and die.
If there was only one of each tree Adam and Eve seriously had very little hope of getting the same fruit out of its descendants. But, on a happier note there's really no reason to surmise that a portion of either trees' genetics hasn't been passed down through the centuries. | I assumed that everyone knows what happened to Torah, so here is the answer more simply put. This is the teaching of Judaism, but surely is important to Christianity. The Christian OT is taken from Judaism.
The tree of Life in the Garden of Eden, is a metaphor for the Torah in Judaism - which after all is where the Tree of Life comes from. In Torah, the Tree of Life is God's blueprint for his creation, and in Orthodox Judaism it existed prior to the creation. God is seen as the Architect working from His blueprint, Torah.
*“And the LORD God said, Behold, the man is become as one of us, to know good and evil: and now, lest he put forth his hand, and take also of the tree of life, and eat, and live for ever: Therefore the LORD God sent him forth from the garden of Eden, to till the ground from whence he was taken.*” Genesis 3:22, 23, KJV.
God gave Torah to Moses at Sinai. Torah has been handed down to the present day, and is in every synagogue (that can afford it.) And it is in the Christian OT (the Hebrew version, not the Greek, of course, since the Hebrews consider that to be in error.)
So, the tree of life is alive and well. I have a Jewish Book containing the five books of Moses (plus) and whose cover title is *ETZ HAYIM* which means Tree of Life. |
15,958 | >
> “But concerning that day and hour no one knows, not even the angels of heaven, nor the Son, but the Father only.
>
>
>
[Matthew 24:36](http://www.biblegateway.com/passage/?search=Matthew%2024:36&version=ESV)
---
The Gospel of Matthew tells us that Jesus will return *someday*. All Christians yearn for his return.
But why is Jesus scheduled to return *only* once at some indefinite time in the future?
Why can't He periodically visit Earth?
Is he "busy" visiting other planets? Does he need to do "chores" in Heaven? | 2013/05/03 | [
"https://christianity.stackexchange.com/questions/15958",
"https://christianity.stackexchange.com",
"https://christianity.stackexchange.com/users/1100/"
] | St. Thomas makes the only rational point that can answer this question.
>
> the tree of life was corruptible, otherwise it could not be taken as food; since food is changed into the substance of the thing nourished.
>
>
>
So if the tree (either of them) were meant to fix its consumers bodies and give them natural immortality it has to drop its fruit and if it can drop its fruit, then it can drop its limbs and if it can.drop its limbs, it can drop its trunk and if it can drop its trunk, it can wither up and die.
If there was only one of each tree Adam and Eve seriously had very little hope of getting the same fruit out of its descendants. But, on a happier note there's really no reason to surmise that a portion of either trees' genetics hasn't been passed down through the centuries. | In the Book of Revelation chapter 22:1-3, John in a vision saw the Tree of Life “on either side of the river” that “flows from the throne of God”, in The New Jerusalem in Heaven.
Rev 22:1-3 NIV
>
> Then the angel showed me the river of the water of life, as clear as
> crystal, flowing from the throne of God and of the Lamb 2 down the
> middle of the great street of the city. On each side of the river
> stood the tree of life, bearing twelve crops of fruit, yielding its
> fruit every month. And the leaves of the tree are for the healing of
> the nations.
>
>
>
It may be deduced that the tree was not destroyed in the Great Flood but was instead taken up to heaven and will return to the “earth made new” ie. The Restored Eden, when the Celestial City descends to earth at the return of Jesus Christ. |
15,958 | >
> “But concerning that day and hour no one knows, not even the angels of heaven, nor the Son, but the Father only.
>
>
>
[Matthew 24:36](http://www.biblegateway.com/passage/?search=Matthew%2024:36&version=ESV)
---
The Gospel of Matthew tells us that Jesus will return *someday*. All Christians yearn for his return.
But why is Jesus scheduled to return *only* once at some indefinite time in the future?
Why can't He periodically visit Earth?
Is he "busy" visiting other planets? Does he need to do "chores" in Heaven? | 2013/05/03 | [
"https://christianity.stackexchange.com/questions/15958",
"https://christianity.stackexchange.com",
"https://christianity.stackexchange.com/users/1100/"
] | I assumed that everyone knows what happened to Torah, so here is the answer more simply put. This is the teaching of Judaism, but surely is important to Christianity. The Christian OT is taken from Judaism.
The tree of Life in the Garden of Eden, is a metaphor for the Torah in Judaism - which after all is where the Tree of Life comes from. In Torah, the Tree of Life is God's blueprint for his creation, and in Orthodox Judaism it existed prior to the creation. God is seen as the Architect working from His blueprint, Torah.
*“And the LORD God said, Behold, the man is become as one of us, to know good and evil: and now, lest he put forth his hand, and take also of the tree of life, and eat, and live for ever: Therefore the LORD God sent him forth from the garden of Eden, to till the ground from whence he was taken.*” Genesis 3:22, 23, KJV.
God gave Torah to Moses at Sinai. Torah has been handed down to the present day, and is in every synagogue (that can afford it.) And it is in the Christian OT (the Hebrew version, not the Greek, of course, since the Hebrews consider that to be in error.)
So, the tree of life is alive and well. I have a Jewish Book containing the five books of Moses (plus) and whose cover title is *ETZ HAYIM* which means Tree of Life. | In the Book of Revelation chapter 22:1-3, John in a vision saw the Tree of Life “on either side of the river” that “flows from the throne of God”, in The New Jerusalem in Heaven.
Rev 22:1-3 NIV
>
> Then the angel showed me the river of the water of life, as clear as
> crystal, flowing from the throne of God and of the Lamb 2 down the
> middle of the great street of the city. On each side of the river
> stood the tree of life, bearing twelve crops of fruit, yielding its
> fruit every month. And the leaves of the tree are for the healing of
> the nations.
>
>
>
It may be deduced that the tree was not destroyed in the Great Flood but was instead taken up to heaven and will return to the “earth made new” ie. The Restored Eden, when the Celestial City descends to earth at the return of Jesus Christ. |
14,025 | Recently, I pronounced the word *enqueue* as *ahn-queue*. The person I was talking to said he would have pronounced it with a more normal *en* sound (like in Ben or den).
I'm not sure why I thought that *ahn-* was the way to pronounce this—it seems to be wrong according to the dictionary.
The cases that *ahn-* seems to be correct are two-word french phrases (e.g., [*en route*](http://dictionary.reference.com/browse/en+route)). I also thought of [*envoy*](http://dictionary.reference.com/browse/envoy), which does allow the *ahn-* pronunciation as a second option.
Is there a pattern for which words allow or require *en-* to be pronounced as *ahn-*? Or is this just something you have to know word-by-word? | 2011/02/24 | [
"https://english.stackexchange.com/questions/14025",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/4281/"
] | Indeed, most of the *en-* words are of French origin. However, majority of them are pronounced |*en*|, as in *envy*. It is not uncommon to hear some of them mispronounced |*ahn*|. This is rife and quite acceptable in America, most especially for the word *envelope*.
All the compound French-derived words beginning with *en* are pronounced *|ahn|*. *En route* can also be pronounced as written. | In American English, *en-* is pronounced /ɪn/, or /ɛn/.
In most of the words starting with *en-*, *en-* is a prefix that has origin from French, from Latin *in*. |
1,048,792 | There are plenty of videos and descriptions about how to *use* an RJ45 crimping tool. I've seen a few, and I have even tested a crimping tool, but I still don't understand *how* it does what it does.
What exactly happens to the eight wires inside the crimping tool, and why isn't it necessary to remove the insulation from the eight wires before putting the cable into the crimping tool? | 2021/01/06 | [
"https://serverfault.com/questions/1048792",
"https://serverfault.com",
"https://serverfault.com/users/39827/"
] | When you crimp a cable the metal contact pads inside the RJ45 head will "cut" into the isolated ethernet cable. Most one time used RJ45 connectors will also have a bit in the middle of the connector that will get crushed during crimping, ensuring that the cable doesn't get pulled out easily from the contact pads.
[](https://i.stack.imgur.com/kcOlU.gif)
There are some RJ45 connectors that allow you to remove the head, but these are most of the time used in a commercial environment (and these are most of the time significantly more expensive). However these heads usually do not require any tools.
Similar approach is taken when you use a patch panel, where the patch panel's metal contact pads will cut open the isolation of the ethernet cable and create a circuit by penetrating through the plastic of the cable.
Source of image: <https://www.vpi.us/installation/assemble-cat5e-rj45-plg-flt.html> | Because the magic happens inside the connector instead of the crimping tool, you don't necesssarily need one to make a working cable. Doing this once manually gives you the understanding what happens inside the crimping tool. It simply presses everything down simultaneously and equal amount of force, making the cable more trustworthy.
See e.g. wikiHow's [Attaching RJ-45 Connectors without a Crimping Tool](https://www.wikihow.com/Crimp-Rj45#Attaching-RJ-45-Connectors-without-a-Crimping-Tool). As it's the pins that cut their way inside the wire, you could press them down one by one using e.g. a flathead screwdriver.
>
> [](https://i.stack.imgur.com/buHvK.png)
>
>
> **6 Press the pins down with a flathead screwdriver.** Locate the small metal pins at the ends of the grooves of the connector. Use a thin, flathead screwdriver to push each of the pins down. Push the pins 1 by 1 so they’re pressed all the way into each wire.
>
>
> |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | ~~Spam~~ Spread our site is certainly the best way. There are many ways (I'll be making a detailed post for everybody to benefit from):
* Share questions in your FB, Twitter, G+, etc accounts. In order to do this, click the `share` button below each question.
Now you can click the buttons and a pop-up will help you share the link. Or you can just copy the link and paste it wherever you need it.
* When participating in other forums you can, when possible, mention the site.
* Share a link to the site in your own SE profile bio.
Can't think of more things to do, but this should a good start. | ### First and foremost:
*anyone with a blog or a forum system should definitely spare a line or two and spread the site*. That is the best way, because it gives good SEO links, and has a very accurate audience reception.
### Also
* Find friends of yours who are interested and invite them over (I've gotten 3 users that way already).
* When answering questions in anime/manga forums, post links to similar answers you've wrote/read on this site. **[You get badges for it too!](https://meta.stackexchange.com/questions/63684/how-do-i-share-a-link-for-the-new-badges)**
* Post to Facebook/Google+. Maybe friends, or friends of friends are interested and will follow your link!
* Check in your favorite chat rooms (on SE or IRC, whatever), and tell them all about it! |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | I would recommend keeping an eye on questions on SFF.se, movies.se, and possible japanese.se an ensure that those who ask anime/manga questions are made aware of the existence of this site. | I've managed to get more reputation here than almost any other Stack Exchange, but I still have a hard time think of any kind of question that would be a good fit.
I like the idea of an anime stack exchange, but most of the questions I would want to ask are discussion or opinion based, not objective. I see a lot of on hold topics, and in reading some other meta posts, I see that list topics and recommendations seem to have gone away, with the example questions deleted.
So... I'm a member of this Stack Exchange thinking "What can I do with it?" |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | [Creating community ads for the other sites would be an excellent way of promoting our site within the Stack Exchange Network.](https://gaming.meta.stackexchange.com/questions/5602/community-promotion-ads-2013?cb=1) We probably won't want to advertise on all of the sites, but creating an ad on SFF seems like a good idea, and I believe Arqade would be another good site to target with an ad. | I've managed to get more reputation here than almost any other Stack Exchange, but I still have a hard time think of any kind of question that would be a good fit.
I like the idea of an anime stack exchange, but most of the questions I would want to ask are discussion or opinion based, not objective. I see a lot of on hold topics, and in reading some other meta posts, I see that list topics and recommendations seem to have gone away, with the example questions deleted.
So... I'm a member of this Stack Exchange thinking "What can I do with it?" |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | ~~Spam~~ Spread our site is certainly the best way. There are many ways (I'll be making a detailed post for everybody to benefit from):
* Share questions in your FB, Twitter, G+, etc accounts. In order to do this, click the `share` button below each question.
Now you can click the buttons and a pop-up will help you share the link. Or you can just copy the link and paste it wherever you need it.
* When participating in other forums you can, when possible, mention the site.
* Share a link to the site in your own SE profile bio.
Can't think of more things to do, but this should a good start. | I would recommend keeping an eye on questions on SFF.se, movies.se, and possible japanese.se an ensure that those who ask anime/manga questions are made aware of the existence of this site. |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | I would recommend keeping an eye on questions on SFF.se, movies.se, and possible japanese.se an ensure that those who ask anime/manga questions are made aware of the existence of this site. | In terms of quality, I personally find Naruto, Bleach, DBZ, and even One Piece questions rather trying. There are about 3 million sites out there which cater to these anime. While it's impossible to clamp down on questions from these titles, what can be improved is the signal-to-noise ratio: ask more questions on other titles and ensure that they get comprehensive answers. |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | [Creating community ads for the other sites would be an excellent way of promoting our site within the Stack Exchange Network.](https://gaming.meta.stackexchange.com/questions/5602/community-promotion-ads-2013?cb=1) We probably won't want to advertise on all of the sites, but creating an ad on SFF seems like a good idea, and I believe Arqade would be another good site to target with an ad. | In terms of quality, I personally find Naruto, Bleach, DBZ, and even One Piece questions rather trying. There are about 3 million sites out there which cater to these anime. While it's impossible to clamp down on questions from these titles, what can be improved is the signal-to-noise ratio: ask more questions on other titles and ensure that they get comprehensive answers. |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | ~~Spam~~ Spread our site is certainly the best way. There are many ways (I'll be making a detailed post for everybody to benefit from):
* Share questions in your FB, Twitter, G+, etc accounts. In order to do this, click the `share` button below each question.
Now you can click the buttons and a pop-up will help you share the link. Or you can just copy the link and paste it wherever you need it.
* When participating in other forums you can, when possible, mention the site.
* Share a link to the site in your own SE profile bio.
Can't think of more things to do, but this should a good start. | [Creating community ads for the other sites would be an excellent way of promoting our site within the Stack Exchange Network.](https://gaming.meta.stackexchange.com/questions/5602/community-promotion-ads-2013?cb=1) We probably won't want to advertise on all of the sites, but creating an ad on SFF seems like a good idea, and I believe Arqade would be another good site to target with an ad. |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | [Creating community ads for the other sites would be an excellent way of promoting our site within the Stack Exchange Network.](https://gaming.meta.stackexchange.com/questions/5602/community-promotion-ads-2013?cb=1) We probably won't want to advertise on all of the sites, but creating an ad on SFF seems like a good idea, and I believe Arqade would be another good site to target with an ad. | I would recommend keeping an eye on questions on SFF.se, movies.se, and possible japanese.se an ensure that those who ask anime/manga questions are made aware of the existence of this site. |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | ### First and foremost:
*anyone with a blog or a forum system should definitely spare a line or two and spread the site*. That is the best way, because it gives good SEO links, and has a very accurate audience reception.
### Also
* Find friends of yours who are interested and invite them over (I've gotten 3 users that way already).
* When answering questions in anime/manga forums, post links to similar answers you've wrote/read on this site. **[You get badges for it too!](https://meta.stackexchange.com/questions/63684/how-do-i-share-a-link-for-the-new-badges)**
* Post to Facebook/Google+. Maybe friends, or friends of friends are interested and will follow your link!
* Check in your favorite chat rooms (on SE or IRC, whatever), and tell them all about it! | I would recommend keeping an eye on questions on SFF.se, movies.se, and possible japanese.se an ensure that those who ask anime/manga questions are made aware of the existence of this site. |
355 | In the **[first brainstorming session](http://chat.stackexchange.com/rooms/info/6697/anime-and-manga?tab=conversations)**, we've discussed **[the site's member recruitment model](http://chat.stackexchange.com/rooms/6697/conversation/member-recruitment-brainstorming-session-2013-01-30)**
We have decided to take the following steps:
1. Make a list of 5-10 series which would interest an audience of experts in anime/manga. **[Logan M](https://anime.stackexchange.com/users/24/logan-m)** and **[Mystical](https://anime.stackexchange.com/users/17/mysticial)** are on it.
2. Seed the sites with good, high quality questions on those shows. **Leave some of them unanswered to attract experts with an answer.**
3. Post links to most voted and strongest questions on Reddit, IRC and possibly on 4chan/a/.
We will continue to track the progress of the recruitment state, and will present it in later sessions. | 2013/01/31 | [
"https://anime.meta.stackexchange.com/questions/355",
"https://anime.meta.stackexchange.com",
"https://anime.meta.stackexchange.com/users/27/"
] | ### First and foremost:
*anyone with a blog or a forum system should definitely spare a line or two and spread the site*. That is the best way, because it gives good SEO links, and has a very accurate audience reception.
### Also
* Find friends of yours who are interested and invite them over (I've gotten 3 users that way already).
* When answering questions in anime/manga forums, post links to similar answers you've wrote/read on this site. **[You get badges for it too!](https://meta.stackexchange.com/questions/63684/how-do-i-share-a-link-for-the-new-badges)**
* Post to Facebook/Google+. Maybe friends, or friends of friends are interested and will follow your link!
* Check in your favorite chat rooms (on SE or IRC, whatever), and tell them all about it! | I've managed to get more reputation here than almost any other Stack Exchange, but I still have a hard time think of any kind of question that would be a good fit.
I like the idea of an anime stack exchange, but most of the questions I would want to ask are discussion or opinion based, not objective. I see a lot of on hold topics, and in reading some other meta posts, I see that list topics and recommendations seem to have gone away, with the example questions deleted.
So... I'm a member of this Stack Exchange thinking "What can I do with it?" |
237,071 | From what I understand that CDNs are meant to physically cache your static files in multiple regions closer to your users. However, I've noticed a few websites that when a page is requested from their server, they grab the asset files from their cdn, process them (compress, minify, etc.) cache the results on their server and then send them to the user requesting the page.
This doesn't make too much sense to me. Wouldn't processing the files on your server eliminate the gains from using a cdn? Is this a normal way of doing things, or am I not understanding the whole asset management concept? | 2011/02/18 | [
"https://serverfault.com/questions/237071",
"https://serverfault.com",
"https://serverfault.com/users/71254/"
] | Moving your critical systems off-site and into a managed datacentre is a good thing. Reasons include:
1. Security. The DC we lease from have freaking bullet-proof glass at reception, two-stage authentication to get into the DC and have an airlock-style system. They employ full time, 24/7 security guards that actually scrutinise your ID every single time. All of this is a **good thing**, even though it means having to submit visitors lists 48 hours in advanced for contractors.
2. They have more bandwidth than you do. Unless you have multiple 10Gb inbound links into your office, you can't compete with a proper DC. Ever.
3. They have better internet redundancy than you do. See previous point.
4. They probably have better power redunandcy than you do.
5. Disaster recovery. What happens if your building is hit by a meteor? This way your financial data is safer. Of course, the same could happen vice-versa, but then your accountants will still be alive and chances are they can re-construct the important bits. You do have backups, right?
6. 15 minutes is not too far. They may be able to give you a fibre tail that drops right into your rack to keep latency at a bare minimum.
7. It gives you an excuse to get out of the office every now and again.
Now, all that said, you didn't actually mention if you're moving into a managed DC or not, so that's all conjecture.
And it doesn't really make sense to move file servers over unless you can get a 1Gb or higher link into the DC, unless you still keep local copies and replicate them with say DRDB or DFS. | Cons:
* You have to spend more money for monitoring devices in the remote location. (cameras, mostly) You must then manage them, although APC makes some nice stuff for that.
* You must spend more money for lights-out management cards to physically manage the servers remotely
* Travelling to physically maintain the devices.
Pros:
* If it's true that the new building has no better facilities, then there are none, with the possible exception of...
* If your building burns down, the servers are safe.
Isn't there ***any*** more to this decision? Management has a bad reputation in many places, but very few are willing to make a decision that costs so much money for no reason at all. |
87,873 | **I have a site on its own domain hosted by a web hosting service company. Will my IP-address ever change?**
Ever? Or will it be the same for ever?
The question arouse when I set up DNS records for mapping one domain to another, and I wonder, could the target domain all in a sudden get a new IP so the redirect doesn't work? | 2015/12/12 | [
"https://webmasters.stackexchange.com/questions/87873",
"https://webmasters.stackexchange.com",
"https://webmasters.stackexchange.com/users/26764/"
] | >
> I have a site on its own domain hosted by a web hosting service company. Will my IP-address ever change? Ever? Or will it be the same for ever?
>
>
>
I assume its an all-in-one package you have with one company and I assume the IP address you refer to is in connection with the domain.
Generally, the IP address should stay the same unless some company in connection with your hosting company decides to make some changes involving IP addresses, but the odds of that should be very low, especially if the company is reputable.
If you want more control, you can own (aka rent yearly) a domain name from a registrar and hook it up to a dedicated server box which comes with an IP address. By hooking it up, I mean setting the IP address in your domain name registrar control panel to that of your dedicated server box.
Such setup is expected to take between 1 and 48 hours for the whole internet to understand the mapping of the new domain.
Regardless of what setup you take, Just make sure you are notified by the host in advance if your IP address of the computer your domain is connected to changes. The only way the companies should not have to notify you is if you fail to pay your bill and/or breach the terms and conditions set by your web services provider(s). | >
> Will my IP-address ever change?
>
>
>
The short answer is, yes it can change.
However, this depends entirely on your host and the services you are using. If you are paying for a dedicated server / VPS, with its own dedicated IP address then the IP should never change.
On the other hand, if you are on a shared server then it can. Although ideally it shouldn't and any changes should be rare.
Like John Conde mentioned in comments, I too have experienced an IP address change when the host has a "major" upgrade of their servers. This has been infrequent; every few years.
Then again, some hosts do appear to do some "funny things", as closetnoc mentions in comments. Have a read of the following question regarding Dreamhost's bizarre behaviour:
* [How often does Dreamhost change IP Addresses](https://webmasters.stackexchange.com/questions/28414/how-often-does-dreamhost-change-ip-addresses) |
312,941 | I run a PC at home that I want to access from remote when I am travelling.
The minimum requirement is that I can access it once every day (if I can access it more often the better of course).
I can wakeup my PC via ACPI from S5, so I guess I have two options:
One way would be simply to let the PC run (downside: costs energy/money and not eco-friendly).
The other way would be to make it wake up every x hours.
As I don't know much about electronics I wonder if there is the danger of shortening my PC's lifetime (or of some components) if I power it up and down too much (e.g once every hour).
What would you do? | 2011/07/20 | [
"https://superuser.com/questions/312941",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | You can use a managed power strip, which is a power strip with a network interface and web management application, that lets you turn the power on or off remotely.
These are usually server-grade equipment, so they can get *quite* expensive... but if you Google around for "[managed power strip](http://www.google.it/#sclient=psy&q=managed+power+strip)" or "[ip power strip](http://www.google.it/#sclient=psy&q=ip+power+strip)", you can find some decent products at affordable prices. | Every hour? In that case I would leave it powered on.
If possible acivate the power-down modes of your os, but make sure network traffic wakes up your box. |
312,941 | I run a PC at home that I want to access from remote when I am travelling.
The minimum requirement is that I can access it once every day (if I can access it more often the better of course).
I can wakeup my PC via ACPI from S5, so I guess I have two options:
One way would be simply to let the PC run (downside: costs energy/money and not eco-friendly).
The other way would be to make it wake up every x hours.
As I don't know much about electronics I wonder if there is the danger of shortening my PC's lifetime (or of some components) if I power it up and down too much (e.g once every hour).
What would you do? | 2011/07/20 | [
"https://superuser.com/questions/312941",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | You can use a managed power strip, which is a power strip with a network interface and web management application, that lets you turn the power on or off remotely.
These are usually server-grade equipment, so they can get *quite* expensive... but if you Google around for "[managed power strip](http://www.google.it/#sclient=psy&q=managed+power+strip)" or "[ip power strip](http://www.google.it/#sclient=psy&q=ip+power+strip)", you can find some decent products at affordable prices. | Modern desktop computers (that aren't specially built for graphics or some other high-power use) are really quite efficient and draw very little power -- on the order of 50 watts when idling. But if you choose to shut them down, the "wear" on the unit is quite small.
"Modern" desktop operating systems, on the other hand, are kludges that are quite easily mucked up, and are at their most kludgy and are most exposed during IPL and shutdown. |
312,941 | I run a PC at home that I want to access from remote when I am travelling.
The minimum requirement is that I can access it once every day (if I can access it more often the better of course).
I can wakeup my PC via ACPI from S5, so I guess I have two options:
One way would be simply to let the PC run (downside: costs energy/money and not eco-friendly).
The other way would be to make it wake up every x hours.
As I don't know much about electronics I wonder if there is the danger of shortening my PC's lifetime (or of some components) if I power it up and down too much (e.g once every hour).
What would you do? | 2011/07/20 | [
"https://superuser.com/questions/312941",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | There's no rational concern about shortening your PC's life doing this. Full power up/down would be inefficient, and has a tiny fractional risk of reducing the overall life of your PC. Sleep/wake cycles have an even tinier fractional risk associated.
However, neither is rational, unless it's a really poorly built PC. Almost any modern PC can handle a virtually unlimited number of power up/down or sleep/wake cycles during its useful lifetime. | Every hour? In that case I would leave it powered on.
If possible acivate the power-down modes of your os, but make sure network traffic wakes up your box. |
312,941 | I run a PC at home that I want to access from remote when I am travelling.
The minimum requirement is that I can access it once every day (if I can access it more often the better of course).
I can wakeup my PC via ACPI from S5, so I guess I have two options:
One way would be simply to let the PC run (downside: costs energy/money and not eco-friendly).
The other way would be to make it wake up every x hours.
As I don't know much about electronics I wonder if there is the danger of shortening my PC's lifetime (or of some components) if I power it up and down too much (e.g once every hour).
What would you do? | 2011/07/20 | [
"https://superuser.com/questions/312941",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | There's no rational concern about shortening your PC's life doing this. Full power up/down would be inefficient, and has a tiny fractional risk of reducing the overall life of your PC. Sleep/wake cycles have an even tinier fractional risk associated.
However, neither is rational, unless it's a really poorly built PC. Almost any modern PC can handle a virtually unlimited number of power up/down or sleep/wake cycles during its useful lifetime. | Modern desktop computers (that aren't specially built for graphics or some other high-power use) are really quite efficient and draw very little power -- on the order of 50 watts when idling. But if you choose to shut them down, the "wear" on the unit is quite small.
"Modern" desktop operating systems, on the other hand, are kludges that are quite easily mucked up, and are at their most kludgy and are most exposed during IPL and shutdown. |
5,630,891 | I'd like to separate reusable code in Xcode 4 as a separate project/library/something else. The reusable code in this case is a game engine, and the main project is a game itself. Idea is to make the game engine code easy to use in the future projects.
Xcode 4 lets me create a blank project or a static library for iOS. Which one would be preferred (or would something else work better?) under KISS principle? I just want to separate two logical set of files into two projects (it's ok if one is a child of another), and to be able to compile them at the same time. I don't have a need for obfuscation and I've heard that with a static library one has to worry for which architecture it was built for, which sounds like an overkill.
I feel that a blank project might be better way to go than the static library, but I don't have any practical experience with this. Any preferences and why? | 2011/04/12 | [
"https://Stackoverflow.com/questions/5630891",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/142213/"
] | I ended up going with the static library since that seems to be preferred way of doing this in Xcode 4. When it works, it works great, but took me a while to set it up properly - these two links were invaluable:
<http://blog.carbonfive.com/2011/04/04/using-open-source-static-libraries-in-xcode-4/>
and
[Compile, Build or Archive problems with Xcode 4 (and dependencies)](https://stackoverflow.com/questions/5584317/lexical-or-preprocessor-issue-file-not-found-in-xcode-4) | Just create two projects. Add the dependent project into the main project. The Click on the Main XCode Project, Go to the Build Phases Tab, Under the "Target Dependencies" section click + sign and add the second project. |
29,986 | Hi I've just built a wood fire oven at home and I want to know how to get he pizza crust soft? Any tips for success with traditional Italian-style bread? Some people say to put sugar in and other people say not to. | 2013/01/11 | [
"https://cooking.stackexchange.com/questions/29986",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/15185/"
] | Perhaps you should describe in more detail exactly what kind of pizza crust you desire--there are a lot of types or styles of pizza crust.
In most breads, soft crust is achieved by 1) not adding steam to the oven which enhances crust formation; and 2) brushing the crust with butter or milk after it comes out of the oven. The second would be very non-traditional for pizza, though.
The thing is, to the best of my personal knowledge, mostly people who build wood and coal fire ovens are after [Neopolitan style pizza](http://slice.seriouseats.com/archives/2008/01/a-list-of-regional-pizza-styles-slideshow.html#show-85720), which Serious Eats (linked) describes as:
>
> Small (about 10-inch diameter), thin-crust pizzas made in a
> wood-burning oven. Usually have a puffy "cornicione" (lip or end
> crust) and marked by use of the freshest ingredients applied sparingly
> for a careful balance.
>
>
>
The crust for this style of pizza is usually crunchy, not soft.
See the [Serious eats article on preparing this kind of dough](http://slice.seriouseats.com/archives/2012/07/the-pizza-lab-three-doughs-to-know.html?ref=search):
Their key points are:
* Quality ingredients, including 00 or similar flour
* Long slow ferment
* Blazingly hot oven
Here are their recommended ratios (for US flour products, obviously):
>
> * All-purpose or bread flour: 100%
> * Salt: 2%
> * Instant yeast: 1.5
> * % Water: 65%
>
>
> | By *soft and tasty* pizza crust I'm going to assume you mean crisp on the outside but *soft and chewy* on the inside which *is* the characteristic of pizza dough cooked at high temperature in a wood fired oven. You need this high temperature to produce that crisp on the outside but *soft and chewy* on the inside.
There's no magic or sorcery to good pizza dough. The ingredients really are very simple, good quality flour, water, salt, sugar and yeast. Please note the sugar is there to activate the yeast and allow it to grow it's not there for any other purpose other than that. Salt is there for flavour, but too much will kill the yeast.
The rest is up to you. Good quality pizza crust is all down to the kneading, resting period, kneading again and spreading to the required size and cooking at high temperature – it's this that determines whether your crust will be good or bad. |
29,986 | Hi I've just built a wood fire oven at home and I want to know how to get he pizza crust soft? Any tips for success with traditional Italian-style bread? Some people say to put sugar in and other people say not to. | 2013/01/11 | [
"https://cooking.stackexchange.com/questions/29986",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/15185/"
] | Italian pizza crumb must be soft (*morbida*, as Italians say) in its inner part (the one below the tomato sauce), and its outer rim can be more or less crispy.
You can check the requisite for being soft at [this link](http://www.pizzanapoletana.org/public/pdf/disciplinare%202008%20UK.pdf) from the Vera Pizza Napolitana association (check the "Description of the product"):
>
> The consistency of the " Verace Pizza Napoletana " - (Vera Pizza Napoletana) should be
> soft, elastic, easy to manipulate and fold. The centre should be particularly soft to the
> touch and taste,
>
>
> ...
>
>
> The crust should deliver the flavour of well-prepared, baked bread.
>
>
>
The outer part can be crunchier or softer, depending on your taste. It will depend on the strength (*W* value) of the flour. You can check it in [this Italian pizza flour manufacturer](http://www.molinospadoni.it/pizzeria_en.php).
Using a longer fermentation time will extract more taste from the flour. That's why a crunchier outer rim is usually associated with tastier pizzas.
That long fermentation also helps the dough been extensible and not stretching back, which is desirable when you are shaping the pizza. I wrote more details on it in [this answer on pizza flours](https://cooking.stackexchange.com/a/28297/14096).
---
In order to achieve a soft center, the pizza is done in a very little time (from 60 to 90 seconds). To get this, you need a very hot oven (over 450ºC / 900ºF).
It is difficult to get a thermometer that measures that temperature (most infrared ones usually can't measure over 350ºC). You can check if the oven is too hot throwing flour in it. If it catches fire (in less than 5 seconds) then it's too hot. If it just gets dark, then it's ok. After using this method, remember to remove the burnt flour, or it will give a bitter taste to the pizzas you'll later put on it.
To get the outer rim of the pizza rise like bread, you should have some flames in the oven. They will radiate a lot of heat, so you have to rotate the pizza 180º during its baking, so it will get done equally in all the border.
The flames should be in one side of the oven, never at the back. This way the air that enters to feed the flame will induce a rotating whirpool that helps the air in the oven to be hotter.
As the floor surface of the oven is very hot (>400ºC), the pizza you put in it won't actually be touching it: it will be floating on its own steam. That's why the bottom of the pizzas are not burnt.
---
You are asking about adding sugar or not.
Sugar is the food yeasts eat.
Flour has no sugar. But it has starches, which are molecules made of many sugar molecules together. Flour also has enzymes that can break the starches in sugar molecules. That happens when you add water to the flour, and the enzymes can move easily to do their work. But they need time to do so.
When you add flour, water and yeasts, the late ones have to wait a bit for their food. If you add sugar, they'll have food since the beginning (the sugar you added) to the end (the sugar from broken starches): sugar is added to make the dough fermentation in less time.
So, if you want a quick risen dough, add (a small quantity of) sugar. If you want a tasty one, don't. | Perhaps you should describe in more detail exactly what kind of pizza crust you desire--there are a lot of types or styles of pizza crust.
In most breads, soft crust is achieved by 1) not adding steam to the oven which enhances crust formation; and 2) brushing the crust with butter or milk after it comes out of the oven. The second would be very non-traditional for pizza, though.
The thing is, to the best of my personal knowledge, mostly people who build wood and coal fire ovens are after [Neopolitan style pizza](http://slice.seriouseats.com/archives/2008/01/a-list-of-regional-pizza-styles-slideshow.html#show-85720), which Serious Eats (linked) describes as:
>
> Small (about 10-inch diameter), thin-crust pizzas made in a
> wood-burning oven. Usually have a puffy "cornicione" (lip or end
> crust) and marked by use of the freshest ingredients applied sparingly
> for a careful balance.
>
>
>
The crust for this style of pizza is usually crunchy, not soft.
See the [Serious eats article on preparing this kind of dough](http://slice.seriouseats.com/archives/2012/07/the-pizza-lab-three-doughs-to-know.html?ref=search):
Their key points are:
* Quality ingredients, including 00 or similar flour
* Long slow ferment
* Blazingly hot oven
Here are their recommended ratios (for US flour products, obviously):
>
> * All-purpose or bread flour: 100%
> * Salt: 2%
> * Instant yeast: 1.5
> * % Water: 65%
>
>
> |
29,986 | Hi I've just built a wood fire oven at home and I want to know how to get he pizza crust soft? Any tips for success with traditional Italian-style bread? Some people say to put sugar in and other people say not to. | 2013/01/11 | [
"https://cooking.stackexchange.com/questions/29986",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/15185/"
] | Perhaps you should describe in more detail exactly what kind of pizza crust you desire--there are a lot of types or styles of pizza crust.
In most breads, soft crust is achieved by 1) not adding steam to the oven which enhances crust formation; and 2) brushing the crust with butter or milk after it comes out of the oven. The second would be very non-traditional for pizza, though.
The thing is, to the best of my personal knowledge, mostly people who build wood and coal fire ovens are after [Neopolitan style pizza](http://slice.seriouseats.com/archives/2008/01/a-list-of-regional-pizza-styles-slideshow.html#show-85720), which Serious Eats (linked) describes as:
>
> Small (about 10-inch diameter), thin-crust pizzas made in a
> wood-burning oven. Usually have a puffy "cornicione" (lip or end
> crust) and marked by use of the freshest ingredients applied sparingly
> for a careful balance.
>
>
>
The crust for this style of pizza is usually crunchy, not soft.
See the [Serious eats article on preparing this kind of dough](http://slice.seriouseats.com/archives/2012/07/the-pizza-lab-three-doughs-to-know.html?ref=search):
Their key points are:
* Quality ingredients, including 00 or similar flour
* Long slow ferment
* Blazingly hot oven
Here are their recommended ratios (for US flour products, obviously):
>
> * All-purpose or bread flour: 100%
> * Salt: 2%
> * Instant yeast: 1.5
> * % Water: 65%
>
>
> | Sometimes in wood fired ovens with thicker crust pizzas by the time the inside cooks the outside is way to crunchy. You can put a pot of water in your oven or spritz water in to sort of steam cook just to keep things from getting to dry. You will still end up with soft inside and not over done outside.
I havnt tried in wood fired but for moist soft crumb powered milk is added to dough. Might be something to experiment with. |
29,986 | Hi I've just built a wood fire oven at home and I want to know how to get he pizza crust soft? Any tips for success with traditional Italian-style bread? Some people say to put sugar in and other people say not to. | 2013/01/11 | [
"https://cooking.stackexchange.com/questions/29986",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/15185/"
] | Italian pizza crumb must be soft (*morbida*, as Italians say) in its inner part (the one below the tomato sauce), and its outer rim can be more or less crispy.
You can check the requisite for being soft at [this link](http://www.pizzanapoletana.org/public/pdf/disciplinare%202008%20UK.pdf) from the Vera Pizza Napolitana association (check the "Description of the product"):
>
> The consistency of the " Verace Pizza Napoletana " - (Vera Pizza Napoletana) should be
> soft, elastic, easy to manipulate and fold. The centre should be particularly soft to the
> touch and taste,
>
>
> ...
>
>
> The crust should deliver the flavour of well-prepared, baked bread.
>
>
>
The outer part can be crunchier or softer, depending on your taste. It will depend on the strength (*W* value) of the flour. You can check it in [this Italian pizza flour manufacturer](http://www.molinospadoni.it/pizzeria_en.php).
Using a longer fermentation time will extract more taste from the flour. That's why a crunchier outer rim is usually associated with tastier pizzas.
That long fermentation also helps the dough been extensible and not stretching back, which is desirable when you are shaping the pizza. I wrote more details on it in [this answer on pizza flours](https://cooking.stackexchange.com/a/28297/14096).
---
In order to achieve a soft center, the pizza is done in a very little time (from 60 to 90 seconds). To get this, you need a very hot oven (over 450ºC / 900ºF).
It is difficult to get a thermometer that measures that temperature (most infrared ones usually can't measure over 350ºC). You can check if the oven is too hot throwing flour in it. If it catches fire (in less than 5 seconds) then it's too hot. If it just gets dark, then it's ok. After using this method, remember to remove the burnt flour, or it will give a bitter taste to the pizzas you'll later put on it.
To get the outer rim of the pizza rise like bread, you should have some flames in the oven. They will radiate a lot of heat, so you have to rotate the pizza 180º during its baking, so it will get done equally in all the border.
The flames should be in one side of the oven, never at the back. This way the air that enters to feed the flame will induce a rotating whirpool that helps the air in the oven to be hotter.
As the floor surface of the oven is very hot (>400ºC), the pizza you put in it won't actually be touching it: it will be floating on its own steam. That's why the bottom of the pizzas are not burnt.
---
You are asking about adding sugar or not.
Sugar is the food yeasts eat.
Flour has no sugar. But it has starches, which are molecules made of many sugar molecules together. Flour also has enzymes that can break the starches in sugar molecules. That happens when you add water to the flour, and the enzymes can move easily to do their work. But they need time to do so.
When you add flour, water and yeasts, the late ones have to wait a bit for their food. If you add sugar, they'll have food since the beginning (the sugar you added) to the end (the sugar from broken starches): sugar is added to make the dough fermentation in less time.
So, if you want a quick risen dough, add (a small quantity of) sugar. If you want a tasty one, don't. | By *soft and tasty* pizza crust I'm going to assume you mean crisp on the outside but *soft and chewy* on the inside which *is* the characteristic of pizza dough cooked at high temperature in a wood fired oven. You need this high temperature to produce that crisp on the outside but *soft and chewy* on the inside.
There's no magic or sorcery to good pizza dough. The ingredients really are very simple, good quality flour, water, salt, sugar and yeast. Please note the sugar is there to activate the yeast and allow it to grow it's not there for any other purpose other than that. Salt is there for flavour, but too much will kill the yeast.
The rest is up to you. Good quality pizza crust is all down to the kneading, resting period, kneading again and spreading to the required size and cooking at high temperature – it's this that determines whether your crust will be good or bad. |
29,986 | Hi I've just built a wood fire oven at home and I want to know how to get he pizza crust soft? Any tips for success with traditional Italian-style bread? Some people say to put sugar in and other people say not to. | 2013/01/11 | [
"https://cooking.stackexchange.com/questions/29986",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/15185/"
] | Italian pizza crumb must be soft (*morbida*, as Italians say) in its inner part (the one below the tomato sauce), and its outer rim can be more or less crispy.
You can check the requisite for being soft at [this link](http://www.pizzanapoletana.org/public/pdf/disciplinare%202008%20UK.pdf) from the Vera Pizza Napolitana association (check the "Description of the product"):
>
> The consistency of the " Verace Pizza Napoletana " - (Vera Pizza Napoletana) should be
> soft, elastic, easy to manipulate and fold. The centre should be particularly soft to the
> touch and taste,
>
>
> ...
>
>
> The crust should deliver the flavour of well-prepared, baked bread.
>
>
>
The outer part can be crunchier or softer, depending on your taste. It will depend on the strength (*W* value) of the flour. You can check it in [this Italian pizza flour manufacturer](http://www.molinospadoni.it/pizzeria_en.php).
Using a longer fermentation time will extract more taste from the flour. That's why a crunchier outer rim is usually associated with tastier pizzas.
That long fermentation also helps the dough been extensible and not stretching back, which is desirable when you are shaping the pizza. I wrote more details on it in [this answer on pizza flours](https://cooking.stackexchange.com/a/28297/14096).
---
In order to achieve a soft center, the pizza is done in a very little time (from 60 to 90 seconds). To get this, you need a very hot oven (over 450ºC / 900ºF).
It is difficult to get a thermometer that measures that temperature (most infrared ones usually can't measure over 350ºC). You can check if the oven is too hot throwing flour in it. If it catches fire (in less than 5 seconds) then it's too hot. If it just gets dark, then it's ok. After using this method, remember to remove the burnt flour, or it will give a bitter taste to the pizzas you'll later put on it.
To get the outer rim of the pizza rise like bread, you should have some flames in the oven. They will radiate a lot of heat, so you have to rotate the pizza 180º during its baking, so it will get done equally in all the border.
The flames should be in one side of the oven, never at the back. This way the air that enters to feed the flame will induce a rotating whirpool that helps the air in the oven to be hotter.
As the floor surface of the oven is very hot (>400ºC), the pizza you put in it won't actually be touching it: it will be floating on its own steam. That's why the bottom of the pizzas are not burnt.
---
You are asking about adding sugar or not.
Sugar is the food yeasts eat.
Flour has no sugar. But it has starches, which are molecules made of many sugar molecules together. Flour also has enzymes that can break the starches in sugar molecules. That happens when you add water to the flour, and the enzymes can move easily to do their work. But they need time to do so.
When you add flour, water and yeasts, the late ones have to wait a bit for their food. If you add sugar, they'll have food since the beginning (the sugar you added) to the end (the sugar from broken starches): sugar is added to make the dough fermentation in less time.
So, if you want a quick risen dough, add (a small quantity of) sugar. If you want a tasty one, don't. | Sometimes in wood fired ovens with thicker crust pizzas by the time the inside cooks the outside is way to crunchy. You can put a pot of water in your oven or spritz water in to sort of steam cook just to keep things from getting to dry. You will still end up with soft inside and not over done outside.
I havnt tried in wood fired but for moist soft crumb powered milk is added to dough. Might be something to experiment with. |
85,673 | I am having a Nikon D5200, when the flash pops out the shutter burst mode can't able to apply.
Is it possible to take photos in burst mode by using flash In Nikon D5200? | 2016/12/27 | [
"https://photo.stackexchange.com/questions/85673",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/59471/"
] | With some cameras it can theoretically be yes.
With most Nikon DSLR cameras the flash is limited to one discharge per shutter button press.
With pretty much all DSLRs with built in flashes it is, practically speaking, no.
The reason is that the flash has to be charged before it fires. If the flash is totally discharged as it would be with a full power flash dump, it might take a couple of seconds to re-energize the capacitor that stores the charge for the flash.
If you're using automatic flash, though, the some cameras may decide you don't need full power. The less power the flash uses for each shot, the more energy is left in the capacitor and the less time it takes to recharge the capacitor back to full capacity. So if you're shooting under conditions where not much flash power is needed the flash may be able to keep up with the camera for a few frames.
With built-in flashes the capacitor usually must be fully charged before the flash will fire again. With some external flashes, the flash might go ahead and fire even when partially charged. Of course this means the total flash power available will be less than if the capacitor is full. Some cameras will allow the shutter to fire again without the flash going off until it is charged again. You'll get pictures at the camera's burst rate, but you won't get the benefit of the flash's light for most of them.
To get a flash system that can keep up with a camera shooting at 5 frames-per-second you'll need a lot of power available to recharge the flash's capacitor. This usually requires an external battery pack that is larger and bulkier than your camera. It may even require a wall power outlet to charge the capacitor. Even then, such a rate can not be maintained for long. This is due to the amount of heat that builds up. Once the flash heats up it must be allowed to cool before being used again. | Not with the **internal** flash.
In continuous shutter mode, the internal flash will fire only once each time that you press the shutter button. Most of the Nikon manuals specify those exact words, but I am surprised that I don't find it in the D5200 manual. For example, page 148 of the D7200 manual, or page 186 of D800 manual.
Speedlight flashes must recycle to fire again correctly, however, most hot shoe flashes can recycle that fast if at low power level. But hot shoe flashes will try, regardless if they are able to recycle or not (has to be low power to work).
But the internal flash is different, handled more carefully. |
85,673 | I am having a Nikon D5200, when the flash pops out the shutter burst mode can't able to apply.
Is it possible to take photos in burst mode by using flash In Nikon D5200? | 2016/12/27 | [
"https://photo.stackexchange.com/questions/85673",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/59471/"
] | With some cameras it can theoretically be yes.
With most Nikon DSLR cameras the flash is limited to one discharge per shutter button press.
With pretty much all DSLRs with built in flashes it is, practically speaking, no.
The reason is that the flash has to be charged before it fires. If the flash is totally discharged as it would be with a full power flash dump, it might take a couple of seconds to re-energize the capacitor that stores the charge for the flash.
If you're using automatic flash, though, the some cameras may decide you don't need full power. The less power the flash uses for each shot, the more energy is left in the capacitor and the less time it takes to recharge the capacitor back to full capacity. So if you're shooting under conditions where not much flash power is needed the flash may be able to keep up with the camera for a few frames.
With built-in flashes the capacitor usually must be fully charged before the flash will fire again. With some external flashes, the flash might go ahead and fire even when partially charged. Of course this means the total flash power available will be less than if the capacitor is full. Some cameras will allow the shutter to fire again without the flash going off until it is charged again. You'll get pictures at the camera's burst rate, but you won't get the benefit of the flash's light for most of them.
To get a flash system that can keep up with a camera shooting at 5 frames-per-second you'll need a lot of power available to recharge the flash's capacitor. This usually requires an external battery pack that is larger and bulkier than your camera. It may even require a wall power outlet to charge the capacitor. Even then, such a rate can not be maintained for long. This is due to the amount of heat that builds up. Once the flash heats up it must be allowed to cool before being used again. | As others have stated, it's unlikely this will work with the built in flash, or indeed with most hot shoe flashes.
If you do want to use flash in burst mode, my Godox v850 can keep up with my Pentax K5 (~7fps) as long as I keep the power below 1/4. |
85,673 | I am having a Nikon D5200, when the flash pops out the shutter burst mode can't able to apply.
Is it possible to take photos in burst mode by using flash In Nikon D5200? | 2016/12/27 | [
"https://photo.stackexchange.com/questions/85673",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/59471/"
] | Not with the **internal** flash.
In continuous shutter mode, the internal flash will fire only once each time that you press the shutter button. Most of the Nikon manuals specify those exact words, but I am surprised that I don't find it in the D5200 manual. For example, page 148 of the D7200 manual, or page 186 of D800 manual.
Speedlight flashes must recycle to fire again correctly, however, most hot shoe flashes can recycle that fast if at low power level. But hot shoe flashes will try, regardless if they are able to recycle or not (has to be low power to work).
But the internal flash is different, handled more carefully. | As others have stated, it's unlikely this will work with the built in flash, or indeed with most hot shoe flashes.
If you do want to use flash in burst mode, my Godox v850 can keep up with my Pentax K5 (~7fps) as long as I keep the power below 1/4. |
53,034 | When I go to my database website at kctd.org/community, I get this error:
>
> Fatal error: require\_once() [function.require]: Failed opening required '/home/kctd/public\_html/community/sites/all/modules/views/modules/translation/views\_handler\_filter\_node\_language.inc' (include\_path='.:/usr/lib/php:/usr/local/lib/php') in /home/kctd/public\_html/community/includes/bootstrap.inc on line 3069
>
>
>
I have no idea what that means. The last action I did was extending the result of my view filter to include user's email. When I clicked save, this popped up. I cannot log in to even switch to maintenance mode.
What can I do? | 2012/12/12 | [
"https://drupal.stackexchange.com/questions/53034",
"https://drupal.stackexchange.com",
"https://drupal.stackexchange.com/users/12052/"
] | For me it was simply a case of having moved module folders in sites/all/modules to sites/all/modules/CONTRIBUTED - I was trying to clean up my folder structure a bit.
The issue resolved as soon as I moved the module folders back to their original placement. | I would do two things.
Restart Apache and make sure your APC has enough memory. Errors about require and/or include can be indicative of APC not having enough memory.
If that doesnt fix things, download the registry rebuild module for drush, and run it. Take a database backup first as a precaution. |
53,034 | When I go to my database website at kctd.org/community, I get this error:
>
> Fatal error: require\_once() [function.require]: Failed opening required '/home/kctd/public\_html/community/sites/all/modules/views/modules/translation/views\_handler\_filter\_node\_language.inc' (include\_path='.:/usr/lib/php:/usr/local/lib/php') in /home/kctd/public\_html/community/includes/bootstrap.inc on line 3069
>
>
>
I have no idea what that means. The last action I did was extending the result of my view filter to include user's email. When I clicked save, this popped up. I cannot log in to even switch to maintenance mode.
What can I do? | 2012/12/12 | [
"https://drupal.stackexchange.com/questions/53034",
"https://drupal.stackexchange.com",
"https://drupal.stackexchange.com/users/12052/"
] | For me it was simply a case of having moved module folders in sites/all/modules to sites/all/modules/CONTRIBUTED - I was trying to clean up my folder structure a bit.
The issue resolved as soon as I moved the module folders back to their original placement. | 1. How I got Here;
I tried to update some modules using the 'available updates' option in the modules configuration menu
2. The solution in my own case; First I had to download the following files; views, views\_block\_area, views\_slideshow again which can be found here <http://drupalmodules.com/> or <https://drupal.org/>
3. Next, I unzipped both files and connected to my host-machine using ftp, then I navigated to ../sites/all/modules and overwrite the directories
4. further I also made backups of the aforementioned directories in case I may have to roll back configuration |
175,356 | My well is horizontally fed through a wall in my foundation. It recently rained a lot and I believe the pipe that feeds my well has been cracked. I had to cut the power to my well pump in order to stop water rushing out of a basement wall. I am estimating this will be an extremely expensive fix; so my question is this, does homeowner's insurance often cover this type of situation?
As a side note, in regards to the severity: my basement was completely flooded with water, but I've soaked most of it up and pushed the remainder down the sump. | 2019/09/28 | [
"https://diy.stackexchange.com/questions/175356",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/107526/"
] | The only person who will know for sure what your home owners policy covers will be your insurance agent. Best we could do is guess. I honestly have no idea.
As far as the expense of repair, it depends on how much of the labor you can do yourself. Excavators aren't exactly cheap to rent, but they aren't thousands of dollars either. Pipe itself is usually fairly cheap, unless it's large diameter copper. | It is covered if the event occurred suddenly and it is not covered if it occurred over time.
Be careful when describing what occurred to your insurance agent. If they can prove (or at least contend) that it occurred over time, they will claim its maintenance.
If you convey to them that it occurred suddenly, then it’s not maintenance and is covered.
I would not tell them you turned the pump off. I’d say, “The storm caused a crack in the conduit which apparently shut the pump off during the storm and then caused leaks into your basement.” (I would not say the ground shifted, because that may be specifically excluded.)
P.S. I hate insurance companies. I’ve had to deal with them my whole career. They will also tell you it should only cost “x” because they fixed one like that last year in a town a few miles away...or something like that. (I live in an area that is somewhat isolated and the cost of construction is 10% - 25% higher than nearby towns.) Do not accept a lump sum payment. Get bids and have the work completed. (Unexpected problems can come up during construction so you won’t know the “final” cost until you’re finished.) |
175,356 | My well is horizontally fed through a wall in my foundation. It recently rained a lot and I believe the pipe that feeds my well has been cracked. I had to cut the power to my well pump in order to stop water rushing out of a basement wall. I am estimating this will be an extremely expensive fix; so my question is this, does homeowner's insurance often cover this type of situation?
As a side note, in regards to the severity: my basement was completely flooded with water, but I've soaked most of it up and pushed the remainder down the sump. | 2019/09/28 | [
"https://diy.stackexchange.com/questions/175356",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/107526/"
] | The flooding is most liklely covered. Disappointing, though, that your sump pump didn't handle this.
The mechanical repairs, I would *expect* not, since it's maintenance like replacing a roof. However you can always check, and also look into any home warranty that might have been part of the purchase.
Well work can indeed be insanely expensive, but that mainly applies to work that needs to go down hundreds of feet of well. This seems like a pipe break not at the well but in the piping between well and house. That may be much better.
I would start by digging it up and looking at what's going on. You can hand dig it for free, and if you're careful you shouldn't do any damage to metal pipes. That's the worst nightmare, someone "going to town" with a backhoe and shredding the pipe, the sewer tile, the cable TV lateral, etc. | It is covered if the event occurred suddenly and it is not covered if it occurred over time.
Be careful when describing what occurred to your insurance agent. If they can prove (or at least contend) that it occurred over time, they will claim its maintenance.
If you convey to them that it occurred suddenly, then it’s not maintenance and is covered.
I would not tell them you turned the pump off. I’d say, “The storm caused a crack in the conduit which apparently shut the pump off during the storm and then caused leaks into your basement.” (I would not say the ground shifted, because that may be specifically excluded.)
P.S. I hate insurance companies. I’ve had to deal with them my whole career. They will also tell you it should only cost “x” because they fixed one like that last year in a town a few miles away...or something like that. (I live in an area that is somewhat isolated and the cost of construction is 10% - 25% higher than nearby towns.) Do not accept a lump sum payment. Get bids and have the work completed. (Unexpected problems can come up during construction so you won’t know the “final” cost until you’re finished.) |
488 | This was [just posted on Meta.SO by Jeff Atwood](https://meta.stackexchange.com/questions/86576/suggest-dynamic-help-text-for-new-answerers):
---
We now have dynamic answer help that pops up for new users (< 100 rep) when they focus the answer box.
>
> Thanks for contributing an answer to $SiteName!
>
> This is a Q&A site, not a discussion forum, so please make sure you *answer the question*.
>
> Provide details and share your research. Avoid statements based solely on opinion; only make statements you can back up with an appropriate reference, or personal experiences.
>
>
>
>
>
It's kind of related to [this post by Robert](https://cooking.meta.stackexchange.com/questions/940/changing-the-how-to-ask-panel-to-head-off-recipe-questions/942#942) ... but I feel we have plenty of help for question askers already, whereas for **people answering questions** we were telling them *nothing*. This seemed really, really dumb to me when I thought of it 2 days ago. Why weren't we helping random internet users who began to type in the "Your Answer" box? I wish I could go back in time and implement this a year ago.
Anyway, now that we have dynamic answer help for new users -- do you have any suggestions on copyedits? Remember we want just the *absolute minimum you can expect a person to read* so no giant list of do's and don'ts -- just the bare essentials that **new users typing in an answer for the first time should know**.
And yes this can be customized per Q&A site.
---
Please post your suggestions for this help text for our site as answers to this question. We'll then ask Jeff to implement a new help text tailored to the need of our site. | 2011/04/08 | [
"https://skeptics.meta.stackexchange.com/questions/488",
"https://skeptics.meta.stackexchange.com",
"https://skeptics.meta.stackexchange.com/users/5/"
] | Just removing the "or personal experience" part seems enough:
>
> Thanks for contributing an answer to Skeptics - Stack Exchange!
>
>
> This is a Q&A site, not a discussion forum, so please make sure you answer the question.
>
>
> Provide details and share your research. Avoid statements based solely on opinion; only make statements you can back up [with an appropriate reference](https://skeptics.meta.stackexchange.com/questions/5/must-all-claims-be-referenced).
>
>
> | ok I changed it to
>
> Thanks for contributing an answer to Skeptics - Stack Exchange!
>
> This is a Q&A site, not a discussion forum, so please make sure you *answer the question*.
>
> Provide details and share your research. Avoid statements based solely on opinion or personal experience; **only make statements you can back up with an appropriate reference**.
>
>
>
>
> |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | Yes, unfortunately it's all about practice. But there are some things you can focus on to speed up the process:
- Learn the notes on the neck by heart, and the associated intervals. That is, learn the notes on the low E-string and the relation between those notes and the notes on the higher strings so that you without thinking can fret a certain interval. When this works, continue with the other strings.
- Play scales and say the names of the notes out loud as you play them. This will improve your familiarity with the placement of the notes on the neck.
These two exercises help you into thinking in tems of notes rather that fretboard positions.
Why I focus on the guitar neck rather than the sheet reading itself is because playing to sheet music is a twosided thing: Understanding the score as it is written and mapping that onto the guitar. As you are saying you are picturing a piano keyboard for the mapping, but you need to start mapping onto the guitar, and preferrably not do any mental calculations for the mapping at all as the notes position on the neck becomes intuitive. That leaves only the reading of the music and that just takes determination and practice.
Good luck! | My teacher starts students with coloured notation. The conventional notes have the bodies coloured according to the note - C is yellow, D purple and so on.
I was 55, played folk guitar for years, never been able to read music. After three months of this I was reading. Gradually he gave me pieces where repeated sections were in black and white until eventually I was working with no colour at all.
I'm still trying to improve my sight reading, but I'm certainly doing far more than I ever believed possible. |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | A lot of these answers involve reading the note name, then finding that note on the guitar.Then you have to remember whether it's sharp or flat, as in the key signature. I'm working on a rather different scheme, which uses total knowledge, initially of 2 octaves major and two octaves minor scale, across the strings.
Once you have established the key (letter name & maj/min, ) keep your hand within your 'box'. e.g. if the tune is in Cmaj, use the box fret 7 to 10. Establish your 'base'keynote as being on a line or a space, and read initially from this note. Thus using our example of C =middle C, then it would become a 'line'key, with 1,3 and 5 being on the next 2 lines upwards. Now translate to the scale you know, thinking in terms of numbers, rather than notes.
This may sound more complex than it is, but when you realise that the same idea will apply to you playing in 3, 4, 5 # or b s, you may realise that you don't even have to address thet side of the sightreading problem, it's sorted automatically.
I have purposely NOT addressed the timing side of things, as this is not the point of the exercise.That is an issue for another thread.
I'm still working on this concept, so any thoughts will be gratefully received. | * I don't think it's hard to find the notes
* I don't think it's hard to read the rhythms
It's doing both together that's the hard part.
Tommy Tedescoe once said that he only learnt to read the middle position of the guitar and the notes on the thick string and the notes on the thin strings. I think that he was far more skilled than that... He was the most used Session guitarist in history, so I think he knew something about it :)
Music reading should not be connected to type writing either - well maybe on the piano.
On the guitar, there's all sorts of good things and articulations that we should use, because these things are ingrained into the instrument's vernacular - like
* vibrato,
* bends,
* slides,
* harmonics,
* open strings.
These things will make it sound much more like music and not simply typing.
In order not to lose your place when you are reading music, I suggest you move your eyes and not your head - also, if needed, hold your guitar so that you can see both the fret-board and the sheet music in the same field of vision. That means you don't need to move your head, just your eyes to see either your fret-board placing or your music. This way, you'll keep your place a lot better!
Getting the ability to read rhythmic chunks is really important. If you can intrinsically link the sound of a rhythm with what it looks like, then you'll just know need to find the notes!
For different keys - try and find either the Locrian or Phyrgian positions for each as they have less finger stretches needed.
and finally, responding to the post by Rene Marcelo, memorizing is not reading - although it helps to look through a piece of music 2 or 3 times before you even attempt to play it - just to get a sense of the form (D.C., D.S, colas, repeats etc...). For getting used to reading having an endless source of new music to practice with - and setting a level directly for what you're having problems (reading ledger lines, whatever) was the reason I made [Guitar SightReader Toolbox](http://www.guitarsightreadertoolbox.com).
In addition, if you ever want to get tax-free work with good money and free board and food, playing on a cruise ship means you'll have to be able to read notes and chords and play those chords with the top note in the clef as the top note of the chord. It also means that you'll be also transposing what you'd normally play a staff note up an octave to concert pitch. And be able to do this for up to 50 times the first go through.
My software will prepare you for this... and what could be better than making money at what we love! |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | Yes, unfortunately it's all about practice. But there are some things you can focus on to speed up the process:
- Learn the notes on the neck by heart, and the associated intervals. That is, learn the notes on the low E-string and the relation between those notes and the notes on the higher strings so that you without thinking can fret a certain interval. When this works, continue with the other strings.
- Play scales and say the names of the notes out loud as you play them. This will improve your familiarity with the placement of the notes on the neck.
These two exercises help you into thinking in tems of notes rather that fretboard positions.
Why I focus on the guitar neck rather than the sheet reading itself is because playing to sheet music is a twosided thing: Understanding the score as it is written and mapping that onto the guitar. As you are saying you are picturing a piano keyboard for the mapping, but you need to start mapping onto the guitar, and preferrably not do any mental calculations for the mapping at all as the notes position on the neck becomes intuitive. That leaves only the reading of the music and that just takes determination and practice.
Good luck! | As it has been said, thinking relatively is one of the keys to sight-read on the guitar. Another one that still hasn't been suggested here is to **strategize your reading**. Instead of starting by playing the first note as soon as you take the written music, observating the musical language you've got in front of you by analizing the piece as a whole, for just some seconds, may make you save a lot of time and avoid unnecessary struggling points.
Most music pieces have got their internal logic, so it doesn't make sense dealing with the piece starting from it's small dimensions (like a measure or a single beat). First, the music pages should be observed from their big dimensions, asking yourself about how the piece is structured, how many sections it's got, what rellationships are there between the sections and what kind of possible key or time signature changes happen. If you are reading a music piece that has been specifically written for guitar the task can get even easier by making you aware about guitar-specific technical issues that will interrupt your flow the first time you play the piece, like possition changes.
All this can be done in some seconds, since the sections can be instantly saw by quickly scanning for double bars, key changes or repeated stuff (for example in an ending section that reexposes the begining of the piece). Possition changes are easily localized by barre indications or specific string number marks (with their circled numbers, that are also easy to find at the first glance). All this will help to enclose what you are going to play in certain areas of the fretboard and among certain number of techniques you are going to need.
For example, glancing at [Leo Brouwer's first study (from the old *Études Simples* series)](http://www.sheetmusicplus.com/title/Etudes-Simples-Volume-1/4004674#) before playing it will make you realize that apart from your thumb, your right hand fingers play along most of the piece the same notes, which are on open strings. The double bar at bar 17 tells you a new section is coming, where it's easy to realize that the first bars are being reexposed. Zooming in a little, down to medium dimensions, you can see two bar modules that are repeated with just one note variation or no variation at all. The music that happens in the middle of the piece is also a variation of things that already happened, which reflect in minimum and easy left hand changes on the fretboard (for example, bars 12 and 13 are just about moving a fifth shape up and down, the same shape you already had at bars 5 to 8).
Summarizing, the final result of this brief observation is that the number of notes that you actually need to *read* is dramatically lower than the number of notes you actually play. Starting from beat number one and shuting yourself in a narrow tunnel by just reading every single beat one by one to the end will normally make you read much more than what you actually need, slowering down and making harder the whole process. A hardcore way to train this sight-reading strategies is by going ahead with no guitar at all, figuring out in your mind what you would exactly do with your hands at every single bar. This way, you train exclusively your topographic memory on the fretboard without distractions. It's a kind of crazy abstraction excercise that can produce some headache, but if you master that you'll be for sure a guitar sight-reading beast. Hope it makes sense. |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | My teacher starts students with coloured notation. The conventional notes have the bodies coloured according to the note - C is yellow, D purple and so on.
I was 55, played folk guitar for years, never been able to read music. After three months of this I was reading. Gradually he gave me pieces where repeated sections were in black and white until eventually I was working with no colour at all.
I'm still trying to improve my sight reading, but I'm certainly doing far more than I ever believed possible. | The thing that helped me learn to sight read the most was playing with others in ensembles. Especially in orchestra, which unfortunately (or fortunately, depending on your perspective) requires guitarists to learn another instrument. You learn to sightread well through steady, sustained immersion.
I highly recommend finding someone else interested in learning to read and going through some duets. A great place to start might be flute duets, Bach inventions, violin duets. Classical guitar duets might be the next step, or if you're playing jazz go through the Real Book and sightread new tunes every day. Meet regularly - at least once per week, or more if you can. |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | Actually, I'm going to say, don't memorize, read.
Sight reading is working up your short-term memory. So after you make a few mistakes and play it 20 times, maybe memorize it, you're good right? Wrong (Ha!).
Scour the internets for sheet music. Suggestion:
[Search google images](http://google.com/images) and start looking for music pdfs. I say go through many pieces, don't play them more than 3 times, and move on, but play them as boringly slow as you have to to get it EXACTLY right.
Then you can move on. If you mess up after 3 tries, still, move on. Practice reading if that is what you are after.
Thanks for listening. | A lot of these answers involve reading the note name, then finding that note on the guitar.Then you have to remember whether it's sharp or flat, as in the key signature. I'm working on a rather different scheme, which uses total knowledge, initially of 2 octaves major and two octaves minor scale, across the strings.
Once you have established the key (letter name & maj/min, ) keep your hand within your 'box'. e.g. if the tune is in Cmaj, use the box fret 7 to 10. Establish your 'base'keynote as being on a line or a space, and read initially from this note. Thus using our example of C =middle C, then it would become a 'line'key, with 1,3 and 5 being on the next 2 lines upwards. Now translate to the scale you know, thinking in terms of numbers, rather than notes.
This may sound more complex than it is, but when you realise that the same idea will apply to you playing in 3, 4, 5 # or b s, you may realise that you don't even have to address thet side of the sightreading problem, it's sorted automatically.
I have purposely NOT addressed the timing side of things, as this is not the point of the exercise.That is an issue for another thread.
I'm still working on this concept, so any thoughts will be gratefully received. |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | Yes, unfortunately it's all about practice. But there are some things you can focus on to speed up the process:
- Learn the notes on the neck by heart, and the associated intervals. That is, learn the notes on the low E-string and the relation between those notes and the notes on the higher strings so that you without thinking can fret a certain interval. When this works, continue with the other strings.
- Play scales and say the names of the notes out loud as you play them. This will improve your familiarity with the placement of the notes on the neck.
These two exercises help you into thinking in tems of notes rather that fretboard positions.
Why I focus on the guitar neck rather than the sheet reading itself is because playing to sheet music is a twosided thing: Understanding the score as it is written and mapping that onto the guitar. As you are saying you are picturing a piano keyboard for the mapping, but you need to start mapping onto the guitar, and preferrably not do any mental calculations for the mapping at all as the notes position on the neck becomes intuitive. That leaves only the reading of the music and that just takes determination and practice.
Good luck! | * I don't think it's hard to find the notes
* I don't think it's hard to read the rhythms
It's doing both together that's the hard part.
Tommy Tedescoe once said that he only learnt to read the middle position of the guitar and the notes on the thick string and the notes on the thin strings. I think that he was far more skilled than that... He was the most used Session guitarist in history, so I think he knew something about it :)
Music reading should not be connected to type writing either - well maybe on the piano.
On the guitar, there's all sorts of good things and articulations that we should use, because these things are ingrained into the instrument's vernacular - like
* vibrato,
* bends,
* slides,
* harmonics,
* open strings.
These things will make it sound much more like music and not simply typing.
In order not to lose your place when you are reading music, I suggest you move your eyes and not your head - also, if needed, hold your guitar so that you can see both the fret-board and the sheet music in the same field of vision. That means you don't need to move your head, just your eyes to see either your fret-board placing or your music. This way, you'll keep your place a lot better!
Getting the ability to read rhythmic chunks is really important. If you can intrinsically link the sound of a rhythm with what it looks like, then you'll just know need to find the notes!
For different keys - try and find either the Locrian or Phyrgian positions for each as they have less finger stretches needed.
and finally, responding to the post by Rene Marcelo, memorizing is not reading - although it helps to look through a piece of music 2 or 3 times before you even attempt to play it - just to get a sense of the form (D.C., D.S, colas, repeats etc...). For getting used to reading having an endless source of new music to practice with - and setting a level directly for what you're having problems (reading ledger lines, whatever) was the reason I made [Guitar SightReader Toolbox](http://www.guitarsightreadertoolbox.com).
In addition, if you ever want to get tax-free work with good money and free board and food, playing on a cruise ship means you'll have to be able to read notes and chords and play those chords with the top note in the clef as the top note of the chord. It also means that you'll be also transposing what you'd normally play a staff note up an octave to concert pitch. And be able to do this for up to 50 times the first go through.
My software will prepare you for this... and what could be better than making money at what we love! |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | Actually, I'm going to say, don't memorize, read.
Sight reading is working up your short-term memory. So after you make a few mistakes and play it 20 times, maybe memorize it, you're good right? Wrong (Ha!).
Scour the internets for sheet music. Suggestion:
[Search google images](http://google.com/images) and start looking for music pdfs. I say go through many pieces, don't play them more than 3 times, and move on, but play them as boringly slow as you have to to get it EXACTLY right.
Then you can move on. If you mess up after 3 tries, still, move on. Practice reading if that is what you are after.
Thanks for listening. | from your description of how you "work out the melody" i.e. "muttering mnemonics ... counting frets up ... picturing a piano ... figure out ... half ... whole step", your mental process for that involves 4 procedural steps IN SEQUENCE. That takes too long. What you want to do is to reduce that down to 1 step that accomplishes all the procedures required IN PARALLEL.
How is that possible? Through practices: you can reprogram your mind (and fingers) to use what you already have JUST for checking (or merely to reassure yourself) that the answer you come up with using your new PARALLEL MENTAL PROCESS to be correct. As you practice more, you become more and more proficient at using the do-everything-in-one-step-in-parallel way and the checking becomes less and less frequent, until you can "work out the melody" without much need to use the slower (but guaranteed to be correct) way to figure out what to do.
So, what other say about the need to practice and knowing intervals and places on the guitar etc etc are true. I am just going to break it down in more detail here.
There are two basic ways to know where to put your fingers on the neck. Absolutely, and relatively. The first one means you develop visual and proprioceptive memory of where absolute pitches (i.e. named as A B C D E F G etc) are on the neck. The second one means you find out which finger to put down where (and if you need to move you hand position etc) based on where your hand already is and which fingers you already have pressed on which relative pitches (i.e. named as do re mi fa so la ti in solfeggio, or as 1 2 3 4 5 6 7 in the Nashville Number System).
Why teachers tell you to practice scales is because doing so programs into your mind the basis of using relative pitches to know what to do with your hand, IN PARALLEL TO what your eyeball must do to read music; that is, STAYING ON THE SHEET (as a bonus, you also reinforce in your mind association between visual patterns of pitch movements and movements of your hand; so yes, practicing scales with sheet music of scales can help you read too).
Once you have programmed the motions and spacings of the hand-control process into your mind deeply enough by doing scales, you can apply it without paying attention to it. That is, you can pay full attention to the sheet and yet your fingers will seem to know to go where it should go automatically without requiring your attention. However, for that magic to work well depends also a lot on mental processing of relative pitches.
By that I mean as you read notes on the page, you are NOT translating placements of notes in a staff into absolute pitches names or places on the piano at all. Instead, you read the key signature of a section of music ONLY ONCE to recall in your mind the scale you have practiced. Then as you read, you translate visual ups and downs of melodic shapes into motions of your hands on the neck in analogous direction directly, most likely WITHOUT COUNTING. If you do count, you will not be counting where the half or whole steps are because your hand would have already remembered those for you through scale practices. Instead, you will be counting the number of scale steps (e.g. from 'do' to 'mi' is up a 3rd, or from 7 to 4 is down a 4th, etc.) which has a one to one correspondence to steps of sequential hand motion your have programmed into your hand.
Some people find that saying the relative pitch name of notes in scale practice for each note played help them use the saying of relative pitch name to recall finger positionings when they read music. You may try that using 'do' 're' 'mi' etc or 1 2 3 etc too, depending on which seem more natural for you.
After you can read melody fast enough, you can develop skill for reading chord-melody too. That has to do with knowing how common chord shapes in music appears in sheet music and how they are done with your hand well enough so that you are not reading a chord note by note but instead as a visual shape which you have already associated with a certain hand shape and hand motion. But before you achieve fluency with that, it is necessary to use "a fairly slow and laborious process to translate from the paper into something I can play." The labor you put into doing so is precisely what is needed for you to build a vocabulary of chords-in-your-hand which you can instantly access upon seeing chords-on-the-page. Reading lots of sheets (doing mental practice) with music written as 'tablature on top of standard staff notation' also may help. |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | from your description of how you "work out the melody" i.e. "muttering mnemonics ... counting frets up ... picturing a piano ... figure out ... half ... whole step", your mental process for that involves 4 procedural steps IN SEQUENCE. That takes too long. What you want to do is to reduce that down to 1 step that accomplishes all the procedures required IN PARALLEL.
How is that possible? Through practices: you can reprogram your mind (and fingers) to use what you already have JUST for checking (or merely to reassure yourself) that the answer you come up with using your new PARALLEL MENTAL PROCESS to be correct. As you practice more, you become more and more proficient at using the do-everything-in-one-step-in-parallel way and the checking becomes less and less frequent, until you can "work out the melody" without much need to use the slower (but guaranteed to be correct) way to figure out what to do.
So, what other say about the need to practice and knowing intervals and places on the guitar etc etc are true. I am just going to break it down in more detail here.
There are two basic ways to know where to put your fingers on the neck. Absolutely, and relatively. The first one means you develop visual and proprioceptive memory of where absolute pitches (i.e. named as A B C D E F G etc) are on the neck. The second one means you find out which finger to put down where (and if you need to move you hand position etc) based on where your hand already is and which fingers you already have pressed on which relative pitches (i.e. named as do re mi fa so la ti in solfeggio, or as 1 2 3 4 5 6 7 in the Nashville Number System).
Why teachers tell you to practice scales is because doing so programs into your mind the basis of using relative pitches to know what to do with your hand, IN PARALLEL TO what your eyeball must do to read music; that is, STAYING ON THE SHEET (as a bonus, you also reinforce in your mind association between visual patterns of pitch movements and movements of your hand; so yes, practicing scales with sheet music of scales can help you read too).
Once you have programmed the motions and spacings of the hand-control process into your mind deeply enough by doing scales, you can apply it without paying attention to it. That is, you can pay full attention to the sheet and yet your fingers will seem to know to go where it should go automatically without requiring your attention. However, for that magic to work well depends also a lot on mental processing of relative pitches.
By that I mean as you read notes on the page, you are NOT translating placements of notes in a staff into absolute pitches names or places on the piano at all. Instead, you read the key signature of a section of music ONLY ONCE to recall in your mind the scale you have practiced. Then as you read, you translate visual ups and downs of melodic shapes into motions of your hands on the neck in analogous direction directly, most likely WITHOUT COUNTING. If you do count, you will not be counting where the half or whole steps are because your hand would have already remembered those for you through scale practices. Instead, you will be counting the number of scale steps (e.g. from 'do' to 'mi' is up a 3rd, or from 7 to 4 is down a 4th, etc.) which has a one to one correspondence to steps of sequential hand motion your have programmed into your hand.
Some people find that saying the relative pitch name of notes in scale practice for each note played help them use the saying of relative pitch name to recall finger positionings when they read music. You may try that using 'do' 're' 'mi' etc or 1 2 3 etc too, depending on which seem more natural for you.
After you can read melody fast enough, you can develop skill for reading chord-melody too. That has to do with knowing how common chord shapes in music appears in sheet music and how they are done with your hand well enough so that you are not reading a chord note by note but instead as a visual shape which you have already associated with a certain hand shape and hand motion. But before you achieve fluency with that, it is necessary to use "a fairly slow and laborious process to translate from the paper into something I can play." The labor you put into doing so is precisely what is needed for you to build a vocabulary of chords-in-your-hand which you can instantly access upon seeing chords-on-the-page. Reading lots of sheets (doing mental practice) with music written as 'tablature on top of standard staff notation' also may help. | A lot of these answers involve reading the note name, then finding that note on the guitar.Then you have to remember whether it's sharp or flat, as in the key signature. I'm working on a rather different scheme, which uses total knowledge, initially of 2 octaves major and two octaves minor scale, across the strings.
Once you have established the key (letter name & maj/min, ) keep your hand within your 'box'. e.g. if the tune is in Cmaj, use the box fret 7 to 10. Establish your 'base'keynote as being on a line or a space, and read initially from this note. Thus using our example of C =middle C, then it would become a 'line'key, with 1,3 and 5 being on the next 2 lines upwards. Now translate to the scale you know, thinking in terms of numbers, rather than notes.
This may sound more complex than it is, but when you realise that the same idea will apply to you playing in 3, 4, 5 # or b s, you may realise that you don't even have to address thet side of the sightreading problem, it's sorted automatically.
I have purposely NOT addressed the timing side of things, as this is not the point of the exercise.That is an issue for another thread.
I'm still working on this concept, so any thoughts will be gratefully received. |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | Yes, unfortunately it's all about practice. But there are some things you can focus on to speed up the process:
- Learn the notes on the neck by heart, and the associated intervals. That is, learn the notes on the low E-string and the relation between those notes and the notes on the higher strings so that you without thinking can fret a certain interval. When this works, continue with the other strings.
- Play scales and say the names of the notes out loud as you play them. This will improve your familiarity with the placement of the notes on the neck.
These two exercises help you into thinking in tems of notes rather that fretboard positions.
Why I focus on the guitar neck rather than the sheet reading itself is because playing to sheet music is a twosided thing: Understanding the score as it is written and mapping that onto the guitar. As you are saying you are picturing a piano keyboard for the mapping, but you need to start mapping onto the guitar, and preferrably not do any mental calculations for the mapping at all as the notes position on the neck becomes intuitive. That leaves only the reading of the music and that just takes determination and practice.
Good luck! | I feel a need to offer an answer "from the other side." Everybody here is telling you how to make it easier, how to simplify the process.
The other way is to make it *more complicated.*
Grab the Bb Real Book, and play everything *two frets up*. Or Eb (*three frets down*).
Grab some Viola music and read it straight off the alto clef (the middle line is middle C).
Read Bass parts (try playing the left-hand of a piano piece while a horn plays the melody).
When you go back to simple treble clef in C, it should appear marvelously simple and direct. |
3,068 | I'm learning guitar right now, mostly from [Justin Sandercoe's free online lessons](http://www.justinguitar.com/), starting from the beginner's course. He has a lot of good tips for how to practice and drill chords, and scales, but he doesn't have much information on how to learn to read sheet music.
I know the basics of sheet music; I can work out the melody if I sit down for a while, muttering mnemonics under my breath and counting frets up the neck while picturing a piano keyboard to figure out where there's a half step between notes instead of a whole step (not to mention trying to work out the rhythm very slowly by counting "one-ee-and-a two-ee-and-a" and getting lost a lot of the time because the rhythm doesn't sound right at that slow a pace). Needless to say, it's a fairly slow and laborious process to translate from the paper into something I can play.
How can I learn to more quickly and fluently read sheet music for the guitar? Do I just need to keep trying it, spending a good chunk of my practice time just struggling to read a few bars of a melody, or are there any good exercises I can do to help develop my fluency in smaller, more manageable chunks? | 2011/06/07 | [
"https://music.stackexchange.com/questions/3068",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/525/"
] | I feel a need to offer an answer "from the other side." Everybody here is telling you how to make it easier, how to simplify the process.
The other way is to make it *more complicated.*
Grab the Bb Real Book, and play everything *two frets up*. Or Eb (*three frets down*).
Grab some Viola music and read it straight off the alto clef (the middle line is middle C).
Read Bass parts (try playing the left-hand of a piano piece while a horn plays the melody).
When you go back to simple treble clef in C, it should appear marvelously simple and direct. | * I don't think it's hard to find the notes
* I don't think it's hard to read the rhythms
It's doing both together that's the hard part.
Tommy Tedescoe once said that he only learnt to read the middle position of the guitar and the notes on the thick string and the notes on the thin strings. I think that he was far more skilled than that... He was the most used Session guitarist in history, so I think he knew something about it :)
Music reading should not be connected to type writing either - well maybe on the piano.
On the guitar, there's all sorts of good things and articulations that we should use, because these things are ingrained into the instrument's vernacular - like
* vibrato,
* bends,
* slides,
* harmonics,
* open strings.
These things will make it sound much more like music and not simply typing.
In order not to lose your place when you are reading music, I suggest you move your eyes and not your head - also, if needed, hold your guitar so that you can see both the fret-board and the sheet music in the same field of vision. That means you don't need to move your head, just your eyes to see either your fret-board placing or your music. This way, you'll keep your place a lot better!
Getting the ability to read rhythmic chunks is really important. If you can intrinsically link the sound of a rhythm with what it looks like, then you'll just know need to find the notes!
For different keys - try and find either the Locrian or Phyrgian positions for each as they have less finger stretches needed.
and finally, responding to the post by Rene Marcelo, memorizing is not reading - although it helps to look through a piece of music 2 or 3 times before you even attempt to play it - just to get a sense of the form (D.C., D.S, colas, repeats etc...). For getting used to reading having an endless source of new music to practice with - and setting a level directly for what you're having problems (reading ledger lines, whatever) was the reason I made [Guitar SightReader Toolbox](http://www.guitarsightreadertoolbox.com).
In addition, if you ever want to get tax-free work with good money and free board and food, playing on a cruise ship means you'll have to be able to read notes and chords and play those chords with the top note in the clef as the top note of the chord. It also means that you'll be also transposing what you'd normally play a staff note up an octave to concert pitch. And be able to do this for up to 50 times the first go through.
My software will prepare you for this... and what could be better than making money at what we love! |
430,097 | What is it called when something is described as something but the something is in fact anything but that something?
For example :
* a strong man who calls himself a weakling
* a purple man who calls himself a red man
Contradictory or opposite comes to mind but that is not what I am looking for.
Its a bit like politicians say they represent the people when (in some ways) they don't.
Or another example might be the Republican Party in the US. The word republican probably had a certain meaning when it first started but now it probably has an opposite meaning (and probably many other meanings). The word that has evolved over time to possibly mean something else.
I hope that explains it, but maybe some comments/questions might help me clarify it further. | 2018/02/08 | [
"https://english.stackexchange.com/questions/430097",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/280487/"
] | Perhaps you're looking for "[misnomer](https://en.wikipedia.org/wiki/Misnomer)"?
This would apply to your example of the "Republican" party, at least, where a name that *used* to be descriptive no longer is.
It could apply to the other examples, as well, although those are more about the act of lying than about a misleading term. | Irony. Calling a fat man slim or a tall man shorty. When the application of a word or concept is in direct opposition to its meaning. |
71,958 | Are there any Catholic saints or notable theologians that have interpreted the the Beast of Revelations number 666 in the following way?
The first 6 is linked to the six days of creation and in the eyes one day to the Lord is like a thousand days. - [(2Peter 3:8)](https://creation.com/2-peter-38-one-day-is-like-a-thousand-years)
The second 6, is linked to the age of the world as being 6,000 years old when the Beast of Revelation will appear.
The final 6, is referred to as being the the sixth age of the Church (or Creation).
>
> **Six Ages**
>
>
> The Six Ages, as formulated by Saint Augustine, are defined in De catechizandis rudibus (On the catechizing of the uninstructed), Chapter 22:
>
>
> * The First Age "is from the beginning of the human race, that is, from Adam, who was the first man that was made, down to Noah, who constructed the ark at the time of the flood," i.e. the Antediluvian period.
> * The Second Age "extends from that period on to Abraham, who was called the father indeed of all nations.."
> * The Third Age "extends from Abraham on to David the king."
> The Fourth Age is "from David on to that captivity whereby the people of God passed over into Babylonia."
> * The Fifth Age is "from that transmigration down to the advent of our Lord Jesus Christ."
> * The Sixth Age: "With His [Jesus Christ's] coming the sixth age has entered on its process."
>
>
> The Ages reflect the seven days of creation, of which the last day is the rest of Sabbath, illustrating the human journey to find eternal rest with God, a common Christian narrative. - [Six Ages of the World (Wikipedia)](https://en.m.wikipedia.org/wiki/Six_Ages_of_the_World)
>
>
>
I vaguely recall reading about this some decades ago. **Can anyone point me to a source or sources of this information?**
>
> Here is wisdom. Let him that hath understanding count the number of the beast: **for it is the number of a man; and his number is Six hundred threescore and six.** - [Revelation 13:18](https://www.biblegateway.com/passage/?search=Revelation+13%3A18&version=KJV)
>
>
>
The interpretation given dwelt more on the time when the man, known as the Antichrist was going to appear, rather than on the interpretation that the numbers were more personally linked to the man of perdition.
**Can anyone recall which Catholic author(s) wrote about this?** | 2019/08/05 | [
"https://christianity.stackexchange.com/questions/71958",
"https://christianity.stackexchange.com",
"https://christianity.stackexchange.com/users/25495/"
] | The church father Irenaeus (130-202) said there were many names that could be produced from the number, and he speculates about the name using the “**Greek fashion of calculation**”, using the value of the letters contained in 666 and trying to mathematically produce a name. He attributes the erroneous number 616 to a copyist error, and states that none of the names produced is certain. This would indicate that it wasn’t anything that he learned from the apostolic teaching tradition. However, Irenaeus offered an alternative interpretation of 666.
>
> And he will cause a mark [to be put] in the forehead and in the right hand, that no one may be able to buy or sell, unless he who has the mark of the name of the beast or the number of his name; and the number is six hundred and sixty-six,” (Rev 13:18) that is, six times a hundred, six times ten, and six units. [He gives this] as a summing up of the whole of that apostasy which has taken place during six thousand years." Irenaeus V.XXVIII.2
>
>
> For in as many days as this world was made, in so many thousand years shall it be concluded. And for this reason the Scripture says: “Thus the heaven and the earth were finished, and all their adornment. And God brought to a conclusion upon the sixth day the works that He had made; and God rested upon the seventh day from all His works.” This is an account of the things formerly created, as also it is a prophecy of what is to come. For the day of the Lord is as a thousand years;(2 Pet 3:8) and in six days created things were completed: it is evident, therefore, that they will come to an end at the sixth thousand year. Thus, then, the six hundred years of Noah (Gen 7:6), in whose time the deluge occurred because of the apostasy, and the number of the cubits of the image for which these just men were sent into the fiery furnace (Dan 3:1), do indicate the number of the name of that man in whom is concentrated the whole apostasy of six thousand years, and unrighteousness, and wickedness, and false prophecy, and deception; for which things’ sake a cataclysm of fire shall also come [upon the earth]." V.XXVIII.3
>
>
>
The church father Irenaeus associated the number of the beast (Rev 13:18) with the six days of creation as well as 6,000 years of Earth history. Irenaeus was a disciple of Polycarp who was a disciple of John. Of course, Irenaeus got the number from the book of Revelation. According to this church father, the number was foreshadowed by the six days of creation, the flood, and the book of Daniel.
Surprisingly, the idea for 666 was preceded by the first-century Jewish scholar Philo of Alexandria (25 BC-50 AD).
>
> Since, therefore, the first beginning of the generation of our race, after the destruction caused by the deluge, commenced with Noah, men being again sown and procreated, therefore he also is recognised as resembling the first man born of the earth, as far as such resemblance or recognition is possible. And the six hundredth year has for its origin the number six; and the world was created under the number six, therefore, by this same number does he reprove the wicked, putting them to shame because he would, unquestionably, never, after he had created the universe by means of the number six, have destroyed all the men who lived on the earth under the form of six, if it had not been for the preposterous excess of their iniquities. For the third power of six and the minor power is the number six hundred, and the mean between both is sixty, since the number ten more evidently represents the likeness of unity, and the number a hundred represents the minor power." Philo, Book 42: Questions and Answers on Genesis, II
>
>
>
Here is a quote from Hippolytus of Rome (170-235).
>
> 4. But that we may not leave our subject at this point undemonstrated, we are obliged to discuss the matter of the times, of which a man should not speak hastily, because they are a light to him. For as the times are noted from the foundation of the world, and reckoned from Adam, they set clearly before us the matter with which our inquiry deals. For the first appearance of our Lord in the flesh took place in Bethlehem, under Augustus, in the year 5500; and He suffered in the thirty-third year. And 6,000 years must needs be accomplished, in order that the Sabbath may come, the rest, the holy day “on which God rested from all His works.” (Heb 4:4) For the Sabbath is the type and emblem of the future kingdom of the saints, when they “shall reign with Christ,” (Heb 4:5, Rev 20:6) when He comes from heaven, as John says in his Apocalypse: for “a day with the Lord is as a thousand years.” (2 Pet 3:8, Psa 90:4) Since, then, in six days God made all things, it follows that 6,000 years must be fulfilled. And they are not yet fulfilled, as John says: “five are fallen; one is,” that is, the sixth; “the other is not yet come.” (Rev 17:10) The interpretation by Hippolytus, Daniel
>
>
> | Here is how Fr. Kramer commentates verse 13:18 in his [*The Book of Destiny*](https://isidore.co/calibre/#panel=book_details&book_id=4418) (1956), the best Catholic commentary on St. John's Apocalypse:
>
> *Verse 18*
>
>
> St. John clearly states that the Beast is but a man, for he has the name of a man given him by someone else; and the numerical letters of that name will enable the true believers to know him when he appears. In what language this name must be written to have the number is not stated; but since the Apocalypse was written in Greek, the number will probably be made up of the name written in that language. Explanations of diverse kinds have been proposed, but none of them has been satisfactory. Father Sloet advances the solution that if the name, "king of Israel" be written in Hebrew, it will make up the number 666. But then some violence must be done to Hebrew orthography. No doubt he will style himself king of Israel. St. Irenaeus warns against proposing any name as certain, for he, though he had known Polycarp, a disciple of St. John, would not dare to hold any name. He suggests the name "LATEINOS" or "Nero Caeser" in Greek but prefers "Teitan". Yet he "will not incur the risk of pronouncing positively as to the name".
>
>
> It might be a mere symbolic number. In a modern explanation, Antichrist may flatter the secret societies by affirming their claim to the derivation of their mystic symbols from Solomon to be historical and thus win them over to become his supporters. They claim that an order or guild was organized among the laborers building Solomon's Temple, and from this order date their symbols. Hence the number 666 ([3 kings X. 14](http://drbo.org/cgi-bin/d?b=drl&bk=11&ch=10&l=14-#x); [2 Para. IX. 13](http://drbo.org/cgi-bin/d?b=drl&bk=14&ch=9&l=13-#x)) alludes to the income of Solomon, which he is supposed to have spent largely for the erection of the Temple. But this is as fantastic and unreal as other explanations. The number is probably no symbol at all but a mere cryptogram to be deciphered in Antichrist's time.
>
>
> According to the testimony of St. Irenaeus (V. 30 — 1 ff), all old and good copies had χξς, and this reading was attested as being the original by those who had seen St. John. These letters which were probably the cryptogram in the original manuscript, may simply be the initials of the name of Antichrist, of the given name and the surname. Even in the time of St. Irenaeus there were two readings χξς and χις. In chapter fifteen, the victors over Antichrist and over "the number of his name" are privileged to sing a new canticle of praise to God for the victory. This intimates a short cryptogram, probably one containing the three letters. And probably the mark worn by his slaves on the forehead or hand will consist of the three Greek letters. As to his name St. Irenaeus says: "If it were necessary that his name should be distinctly revealed in this present time, it would have been announced by him who beheld the apocalyptic vision". "For that was seen no very long time since, but almost in our day, TOWARDS THE END OF DOMITIAN'S REIGN".
>
>
> |
265,258 | I am doing 2^1000 and I am getting this:
1.07151e+301
Is there any way to actually turn this into a proper number without the e+301, or at least can anyone show me where I can see how to turn this in to a real number, by some way working with the e+301 part? | 2008/11/05 | [
"https://Stackoverflow.com/questions/265258",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/8715/"
] | cout << fixed << your\_number;
But it won't probably show the whole number. As someone said before, you need to write a class. | You are getting as precise a number as the variable type can support. That number is on the order of 1 followed by 301 zeroes. To get a precise number you'll have to work with a library that supports large numbers, or work with a language that is made for that kind of math (maple, matlab, etc) |
265,258 | I am doing 2^1000 and I am getting this:
1.07151e+301
Is there any way to actually turn this into a proper number without the e+301, or at least can anyone show me where I can see how to turn this in to a real number, by some way working with the e+301 part? | 2008/11/05 | [
"https://Stackoverflow.com/questions/265258",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/8715/"
] | One option, if your application logic will allow it is to change the units you are manipulating....
If you are measuring the distance from New York to Paris in Angstroms, choose Miles or Kilometers instead....
Except for pure mathematical requirements, (like say factoring prime numbers for cryptology or, ... research into the Reimann Hypothesis), there is seldom any need to retain that many digits of accuracy.
On the other hand, if you are doing something that requires perfectly accurate integer values with that many digits, then you should probably get specialized software designed to handle large numbers... Such software is definitely available, although I'm not familiar with that area. (costs, vendors, capabilities etc.)
If cost is an issue, and you're thinking of writing your own, I don't know enough about what's involved in to know if that approach is worth the effort... | You are getting as precise a number as the variable type can support. That number is on the order of 1 followed by 301 zeroes. To get a precise number you'll have to work with a library that supports large numbers, or work with a language that is made for that kind of math (maple, matlab, etc) |
265,258 | I am doing 2^1000 and I am getting this:
1.07151e+301
Is there any way to actually turn this into a proper number without the e+301, or at least can anyone show me where I can see how to turn this in to a real number, by some way working with the e+301 part? | 2008/11/05 | [
"https://Stackoverflow.com/questions/265258",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/8715/"
] | There is a practical limit to how large a number that can be directly manipulated in machine registers can be. if you are using double precision floats there are a total of 64 bits, some of which are devoted to the mantissa, some to the exponent, and 1 to the sign bit.
2^1000 needs a 1001 bit integer to be represented without losing precision. In order to work with numbers like that you will need to use a library that has big number support, such as [GNU MP](http://gmplib.org/). | You are getting as precise a number as the variable type can support. That number is on the order of 1 followed by 301 zeroes. To get a precise number you'll have to work with a library that supports large numbers, or work with a language that is made for that kind of math (maple, matlab, etc) |
67,627 | I'm wanting to change my movie clips to actionscript classes in AS3. Is there a standard list of things I need to do to make sure the classes work? | 2008/09/15 | [
"https://Stackoverflow.com/questions/67627",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/-1/"
] | Check out these resources:
Grant Skinners Introductory AS3 Workshop slidedeck <http://gskinner.com/talks/as3workshop/>
Lee Brimelow : 6 Reasons to learn ActionScript 3 <http://www.adobe.com/devnet/actionscript/articles/six_reasons_as3.html>
Colin Moock : Essential ActionScript 3 (considered the "bible" for ActionScript developers): [http://www.amazon.com/Essential-ActionScript-3-0/dp/0596526946](https://rads.stackoverflow.com/amzn/click/com/0596526946)
mike chambers
mesh@adobe.com | Don't forget this excellent devnet article meant for transitioning from AS2 to AS3:
<http://www.adobe.com/devnet/actionscript/articles/actionscript_tips.html> |
67,627 | I'm wanting to change my movie clips to actionscript classes in AS3. Is there a standard list of things I need to do to make sure the classes work? | 2008/09/15 | [
"https://Stackoverflow.com/questions/67627",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/-1/"
] | Check out these resources:
Grant Skinners Introductory AS3 Workshop slidedeck <http://gskinner.com/talks/as3workshop/>
Lee Brimelow : 6 Reasons to learn ActionScript 3 <http://www.adobe.com/devnet/actionscript/articles/six_reasons_as3.html>
Colin Moock : Essential ActionScript 3 (considered the "bible" for ActionScript developers): [http://www.amazon.com/Essential-ActionScript-3-0/dp/0596526946](https://rads.stackoverflow.com/amzn/click/com/0596526946)
mike chambers
mesh@adobe.com | You probably wanna check out [Refactoring](https://stackoverflow.com/questions/tagged/refactoring) as well. |
5,598,347 | I recently made my first iphone app.
I am completely new into iphone programming.
How to submit the app to app store?
I will be better helped with some detailed explanation as I am a noobee. | 2011/04/08 | [
"https://Stackoverflow.com/questions/5598347",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/463857/"
] | Three best links I could find are :
<http://www.mahalo.com/answers/what-is-the-process-to-submit-an-application-to-itunes>
<http://help.appmakr.com/entries/218997-how-to-upload-your-app-to-itunes-connect-using-application-loader>
<http://www.weston-fl.com/blog/?p=2442> | Go to developer.apple.com/ios, log in, look on the right for itunes connect, click on "manage apps", click "add new application" and follow directions for submission. You must be a registered apple developer and have already paid the developer fee. |
5,598,347 | I recently made my first iphone app.
I am completely new into iphone programming.
How to submit the app to app store?
I will be better helped with some detailed explanation as I am a noobee. | 2011/04/08 | [
"https://Stackoverflow.com/questions/5598347",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/463857/"
] | You'll find your detailed explanation in the [iOS Developer Program User Guide](http://adcdownload.apple.com/ios/ios_developer_program_user_guide/ios_developer_program_user_guide__standard_program_v2.7__final_9110.pdf). | Go to developer.apple.com/ios, log in, look on the right for itunes connect, click on "manage apps", click "add new application" and follow directions for submission. You must be a registered apple developer and have already paid the developer fee. |
5,598,347 | I recently made my first iphone app.
I am completely new into iphone programming.
How to submit the app to app store?
I will be better helped with some detailed explanation as I am a noobee. | 2011/04/08 | [
"https://Stackoverflow.com/questions/5598347",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/463857/"
] | Three best links I could find are :
<http://www.mahalo.com/answers/what-is-the-process-to-submit-an-application-to-itunes>
<http://help.appmakr.com/entries/218997-how-to-upload-your-app-to-itunes-connect-using-application-loader>
<http://www.weston-fl.com/blog/?p=2442> | You'll find your detailed explanation in the [iOS Developer Program User Guide](http://adcdownload.apple.com/ios/ios_developer_program_user_guide/ios_developer_program_user_guide__standard_program_v2.7__final_9110.pdf). |
5,598,347 | I recently made my first iphone app.
I am completely new into iphone programming.
How to submit the app to app store?
I will be better helped with some detailed explanation as I am a noobee. | 2011/04/08 | [
"https://Stackoverflow.com/questions/5598347",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/463857/"
] | Three best links I could find are :
<http://www.mahalo.com/answers/what-is-the-process-to-submit-an-application-to-itunes>
<http://help.appmakr.com/entries/218997-how-to-upload-your-app-to-itunes-connect-using-application-loader>
<http://www.weston-fl.com/blog/?p=2442> | Apple has excellent documentation:
<http://developer.apple.com/library/ios/#documentation/Xcode/Conceptual/iphone_development/145-Distributing_Applications/distributing_applications.html>
In summary:
1. Make sure your application is something of value.
2. Great a distribution provisioning profile in the developer portal.
3. Archive you application using this profile.
4. Log into iTunes Connect and add an application - there will be several pages of fields to fill out. Upload your application.
5. Wait for approval. |
5,598,347 | I recently made my first iphone app.
I am completely new into iphone programming.
How to submit the app to app store?
I will be better helped with some detailed explanation as I am a noobee. | 2011/04/08 | [
"https://Stackoverflow.com/questions/5598347",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/463857/"
] | You'll find your detailed explanation in the [iOS Developer Program User Guide](http://adcdownload.apple.com/ios/ios_developer_program_user_guide/ios_developer_program_user_guide__standard_program_v2.7__final_9110.pdf). | Apple has excellent documentation:
<http://developer.apple.com/library/ios/#documentation/Xcode/Conceptual/iphone_development/145-Distributing_Applications/distributing_applications.html>
In summary:
1. Make sure your application is something of value.
2. Great a distribution provisioning profile in the developer portal.
3. Archive you application using this profile.
4. Log into iTunes Connect and add an application - there will be several pages of fields to fill out. Upload your application.
5. Wait for approval. |
200,823 | I’m new at D&D and just trying to DM my first game with some friends. I don’t know which dice should I roll if, for example, I use the magic sword *dragon slayer*.
All it says is it adds a bonus to your attack and damage. Ok, but which dice should I roll?
* The dice which I use with my regular sword (let’s say I have a
longsword, so 1d8)?
* Or should I decide which type of sword this magic weapon is (since it
says it’s any kind of sword), and then, the damage the weapon can
deal is decided by the DM once he gives a concrete type to the
magical weapon (let’s say I say this *dragon slayer* is a shortsword,
so it’s a 1d6)? | 2022/08/18 | [
"https://rpg.stackexchange.com/questions/200823",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/78327/"
] | ### The description either tells you the weapon type, or leaves it up to the DM.
We see in the *Dungeon Master's Guide*, chapter 7, the section "Magic Item Categories", subheading "Weapons", pg. 140:
>
> Some magic weapons specify the type of weapon they are in their descriptions, such as a longsword or longbow. If a magic weapon doesn’t specify its weapon type, you may choose the type or determine it randomly.
>
>
>
So we see in the description of the Dragon Slayer:
>
> *Weapon (any sword)*
>
>
>
So you decide what type of sword this is when you give it to a player character. In contrast, some items are more specific, such as the Dagger of Venom, which says in its description:
>
> *Weapon (dagger)*
>
>
>
And some weapons don't specify at all, such as the description of the Hellfire Weapon in *Baldur's Gate: Descent into Avernus*:
>
> *Weapon (any)*
>
>
>
Once you have have decided what type of weapon a particular magic weapon is, it uses the usual damage dice stated in the Weapons table in chapter of 5 of the *Player's Handbook*.
That said, it should be noted that some magic weapons add *additional* damage dice to the weapon's attacks, such as the Flame Tongue:
>
> While the sword is ablaze, it deals an extra 2d6 fire damage to any target it hits.
>
>
>
So a blazing Flame Tongue Longsword would deal 1d8 slashing + 2d6 fire damage on a hit (plus relevant modifiers).
Finally, though the rules do assign specific weapon types to many magic weapons, you probably aren’t going to break anything if you go off-script and change the weapon types to whatever you want. | Each magic weapon is a specific type of weapon with additional properties. The type is chosen by the DM (you) when you hand it out to someone--a longsword, a shortsword, a greatsword, or even (although not by default), a glaive, mace, or something else.
So make a choice, and then it's fixed for that item. What you choose depends on your characters and what the game is like. |
105,398 | I need to establish an offsite copy of a number of production servers, including SQL server.
*Hyper V replication* has been chosen as a simple solution (all servers are virtual). This is to supplement offsite backup for disaster scenarios. We do not need instant failover, mirroring or any advanced setup, just a reasonably recent copy of the most critical data and systems.
Hyper V replication looks simple, set-and-forget (just make sure to put tempdbs on a non-replicated VHD, set flags to maintaing write order across VHDs). But I am still concerned of efficiency and robustness, and thinking that a simple **log shipping** setup might be better, easier on the bandwith (would not need to replicate anything but the logs)
Any opinions or insight on what (when) to choose one over the other would be welcome | 2015/06/29 | [
"https://dba.stackexchange.com/questions/105398",
"https://dba.stackexchange.com",
"https://dba.stackexchange.com/users/1650/"
] | I think the answer depends on the SQL skill level of the people who will ultimately be responsible (lose their job) if the data can't be recovered in a DR scenario.
Most of the time when DBAs are chit chatting you'll hear horror stories of vendor solutions that didn't work, or stopped working, or weren't monitored. And when the data is lost it's lost. I've seen all 3. It's all good to say some other team will be monitoring it with a fancy tool - until a few months later when they've learned to ignore the alarms, and simply don't have time to respond to your repeated emails that it's broken.
That's why DBAs like me are a bit anal and insist on ownership and responsibility wherever there's accountability. I keep backups in SQL because then I can verify they're working and monitor them as well. I keep it all as simple as possible because simple works.
On the other hand if someone hands you a server and says "this is a copy, confirm its a proper copy and working", there's not a whole lot you can do without SQL Data Compare and an outage window.
If a place doesn't have a DBA, or there are licensing restrictions or software installed on the database server, then you make do with what you can. And vendors and consultants will often play along as well because when the data is lost they've already been paid and moved on (again they're making do with what they've been told or provided).
But for me? For best practice and not even a difficult one at that? No vendors in my backups.
PS: The exception being underlying snapshots of the backup media like network drives, for long term or redundant storage, as long as it's clear whose responsible for validating that's working. However again it's a matter of buyer beware - when it runs out of snapshot space someone will inevitably delete all your old backups without consultation; I've seen it happen time and again. But in this case as long as it's clear X people are responsible for long term file storage there's not much you can do. | >
> Any opinions or insight on what (when) to choose one over the other
> would be welcome
>
>
>
My knowledge is limited when it comes to Hyper V's replication functionality... So, rather than present you with detailed thoughts and opinions on which way might be better, I would steer you towards some solid testing of both options upfront.
I imagine you're likely planning on doing some testing *after* you've decided which option you want to use (through research and asking questions here). However, you might want to reverse that and do some testing upfront to help narrow down which one you want to test further and eventually implement. This not only gives you some real confidence in the solution you decide to use but also gives you more backing for why you chose that option (proved to be better for our needs in testing vs. this option is supposed to work really well). This helps you get to the best possible solution in meeting the needs of your business.
One very **important** consideration is the level of awareness that Hyper V replication technology has about how SQL Server operates. The last thing you want is to fail over and realize that the databases are not in a consistent state, due to how the underlying replication works. Some testing/prototyping early in the process will help bring that to light. |
105,398 | I need to establish an offsite copy of a number of production servers, including SQL server.
*Hyper V replication* has been chosen as a simple solution (all servers are virtual). This is to supplement offsite backup for disaster scenarios. We do not need instant failover, mirroring or any advanced setup, just a reasonably recent copy of the most critical data and systems.
Hyper V replication looks simple, set-and-forget (just make sure to put tempdbs on a non-replicated VHD, set flags to maintaing write order across VHDs). But I am still concerned of efficiency and robustness, and thinking that a simple **log shipping** setup might be better, easier on the bandwith (would not need to replicate anything but the logs)
Any opinions or insight on what (when) to choose one over the other would be welcome | 2015/06/29 | [
"https://dba.stackexchange.com/questions/105398",
"https://dba.stackexchange.com",
"https://dba.stackexchange.com/users/1650/"
] | I think the answer depends on the SQL skill level of the people who will ultimately be responsible (lose their job) if the data can't be recovered in a DR scenario.
Most of the time when DBAs are chit chatting you'll hear horror stories of vendor solutions that didn't work, or stopped working, or weren't monitored. And when the data is lost it's lost. I've seen all 3. It's all good to say some other team will be monitoring it with a fancy tool - until a few months later when they've learned to ignore the alarms, and simply don't have time to respond to your repeated emails that it's broken.
That's why DBAs like me are a bit anal and insist on ownership and responsibility wherever there's accountability. I keep backups in SQL because then I can verify they're working and monitor them as well. I keep it all as simple as possible because simple works.
On the other hand if someone hands you a server and says "this is a copy, confirm its a proper copy and working", there's not a whole lot you can do without SQL Data Compare and an outage window.
If a place doesn't have a DBA, or there are licensing restrictions or software installed on the database server, then you make do with what you can. And vendors and consultants will often play along as well because when the data is lost they've already been paid and moved on (again they're making do with what they've been told or provided).
But for me? For best practice and not even a difficult one at that? No vendors in my backups.
PS: The exception being underlying snapshots of the backup media like network drives, for long term or redundant storage, as long as it's clear whose responsible for validating that's working. However again it's a matter of buyer beware - when it runs out of snapshot space someone will inevitably delete all your old backups without consultation; I've seen it happen time and again. But in this case as long as it's clear X people are responsible for long term file storage there's not much you can do. | Reading the article [Hosting SQL Server in Hyper-V Replica Environment](https://www.simple-talk.com/sql/database-administration/hosting-sql-server-in-hyper-v-replica-environment/) it indicates that Hyper-V replication can be used for SQL Server. However I don't think that it necessarily should.
What level of RTO / RPO are you looking for? In other words, how long can you be down for, and how much can you afford to lose?
If the answers to those questions are measured in 10s of minutes, then I would look at using SQL Log shipping. If less than that then you need to start looking at the significantly more expensive HA type scenarios or Database Mirroring.
The drawback mentioned of having to have the entire database in one VHD file may easily introduce performance issues unless there's some decent hardware or low throughput. |
39,752 | Jesus described his mission in terms taken directly from Isaiah:
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> [Luk 4:19 NKJV] (19) To proclaim the acceptable year of the LORD."
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> > mGNT Luke 4:19 **κηρύξαι ἐνιαυτὸν κυρίου δεκτόν**
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> [Isa 61:2 NKJV] (2) To proclaim the acceptable year of the LORD, **And the day of vengeance of our God**; To comfort all who mourn,
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> > mGNT Isaiah 61:2 **καλέσαι ἐνιαυτὸν κυρίου δεκτὸν** καὶ **ἡμέραν ἀνταποδόσεως** παρακαλέσαι πάντας τοὺς πενθοῦντας
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Note that Luke has "days of vengeance" while Isaiah has "days of repayment" which Isaiah has used in two other places:
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> [Isa 59:18 KJV] (18) According to their deeds, accordingly he will **repay, fury to his adversaries, recompence to his enemies; to the islands he will repay recompence.**
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> [Isa 66:6 KJV] (6) A voice of noise from the city [IE: Jerusalem], a voice from the temple, a voice of the LORD that **rendereth recompence** to his enemies.
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He announces his mission to proclaim the acceptable day of the Lord in Luke 4:19 but it apparently isn't until chapter 21 of Luke that he announces the days (plural) of vengeance:
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> [Luk 21:22 CSB] (22) "because **these are days of vengeance to fulfill all the things that are written**.
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> > [Luke 21:22 mGNT] (22) ὅτι **ἡμέραι [ἐκδικήσεως](https://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G1557&t=KJV)** αὗταί εἰσιν τοῦ πλησθῆναι πάντα τὰ γεγραμμένα
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So to what does Jesus refer in Luke 21:22? What vengeance did Jesus refer to and how long would "the days of vengeance" last?
Note: "vengeance" appears here, where God predicted long ago that he would
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> [Deu 32:35 CSB] (35) **"Vengeance belongs to me; I will repay.** In time their foot will slip, for their day of disaster is near, and their doom is coming quickly."
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> > [Deu 32:35 LXX] (35) ἐν ἡμέρᾳ ἐκδικήσεως **ἀνταποδώσω** ἐν καιρῷ ὅταν σφαλῇ ὁ ποὺς αὐτῶν ὅτι ἐγγὺς ἡμέρα ἀπωλείας αὐτῶν καὶ πάρεστιν ἕτοιμα ὑμῗν
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> | 2019/03/28 | [
"https://hermeneutics.stackexchange.com/questions/39752",
"https://hermeneutics.stackexchange.com",
"https://hermeneutics.stackexchange.com/users/20832/"
] | Before answering your main question, I want to address whether or not Luke 21:22 and Isa 61:2 are necessarily talking about the same thing, in order to determine how much we should consider Isa 61:2 when interpreting Luke 21:22.
**Is there an allusion to Isa 61:2 in Luke 21:22?**
It appears that in the question, you're asserting that Jesus in Luke 21:22 is alluding to Isa 61:2. I haven't studied this in depth, but at the very least such an assertion would require some amount of evidence, especially since in contrast to Luke 4:19 where there is a clear quotation of the LXX, there is no such lexical similarity between Luke 21:22 and Isa 61:2. (By lexical similarity I mean using the same lexemes, the same words).
Compare the similarity between the NA27 text of Lk 4:18-19 and Rahlf's LXX:
Isa 61:1-2 LXX
Πνεῦμα κυρίου ἐπ᾿ ἐμέ, οὗ εἵνεκεν ἔχρισέν με· εὐαγγελίσασθαι πτωχοῖς ἀπέσταλκέν με, ἰάσασθαι τοὺς συντετριμμένους τῇ καρδίᾳ, κηρύξαι αἰχμαλώτοις ἄφεσιν καὶ τυφλοῖς ἀνάβλεψιν, καλέσαι ἐνιαυτὸν κυρίου δεκτὸν
Luke 4:18-19
πνεῦμα κυρίου ἐπ᾿ ἐμὲ οὗ εἵνεκεν ἔχρισέν με εὐαγγελίσασθαι πτωχοῖς, ἀπέσταλκέν με, κηρύξαι αἰχμαλώτοις ἄφεσιν καὶ τυφλοῖς ἀνάβλεψιν, ἀποστεῖλαι τεθραυσμένους ἐν ἀφέσει, κηρύξαι ἐνιαυτὸν κυρίου δεκτόν.
There are clear differences but enough lexical similarity (even apart from the fact that Jesus says He's quoting Isaiah) to know He's quoting Isa 61. So not to say that there needs to be 100% lexical similarity for there to be a quote or an allusion, but if there's not at least strong lexical similarity we would want to look for other indicators if we want to argue that there's an allusion or quotation happening (eg, see *Echoes of Scripture in the Letters of Paul* by Hays pg 29ff for a one list of criteria to use when determining if there's an allusion or not).
So then, comparing that to the similarity (or lack thereof) of NA27 Luke 21:22 and Rahlf's LXX Isa 61:2:
Isa 61:2
...ἡμέραν ἀνταποδόσεως...
Luke 21:22
...ἡμέραι ἐκδικήσεως...
If it were just that one is plural and one is not, maybe there could still be an allusion. But since the word translated "vengeance" is different and even coming from different roots, I'm a bit hesitant. Even more than that, when there are only two words that are similar between two passages, we should be cautious in assuming there is an allusion being made necessarily, unless there are other factors involved (including possibly how rare those two words are, etc). Jesus might also be doing a direct translation/paraphrase of the Hebrew (which happens in other passages where we know there is an allusion), but if so we can only know there is an allusion being made from other factors.
Accordingly, I don't think we should consider a possible allusion to Isaiah 61:2 when interpreting the meaning of Luke 21:22, at least without further evidence. (Although well done keeping your eyes/ears peeled for potential allusions).
**So then what events do Luke 21:22 refer to?**
It seems that as far as timing goes, we have two major indicators of when these things happen:
1. In Luke 21:20, Jerusalem's time has come near when it is surrounded by
armies
2. This time of desolation is said to endure until the times
of the Gentiles has been fulfilled (NA27 ἄχρι οὗ πληρωθῶσιν καιροὶ
ἐθνῶν; 21:25).
We also have to take into account that by Jesus' description, these events will "to fulfill all that is written" (21:22), which seems to indicate a weighty event in my book!
Another factor to consider is that, especially when referring to prophecy but even otherwise, I tend to see if there's an OT backdrop/context that Jesus would share with His original audience, that both of them would understand. Like [Mac's Musings in this answer](https://hermeneutics.stackexchange.com/a/39758/25621), I would say that some of Daniel's prophecies seem to be more in the foreground of Jesus' thought here than Isa 61, especially in light of the fact that Jesus refers to Daniel in the parallel passage in Matthew 24:15 and alludes to the same passage in Daniel in Mark 13:14. Looking at Daniel also gives a potential answer for what the "time**s**" (plural) of the Gentiles could be referring to, since prophecies in Daniel list out a series of times where nations have dominion over Israel (first Babylon, then Persia-Media, then Greece, then Rome). In Daniel, this series of eras (or "times" as the case may be...) then culminates in the end of Jerusalem's desolation, for there comes a rock which destroys these nations, establishing Jerusalem as the capital of the Kingdom of God on earth (cf. Dan 2). This is the direction Jesus continues in as well: from the desolation of Jerusalem under Gentile reign to the end of Gentile reign whereby the kingdom of the Messiah is established; cf. Luke 21:25-28, where Jesus alludes to Dan 7:13 by referring to the "Son of Man coming in a cloud with power and great glory" which culminates in redemption for God's people.
This fits the picture that Jesus describes in Luke as well. There is desolation in Jerusalem until the times of the Gentiles is fulfilled, at which point Jerusalem will no longer be desolate, exiled, or trampled underfoot by the Gentiles.
This fits the timeline presented by a number of other prophets as well, regarding the Day of the LORD. Jerusalem is exiled and under foreign rule until the Messiah returns, ends exile, and establishes his kingdom. This could explain why Jesus would say that this would "fulfill all that is written" (Lk 21:22).
**So then what's the vengeance in 21:22?**
I could see someone arguing it's referring to vengeance on Israel for their covenant unfaithfulness to God, perhaps particularly since they crucified their Messiah. But I could also see it referring to vengeance on both Israel and the nations, particularly since when the OT prophets talk about the Day of the LORD, it is a day of judgment against both Israel (eg Joel 2) and the nations (Obad 15). In other words, since the OT sometimes pictured God's judgment against the sin of the nations and the sin of Israel as two parts of the same coin, perhaps Jesus is doing the same thing here. (Of course, I'm begging the question of all kinds of interpretive issues related to the Day of the LORD...but there's also other examples where Israel and the nations are all pictured being judged together, eg Amos 1-2).
**But how long does it all last?**
Jerusalem had been likewise destroyed and exiled before by Babylon, which is what I'm arguing is the beginning of these "times of the Gentiles". As one of these times of the Gentiles, Jerusalem was under Roman reign, and would destroy Jerusalem in AD 70. These times of the Gentiles will end when the Son of Man returns in the clouds and establish His kingdom. This has still not occurred, and we see how this plays out currently, as Israel still does not have total control over the Temple mount in Jerusalem.
---
Notes/disclaimers:
* Of course I recognize that there is no one single "LXX", since rather there are many Greek translations of the OT, but just using that terminology here for simplicity.
* Again, I am not contributing as someone who has studied this passage in depth but just to add to the conversation.
* I'm coming from a relatively conservative and Premillenial background. Not apologizing for that, but especially for a discussion like prophecy, presuppositions account for quite a bit. :) | Luke 21:20-25 is a sad prophecy about the destruction of Jerusalem by Rome. In v20 Jesus alludes to the same ideas prophesied in places like Dan 9:27, 11:31, 12:11 (See Matt 24:15, Mark 13:14 where Daniel's prophecies are explicitly referenced in parallel accounts of Jesus sermon in Like 21.)
This means that Jesus' "days of vengeance" (Luke 21:22) is about a (then) future event for vengeance on disobedient Jerusalem about which Jesus wept (Matt 23:37-40).
Note that in Luke 4:18, 19, Jesus NOT quote the next phrase from Isaiah's prophecy in Isa 61:1-3 about the "DAY of vengeance" but as pointed out, discusses the DAYS of vengeance (from Daniel) as part of the prophecy about the destruction of Jerusalem. |
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