qid int64 1 74.7M | question stringlengths 12 33.8k | date stringlengths 10 10 | metadata list | response_j stringlengths 0 115k | response_k stringlengths 2 98.3k |
|---|---|---|---|---|---|
8,678 | >
> "Harry Potter, do you know what unicorn blood is used for?"
>
> "No," said Harry, startled by the odd question. "We've only used the horn and tail hair in Potions."
>
> "That is because it is a monstrous thing, to slay a unicorn," said Firenze. "Only one who has nothing to lose, and **everything to
> gain**, would commit such a crime. The blood of a unicorn will keep
> you alive, even if you are an inch from death, but at a terrible
> price. You have slain something pure and defenseless to save yourself,
> and you will have but a half-life, a cursed life, from the moment the
> blood touches your lips." (Harry Potter and the Sorcerer's Stone)
>
>
>
Is the bold part the short form of ‘one who has everything to gain’? | 2013/08/03 | [
"https://ell.stackexchange.com/questions/8678",
"https://ell.stackexchange.com",
"https://ell.stackexchange.com/users/504/"
] | Rephrasing that sentence with more words, you get:
>
> Only one who has nothing to lose, and **has** everything to gain, would commit such a crime.
>
>
>
The sentence is speaking of a person who has nothing to lose and has everything to gain. You should not rephrase it as follows:
>
> Only one who has nothing to lose, and **one who has** everything to gain, would commit such a crime.
>
>
>
In this case, the sentence seems speaking of two different people. | The two expressions are: to have nothing to lose and to have everything to gain [from some action]. The first: /to have nothing to lose/ by doing some X is heard very frequently in English. The second one is heard less frequently but is also common. That said, putting them together is also a standard form of expression, they, in effect, can be seen as "going together" but in this order: **to have nothing to lose one first, followed by the everything to gain**. They can, however, be used separately and on their own: He has everything to gain by being a nice guy.
To answer your question about /Only one who has nothing to lose, and everything to gain, would commit such a crime nothing to lose, and everything to gain./
Yes, it is a shortened form. And a general rule in English is that you do not have to repeat a verb to create a full second subject and predicate when it is obvious.
a) She has a huge amount of property and little money. = b) She has a huge amount of property and she has little money. a) and b) mean the same thing. Grammatically, they are different: a) has a compound object and b) is a compound sentence. |
8,678 | >
> "Harry Potter, do you know what unicorn blood is used for?"
>
> "No," said Harry, startled by the odd question. "We've only used the horn and tail hair in Potions."
>
> "That is because it is a monstrous thing, to slay a unicorn," said Firenze. "Only one who has nothing to lose, and **everything to
> gain**, would commit such a crime. The blood of a unicorn will keep
> you alive, even if you are an inch from death, but at a terrible
> price. You have slain something pure and defenseless to save yourself,
> and you will have but a half-life, a cursed life, from the moment the
> blood touches your lips." (Harry Potter and the Sorcerer's Stone)
>
>
>
Is the bold part the short form of ‘one who has everything to gain’? | 2013/08/03 | [
"https://ell.stackexchange.com/questions/8678",
"https://ell.stackexchange.com",
"https://ell.stackexchange.com/users/504/"
] | I think this is an instance of a conjunct constituent rather than an ellipsis (conjunction reduction); that is, I would parse it as:
>
> ... one who has [Direct Object [NP nothing to lose] **and** [NP everything to gain] ] ...
>
>
>
The presence of the comma bracket around *and everything to gain* do give some support to the notion that this is a reduced supplemental clause:
>
> ... one [who has nothing to lose], and [who (also) has everything to gain ]
>
>
>
But I'm inclined to read those commas as rhetorical rather than syntactical: they delineate the rising emphasis, as if to say:
>
> ... one who has [ NOT MERELY [nothing to lose] BUT ALSO [everything to gain ] ]... *or*
>
>
> ... one who has BOTH [ [nothing to lose] AND [everything to gain] ]
>
>
> | The two expressions are: to have nothing to lose and to have everything to gain [from some action]. The first: /to have nothing to lose/ by doing some X is heard very frequently in English. The second one is heard less frequently but is also common. That said, putting them together is also a standard form of expression, they, in effect, can be seen as "going together" but in this order: **to have nothing to lose one first, followed by the everything to gain**. They can, however, be used separately and on their own: He has everything to gain by being a nice guy.
To answer your question about /Only one who has nothing to lose, and everything to gain, would commit such a crime nothing to lose, and everything to gain./
Yes, it is a shortened form. And a general rule in English is that you do not have to repeat a verb to create a full second subject and predicate when it is obvious.
a) She has a huge amount of property and little money. = b) She has a huge amount of property and she has little money. a) and b) mean the same thing. Grammatically, they are different: a) has a compound object and b) is a compound sentence. |
161,206 | A friend of mine played a one-shot and they were all told to make 20th-level characters. He made an 18th level monk tabaxi with 2 levels in Rogue. He tried to make his character as fast as possible. My biggest concern was Feline Agility being paired with Haste (cast by his girlfriend's sorcerer character).
Let's start by breaking this down a bit.
The tabaxi is an 18th monk, so he gets a **+30 to his speed**, making his walking speed 60.
Then he took the mobile feat- **making his walking speed 70.**
If this tabaxi was affected by the ***Haste* spell** (see below) his walking speed would double, **so now it is 140.**
The **Haste** spell says (PHB, pg. 250):
>
> Until the spell ends, **the target's speed is doubled**, it gains a +2
> bonus to AC, it has advantage on Dexterity saving throws and **it gains
> an additional action on each of its turns**. That action can be used
> only to take the Attack (one weapon Attack only), **Dash**, Disengage,
> Hide, or Use an Object action.
>
>
>
The rogue's **Cunning Action** feature says:
>
> You can take a bonus action on each of your turns in combat. This action can be used only to take the **Dash**, Disengage, or Hide action.
>
>
>
So far, no problem... but now he wants to dash... three times.
140 (**Current base walking speed**) + 140 (**action** used to Dash) + 140 (**extra action from Haste**) + 140 (**bonus action** Dash from the rogue's **Cunning Action**) = **560 feet.**
And now he wants to use **Feline Agility** to make his total movement for the round **1120 feet**.
The tabaxi's Feline Agility trait says (*Volo's Guide to Monsters*, p. 115):
>
> When you move on your turn in combat, you can double your speed until
> the end of the turn.
>
>
>
This feels extremely excessive (because I think that speed would be over 135 miles per hour), but usually, I care more about everyone having fun than being a rules lawyer. But I am curious:
**Can Feline Agility and *Haste's* doubling of speed stack?** | 2019/12/12 | [
"https://rpg.stackexchange.com/questions/161206",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/59898/"
] | It all stacks
=============
You've quoted all the relevant bits so, as long as the character moves, their movement effectively with *haste* becomes 280.
They've heavily invested in this build, so let them squeeze as much out of it as they can! Moving that far may not be as helpful as they'd think in a constrained battlespace, but there may be times where it is relevant. | Just a little bit of math here, but with a base walking speed of 70 feet, doubled by haste would be 140, then doubled by Feline Agility would be 280. So 280 movement, plus 280 Dash as an Action, plus 280 Dash as a Bonus Action, only adds up to 840 feet of movement. Not as excessively high as the 1120 feet of movement you calculated, but still very impressive.
Thanks to the correction by @NautArch: The additional Haste Action to Dash would be an additional 280, and would be the 1120 feet of movement. So yea, the math checks out. Nice. |
4,287,174 | I have HTML and JavaScript files on my filesystem for a mobile application that is in development. When the application is deployed to a mobile device, these files will be hosted on the local filesystem there, where XSS from file:// [is not an issue](http://groups.google.com/group/phonegap/msg/ddee3d92ea9e2f16). An important part of this application is sending XHR POST requests to a RESTful API.
It seems like XSS should **not** be a security issue for browsers if the files making the request are hosted on a local filesystem instead of deployed to a web server.
Does anyone know of a browser extension or configuration change that will enable XSS from files hosted on a local file system? | 2010/11/26 | [
"https://Stackoverflow.com/questions/4287174",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/154560/"
] | Well, although you will have to change the server and client code a little bit, it isn't very clean and you will have to trust the server, you can load the data as a javascript which contains a call to a function in your page and a big string or so as the parameter. [This](http://www.xml.com/pub/a/2005/12/21/json-dynamic-script-tag.html) seems to be a good example.
Alternatively, you could serve the files from a local webserver and fiddle around with [the hostsfile](http://en.wikipedia.org/wiki/Hosts_file) and [document.domain](https://developer.mozilla.org/en/DOM/document.domain). | I've found a useful link that's helped me execute POST requests from localhost to another domain. It is a [Firefox hack](http://sysadmins.blogspot.com/2007/06/changing-firefox-to-allow-xss-on-any.html) that allows XSS from files hosted at localhost. It's not perfect, but it helps me get this thing developed. |
54,065 | I'm intrigued by spray plastering. It seems that most people use machines like this, costing thousands, to spray finish plaster: <http://www.pftplasteringmachines.com/product/pft-ritmo-plastering-machines>.
Hopper guns (like this: <http://www.all-wall.com/Categories/Drywall-Hopper-Guns/SharpShooter-20-Hopper.html>) seem to be only used to apply textured finishes and external render.
Are hopper guns not suitable for applying finish plaster (provided you rule and trowel afterwards, obviously)? If not, why not? | 2014/12/09 | [
"https://diy.stackexchange.com/questions/54065",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/28663/"
] | No. A couple weeks ago when i was drywall mudding my room I thought of the idea, and i decided to try and find out immediately rather than ask the internet and wait. I don't recommend trying.
First there were immediate delivery problems, hand tools suddenly starts looking alot more practical. The plaster is far too thick & heavy for the gun to shoot. When it does shoot some, its random spurts of gobs and most of it didn't make it from the gun to the wall. I may have fared better if i had a conventional spray gun (high pressure low volume), i had a common low pressure high volume gun.
Second problem was nearly as immediate, and could make you cry. Paint guns are designed to use paint, that if you leave in the gun it doesn't dry and clog the gun in 20-30 minutes. Paint also has solvents that clear the gun for you if it did dry in the gun. Plaster sets in about 30, and there really isn't a solvent to make dried set plaster go away. So basically you have to mix, spray and clean it all out of the gun in 30 minutes, or you won't have a functional paint gun anymore. It didn't make me cry because I had a feeling my gun will break and i had one of those so-inexpensive-its-nearly-disposable harbor freight paint guns.
If you use a slower setting joint compound it wouldn't ruin the gun, but it won't spray on the wall like paint either.
IF you have a conventional high pressure, low volume paint gun though, maybe lots of pressure is all you need to make it work. Slower setting compound will give you ample time to clean it all out before it sets/dries. | Short answer would be no. This gun was meant for something completely different. Mortar has far bigger particles and I'm pretty the gun wouldn't work, or even if it would it would break down really soon. My advice is to do it manually, if there is something you need to do, if you are asking just out of curiosity I think I have answered :) |
54,065 | I'm intrigued by spray plastering. It seems that most people use machines like this, costing thousands, to spray finish plaster: <http://www.pftplasteringmachines.com/product/pft-ritmo-plastering-machines>.
Hopper guns (like this: <http://www.all-wall.com/Categories/Drywall-Hopper-Guns/SharpShooter-20-Hopper.html>) seem to be only used to apply textured finishes and external render.
Are hopper guns not suitable for applying finish plaster (provided you rule and trowel afterwards, obviously)? If not, why not? | 2014/12/09 | [
"https://diy.stackexchange.com/questions/54065",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/28663/"
] | No. A couple weeks ago when i was drywall mudding my room I thought of the idea, and i decided to try and find out immediately rather than ask the internet and wait. I don't recommend trying.
First there were immediate delivery problems, hand tools suddenly starts looking alot more practical. The plaster is far too thick & heavy for the gun to shoot. When it does shoot some, its random spurts of gobs and most of it didn't make it from the gun to the wall. I may have fared better if i had a conventional spray gun (high pressure low volume), i had a common low pressure high volume gun.
Second problem was nearly as immediate, and could make you cry. Paint guns are designed to use paint, that if you leave in the gun it doesn't dry and clog the gun in 20-30 minutes. Paint also has solvents that clear the gun for you if it did dry in the gun. Plaster sets in about 30, and there really isn't a solvent to make dried set plaster go away. So basically you have to mix, spray and clean it all out of the gun in 30 minutes, or you won't have a functional paint gun anymore. It didn't make me cry because I had a feeling my gun will break and i had one of those so-inexpensive-its-nearly-disposable harbor freight paint guns.
If you use a slower setting joint compound it wouldn't ruin the gun, but it won't spray on the wall like paint either.
IF you have a conventional high pressure, low volume paint gun though, maybe lots of pressure is all you need to make it work. Slower setting compound will give you ample time to clean it all out before it sets/dries. | I've actually tried this with a cement-ish product. It wasn't plaster, but it had some lime and other stuff in it to chemically set up. Like python\_starter mentioned, the larger particles cause an issue. First, they don't blow on that well, and second - you would definitely wear it through doing it consistently -
I've gone through one gun just in my own home improvement experiences. But... if you're just trying a one-shot deal, I'd say give it a try and see how it comes out! |
54,065 | I'm intrigued by spray plastering. It seems that most people use machines like this, costing thousands, to spray finish plaster: <http://www.pftplasteringmachines.com/product/pft-ritmo-plastering-machines>.
Hopper guns (like this: <http://www.all-wall.com/Categories/Drywall-Hopper-Guns/SharpShooter-20-Hopper.html>) seem to be only used to apply textured finishes and external render.
Are hopper guns not suitable for applying finish plaster (provided you rule and trowel afterwards, obviously)? If not, why not? | 2014/12/09 | [
"https://diy.stackexchange.com/questions/54065",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/28663/"
] | No. A couple weeks ago when i was drywall mudding my room I thought of the idea, and i decided to try and find out immediately rather than ask the internet and wait. I don't recommend trying.
First there were immediate delivery problems, hand tools suddenly starts looking alot more practical. The plaster is far too thick & heavy for the gun to shoot. When it does shoot some, its random spurts of gobs and most of it didn't make it from the gun to the wall. I may have fared better if i had a conventional spray gun (high pressure low volume), i had a common low pressure high volume gun.
Second problem was nearly as immediate, and could make you cry. Paint guns are designed to use paint, that if you leave in the gun it doesn't dry and clog the gun in 20-30 minutes. Paint also has solvents that clear the gun for you if it did dry in the gun. Plaster sets in about 30, and there really isn't a solvent to make dried set plaster go away. So basically you have to mix, spray and clean it all out of the gun in 30 minutes, or you won't have a functional paint gun anymore. It didn't make me cry because I had a feeling my gun will break and i had one of those so-inexpensive-its-nearly-disposable harbor freight paint guns.
If you use a slower setting joint compound it wouldn't ruin the gun, but it won't spray on the wall like paint either.
IF you have a conventional high pressure, low volume paint gun though, maybe lots of pressure is all you need to make it work. Slower setting compound will give you ample time to clean it all out before it sets/dries. | What you really want is a proper plaster or stucco sprayer. But you also have to get a significantly more powerful air compressor than most people have in their garage.
"Use the wall sprayer with a 5 hp electric (220 volt), 6.5 hp gas compressor or larger." as per the product description. If you have an equipment/tool rental company nearby you can probably rent the air compressor. |
5,799,895 | Where does SLF4J pick up the Log4j Property file from? | 2011/04/27 | [
"https://Stackoverflow.com/questions/5799895",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/709168/"
] | Since SLF4J is just a thin facade in front of log4j it shouldn't pick log4j properties itself and let log4j pick along its own properties.
So it will be log4j.properties or log4j.xml in the class path if the configuration is not being done or loaded programatically. If you want to see what log4j does during configuration run you application with -Dlog4j.debug. | It doesn't. Log4j picks up the log4j.xml/log4j.property files as usual with log4j - slf4j is just a facade giving a common API usable with all common logging frameworks.
The thing that makes slf4j point to log4j is that you have added a slf4j bridge jar to log4j. |
65,511 | I'm not 100% sure about this, so I just wanted to double-check.
I think it has something to do with each carbon atom in Graphene having a delocalized electron and this creates carbon ions that can exert an electrostatic attraction. This would reduce the inter-particle distances between carbon atoms in Graphene relative to Diamond, hence Graphene's higher melting point. But again, I'm not quite sure. | 2017/01/01 | [
"https://chemistry.stackexchange.com/questions/65511",
"https://chemistry.stackexchange.com",
"https://chemistry.stackexchange.com/users/37740/"
] | This is a poorly defined question. Melting is a change in stare, and it's based on thermodynamics. But at room pressure, neither diamond nor graphene are stable allotropes: graphite is. They are metastable.
So you start to mix in kinetics with the thermodynamics.
It's a bit like asking why does ice melt at a lower temperature than water.
If you look at the effects of pressure, then you can construct a phase diagram, and then the "melting" point of any given allotrope is defined by the boundary between solid and liquid. | Graphite(collection of graphene layers) has higher melting point than diamond, because of the partial double bond character of C-C bonds. So, the bond in each layer(graphene) is strong. Also, there are attractive forces between successive layers of graphene, increasing the melting point of Graphite |
542,161 | For my project, I would like to amplify the output from a photodetector for subsequent analysis with an oscilloscope.
The output of the photodetector is a current. Since we are using a voltage-amplifier, we would like to "convert" this output to a voltage by having a resistor after the photodetector but before the amplifier. Would you recommend using a resistor in series (e.g. a 50 Ohm series resistor) or would you rather use a t-piece with e.g. a 50 Ohm termination?
It would be really interesting to know the difference between those two options.
Thanks a lot for your help!! :) | 2021/01/12 | [
"https://electronics.stackexchange.com/questions/542161",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/273679/"
] | You could do it like the first diagram. The input current generates a voltage across R1, which is buffered and amplified by the amplifier. Unfortunately, you run into a very nasty compromise if you want speed from this arrangement. The voltage on the input of the amplifier has to move, which means it has to charge Cstray. Cstray and R1 form a lowpass time constant on the response of the system. Choose a big R1 for lots of gain, or a small R1 for lots of bandwidth, but you sacrifice the other parameter.
Cstray is inescapable. Photodiodes tend to have a large self capacitance, even if you can reduce that of connectors and cabling, and the amplifier input.
[simulate this circuit](/plugins/schematics?image=http%3a%2f%2fi.stack.imgur.com%2fun4bf.png) – Schematic created using [CircuitLab](https://www.circuitlab.com/)
In the second diagram, the virtual ground connection of the second amplifier 'short circuits' Cstray to ground. The amplifier input node does not have to move. You can choose R2 for gain alone, the amplifier takes care of the bandwidth. Spend more on the amplifier, you get more bandwidth. This configuration is called a TransImpedance amplifier, as R2 defines the ratio of voltage out to current in. | If the output of your sensor is current, then you convert to a voltage by connecting a resistor on the output to ground. |
7,635 | I have a Sonicwall NSA 3500 firewall. I have a primary block of public IP addresses that are working fine but I need to utilize a second block of IPs that are routing over the primary from the telco side. Does anyone know how to configure this on a sonic wall? I am not finding much info on it.
I have done the NATing and firewall rules etc but I don't see a place to configure the gateway on the firewall for the 2nd block of IPs. | 2014/04/28 | [
"https://networkengineering.stackexchange.com/questions/7635",
"https://networkengineering.stackexchange.com",
"https://networkengineering.stackexchange.com/users/5188/"
] | See [this knowledge base article](https://support.software.dell.com/kb/sw7621) for details, but basically:
1. Create a Static ARP entry for the new network.
2. Create a Static Route | Needed to add a static arp entry and static route for 2nd set of public IP addresses. |
44,680 | My 2014 Hyundai Tucson the engine got stuck, the engine oil get muddy and the car stopped and doesn't start. I removed the engine belt and try to turn the engine by turning the crankshaft with 22 mm spanner and nothing happen.
Please I would like to know if there is any sensor that stops the engine to protect them or I will have to take the engine out and do a complete repair? | 2017/05/23 | [
"https://mechanics.stackexchange.com/questions/44680",
"https://mechanics.stackexchange.com",
"https://mechanics.stackexchange.com/users/28851/"
] | If there was a sensor to stop the engine, it would most likely cut the ignition to prevent it from running, not lock it from turning.
What you have described sounds like the engine was starved of lubrication resulting in bearing seizure, or worse. You will need to break it down to find the fault. | Muddy oil indicates coolant has gotten into the oil caused by a headgasket failure. Depending on the severity of the leak in the headgasket you may have either starved bearings and cylinder walls of lubrication, or had a lack of proper cooling- either of which could have caused a seized engine. It probably won't be cost effective to rebuild this engine if it won't rotate. |
65,542 | First of all, English is not my first language. I have a question, maybe a basic one, about this phrase:
>
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Should it be "available jobs **to** them" or "available jobs **for** them"?
Sorry if the question is really basic. | 2012/04/24 | [
"https://english.stackexchange.com/questions/65542",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/20483/"
] | Both prepositions are fine here as long as you keep the prepositions next to the adjective *available.* So it should be *training and jobs available to/for them.*
[edited to emphasize the need to recast as per FumbeleFingers' comment] | The sentence is essentially about the 'situation' and its impact on 'them'.
When the subject is the question of availability of jobs, ***to*** seems the most logical choice. On the other hand, if we were discussing about "them", then ***for*** would be appropriate.
Here the former is obviously the case, so it is fine the way it is. |
65,542 | First of all, English is not my first language. I have a question, maybe a basic one, about this phrase:
>
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Should it be "available jobs **to** them" or "available jobs **for** them"?
Sorry if the question is really basic. | 2012/04/24 | [
"https://english.stackexchange.com/questions/65542",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/20483/"
] | OP's sentence is poor English regardless of which preposition is used. A more natural version is...
>
> *...mismatch between some areas of training and **the jobs [that are] available to** them*.
>
>
>
(*for* could be used instead of *to* above - it's largely a matter of style).
Note that *available jobs* uses *available* as a simple "stand-alone" adjective. Grammatically we could only explicitly link it to *them* using some contrived form such as *"available-to-them" jobs*, but this isn't normally necessary since context invariably makes it clear who the jobs are available to (or not, as the case may be), so "they" don't actually need to be explicitly mentioned.
In light of the above, I would say that although technically speaking it's "grammatical" to write...
>
> ...mismatch between some areas of training and available jobs for them. *(note - "to" is always invalid)*
>
>
>
...this is only in the same way that *"hourly-paid jobs for them"* is grammatical. Those jobs really are "hourly-paid" to anyone, not just if worked by "them". By the same token, OP's jobs are "available" to anyone, not just "them".
But whereas *jobs hourly-paid to/for them* probably makes no sense, *jobs available to/for them* does. So we're drawn to erroneously interpret OP's *available* as semantically applying to *them*, even though grammatically it doesn't.
Thus structurally OP's sentence encourages mis-parsing, and should be avoided. | The sentence is essentially about the 'situation' and its impact on 'them'.
When the subject is the question of availability of jobs, ***to*** seems the most logical choice. On the other hand, if we were discussing about "them", then ***for*** would be appropriate.
Here the former is obviously the case, so it is fine the way it is. |
65,542 | First of all, English is not my first language. I have a question, maybe a basic one, about this phrase:
>
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Should it be "available jobs **to** them" or "available jobs **for** them"?
Sorry if the question is really basic. | 2012/04/24 | [
"https://english.stackexchange.com/questions/65542",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/20483/"
] | * We have {jobs} available to them.
* We have {available jobs} for them.
* We have {jobs} available for them to apply.
* We have {jobs} made available to them.
* We have {lotion} available to them.
* We have {available lotion} for them.
* We have {lotion} available for them to apply.
* We have {lotion} made available to them.
Since
>
> We have {lotion} available for them to apply.
>
>
>
could be shortened to
>
> We have {lotion} available for them.
>
>
>
we can also shorten
>
> We have jobs available for them to apply.
>
>
>
to
>
> We have jobs available for them.
>
>
>
However, for reasons of clarity, you should use
>
> jobs available to them
>
>
> | The sentence is essentially about the 'situation' and its impact on 'them'.
When the subject is the question of availability of jobs, ***to*** seems the most logical choice. On the other hand, if we were discussing about "them", then ***for*** would be appropriate.
Here the former is obviously the case, so it is fine the way it is. |
65,542 | First of all, English is not my first language. I have a question, maybe a basic one, about this phrase:
>
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Should it be "available jobs **to** them" or "available jobs **for** them"?
Sorry if the question is really basic. | 2012/04/24 | [
"https://english.stackexchange.com/questions/65542",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/20483/"
] | >
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Best is to rewrite the sentence.
>
> The situation highlights the mismatch between some areas of training and **the number of** available jobs.
>
>
>
Second best:
>
> The situation highlights the mismatch between some areas of training and available jobs **for** them.
>
>
>
Bad:
>
> The situation highlights the mismatch between some areas of training and available jobs **to** them.
>
>
>
Jobs can be available to people (jobseekers). Jobs cannot be available to areas of training. | The sentence is essentially about the 'situation' and its impact on 'them'.
When the subject is the question of availability of jobs, ***to*** seems the most logical choice. On the other hand, if we were discussing about "them", then ***for*** would be appropriate.
Here the former is obviously the case, so it is fine the way it is. |
65,542 | First of all, English is not my first language. I have a question, maybe a basic one, about this phrase:
>
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Should it be "available jobs **to** them" or "available jobs **for** them"?
Sorry if the question is really basic. | 2012/04/24 | [
"https://english.stackexchange.com/questions/65542",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/20483/"
] | OP's sentence is poor English regardless of which preposition is used. A more natural version is...
>
> *...mismatch between some areas of training and **the jobs [that are] available to** them*.
>
>
>
(*for* could be used instead of *to* above - it's largely a matter of style).
Note that *available jobs* uses *available* as a simple "stand-alone" adjective. Grammatically we could only explicitly link it to *them* using some contrived form such as *"available-to-them" jobs*, but this isn't normally necessary since context invariably makes it clear who the jobs are available to (or not, as the case may be), so "they" don't actually need to be explicitly mentioned.
In light of the above, I would say that although technically speaking it's "grammatical" to write...
>
> ...mismatch between some areas of training and available jobs for them. *(note - "to" is always invalid)*
>
>
>
...this is only in the same way that *"hourly-paid jobs for them"* is grammatical. Those jobs really are "hourly-paid" to anyone, not just if worked by "them". By the same token, OP's jobs are "available" to anyone, not just "them".
But whereas *jobs hourly-paid to/for them* probably makes no sense, *jobs available to/for them* does. So we're drawn to erroneously interpret OP's *available* as semantically applying to *them*, even though grammatically it doesn't.
Thus structurally OP's sentence encourages mis-parsing, and should be avoided. | Both prepositions are fine here as long as you keep the prepositions next to the adjective *available.* So it should be *training and jobs available to/for them.*
[edited to emphasize the need to recast as per FumbeleFingers' comment] |
65,542 | First of all, English is not my first language. I have a question, maybe a basic one, about this phrase:
>
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Should it be "available jobs **to** them" or "available jobs **for** them"?
Sorry if the question is really basic. | 2012/04/24 | [
"https://english.stackexchange.com/questions/65542",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/20483/"
] | OP's sentence is poor English regardless of which preposition is used. A more natural version is...
>
> *...mismatch between some areas of training and **the jobs [that are] available to** them*.
>
>
>
(*for* could be used instead of *to* above - it's largely a matter of style).
Note that *available jobs* uses *available* as a simple "stand-alone" adjective. Grammatically we could only explicitly link it to *them* using some contrived form such as *"available-to-them" jobs*, but this isn't normally necessary since context invariably makes it clear who the jobs are available to (or not, as the case may be), so "they" don't actually need to be explicitly mentioned.
In light of the above, I would say that although technically speaking it's "grammatical" to write...
>
> ...mismatch between some areas of training and available jobs for them. *(note - "to" is always invalid)*
>
>
>
...this is only in the same way that *"hourly-paid jobs for them"* is grammatical. Those jobs really are "hourly-paid" to anyone, not just if worked by "them". By the same token, OP's jobs are "available" to anyone, not just "them".
But whereas *jobs hourly-paid to/for them* probably makes no sense, *jobs available to/for them* does. So we're drawn to erroneously interpret OP's *available* as semantically applying to *them*, even though grammatically it doesn't.
Thus structurally OP's sentence encourages mis-parsing, and should be avoided. | * We have {jobs} available to them.
* We have {available jobs} for them.
* We have {jobs} available for them to apply.
* We have {jobs} made available to them.
* We have {lotion} available to them.
* We have {available lotion} for them.
* We have {lotion} available for them to apply.
* We have {lotion} made available to them.
Since
>
> We have {lotion} available for them to apply.
>
>
>
could be shortened to
>
> We have {lotion} available for them.
>
>
>
we can also shorten
>
> We have jobs available for them to apply.
>
>
>
to
>
> We have jobs available for them.
>
>
>
However, for reasons of clarity, you should use
>
> jobs available to them
>
>
> |
65,542 | First of all, English is not my first language. I have a question, maybe a basic one, about this phrase:
>
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Should it be "available jobs **to** them" or "available jobs **for** them"?
Sorry if the question is really basic. | 2012/04/24 | [
"https://english.stackexchange.com/questions/65542",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/20483/"
] | OP's sentence is poor English regardless of which preposition is used. A more natural version is...
>
> *...mismatch between some areas of training and **the jobs [that are] available to** them*.
>
>
>
(*for* could be used instead of *to* above - it's largely a matter of style).
Note that *available jobs* uses *available* as a simple "stand-alone" adjective. Grammatically we could only explicitly link it to *them* using some contrived form such as *"available-to-them" jobs*, but this isn't normally necessary since context invariably makes it clear who the jobs are available to (or not, as the case may be), so "they" don't actually need to be explicitly mentioned.
In light of the above, I would say that although technically speaking it's "grammatical" to write...
>
> ...mismatch between some areas of training and available jobs for them. *(note - "to" is always invalid)*
>
>
>
...this is only in the same way that *"hourly-paid jobs for them"* is grammatical. Those jobs really are "hourly-paid" to anyone, not just if worked by "them". By the same token, OP's jobs are "available" to anyone, not just "them".
But whereas *jobs hourly-paid to/for them* probably makes no sense, *jobs available to/for them* does. So we're drawn to erroneously interpret OP's *available* as semantically applying to *them*, even though grammatically it doesn't.
Thus structurally OP's sentence encourages mis-parsing, and should be avoided. | >
> The situation highlights the mismatch between some areas of training and available jobs to/for them.
>
>
>
Best is to rewrite the sentence.
>
> The situation highlights the mismatch between some areas of training and **the number of** available jobs.
>
>
>
Second best:
>
> The situation highlights the mismatch between some areas of training and available jobs **for** them.
>
>
>
Bad:
>
> The situation highlights the mismatch between some areas of training and available jobs **to** them.
>
>
>
Jobs can be available to people (jobseekers). Jobs cannot be available to areas of training. |
25,926 | There is [this](https://www.youtube.com/watch?v=2fs9HcdhUFI) ATC recording where an A340 pilot requests to leave the aircraft and close the fuel panel on the bottom of the fuselage, while the aircraft is on a taxiway (the request is made at 2:50). Now, here is a picture to show how to get in and out of an A340 without deploying the emergency slides and causing even more issues:
(Source: <http://www.flugzeugbilder.de/show.php?id=695499> and yes, I realize this is technically a A330)
However, the picture also makes it look like it not actually possible for anyone to reach the fuselage from the ground. Is that actually the case? And if so, how *would* the pilot actually reach the fuselage and close the fuel panel? | 2016/03/08 | [
"https://aviation.stackexchange.com/questions/25926",
"https://aviation.stackexchange.com",
"https://aviation.stackexchange.com/users/7735/"
] | Yes, the refuel/defuel service panel can be reached from a person standing on the ground.
From the Airbus A340-200/-300 *Aircraft Characteristics - Airport and Maintenance Planning* document, the height of the panel in question is just under 2 meters from the ground:
[](https://i.stack.imgur.com/2xG9B.jpg)
The panel is located on the lower area of the wing/body interface fairing as seen here (item 13):
[](https://i.stack.imgur.com/CqFIP.jpg) | As you can see in this image of an A340, there is a person standing under the front who is easily in a hand's reach from the bottom of the fuselage. So yes, the pilot could reach to the bottom of the fuselage to close that panel.
[](https://i.stack.imgur.com/nrPJI.jpg)
Original Image [Source](http://www.jetphotos.net/photo/8214816)
Another closer view with another person (He is standing a little further away though):
[](https://i.stack.imgur.com/4m5SD.jpg)
[Source](http://www.jetphotos.net/photo/8213470) |
24,701,356 | I have a .Net DLL which I want to register using `regasm`. I am fairly new to C#.
Lets say that I have to upgrade my DLL and the old DLL is already registered. Do I need to un-register the old DLL before registering the new one?
Thanks, | 2014/07/11 | [
"https://Stackoverflow.com/questions/24701356",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1997899/"
] | Yes, important. If not to catch mistakes in a client app using an old version your DLL, then at least to prevent your registry collecting junk entries that are pretty hard to get rid of.
You should *very* strongly favor MSBuild taking care of this automatically so you can never forget. Project + Properties, Build tab, tick the "Register for COM interop" option. That not only registers the assembly, it also ensures that an existing DLL gets *unregistered* before the build starts and overwrites the DLL. The only requirement for this option is that you run VS elevated so that the build system has write access to the registry. Right-click the shortcut on your desktop and click "Run as Administrator" to trigger the UAC prompt.
If you are not using this for some reason then it gets to be important to use the [Guid] attribute on any [ComVisible] interface or class. Which ensures that the registry keys are always the same so you don't get hurt too much by forgetting to register or forgetting to cleanup. It is however very, very important that you remove them again when you're done testing your code. Forgetting to do so causes a particularly nasty kind of DLL Hell if you are unsure of COM versioning requirements. | If the CLSID hasn't changed, then you don't need to unregister the old one. |
37,687,513 | I have been learning angular2 from past two days. I would like to know how to configure my project to work around with angular2 & typescript. I'm using VS 2015. Please let me know the steps for setting up the environment. | 2016/06/07 | [
"https://Stackoverflow.com/questions/37687513",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/5204501/"
] | Best way to setup angular2 project now a days is by using Angular CLI
* <https://cli.angular.io/>
* <https://github.com/angular/angular-cli>
also there are alot of ways by using you can setup your project. its totaly depends on you and your requirement that how you want to configure your project setup. see here also angular2 setup using gulp
>
> <https://github.com/MrPardeep/Angular2-DatePicker>
>
>
>
Before setup your project i must recomend to you go through this article
* <https://angular.io/guide/quickstart>
Update
======
as required by @sujay in comment here is some info related to required files:-
* package.json :- Holds all the dependenices list which is being used in project
* tsconfig.json :- The presence of a tsconfig.json file in a directory indicates that the directory is the root of a TypeScript project. The tsconfig.json file specifies the root files and the compiler options required to compile the project
* system.config.js :- Hold all the configuration for the project startup, here we write entry point/file for our project. | Add angular2 via NPM package manager and typescript files should already be available in the right click add menu |
12,747,525 | Tools:
Windows 7,
Visual Studio 2010 and 2012,
IE 9,
ASP.NET 4.0,
MVC4
Until a couple of days ago I had been able to debug by using the Script Documents section in the Solution Explorer. Now, the Scripts Documents section does not appear when Start Debugging (F5).
**I do have IE set as the default browser.**
**Using "debugger;" has no effect.**
**Configuration is set to "Active (Debug)."**
**Silverlight debugging is off.**
**I have 'repaired' the Visual Studio 2010 inatallation.**
I have no idea how to correct this frustrating situation. What have I done to displease the VS gods?
Thanks for any advice!
Arnold | 2012/10/05 | [
"https://Stackoverflow.com/questions/12747525",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/314241/"
] | This fixed worked for me to get the Script Documents node back:
1. In the Website Project within the Solution Explorer, right-click any 'ol .aspx page and click "Browse With..."
2. Select another browser (Chrome, Firefox) and click "Set As Default" and close the window
3. Launch your website through the debugger. When it's finished, stop the debugger.
4. Repeat steps 1 and 2, but select Internet Explorer in Step 2 as "Set As Default"
5. Repeat step 3 and it should work. This will get your javascript debugging back. | For anyone who might be facing the same issue I think I have it figured out. I have spent days and nights tearing my hair out on this, along with my usual duties. It's unfortunate that I couldn't get "real" work done because I was chasing tool strangeness.
I had the following line in\_Layout.cshtml:
**When I removed that line, Script Documents reappeared.**
I'm going to mark this as 'resolved,' however, if anyone else can proffer a reason for the behavior of the software, I would like to understand.
Thanks,
Arnold |
12,747,525 | Tools:
Windows 7,
Visual Studio 2010 and 2012,
IE 9,
ASP.NET 4.0,
MVC4
Until a couple of days ago I had been able to debug by using the Script Documents section in the Solution Explorer. Now, the Scripts Documents section does not appear when Start Debugging (F5).
**I do have IE set as the default browser.**
**Using "debugger;" has no effect.**
**Configuration is set to "Active (Debug)."**
**Silverlight debugging is off.**
**I have 'repaired' the Visual Studio 2010 inatallation.**
I have no idea how to correct this frustrating situation. What have I done to displease the VS gods?
Thanks for any advice!
Arnold | 2012/10/05 | [
"https://Stackoverflow.com/questions/12747525",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/314241/"
] | I originally got into the same situation when I down-graded from ie10 to ie9 to match the user community here.
Removing the meta tag made no difference for me. No surprise there.
Thanks to User1503081's suggestion, I finally resolved it by doing a Repair install of VS2012 Update 3 in my case. Would have given props to User1503081 directly but my "Reputation Points" don't add up. :-( | For anyone who might be facing the same issue I think I have it figured out. I have spent days and nights tearing my hair out on this, along with my usual duties. It's unfortunate that I couldn't get "real" work done because I was chasing tool strangeness.
I had the following line in\_Layout.cshtml:
**When I removed that line, Script Documents reappeared.**
I'm going to mark this as 'resolved,' however, if anyone else can proffer a reason for the behavior of the software, I would like to understand.
Thanks,
Arnold |
12,747,525 | Tools:
Windows 7,
Visual Studio 2010 and 2012,
IE 9,
ASP.NET 4.0,
MVC4
Until a couple of days ago I had been able to debug by using the Script Documents section in the Solution Explorer. Now, the Scripts Documents section does not appear when Start Debugging (F5).
**I do have IE set as the default browser.**
**Using "debugger;" has no effect.**
**Configuration is set to "Active (Debug)."**
**Silverlight debugging is off.**
**I have 'repaired' the Visual Studio 2010 inatallation.**
I have no idea how to correct this frustrating situation. What have I done to displease the VS gods?
Thanks for any advice!
Arnold | 2012/10/05 | [
"https://Stackoverflow.com/questions/12747525",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/314241/"
] | This fixed worked for me to get the Script Documents node back:
1. In the Website Project within the Solution Explorer, right-click any 'ol .aspx page and click "Browse With..."
2. Select another browser (Chrome, Firefox) and click "Set As Default" and close the window
3. Launch your website through the debugger. When it's finished, stop the debugger.
4. Repeat steps 1 and 2, but select Internet Explorer in Step 2 as "Set As Default"
5. Repeat step 3 and it should work. This will get your javascript debugging back. | I attempted the above answers (at least those which were relevant), but found the solution in re-running the VS2012 update 2. |
12,747,525 | Tools:
Windows 7,
Visual Studio 2010 and 2012,
IE 9,
ASP.NET 4.0,
MVC4
Until a couple of days ago I had been able to debug by using the Script Documents section in the Solution Explorer. Now, the Scripts Documents section does not appear when Start Debugging (F5).
**I do have IE set as the default browser.**
**Using "debugger;" has no effect.**
**Configuration is set to "Active (Debug)."**
**Silverlight debugging is off.**
**I have 'repaired' the Visual Studio 2010 inatallation.**
I have no idea how to correct this frustrating situation. What have I done to displease the VS gods?
Thanks for any advice!
Arnold | 2012/10/05 | [
"https://Stackoverflow.com/questions/12747525",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/314241/"
] | This fixed worked for me to get the Script Documents node back:
1. In the Website Project within the Solution Explorer, right-click any 'ol .aspx page and click "Browse With..."
2. Select another browser (Chrome, Firefox) and click "Set As Default" and close the window
3. Launch your website through the debugger. When it's finished, stop the debugger.
4. Repeat steps 1 and 2, but select Internet Explorer in Step 2 as "Set As Default"
5. Repeat step 3 and it should work. This will get your javascript debugging back. | I originally got into the same situation when I down-graded from ie10 to ie9 to match the user community here.
Removing the meta tag made no difference for me. No surprise there.
Thanks to User1503081's suggestion, I finally resolved it by doing a Repair install of VS2012 Update 3 in my case. Would have given props to User1503081 directly but my "Reputation Points" don't add up. :-( |
12,747,525 | Tools:
Windows 7,
Visual Studio 2010 and 2012,
IE 9,
ASP.NET 4.0,
MVC4
Until a couple of days ago I had been able to debug by using the Script Documents section in the Solution Explorer. Now, the Scripts Documents section does not appear when Start Debugging (F5).
**I do have IE set as the default browser.**
**Using "debugger;" has no effect.**
**Configuration is set to "Active (Debug)."**
**Silverlight debugging is off.**
**I have 'repaired' the Visual Studio 2010 inatallation.**
I have no idea how to correct this frustrating situation. What have I done to displease the VS gods?
Thanks for any advice!
Arnold | 2012/10/05 | [
"https://Stackoverflow.com/questions/12747525",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/314241/"
] | I originally got into the same situation when I down-graded from ie10 to ie9 to match the user community here.
Removing the meta tag made no difference for me. No surprise there.
Thanks to User1503081's suggestion, I finally resolved it by doing a Repair install of VS2012 Update 3 in my case. Would have given props to User1503081 directly but my "Reputation Points" don't add up. :-( | I attempted the above answers (at least those which were relevant), but found the solution in re-running the VS2012 update 2. |
189,149 | I have found a way to do something (safely remove of OAuth of .NET MVC4 application) on my own. I've searched a lot on the internet about this and can't find how to.
**There's any place here that I can put the step by step on Stack Overflow?**
**-- EDIT --**
Thanks for all replies and sorry for not seeing similar questions before asking.
Later I'll put the step by step in Answer/Question format on the SO, I think this will help a lot of people. | 2013/07/17 | [
"https://meta.stackexchange.com/questions/189149",
"https://meta.stackexchange.com",
"https://meta.stackexchange.com/users/224547/"
] | No. Stack Overflow is not a **tutorial site** it's a [Q&A type of site](https://stackexchange.com/about). You can consult the [help center](https://stackoverflow.com/help) to see what types of posts are accepted here.
Now if you rule out the tutorial idea, you can ask a question about `.NET MVC4` and answer it yourself if you judge it could help someone. Then again, make sure you consult the help center to make sure your question fits the Q&A format so it gets positive feedback.
>
> 
>
>
> | Ask a question on SO, then at the bottom there is an "Answer your Question" button |
30,906,809 | I have installed **android sdk** from **google website** and and **android plugin** from **eclipse (add new software)**.
All my sdk and avd are working fine, but I was creating a new project, it shows me this message.
**I am using mac, my java version is 1.7**
I already tried all the solutions from stackoverflow and other websites mentioned related to this question.
I try to restart my eclipse several times and try to update sdk, but it doesn't help me in any way.
 | 2015/06/18 | [
"https://Stackoverflow.com/questions/30906809",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/4544947/"
] | If you used Netbeans thancheck workspace of it if both eclips and Netbeans work space same than this problem is occures. please either remove Netbeans or change workspace of Eclips. | Try these steps
1. Close Eclipse, and go to the error occurring workspace folder delete the .metaData folder again open the eclipse with the same workspace
2. or create new workspace and import all the project to the new workspace. |
73,505 | A friend of mine in Sydney, Australia, asked for help in explaining these stones. I don't know if this is really a puzzle, but he's definitely puzzled.
>
> In one of our local parks someone has put stones round some of the
> trees
>
>
> I can't work out if the dates, if that is what they are intended to
> be, relate to
>
>
>
And he follows up with the date-like inscriptions (Australia uses dd-mm-yyyy) on the 12 stones round one tree:
>
> 3.6.2050
>
>
> 27.2.2050
>
>
> 14.8.2051
>
>
> 21.7.2052
>
>
> 26.3.2053
>
>
> 29.5.2054
>
>
> 1.2.2055
>
>
> 23.5.2056
>
>
> 8.6.2057
>
>
> 20.8.2057
>
>
> 24.8.2058
>
>
> 3.7.2059
>
>
>
[](https://i.stack.imgur.com/MgFxO.png) | 2018/10/05 | [
"https://puzzling.stackexchange.com/questions/73505",
"https://puzzling.stackexchange.com",
"https://puzzling.stackexchange.com/users/39764/"
] | Looks like this is
>
> an art project called [Time Rings](http://www.cityartsydney.com.au/artwork/time-rings/)
>
>
>
It says
>
> "The dates were chosen using a random selection of birthdays from the children of nearby Annandale Public School, forging a powerful connection between the artwork and the local community."
>
>
> | My only thought is that:
>
> They're 50 year anniversary markers of some event.
>
> It seems plausible that they were created in the 2000's
>
>
> |
217,342 | >
> Jim's cousin, an olympic athlete, who lives in Boston did X.
>
>
>
The nonrestrictive appositive "an olympic athlete" is combined with a restrictive clause "who lives in Boston." Since the comma appears before "who" the restrictive clause may be mistaken for a nonrestrictive and descriptive "who lives in Boston." If you move "an olympic athlete" to after the restrictive clause "Boston, an olympic athlete," then it may be ambiguous too.
What could be a clear substitute while keeping these the appositive and the restrictive clause in one sentence? | 2014/12/29 | [
"https://english.stackexchange.com/questions/217342",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/97343/"
] | A restrictive clause needs to follow its governor immediately:
>
> Jim's cousin who lives in Boston, an Olympic athlete, did X.
>
>
>
That's unambiguous. It's not very *pretty*, but that's a sign you're trying to cram more information or more structure into your sentence than it can comfortably handle.
A non-restrictive clause isn't necessary to identify the governor, but it isn't just stuck in gratuitously: it's put in because it tells the hearer something he needs to know, and how you deploy it depends on why the hearer needs to know it. It's impossible to pick an appropriate solution without knowing why you wanted to get all that information in before your predicate in the first place, or what the relation is between the supplement and the predicate, but here are a few possible rewrites:
>
> Jim's Boston cousin, an Olympic speedskater, just married his coach.
>
>
> Jim's cousin who lives in Boston wrote a book; he was an Olympic medalist, and the book's about how he parlayed that into a comfortable living as a motivational speaker.
>
>
> Jim's cousin who lives in Boston was on the Olympic hockey team, and now he's been drafted by the Bruins.
>
>
> You know Jim's cousin? the one who lives in Boston? he's on the Olympic hockey team, right, and he just got busted for doping.
>
>
> | Jim's cousin (an olympic athlete), who lives in Boston, did X. |
217,342 | >
> Jim's cousin, an olympic athlete, who lives in Boston did X.
>
>
>
The nonrestrictive appositive "an olympic athlete" is combined with a restrictive clause "who lives in Boston." Since the comma appears before "who" the restrictive clause may be mistaken for a nonrestrictive and descriptive "who lives in Boston." If you move "an olympic athlete" to after the restrictive clause "Boston, an olympic athlete," then it may be ambiguous too.
What could be a clear substitute while keeping these the appositive and the restrictive clause in one sentence? | 2014/12/29 | [
"https://english.stackexchange.com/questions/217342",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/97343/"
] | A restrictive clause needs to follow its governor immediately:
>
> Jim's cousin who lives in Boston, an Olympic athlete, did X.
>
>
>
That's unambiguous. It's not very *pretty*, but that's a sign you're trying to cram more information or more structure into your sentence than it can comfortably handle.
A non-restrictive clause isn't necessary to identify the governor, but it isn't just stuck in gratuitously: it's put in because it tells the hearer something he needs to know, and how you deploy it depends on why the hearer needs to know it. It's impossible to pick an appropriate solution without knowing why you wanted to get all that information in before your predicate in the first place, or what the relation is between the supplement and the predicate, but here are a few possible rewrites:
>
> Jim's Boston cousin, an Olympic speedskater, just married his coach.
>
>
> Jim's cousin who lives in Boston wrote a book; he was an Olympic medalist, and the book's about how he parlayed that into a comfortable living as a motivational speaker.
>
>
> Jim's cousin who lives in Boston was on the Olympic hockey team, and now he's been drafted by the Bruins.
>
>
> You know Jim's cousin? the one who lives in Boston? he's on the Olympic hockey team, right, and he just got busted for doping.
>
>
> | The longer example expresses the idea that the cousin who worked for the government is also the only relative with a job.
Constraints are that word limit is an issue so there can't be multiple sentences. In the context it is important that reader knows that the first cousin was the only relative with a job as it emphasizes the difficulty faced by Sam in becoming reasonable.
>
> Living with a cousin who worked for the government, his only relative
> who had a job, and a cousin who fought against the government made Sam
> a reasonable person.
>
>
>
These are a few substitutes. Thoughts?
>
> Living with a cousin who worked for the government (his only relative
> with a job) and a cousin who fought against the government made Sam a
> reasonable person.
>
>
> Living with a cousin who worked for the government and the other who
> fought against the government, one of whom was his only relative with
> a job, made Sam a reasonable person.
>
>
> Living with a cousin who worked for the government and another who
> fought against the government, one of whom was his only relative with
> a job, made Sam a reasonable person.
>
>
> Living with a cousin who worked for the government and another cousin
> who fought against the government, one of whom was his only relative
> with a job, made Sam a reasonable person.
>
>
> Living with a cousin who worked for the government and another who
> fought against the government (one of them was his only relative with
> a job) made Sam a reasonable person.
>
>
> |
27,414 | I need help with connecting [this module](http://www.ebay.com/itm/NEW-NMEA-Sirf-III-GPS-NAVIGATION-NAVIGATOR-Module-2525-/150750050160?pt=LH_DefaultDomain_0&hash=item2319673770#ht_7779wt_1037) with USB cable or serial cable. What do I need to connect? What channels?
EDIT:
Okay guys I see that you think that this gps in not so good. How about this one? I just need a gps module to connect it to my pc. I have tried searching a gps module with usb but I have found nothing because with usb port we are not talking about module anymore only about gps unit which I don't need.
What about this [gps module](http://www.futurlec.com/EM-410.shtml) and this [cable](http://www.ioiusb.com/Cable/USB-JST.htm)?
I really just want to make gps for vehicle tracking. So I need module and I will make car-pc. Don't worry about program. I am programmer so that's not problem. But connecting all those ports get me confused. | 2012/03/01 | [
"https://electronics.stackexchange.com/questions/27414",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/8411/"
] | See table 4.1 on the page you referenced.
It outputs standard NMEA strings asynchronous.
Std NMEA output is at 4800 bps but this seems to work at 9600 bps according to text in red just after section 6.4.
UARTS are on pins 5,4 and 6,7 TX/RX.
You can probably interface it to USB using a USB to RS232 serial converter. Levels MAY be std RS232 but more likely are 0/+5V. If so you will need a data level translator (such as eg MAX232 or similar). | You could use something like an Arduino as a proxy for the module to your PC - but you'd basically just be using it to do the serial UART to USB conversion. The datasheet reads to me that the module has two UART ports, which typically means 0 - 5V levels, but the datasheet is starkly lacking in electrical characterization of the module. |
27,414 | I need help with connecting [this module](http://www.ebay.com/itm/NEW-NMEA-Sirf-III-GPS-NAVIGATION-NAVIGATOR-Module-2525-/150750050160?pt=LH_DefaultDomain_0&hash=item2319673770#ht_7779wt_1037) with USB cable or serial cable. What do I need to connect? What channels?
EDIT:
Okay guys I see that you think that this gps in not so good. How about this one? I just need a gps module to connect it to my pc. I have tried searching a gps module with usb but I have found nothing because with usb port we are not talking about module anymore only about gps unit which I don't need.
What about this [gps module](http://www.futurlec.com/EM-410.shtml) and this [cable](http://www.ioiusb.com/Cable/USB-JST.htm)?
I really just want to make gps for vehicle tracking. So I need module and I will make car-pc. Don't worry about program. I am programmer so that's not problem. But connecting all those ports get me confused. | 2012/03/01 | [
"https://electronics.stackexchange.com/questions/27414",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/8411/"
] | See table 4.1 on the page you referenced.
It outputs standard NMEA strings asynchronous.
Std NMEA output is at 4800 bps but this seems to work at 9600 bps according to text in red just after section 6.4.
UARTS are on pins 5,4 and 6,7 TX/RX.
You can probably interface it to USB using a USB to RS232 serial converter. Levels MAY be std RS232 but more likely are 0/+5V. If so you will need a data level translator (such as eg MAX232 or similar). | If you just want a cheap GPS with a USB interface how about the one Microsoft packages with [Streets and Trips](http://www.amazon.com/s/?ie=UTF8&keywords=streets%20trips%20with%20gps)? |
1,273,856 | How can I calculate the average of a set of data while smoothing over any points that are outside the "norm". It's been a while since I had to do any real math, but I'm sure I learned this somewhere...
Lets say I have 12 days of sales data on one item: 2,2,2,50,10,15,9,6,2,0,2,1
I would like to calculate the average sales per day without allowing the 4th day (50) to screw up the average too much. Log, Percentile, something like that I think... | 2009/08/13 | [
"https://Stackoverflow.com/questions/1273856",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/118224/"
] | It sounds to me that you're looking for a [moving average](http://en.wikipedia.org/wiki/Moving_average). | You can also filter by thresholding at some multiple of the standard deviation. This would filter out results that were much farther than expected from the mean (average).
Standard deviation is simply sqrt(sum(your\_values - average\_value) / number\_of\_values).
edit: You can also look at weighting the value by it's deviation from the mean. So values that are very large can be weighted as 1 / exp(deviation) and therefore contribute much less the farther from the mean they are. |
1,273,856 | How can I calculate the average of a set of data while smoothing over any points that are outside the "norm". It's been a while since I had to do any real math, but I'm sure I learned this somewhere...
Lets say I have 12 days of sales data on one item: 2,2,2,50,10,15,9,6,2,0,2,1
I would like to calculate the average sales per day without allowing the 4th day (50) to screw up the average too much. Log, Percentile, something like that I think... | 2009/08/13 | [
"https://Stackoverflow.com/questions/1273856",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/118224/"
] | It sounds to me that you're looking for a [moving average](http://en.wikipedia.org/wiki/Moving_average). | You'll want to use something like IQR ([interquartile range](http://mathworld.wolfram.com/InterquartileRange.html)). Basically you break the data into quartiles and then calculate the median from the first and third quartiles. Then you can get your central tendency of the data. |
503,514 | I'm trying to find a device that can act as a reference for a thermal camera, but everything I find is always some tens-of-thousands-of-dollars blackbody device that is accurate to within 0.01 K. I have been unable to find anything cheap - for my purposes, I simply need a device that can be accurate to within a quarter of a degree or so. Is it possible to build such a device (or buy one that isn't several thousand dollars)?
Essentially, I'm just trying to get something (i.e. a resistor) to reliably be about 35 degrees Celsius with a .25 degree margin of error or so | 2020/06/03 | [
"https://electronics.stackexchange.com/questions/503514",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/254297/"
] | Ideally look into a hole into a chamber painted black on the inside and with isothermal walls.
A thick aluminum plate painted flat black and shaded on the sides, temperature controlled to the target temperature might be close enough. | How about just heating a diode, with metal foil plates soldered to the TWO leads, to radiate the heat.
The diode measures its own temperature. If the foil plates are well insulated, there will be little heat escaping the system, and the diode/plates are iso\_thermal. |
503,514 | I'm trying to find a device that can act as a reference for a thermal camera, but everything I find is always some tens-of-thousands-of-dollars blackbody device that is accurate to within 0.01 K. I have been unable to find anything cheap - for my purposes, I simply need a device that can be accurate to within a quarter of a degree or so. Is it possible to build such a device (or buy one that isn't several thousand dollars)?
Essentially, I'm just trying to get something (i.e. a resistor) to reliably be about 35 degrees Celsius with a .25 degree margin of error or so | 2020/06/03 | [
"https://electronics.stackexchange.com/questions/503514",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/254297/"
] | I did this for work. It's neither pretty nor hard, but when you layer multiple requirements on it the cost goes up significantly.
First your surface needs to be similar to the emission profile you want. So- flat, black, high temperature matte spray paint. You can use VantaBlack or other super-black too, so long as the emission profile meets specs. Caliper paint was cheap.
I used copper. Why copper? Large heat reservoir when brought up to temperature. It was large, 18x18, with 2" hidden around the edges. It weighed ... well, don't drop it. It was machined / ground flat which the machinists hated for destroying their bits. I can't remember what it was polished to before we messed up the surface with the paint.
PTC heating elements. Several. You'll have to do the math to figure out how many and what their leakage rate is, but get the same lot codes or batch if you can. You'll want them to produce about the same amount of heat, but it isn't as critical because you'll be using PID control loops to keep them at about the same wattage rates.
Third, insulation. The more the better. You're going to overhang the edge of the copper plate all the way around, so (depending on how big you need) you'll need to adjust your insulation and thickness. Personally I would recommend the ceramic material, as it can be painted/hardened and once used with hardener it won't go anywhere. If I could do it again I think I'd totally be into getting aerogel. Why? Because why not! It's extremely effective and cool looking.
Oh, are you going to move it? Then you'll need to have the whole unit transportable, as the copper alone is going to weigh a hundred pounds. So some sort of wheels but more importantly all of the 'mounting points' are going to suck heat away from the copper plate, so you'll have to find a way to mount it with very thin, very strong, very thermally resistant material. Ceramic works best if you can afford it and/or have access to a shop that can print it.
You'll also need lots of PT100/RTDs. You'll also want some K-type as well, as they may drift but you'll have your PT100s to stay in reference to. The more accurate the better, so have your metrology group run the numbers down for you.
And at this point you have a multi channel heating block with a dozen + PID control loops heating the back of the plate, insulated, with the heat only able to go out the front. The PT100s feed back to you to see what the plate is looking like from the back. With enough material it'll slowly oscillate but the thermal 'pulse' of heat moving through it gives a pretty steady window, especially if you put controller interfaces on the front of it (around the front and insulated).
Basically your controllers in the back keep the back at a steady state of temperature, and the controllers at the front keep the front whereever you want it by letting the back temperature go up.
You'll do this in a controlled room/temperature with no air movement. A quarter degree doesn't sound like much, but the air alone drifting over the surface can cool that rapidly.
In short, it really is a lot of work. If you want to be within 2 degrees, that's far easier. But you still have lots of math and testing to do to get it right, or a lot of extra cost over-designing it so that you can (eventually) turn off the hardware you don't need to use anymore.
OR.... make a very small unit that you can mash your camera up in front of (instead of a large one) and use RTDs around it to measure and interpolate the center value, after correcting for cosine falloff. | How about just heating a diode, with metal foil plates soldered to the TWO leads, to radiate the heat.
The diode measures its own temperature. If the foil plates are well insulated, there will be little heat escaping the system, and the diode/plates are iso\_thermal. |
33,561 | >
> **Possible Duplicate:**
>
> [There must be a science to single-page product sales sites. What is it?](https://webmasters.stackexchange.com/questions/23825/there-must-be-a-science-to-single-page-product-sales-sites-what-is-it)
>
>
>
Really don't see them much anymore, but here's an example of what I mean:
**From comments:** These are "high pressure" sales pages, design to overload the user with information, sell them on the belief that what they're buying is what they need, normally have a lot of testimonials, highlighted text, etc. The pages I'm talking about are not user friendly, they're aggressive sales pitches designed to target users wanting to belief the webpage they just landed on will solve there problems for an "affordable" price. Here's an example: www\_landingpagecashmachine\_com (remove the underscores, since I'm attempting to avoid linking to a site like that...)
**Bonus points:** if you're able to tell me the name of the guy/company that popularized these types of pages; recall hearing about his company years ago, after he died in a crash while racing on a track with his Ferrari club on the west coast of the US. (**Update:** Appears [Corey Rudl](http://en.wikipedia.org/wiki/Corey_Rudl) was the guy's name, and his company was called "The Internet Marketing Center." Even with that info, I've still been unable to find the name for these type of pages.) | 2012/08/18 | [
"https://webmasters.stackexchange.com/questions/33561",
"https://webmasters.stackexchange.com",
"https://webmasters.stackexchange.com/users/2288/"
] | Appears the name of this type of landing page is simply "Sales letters", and that [Corey Rudl](http://en.wikipedia.org/wiki/Corey_Rudl) was the guy's name, and his company was called "The Internet Marketing Center."
Here's a review of the [The Internet Marketing Center landing page](http://www.mequoda.com/reviews-and-studies/landing-page-reviews/internet-marketing-center-landing-page-review/) when they still used this format; appears while the [company still is the one Corey Rudl started](https://www.google.com/search?q=site%3ainternetmarketing.com%20Corey%20Rudl), after reviewing the [current home page](http://www.internetmarketing.com/), it appears they no longer use this format. | I've seen it described as "Long sales letter" or "Long form sales letter".
There's a great series of posts on the [**37 Signals** site where they optimise the landing pages](http://37signals.com/svn/posts/2977-behind-the-scenes-highrise-marketing-site-ab-testing-part-1) of [Highrise](http://highrisehq.com/) based on an [Anatomy of a Long Sales Letter at Visual Website Optimizer](http://visualwebsiteoptimizer.com/split-testing-blog/long-sales-letter-copywriting/).
Subsequent posts detail them [testing the changes](http://37signals.com/svn/posts/2983-behind-the-scenes-ab-testing-part-2-how-we-test), and [why they finally went back to a shorter, simpler page](http://37signals.com/svn/posts/2991-behind-the-scenes-ab-testing-part-3-final).
Essential reading for those designing landing and signup pages. |
82,531 | My Apple trackpad seems to rotate counter clockwise (I am right handed) through my use of it over the day. This happens several times normally during the day. It never used to do so when it was new but it is doing it now and I am using the same desk.
I have cleaned all the contacts but it doesn't seem to help, maybe I am not cleaning it right. I would be interested to know the best cleaning methods if you think this is where I am going wrong.
My use of it may have changed too so if you think this might be a problem of the way my trackpad usage has developed please note that too. The weather has changed too over the time since I have got it and although we normally run air conditioning within my office the temperatures at night might become too extreme for it.
Is there an easy way to anchor it to the desk? | 2013/02/18 | [
"https://apple.stackexchange.com/questions/82531",
"https://apple.stackexchange.com",
"https://apple.stackexchange.com/users/43136/"
] | Get a rubber mat for it to stand on, or as Faiz mentioned in a comment, use small amounts of tape to make it stick to your desk.
The rubber contacts on most Apple products can become a bit slippery after use. I personally just rub off any dirt that has collected over time with my thumb, and it's back to normal – slip-free.
Something like [these Anti Slip Mats](http://www.ebay.com/itm/5pcs-Anti-Slip-Mat-Magic-Sticky-Pad-Car-Dashboard-Non-slip-Phone-Six-colour-/160975828575?pt=LH_DefaultDomain_0&hash=item257ae8365f) on Ebay should do the trick for you. | If you also use an Apple Bluetooth keyboard, the [Twelve South Magic Wand](http://store.apple.com/us/product/H3443ZM/A/twelve-south-magicwand) that attaches the KB & TP side-by-side is one solution. |
46,453,929 | I'm new to using Xamarin 2017 to make an Android app. My VisualStudio\_android-23\_arm\_phone (Android 6.0 - API 23) AVD runs very slowly, and I get a popup saying,
"Running an x86 based Android Virtual Device (AVD) is 10x faster. We strongly recommend creating a new AVD."
I have a 64 bit Windows 10 laptop, and I've gotten errors running x86 programs on my laptop in the past. I don't see a "Virtual Devices" option in the Window tap of Xamarin 2017.
How do you suggest I get the right fast AVD? | 2017/09/27 | [
"https://Stackoverflow.com/questions/46453929",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/8406269/"
] | In Visual Studio, in a Xamarin project, open your Android SDK Tools. If you know where the SDK Tools are in the filesystem, you can also do it that way :) You can also type "Android SDK Manager" in the QuickLaunch bar on the top right.
[](https://i.stack.imgur.com/vMiH0.png)
Then, make sure you have the Intel Hardware Acceleration Manager (HAXM) installed, which will speed everything up TREMENDOUSLY. The reason it's so much faster is the x86 instruction set is the same as your Intel processor, and also uses Intel's virtualization hardware acceleration, provided by HAXM. The "ARM" device simulators simulate ARM processors, which can't easily be simulated by your PC's or Mac's x86-based processor, so they're horrifically slow.
[](https://i.stack.imgur.com/dBy2H.png)
Then, when debugging, make sure you only use the x86 device simulators, which you access via the Android Virtual Device Manager, next to the SDK Manager:
[](https://i.stack.imgur.com/ZWd4y.png)
Visual Studio *does* have an Android simulator, but I've found the latest Android simulator much better, and it's officially from Google :)
Remember: ALWAYS test your app on REAL DEVICES. Simulators aren't enough of a test. They're great for development, of course!
Hope that helps!
A few more references:
Xamarin Android Simulator Article: <https://developer.xamarin.com/guides/android/deployment,_testing,_and_metrics/debug-on-emulator/android-sdk-emulator/>
Xamarin University on Android Player: <https://university.xamarin.com/resources/working-with-android-emulators>
Intel HAXM: <https://software.intel.com/en-us/articles/intel-hardware-accelerated-execution-manager-intel-haxm> | If you are using VS 2017 I recommend you to use Visual Studio Android Emulator, it can be installed through VS installer package, it´s faster.
If you instead of this want to install AVD can follow this link, [Configuring Virtual Devices](https://developer.xamarin.com/guides/android/deployment,_testing,_and_metrics/debug-on-emulator/android-sdk-emulator/2-configuration-and-use/) |
141,901 | This is more an idle curiosity than a question I'm wondering about to actively use in a game. Reading on the path of enlightenment that Abominations are put onto, one of the Sins was listed as:
>
> teaching the Ways (Rites, Gifts) to Wyrm minions (including vampires)
>
>
>
I thought this was a bit strange, considering last I checked vampires *couldn't* learn rites/gifts.
I know it could be incorrect cause it's the wiki, but I'm still curious about this.
Can Vampires learn Gifts? | 2019/02/25 | [
"https://rpg.stackexchange.com/questions/141901",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/30406/"
] | What are gifts?
---------------
Gifts are abilities that stem from a pact with a spirit. *Axis Mundi* (a supplement intended for Werewolf and Mage) goes into quite a bit of depth about where gifts come from. Any one who can interact with a spirit can theoretically gain a gift. However, they have to convince the spirit to teach them.
Werewolves have it a bit easier here than many creatures. First, they perceive spirits more readily than many other creatures. Second, they are known as protectors of Gaia and many Gaia-related spirits are willing to help them by teaching them gifts.
Wyrm-Creatures
--------------
Wyrm creatures can learn gifts. *The Book of the Wyrm* described a series of gifts than can be learned from the Wyrm. These are intended for Black Spiral Dancers (Wyrm-tainted werewolves), but it demonstrates that wyrm-tainted creatures can learn gifts.
Additionally, that book also describes several other spirits a wyrm-tainted creature may be interested in such as totems, wyrm elementals, and more. Spirits of Gaia treat vampires as enemies (from *Axis Mundi*)
So if your vampire has a way of perceiving spirits, can locate a relatively friendly one, and can convince it to teach it a gift - then it can learn a gift. | No, vampires cannot learn gifts. The source the wiki cites is "Under a Blood Red Moon," a sourcebook from 1993, and has been superseded in many ways by later products. |
141,901 | This is more an idle curiosity than a question I'm wondering about to actively use in a game. Reading on the path of enlightenment that Abominations are put onto, one of the Sins was listed as:
>
> teaching the Ways (Rites, Gifts) to Wyrm minions (including vampires)
>
>
>
I thought this was a bit strange, considering last I checked vampires *couldn't* learn rites/gifts.
I know it could be incorrect cause it's the wiki, but I'm still curious about this.
Can Vampires learn Gifts? | 2019/02/25 | [
"https://rpg.stackexchange.com/questions/141901",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/30406/"
] | Technically yes...
------------------
Technically, as [indigochild](https://rpg.stackexchange.com/a/141910/30306) explained well, nothing technically *prevents* a vampire from finding a spirit and making it teach him a gift.
However, most spirits won't teach Gaia's gifts to a vampire even under threat of death, so it boils often down to Banes that teach Wyrm gifts. But can they use them?
but they can't use them...
--------------------------
Now, most (almost all) gifts demand the presence of Rage or Gnosis to be used. Both an ordinary Vampire does not possess, so they can't use them at all... And as we will see in the last paragraph, they can't use any for they never ad Gnosis to begin with.
unless they are an abomination...
---------------------------------
But even to that, there is a huge exception: Vampires that embrace Garou create so-called Abominations. Abominations are monsters that have all the rage and gnosis (replacing Humanity) to fuel their wyrm tainted gifts, they have the knowledge of how to work spirits into submission and teaching them more sinister gifts.
### ...that still has Gnosis.
There is though one point that makes learning gifts a gamble:
>
> When the Abomination’s
> Gnosis is all gone, it can no longer [...] use
> any Gifts
> W20 Changing Breeds p224
>
>
>
No Gnosis means no gifts work. Having had no Gnosis to begin with, ordinary Vampires can't use gifts at all, even if they manage to learn them. | No, vampires cannot learn gifts. The source the wiki cites is "Under a Blood Red Moon," a sourcebook from 1993, and has been superseded in many ways by later products. |
141,901 | This is more an idle curiosity than a question I'm wondering about to actively use in a game. Reading on the path of enlightenment that Abominations are put onto, one of the Sins was listed as:
>
> teaching the Ways (Rites, Gifts) to Wyrm minions (including vampires)
>
>
>
I thought this was a bit strange, considering last I checked vampires *couldn't* learn rites/gifts.
I know it could be incorrect cause it's the wiki, but I'm still curious about this.
Can Vampires learn Gifts? | 2019/02/25 | [
"https://rpg.stackexchange.com/questions/141901",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/30406/"
] | What are gifts?
---------------
Gifts are abilities that stem from a pact with a spirit. *Axis Mundi* (a supplement intended for Werewolf and Mage) goes into quite a bit of depth about where gifts come from. Any one who can interact with a spirit can theoretically gain a gift. However, they have to convince the spirit to teach them.
Werewolves have it a bit easier here than many creatures. First, they perceive spirits more readily than many other creatures. Second, they are known as protectors of Gaia and many Gaia-related spirits are willing to help them by teaching them gifts.
Wyrm-Creatures
--------------
Wyrm creatures can learn gifts. *The Book of the Wyrm* described a series of gifts than can be learned from the Wyrm. These are intended for Black Spiral Dancers (Wyrm-tainted werewolves), but it demonstrates that wyrm-tainted creatures can learn gifts.
Additionally, that book also describes several other spirits a wyrm-tainted creature may be interested in such as totems, wyrm elementals, and more. Spirits of Gaia treat vampires as enemies (from *Axis Mundi*)
So if your vampire has a way of perceiving spirits, can locate a relatively friendly one, and can convince it to teach it a gift - then it can learn a gift. | Technically yes...
------------------
Technically, as [indigochild](https://rpg.stackexchange.com/a/141910/30306) explained well, nothing technically *prevents* a vampire from finding a spirit and making it teach him a gift.
However, most spirits won't teach Gaia's gifts to a vampire even under threat of death, so it boils often down to Banes that teach Wyrm gifts. But can they use them?
but they can't use them...
--------------------------
Now, most (almost all) gifts demand the presence of Rage or Gnosis to be used. Both an ordinary Vampire does not possess, so they can't use them at all... And as we will see in the last paragraph, they can't use any for they never ad Gnosis to begin with.
unless they are an abomination...
---------------------------------
But even to that, there is a huge exception: Vampires that embrace Garou create so-called Abominations. Abominations are monsters that have all the rage and gnosis (replacing Humanity) to fuel their wyrm tainted gifts, they have the knowledge of how to work spirits into submission and teaching them more sinister gifts.
### ...that still has Gnosis.
There is though one point that makes learning gifts a gamble:
>
> When the Abomination’s
> Gnosis is all gone, it can no longer [...] use
> any Gifts
> W20 Changing Breeds p224
>
>
>
No Gnosis means no gifts work. Having had no Gnosis to begin with, ordinary Vampires can't use gifts at all, even if they manage to learn them. |
548,892 | I run the computer center of my Faculty and the problem is that users manage to change the Windows 7 taskbar position. I don't really know how they do this as far as I have applied many group policies that are specific to the taskbar (like locking it). I have also disallowed users from entering new registry keys or executing the command prompt (or employing scripts). They have regular user rights and many Windows 7 tweaking programs need administrator rights to make changes to the GUI. So in other words, the taskbar is locked, there is a policy that sets its position to the lower part of the screen, users can't see the control panel, add registry keys, use the command prompt and don't have admin. rights.
How do they keep moving the taskbar position to the upper part of the screen?
Any ideas would be greatly appreciated. | 2013/02/09 | [
"https://superuser.com/questions/548892",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | I run a LAN cafe and I also have problems with the taskbar either going up or to the left. The account used by clients is locked down through group policy and registry edits so clients have very limited access. I am using Windows 7 x64. I think in my case this has something to do with some old (early 2000s) full screen applications (games) that do not support widescreen resolutions, or the culprit may be the lockscreen of the cafe management software that I use - or both. I have searched extensively for this before but found no answers.
My solution was to use a registry file with the correct taskbar settings. So every time the taskbar moves, I log out the client account, log in to the administrator account, load the registry hive of the client account, run the .reg file, then unload the client registry.
I found the registry settings here: <http://www.sevenforums.com/tutorials/1066-taskbar-move-location-desktop-screen.html>.
This is for placing the taskbar at the bottom:
Windows Registry Editor Version 5.00
[HKEY\_USERS\client02\Software\Microsoft\Windows\CurrentVersion\Explorer\StuckRects2]
"Settings"=hex:28,00,00,00,ff,ff,ff,ff,02,00,00,00,03,00,00,00,3e,00,00,00,2e,\
00,00,00,00,00,00,00,82,04,00,00,80,07,00,00,b0,04,00,00
Load/unload a registry hive: <http://technet.microsoft.com/en-us/library/cc732157.aspx>
Heed the warnings about editing the registry.
Registry backup and restore: www.sevenforums.com/tutorials/4230-registry-backup-restore.html | Right-click the Task Bar, go to *Start Task Manager*. Click *Options*. |
548,892 | I run the computer center of my Faculty and the problem is that users manage to change the Windows 7 taskbar position. I don't really know how they do this as far as I have applied many group policies that are specific to the taskbar (like locking it). I have also disallowed users from entering new registry keys or executing the command prompt (or employing scripts). They have regular user rights and many Windows 7 tweaking programs need administrator rights to make changes to the GUI. So in other words, the taskbar is locked, there is a policy that sets its position to the lower part of the screen, users can't see the control panel, add registry keys, use the command prompt and don't have admin. rights.
How do they keep moving the taskbar position to the upper part of the screen?
Any ideas would be greatly appreciated. | 2013/02/09 | [
"https://superuser.com/questions/548892",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | I run a LAN cafe and I also have problems with the taskbar either going up or to the left. The account used by clients is locked down through group policy and registry edits so clients have very limited access. I am using Windows 7 x64. I think in my case this has something to do with some old (early 2000s) full screen applications (games) that do not support widescreen resolutions, or the culprit may be the lockscreen of the cafe management software that I use - or both. I have searched extensively for this before but found no answers.
My solution was to use a registry file with the correct taskbar settings. So every time the taskbar moves, I log out the client account, log in to the administrator account, load the registry hive of the client account, run the .reg file, then unload the client registry.
I found the registry settings here: <http://www.sevenforums.com/tutorials/1066-taskbar-move-location-desktop-screen.html>.
This is for placing the taskbar at the bottom:
Windows Registry Editor Version 5.00
[HKEY\_USERS\client02\Software\Microsoft\Windows\CurrentVersion\Explorer\StuckRects2]
"Settings"=hex:28,00,00,00,ff,ff,ff,ff,02,00,00,00,03,00,00,00,3e,00,00,00,2e,\
00,00,00,00,00,00,00,82,04,00,00,80,07,00,00,b0,04,00,00
Load/unload a registry hive: <http://technet.microsoft.com/en-us/library/cc732157.aspx>
Heed the warnings about editing the registry.
Registry backup and restore: www.sevenforums.com/tutorials/4230-registry-backup-restore.html | its a known bug I found it on the Microsoft web site, right click a running application from the taskbar when you have the contextual menu open left click and drag the taskbar and it jumps to the top of the screen, there is a hot fix for it but they say its not fully tested so install at your own risk. they only true way to restore it is to remove the gpo or move the user out of that group, unlock the taskbar and put it back then reverse your gpo changes. |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | Who says you aren't a judge?
A paladin in a pseudo-medieval society is basically a knight, except devoted to a god over a king. Pick a god (Or make one up) who is clearly lawful good\* but can fit with your party. Doublecheck with the DM that, in the religious scripture of your order, you do have authority to do what you need.
In the midst of a battle with a bandit group, before the battle is fully joined, have your character offer the bandits the chance to surrender and repent, warning them of your authority and intent to use force if necessary. This doesn't have to be long- "Halt! By the word of Pelor, surrender or I will defend this caravan!" is probably about reasonable. They probably won't surrender, obviously, but then you can fight them without worrying about an alignment change. Think of yourself as a member of the police- If someone's shooting at you, you're allowed to shoot back.
Play with what your religion allows. A cleric I once played worshiped the god of Ale, Adventure and the Mountains. He was jovial, fun loving, prone to practical jokes or puns, and the first one into almost every fight. He also performed the rites of the dead on anything humanoid we killed after the fight, and fought hardest to defend civilians caught in the crossfires of our battles, going so far as to research a Mass Shield Other for use on nameless NPCs that were in the area. When we found out we had been tricked into working for the bad guy, he had to wrestle with what was most important- being a good person, or doing what he'd promised. (This also let me make it clear to other players that I was okay whichever way the party decided, while still being able to argue my character's point of view.) When the rogue got in trouble over old gambling debts, I helped him out- all the while grousing good naturally.
Think about what exactly you like about this kind of character. If it's a holier than thou attitude and telling off other players for their ill behavior, you have a problem we can't really help with. But for me, I love playing a wise man who is full of good advice for the party, and being a stalwart defender of the innocent. Make a list of commandments your god has given you, check them with the DM, then follow those commandments as best you can. Things like "Never kill a foe who has surrendered" or "Forgive those who sin against you" are good, as are "Never use a bow, as it's cowardly" or "Booze is good. Sobriety is boring." "Never kill people" or "Do not tolerate those who steal" are not good, because they conflict with either the expectations of the game or could conflict totally with the party. Think about which commandments are most important- Maybe it's okay to kill someone who has surrendered if it's the only way to save an innocent life. Maybe it's okay to use edged weapons if it's cheaper to do something else.
The most important thing to think about is that you are both lawful *and* good. Don't be afraid to break the law if it's the good thing to do. Don't be afraid to get your hands dirty if that's what the law requires. In a perfect world, you are both at all times, but I doubt you're playing in a perfect world.
And if your DM thinks that bending even slightly from the rigid path of law and the perfect path of light causes you to lose your class levels, find a new DM. | The book of exalted deeds, detailing the behaviour of 'exalted' characters is not a requirement for being a Paladin. Exalted is basically a "super good" alignment.
Lawful Good covers a wide range of alignments. It is a broad category. Not everyone will consider killing evil people, or killing in self defence to be a non good act, and a Paladin doesn't have to.
Prisoners, however, are harder to deal with. You have a couple of options:
1) Your Paladin could consider himself to be a judge, with power vested in him by his God to decide right from wrong. Zone of Truth could make this process easier, or just use your high charisma and sense motive.
2) Your Paladin could consider attacking a Paladin a crime punishable by death. Thus anyone who starts a combat with you must die.
3) Convince your DM to allow you access to the spell (lesser) geas, or convince someone in your group to prepare a lot of it, or buy a wand. "Report to the courthouse and explain to the judge that you have been kicking puppies" is a clear instruction, which they will follow until it is complete.
4) You could consider the combat that you just defeated the criminal in a 'trial by combat' |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | Stand on the shoulders of giants: find characters you'd like to emulate! Here are some heroes from fiction who show the rest of us what a true paladin looks like.
* From **Paksenarrion**, protagonist of Elizabeth Moon's *The Deed of Paksenarrion*, we see that the path to greatness can be a long and painful one, but this makes the result all the more effective and much more satisfying.
* **O-Chul**, from [*The Order of the Stick*](http://www.giantitp.com/comics/oots0541.html), demonstrates true strength. It's not about intimidating people with your badassery; it's about patience, endurance, and always doing the right thing no matter how much pain life throws at you. Be kind, be strong, never give up, and wait for your moment. Your reward will come.
* **Holger Carlsen**, from *Three Hearts and Three Lions*, is an example of a paladin who uses his brains. His story also demonstrates the principle of "right makes might"--both its pitfalls and its advantages.
* **Michael Carpenter**, from The Dresden Files, is a modern-day paladin and the father of a loving family. Being partnered with Dresden, he's a particularly good example of a paladin working with people who do not share his ideals. There's a lot of reading to do here, and Carpenter is only a secondary character, but I highly recommend the series because of how deeply Dresden sacrifices for his friends and his ideals (which are different from Carpenter's, but still very much worthwhile). And the novels are tremendously fun reading on their own. | Look up the order of the stick web comic by rich Burlew - specifically the azure city arc. Ranging from mako - the standard "bad paladin" stereotype, Hinjo, still definitely lawful good but not lawful stupid. O-Chul - there are many examples of different kinds of paladin in there. Many ways to handle the class.
Many of them are entirely reasonable. |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | Having played a strict LG Paladin somewhat recently till our Pathfinder game wound down for a while, here's my insight:
**1. It's not always bad to be *that* paladin.**
I recall an instance where I refused to let the party take the belongings of an obvious bad guy we had caught, because, even though I arrested him on behalf of the local village, his crime was not theft and therefore he had a right to his belongings. So I kept his stuff in my custody until we turned him over to the local authorities. The player I most conflicted with over this actually thought it was a great time arguing over the issue.
**2. On the other hand, *pick your battles***
A paladin is often part of the enforcing arm of an organization(church). As such, even if local laws don't agree, his church may authorize him to a wide range of powers. It might be that what the others want to do fits within those powers.
*For instance, if a thief must not be allowed to spend his ill gotten gains, then what he steals must be confiscated from him, and it may be that he is allowed to seize/commandeer property to maintain his activities in support of the church's goals. (read that as it's okay to throw a party with money you take from a bad guy)*
Remember also that the books often give general outlines of what paladins of a specific order do, rather than explicit lists to allow you a wide range of freedom in determining what legal powers your specific paladin has.
**3. Recognize that not everyone is a paladin** I'm right there with you on paladins having to always be morally righteous, however, a wise paladin realizes that not everyone has the luxury of seeing the world in black and white, of always knowing what is the right thing to do. Perhaps your paladin must make special effort to atone for the faults of those he travels with while always exemplifying to them what the better way is not with preaching but with your own conduct.
While your god might viciously strike down anyone who gives his oath to the god and then acts contrary to the oath, your party members often gave no oath and might only see your deity as one by whom they hope to go unnoticed. It's then your job to show them the joy you find in serving your deity and church. | Paladins are a difficult yet easy type to play, at least for me. Remember this is a game and that you as a player are responsible for doing what is fun for you, but you don't need to stop everyone else from playing their roles. Your paladin as described in the question is an extreme example of what people don't like. My paladins don't push their faith on others, but act as an example while not letting egregious violations of good happen.
The choice of what god to follow is also key. Iomedae, for example, requires her paladins to be "First in a fight, last one out." That doesn't mean that they have to win initiative each time, only to be unafraid to enter and do battle, by leading from the front and remaining when others have fled.
Above all else remember that your paladin is one of a group and the group will not like what doesn't fit. |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | By the far the best gamable description of a paladin I seen was given by Elisabeth Moon in her Deed of Paksenarrion series.
Paraphrased From page 579 of the [Trade Paperback the Deed of Paksenarrion](http://rads.stackoverflow.com/amzn/click/0671721046).
>
> Most think being a holy warrior means gaining vast arcane powers, that
> they would be nearly invincible against any foe. But truth is that
> while Paladin are skilled at fighting, that was the least of their
> abilities. A quest might involve no fighting at all, or a battle
> against beings no steel could pierce.
>
>
> Above all paladins show that courage is possible. It is easy enough to
> find reasons to give in to evil. War is ugly as many know. But we do
> not argue that war is better than peace; paladin are not that stupid.
> It is not peace when cruelty reigns, when stronger men steal from
> farmers and craftmen., when the child can be enslaved, or the old
> thrown out to starve, and no one lifts a hand. That is not peace: that
> is conquest and evil.
>
>
> Paladins do not start quarrels in peaceful lands, never display their
> skills to earn applause. But we are the sword of good defending the
> helpless and teaching by our example that one person can dare greater
> force to break evil's grasp on the innocent. Sometimes that can be
> done without fighting, without killing, and that is best.
>
>
> But some evil needs direct attack, and paladins must be able to do it,
> and lead others in battle. Wonder why paladins are so likable? It is
> important, we come to a town, perhaps, where nothing has gone right
> for a dozen years. Perhaps there is a temple there and sometimes there
> is not. The people are frightened, and they have lost trust in each
> other, in themselves. We may lead them into danger, some will be
> killed or wounded. Why should they trust us?
>
>
> Because we are likable, and other people will follow us willingly. And
> that's why we are more likely to choose a popular adept as a candidate
> rather than the best fighters.
>
>
>
To me this is best summary of a D&D style paladin I ever read and the basis for how I referee them. One reason for this is because Moon gets to heart of what it means to be a paladin which is not the same as adherence to the letter of a written code. Although a written code may be a useful teaching tool to novice paladins (and clerics).
The implications of this for your campaign is that is that the paladin is with the party because he or she was called by their god to adventure with this particular group. Sometimes a paladin's call operates on multiple levels. A paladin joins with a group to fight an evil lurking in the dungeon, but also his presence is what needed to tip one party members into working for good, and to give hope to another who is struggling. | **The Extremist Paladin**
I'm a fan of the paladin who doesn't necessarily adhere to the rules, but rather to ideals. I've had several of these in my group, and played a similar character myself, and they go well. The catch is that they are going to have conflict, but not for the reasons you'd expect. This isn't necessarily for most paladins, since they're somewhat alternative to what most people think of when they look for a D&D Paladin or their ilk. Some of them will probably lose their divine favor if they're played with a true good deity, since they're more "hardcore" than other paladins tend to be.
**The Ends Justify The Means**
These characters will do almost anything to do what they feel is right. This includes collaborating with criminals and their sorts if the target is greater (which is a justification for traveling with morally ambiguous adventurers). If the campaign fits it, this also serves as a potential source of interpersonal conflict, with the other characters always being on high alert for when the paladin decides that they're too bad to be accepted any more, perhaps serving as a limit to their more questionable behaviors.
**I Am The Law**
Technically, if a paladin is told to have a judge try criminals, they'll do this most of the time. But some paladins may themselves be judges. This is a darker and edgier twist (Judge Dredd, anyone?) to the typical paladin archetype, but even a LG or NG paladin for a god whose spheres include justice may consider himself worthy of executing it on his own judgment, or what he believes to be divinely inspired judgment. The character may conduct trials with any available witnesses (including party members he trusts) before deciding on a sentence. This follows a more brutal, bloody form of justice, which is common more in medieval settings than modern ones. This sort of character is very dangerous to other player characters unless there is some connection or justification for their actions.
**Sacrifices Must Be Made**
The paladin is devout and recognizes even the nonviolent tenets of his faith. However, on an individual level, he believes that he must be the one to bear the burden of guilt for the execution of justice. This sort of character will sacrifice his own moral superiority for the greater good, perhaps even accepting eventual loss of powers as their chosen deity turns their back on them (at which point they may play a fighter, or, if the DM allows, switch over to a paladin for a god that permits such things). Alternatively, the paladin may spend periods undertaking penance or pilgrimages to recover his deity's blessing after a particularly brutal episode. This is perhaps the least dangerous of the extremist paladins to the other characters, since they can easily consider their fellow adventurers to be kindred fallen souls. |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | Stand on the shoulders of giants: find characters you'd like to emulate! Here are some heroes from fiction who show the rest of us what a true paladin looks like.
* From **Paksenarrion**, protagonist of Elizabeth Moon's *The Deed of Paksenarrion*, we see that the path to greatness can be a long and painful one, but this makes the result all the more effective and much more satisfying.
* **O-Chul**, from [*The Order of the Stick*](http://www.giantitp.com/comics/oots0541.html), demonstrates true strength. It's not about intimidating people with your badassery; it's about patience, endurance, and always doing the right thing no matter how much pain life throws at you. Be kind, be strong, never give up, and wait for your moment. Your reward will come.
* **Holger Carlsen**, from *Three Hearts and Three Lions*, is an example of a paladin who uses his brains. His story also demonstrates the principle of "right makes might"--both its pitfalls and its advantages.
* **Michael Carpenter**, from The Dresden Files, is a modern-day paladin and the father of a loving family. Being partnered with Dresden, he's a particularly good example of a paladin working with people who do not share his ideals. There's a lot of reading to do here, and Carpenter is only a secondary character, but I highly recommend the series because of how deeply Dresden sacrifices for his friends and his ideals (which are different from Carpenter's, but still very much worthwhile). And the novels are tremendously fun reading on their own. | David Eddings was an English teacher who deliberately tried to write fantasy stories that stuck as strictly as possible to formula while still being interesting. The results are quite good, but because they're so formulaic and D&D campaigns tend strongly to also be formulaic, they mesh very well.
I mention this because he wrote a series called the *Elenium* (and later, a sequel series called the *Tamuli*) which essentially focuses on a group of paladins. It is one of the best literary treatments of this class that I've ever seen. Despite the formula, the paladins represent a diverse set of ways to play the class, and it goes out of its way to highlight the strengths and flaws of each. There's even a stick-in-the-mud, who becomes interesting in his own right when surrounded by paladins who are not like him.
If a trilogy isn't something you have time for, I also recommend Heather Dale's song *Joan*. Dale's treatment of Joan of Arc demonstrates why the only opponent scarier than a fallen paladin is an *un*-fallen paladin:
>
> I fight where God tells me; I never ask why.
>
> I've bloodied the Devil with steel from on high.
>
> I kill without consequence, heed no man's law.
>
> I sift out the righteous like grain from the straw.
>
> I am Judgement, and Heaven is nigh.
>
>
>
It sounds vaguely psychotic, and maybe it is, but Joan of Arc didn't live in a D&D world. When you can actually speak to your god, and trust that your god's power will guide you in the world even to the point of subordinating the laws of humanity to your own faith (which is why you only respect *legitimate* authority), it starts to sound saner. Though it is no less terrifying for that fact.
Another thing to keep in mind is that paladins, at their core, are zealots. It is not hard to justify many of their abilities, especially their fearlessness and their Charisma-driven powers, as coming from a rock-solid confidence in their beliefs, especially their faith and their code. Paladins might actually face *fewer* moral dilemmas than most characters -their beliefs provide the answers- and when they do face dilemmas, they should be epic indeed. As a player, the key to playing this up is to have a good sense of exactly what those beliefs *are*.
In particular, you should work out the specifics of your paladin's code. In order to be compatible with 3.0/3.5/PF RAW, a paladin's code has to contain something along the lines of "Above all else, do no evil." This is the part that causes them to lose their class abilities if they commit evil acts. But if it's got that, then you're technically good to go. But that's only one sentence, which is not really much in the way of a code.
There's plenty of room to flesh out your code, and set it up to guide your paladin through the ambiguities and vicissitudes of life. Here are a couple of questions a paladin's code should answer, though this shouldn't be taken as an exhaustive list:
* What does it mean to be honorable?
* What does it mean for authority to be legitimate? Do only the laws of the land matter for this, or is there a higher law to which all are subject? What should you do when faced with *illegitimate* authority?
* When faced with Evil, how quickly should you reach for your sword? Obviously the best outcome is when Evil is not merely punished but redeemed, but are some souls just plain beyond salvation? When should you give up on redeeming a specific person and move on to the punishment phase?
* You're called on, not just to punish evil, but to help the needy. How should you prioritize these?
* If you have to choose between doing what's right and doing what's good, but neither path is clearly evil, what should you (generally) do?
* Are there others in your organization who follow a different code from yours? If so, how should you work with them? What should you do when your codes conflict?
* How should you work with others who are not paladins or clerics of your faith? Consider lay believers of your own faith, and also consider clerics and paladins of other faiths.
For bonus points, come up with a a couple of tiny stories about paladins from your order's past who had trouble with each of the rules. These are things your paladin would have been taught early in his training, as examples to follow (or negative examples to avoid).
These rules may not -in fact, probably *should* not- be as strict as the admonition against doing Evil. But as a guide for your character to follow, they should help keep him from being a stick in the mud, by keeping him from getting stuck in the mud. |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | By the far the best gamable description of a paladin I seen was given by Elisabeth Moon in her Deed of Paksenarrion series.
Paraphrased From page 579 of the [Trade Paperback the Deed of Paksenarrion](http://rads.stackoverflow.com/amzn/click/0671721046).
>
> Most think being a holy warrior means gaining vast arcane powers, that
> they would be nearly invincible against any foe. But truth is that
> while Paladin are skilled at fighting, that was the least of their
> abilities. A quest might involve no fighting at all, or a battle
> against beings no steel could pierce.
>
>
> Above all paladins show that courage is possible. It is easy enough to
> find reasons to give in to evil. War is ugly as many know. But we do
> not argue that war is better than peace; paladin are not that stupid.
> It is not peace when cruelty reigns, when stronger men steal from
> farmers and craftmen., when the child can be enslaved, or the old
> thrown out to starve, and no one lifts a hand. That is not peace: that
> is conquest and evil.
>
>
> Paladins do not start quarrels in peaceful lands, never display their
> skills to earn applause. But we are the sword of good defending the
> helpless and teaching by our example that one person can dare greater
> force to break evil's grasp on the innocent. Sometimes that can be
> done without fighting, without killing, and that is best.
>
>
> But some evil needs direct attack, and paladins must be able to do it,
> and lead others in battle. Wonder why paladins are so likable? It is
> important, we come to a town, perhaps, where nothing has gone right
> for a dozen years. Perhaps there is a temple there and sometimes there
> is not. The people are frightened, and they have lost trust in each
> other, in themselves. We may lead them into danger, some will be
> killed or wounded. Why should they trust us?
>
>
> Because we are likable, and other people will follow us willingly. And
> that's why we are more likely to choose a popular adept as a candidate
> rather than the best fighters.
>
>
>
To me this is best summary of a D&D style paladin I ever read and the basis for how I referee them. One reason for this is because Moon gets to heart of what it means to be a paladin which is not the same as adherence to the letter of a written code. Although a written code may be a useful teaching tool to novice paladins (and clerics).
The implications of this for your campaign is that is that the paladin is with the party because he or she was called by their god to adventure with this particular group. Sometimes a paladin's call operates on multiple levels. A paladin joins with a group to fight an evil lurking in the dungeon, but also his presence is what needed to tip one party members into working for good, and to give hope to another who is struggling. | The book of exalted deeds, detailing the behaviour of 'exalted' characters is not a requirement for being a Paladin. Exalted is basically a "super good" alignment.
Lawful Good covers a wide range of alignments. It is a broad category. Not everyone will consider killing evil people, or killing in self defence to be a non good act, and a Paladin doesn't have to.
Prisoners, however, are harder to deal with. You have a couple of options:
1) Your Paladin could consider himself to be a judge, with power vested in him by his God to decide right from wrong. Zone of Truth could make this process easier, or just use your high charisma and sense motive.
2) Your Paladin could consider attacking a Paladin a crime punishable by death. Thus anyone who starts a combat with you must die.
3) Convince your DM to allow you access to the spell (lesser) geas, or convince someone in your group to prepare a lot of it, or buy a wand. "Report to the courthouse and explain to the judge that you have been kicking puppies" is a clear instruction, which they will follow until it is complete.
4) You could consider the combat that you just defeated the criminal in a 'trial by combat' |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | Paladin as an Example
---------------------
Consider this story from the [Giant in the Playground forum](http://www.giantitp.com/forums/showpost.php?p=8359242&postcount=1):
>
> Due to setting off a trap, my paladin/crusader and some his comrades were trapped in a solid wall of force that was filling up with a mist that was causing us drowning checks. Our DM was being nice and making it a flat DC 16 fort check instead of a steadily rising con Check, and it took two failure to drop us unconscious.
>
>
> Through trial and experimentation, we discovered that my crusaders Foehammer and Mountain Hammer maneuvers would crack the shell long enough to get one person out. So, every turn, I cracked the wall, and one person would squeeze through the opening. First out was the wizard, who had failed two saves and had to be thrown. Then the cleric, to whom the same thing had happened. Because they were lying there inert, I sent the monk (trained in heal) out there to help them. At this point, the fighter who was in there, helping me, dropped unconscious due to failed saves. The DM was not being nice to me…I made save after save trying to figure out a way to strike the wall and hurl the fighter out. It ended in me managing to put the fellow on my shoulder, slam the wall with a warhammer, and toss him out. The round I did that in, I got my first failed fort save, upon which my DM said I could feel my lungs filling with water. Still, I was able to hurl my friend out of the wall of death and pick up the gear I’d dropped. Armed and ready, I make my next fort save.
>
>
> Nat 1. I drop unconscious. IRL, the group panics. And I mean they PANIC. I have been playing the laid-back moral compass of the group…My paladin didn’t police, but he was kind and noble and to many of them, a bit of an innocent…he was a farm-raised boy and it reflected in the way he treated things and people. They didn’t want him dead. Well, the rogue did, but that’s because the player hates me IRL (he’s the person my inevitable conflict thread was about). The swashbuckler’s player almost started crying. And then we switched to the portion of the party that was pursuing a hag coven.
>
>
> I sat back and actually smiled, because you know what? How much of a better death can a Paladin 5/Crusader 1 with an utter devotion to his friends and his god ask for? I saved every single person in that orb with my conviction and devotion to my god, hurling a fully armored fighter to safety with my lungs filled with water before giving in.
>
>
> [the paladin’s player steps outside for a break, and returns to discover the party found a way to save him.]
>
>
> While the cleric and monk and wizard are all thanking me, we hear the swashbuckler’s character scream in the distance. Having recently regained consciousness, I hit myself with lay on hands, charges of a cure mod wand, and start running. The cleric catches up to me and says
>
>
> Cleric: “Haven’t you done enough heroics for the day?”
>
>
> Paladin, stonefaced, with water dripping off his face and still coughing up liquid as he runs: “Nope. Paladin.”
>
>
>
That “Nope. Paladin,” to me captures everything a Paladin should be. A Paladin isn’t about forcing his comrades to conform to his oaths; he is not an evangelist or demagogue. He is an **example**. An example of everything Law and Good can do for the world. He can respect allies who use other methods to achieve Good; he can respect allies for whom Good isn’t their first goal in life so long as they are not Evil. But for himself, he is the unrelenting, unwavering bastion of Good. He tells you he is coming, he plays with all his cards on the table, and he never, ever quits.
And ultimately, Paladins are not beholden to any organization, faith, or even god: they may join with others that they find like-minded, they may worship those deities they think are going to achieve the most Good, but ultimately they answer to Goodness itself. If they discover corruption within their church, or secret evils in their god’s plan, they are beholden to leave that church, forsake that god, and continue to pursue Good.
Paladins and Faith
------------------
That’s the ideal, anyway. That is what a well-played Paladin should strive for: and he should not, at least initially, have attained it. A Paladin is only interesting if he falters, second-guesses himself, and so on. To bring up another quote:
>
> Book: I've been out of the abbey two days. I've beaten a lawman senseless. Fallen in with criminals. I watched the captain shoot the man I swore to protect. And I'm not even sure if I think he was wrong.
>
>
> Inara: [softly] Shepherd...
>
>
> Book: I believe I just... I think I'm on the wrong ship.
>
>
> Inara: Maybe. Or maybe you're exactly where you ought to be.
>
>
>
That’s pretty much how your Paladin should be on a bad day. And if he’s doing things right, there will be bad days.
Paladins and Falling
--------------------
There are a lot of ways to handle Falling. Personally, I tend to abolish it from the mechanics entirely: a Fall occurs only when narratively appropriate, and this is done in consultation with the Paladin’s player. A Fallen Paladin is always picked up by some other great power, typically the Evil that corrupted him.
But that’s not the only approach. Another that I rather like, though it’s never happened in one of my own games, is Falling as going-for-broke. The Paladin is, by definition, holding himself back, and Falls when he stops doing so: but when he does, he is a terrible thing to behold.
For example, another [Giant in the Playground post](http://www.giantitp.com/forums/showpost.php?p=16022130&postcount=2). A cult was unleashing a vile plague, they had captured the head cultist and needed to know where the ritual was to be completed, but could not get it out of him, not even when they began to use torture and the paladin stormed out. When he returned and found they still had not gotten the information, he took over the interrogation:
>
> Cultist:
>
>
> "Ha! I know who you are, Sir Peter Fairgrave; kingdom breaker, runaway child, father slayer. You can't threaten me: I know what you are. Your order, your God won't allow you to lay your hands on me, otherwise you'll fall, and you won't be able to help a soul."
>
>
> Sir Peter:
>
>
> *sighs* "You seem to be under the misconception about what I am, what I do. I am a paladin, that is true; but as a paladin I don't fear falling... I look forward to it."
>
>
> The cultist shot a nervous look at the rest of the party, we were all looking at each other, not sure what was about to happen. The cultist opened his mouth to speak, but Sir Peter cut him off.
>
>
> Sir Peter:
>
>
> "As a paladin, I walk on a razor's edge. Not between good and evil, I could never be something like you, but between "law" and "justice". The "law" I follow doesn't permit me to harm you, but I could be "justified" in anything I did to you in order to save innocent lives. ANYTHING!"
>
>
> "You don't know what it is like to be me. You don't know the pain of having to store all your anger, all your fury, all your sense of justice, and hold it inside you, all day every day for the rest of your life. Doing the right thing doesn't mean I get to stop all evil, I just get to trim it when it becomes overgrown. The path I walk is not about vengeance, or what's right; it's about moderation in the face of power, restraint and compassion for scum like you.
>
>
> "This is why paladins don't fear falling. We don't spend all day looking for ways to prevent ourselves from doing evil and giving in to the darkness -- we actively seek it out. Every time we face evil, we ask ourselves, 'Is this the threat that I'm going to give it all up for? Is this what I am going to give up my ability to help others in the future, in order to bring it down now. Is this the evil that I am willing to forsake my God and my power to stop?!'".
>
>
> At this point, he stands up suddenly and swings his arm against the chair he was sitting on. Sending it flying and shattered against a wall, he then kicks over the chair the cultist was sitting on, he leaps and straddles his chest, flinging him about for a few seconds in pure rage, before calming once more.
>
>
> He looks the cultist straight in the face, both their noses just inches from each other.
>
>
> "What you should be asking yourself now, what you really need to be thinking about, is: 'Is what I'm doing something that will make this guy want to fall?' Because you should know that once I fall, all those rules which protect you from me are gone. No longer will I be able to be stopped by you, or by my order, or by my God. If I give everything, and I mean give everything, I will never stop. If you escape me today, I will hunt you down and grab you into the pits of hell myself. Even if that means that I have to invoke the wrath of every demon in creation, just so they throw open a pit and drag me down where I stand, because when they do drag me down, I will make sure that my fists are wrapped firmly around your ankles and you go down with me. I want you to listen to me now, and I mean really listen, because Hell truly hath no fury like a paladin scorned."
>
>
> "So I ask you, one last time: tell me where the other rituals are being held, or I swear to all on high that I will fall, and fall hard, just so I can show you what it is that paladin truly keeps his code in order to hold back..."
>
>
> At this point the player, Chris, just stops talking and looks at us. We are all kind of stunned by his speech, naturally.
>
>
> He just picks up a D20, looks at the DM and says "I wish to roll intimidate."
>
>
>
The key is that Falling is not a trap and it is not a punishment for bad roleplaying. The Fall is a narrative construct that is supposed to be the *height* of drama. It needs to accomplish something big: stripping a PC of his ability to do anything does not accomplish that. This is one of the biggest failings in 3.5, in my opinion, and you should talk to your DM about how to rectify that.
### Speaking of your DM...
My last piece of advice is, make sure your DM is on-board with this. A lot of DMs have very narrow pre-conceived ideas of what makes a Paladin. Some DMs *won’t let you* avoid being a stick-in-the-mud. I’d strongly recommend avoiding the Paladin class with such DMs. Actually, I’d probably avoid their games entirely, personally. | By the far the best gamable description of a paladin I seen was given by Elisabeth Moon in her Deed of Paksenarrion series.
Paraphrased From page 579 of the [Trade Paperback the Deed of Paksenarrion](http://rads.stackoverflow.com/amzn/click/0671721046).
>
> Most think being a holy warrior means gaining vast arcane powers, that
> they would be nearly invincible against any foe. But truth is that
> while Paladin are skilled at fighting, that was the least of their
> abilities. A quest might involve no fighting at all, or a battle
> against beings no steel could pierce.
>
>
> Above all paladins show that courage is possible. It is easy enough to
> find reasons to give in to evil. War is ugly as many know. But we do
> not argue that war is better than peace; paladin are not that stupid.
> It is not peace when cruelty reigns, when stronger men steal from
> farmers and craftmen., when the child can be enslaved, or the old
> thrown out to starve, and no one lifts a hand. That is not peace: that
> is conquest and evil.
>
>
> Paladins do not start quarrels in peaceful lands, never display their
> skills to earn applause. But we are the sword of good defending the
> helpless and teaching by our example that one person can dare greater
> force to break evil's grasp on the innocent. Sometimes that can be
> done without fighting, without killing, and that is best.
>
>
> But some evil needs direct attack, and paladins must be able to do it,
> and lead others in battle. Wonder why paladins are so likable? It is
> important, we come to a town, perhaps, where nothing has gone right
> for a dozen years. Perhaps there is a temple there and sometimes there
> is not. The people are frightened, and they have lost trust in each
> other, in themselves. We may lead them into danger, some will be
> killed or wounded. Why should they trust us?
>
>
> Because we are likable, and other people will follow us willingly. And
> that's why we are more likely to choose a popular adept as a candidate
> rather than the best fighters.
>
>
>
To me this is best summary of a D&D style paladin I ever read and the basis for how I referee them. One reason for this is because Moon gets to heart of what it means to be a paladin which is not the same as adherence to the letter of a written code. Although a written code may be a useful teaching tool to novice paladins (and clerics).
The implications of this for your campaign is that is that the paladin is with the party because he or she was called by their god to adventure with this particular group. Sometimes a paladin's call operates on multiple levels. A paladin joins with a group to fight an evil lurking in the dungeon, but also his presence is what needed to tip one party members into working for good, and to give hope to another who is struggling. |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | The biggest issue with paladins is when their partners' behavior is judged as if the paladin himself had done the deed. If your DM is willing to avoid that pitfall, may I suggest...
**A paladin who does not expect non-believers to obey the laws of his faith.** He hopes that through his shining example his teammates will come to see the value of his code, but believes that doing Good under threat of punishment doesn't count. He guides the party to consider mercy, but does not expect them to follow oaths they did not swear. Perhaps his own past is not lily-white and he recognizes that true Faith takes time; he is patient with the party.
[Underen](https://rpg.stackexchange.com/users/4555/undreren) commented: *When the PCs ignores the paladins advice, simply tell them in character: "Remember, the gods will be the judges of your actions. I wash my hands of this.*
**It's important to recognize that the values of D&D are not our modern values.** Justice is often swift and brutal when you don't have the luxury of modern civilization. Think wild west justice or battlefield trials. As a paladin, you might have the authority to conduct hasty trials; ask your DM to consider this1. Remember there are methods of punishment that fall between letting criminals go unpunished and killing them: from taking their stuff, to branding or even cutting off a finger or a hand2, there are a spectrum of options.
Just as you are considering the enjoyment of your friends at the table, the DM and other players should be willing to meet you half-way. **The player characters should do the same for their friend the paladin.** This is a mutual storytelling challenge: a group of friends (or at least comrades-in-arms) with different moral attitudes is pretty common in real life and in storytelling. How do they function without coming to blows? That's a cool story for your group to tell.
*[Making the Tough Decisions](https://web.archive.org/web/20040625155415/http://www.giantitp.com/frm0007.html)* is an essay by Rich Burlew which addresses (in more general terms) the exact problem you're facing.
---
1 There can be some confusion about the paladin's requirement to "respect legitimate authority," and whether one's class dictates in-game social duty or privilege. As I understand it, 'Paladin,' 'Cleric,' and all other class titles are meta-mechanical terms rather than in-game titles/distinctions unless you're in a setting that makes it explicit. Thus no character (player or non-player) has legitimate authority by virtue of their class alone (there *are* some rare PrC exceptions to this, whose explicit nature supports my general claim). Authority is conferred based on merit, heritage, experience (and possibly bribery). My suggestion that your paladin might have some legitimate authority is explicitly at the whim of the DM. It could just as easily be bestowed on a bard or a fighter, should social circumstances warrant it, and serve the same purpose --perhaps even better.
2Perhaps I should clarify that branding and mutilation in these contexts are not about sadism: they are about preventing future crime without killing the criminal, in a land without good jails. Brands alert future targets that they are dealing with a particular kind of criminal, and cutting off a gun-happy outlaw's trigger finger makes it harder for him to kill. | Paladins seem to be consistently characterized as downers because so many adventuring parties have wandered far afield from good behavior. In a party of truly good characters, the Paladin won't stick out so much.
Regardless of whether a Paladin is surrounded by like-minded characters or not, his approach need not be naysaying and dour. Think of the most engaged religious people you know – those who have truly committed themselves to a pious life. Regardless of the religion they espouse, many of them tend to look upon their calling with a sense of lightness and good humor.
A Paladin with this sort of attitude would use chiding, jokes, allegory, and other means of persuasion to get the rest of the party to see her view of things: "Ah yes, we'll be the talk of the town for our martial prowess if we slay these dangerous goblin babies! It'll be just like the time Rhodegar the Magnificent slew Grak the Evil Dragon!" |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | Stand on the shoulders of giants: find characters you'd like to emulate! Here are some heroes from fiction who show the rest of us what a true paladin looks like.
* From **Paksenarrion**, protagonist of Elizabeth Moon's *The Deed of Paksenarrion*, we see that the path to greatness can be a long and painful one, but this makes the result all the more effective and much more satisfying.
* **O-Chul**, from [*The Order of the Stick*](http://www.giantitp.com/comics/oots0541.html), demonstrates true strength. It's not about intimidating people with your badassery; it's about patience, endurance, and always doing the right thing no matter how much pain life throws at you. Be kind, be strong, never give up, and wait for your moment. Your reward will come.
* **Holger Carlsen**, from *Three Hearts and Three Lions*, is an example of a paladin who uses his brains. His story also demonstrates the principle of "right makes might"--both its pitfalls and its advantages.
* **Michael Carpenter**, from The Dresden Files, is a modern-day paladin and the father of a loving family. Being partnered with Dresden, he's a particularly good example of a paladin working with people who do not share his ideals. There's a lot of reading to do here, and Carpenter is only a secondary character, but I highly recommend the series because of how deeply Dresden sacrifices for his friends and his ideals (which are different from Carpenter's, but still very much worthwhile). And the novels are tremendously fun reading on their own. | A paladin is a champion of good. Not every party wants one of those.
====================================================================
Paladins are men and women of action. Lecturing others and giving sermons is not in their job description; instead, they lead by example. Remember that your fellow party members have not sworn to your code, and you are not responsible for their actions.
That said, paladins hate to stand back and watch evil proceed unopposed, so they sometimes find themselves in the role of "party conscience". And if the majority of your fellow players are using the game's fantasy to pillage and burn, the party might not *want* a conscience.
Paladins should be forgiving of others' faults, but there comes a point at which they must ask themselves "Why am I adventuring with these people?" Rather than try and force the relationship to work, you should talk to your fellow players and ask if they want someone so strongly Good-aligned in the party. If the answer is "no", the paladin-like thing to do is to put their fun above your own, write your paladin out of the story, and play a character without such strong opinions on that topic. |
18,947 | **What are some tips for/examples of an epitome-of-good type paladin who does not disrupt the 'sinful' fun of the rest of the group?**
As an example of the type of paladin I'm talking about, one of the first and only 3.5 books I bought was the *Book of Exalted Deeds*, and I've used it as guide for how I play good characters ever since.
As an example for those who've never read Exalted Deeds, I once played a Paladin who refused to kill any humanoid, and would actively defend defeated allies from other party members on the grounds that no one in the group was a judge, and thus could not render a death sentence. This did not go over well with the group, who quickly became tired of needing to haul around enemies to the nearest court, not to mention dealing with the occasional escape attempt on the baddies' part. I felt I was playing the character as was appropriate, and the GM agreed with me on that fact. However, the group quickly deteriorated, as players began to grow bored of listening to my paladin preach at their characters to be better people.
I enjoy playing this type of character. However, not everyone enjoys playing with that type of character. So, how do I balance it so that *I'm still playing my paladin characters the way I like them to be portrayed, without disrupting everyone else's fun*? | 2012/11/23 | [
"https://rpg.stackexchange.com/questions/18947",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/5793/"
] | Paladins seem to be consistently characterized as downers because so many adventuring parties have wandered far afield from good behavior. In a party of truly good characters, the Paladin won't stick out so much.
Regardless of whether a Paladin is surrounded by like-minded characters or not, his approach need not be naysaying and dour. Think of the most engaged religious people you know – those who have truly committed themselves to a pious life. Regardless of the religion they espouse, many of them tend to look upon their calling with a sense of lightness and good humor.
A Paladin with this sort of attitude would use chiding, jokes, allegory, and other means of persuasion to get the rest of the party to see her view of things: "Ah yes, we'll be the talk of the town for our martial prowess if we slay these dangerous goblin babies! It'll be just like the time Rhodegar the Magnificent slew Grak the Evil Dragon!" | Who says you aren't a judge?
A paladin in a pseudo-medieval society is basically a knight, except devoted to a god over a king. Pick a god (Or make one up) who is clearly lawful good\* but can fit with your party. Doublecheck with the DM that, in the religious scripture of your order, you do have authority to do what you need.
In the midst of a battle with a bandit group, before the battle is fully joined, have your character offer the bandits the chance to surrender and repent, warning them of your authority and intent to use force if necessary. This doesn't have to be long- "Halt! By the word of Pelor, surrender or I will defend this caravan!" is probably about reasonable. They probably won't surrender, obviously, but then you can fight them without worrying about an alignment change. Think of yourself as a member of the police- If someone's shooting at you, you're allowed to shoot back.
Play with what your religion allows. A cleric I once played worshiped the god of Ale, Adventure and the Mountains. He was jovial, fun loving, prone to practical jokes or puns, and the first one into almost every fight. He also performed the rites of the dead on anything humanoid we killed after the fight, and fought hardest to defend civilians caught in the crossfires of our battles, going so far as to research a Mass Shield Other for use on nameless NPCs that were in the area. When we found out we had been tricked into working for the bad guy, he had to wrestle with what was most important- being a good person, or doing what he'd promised. (This also let me make it clear to other players that I was okay whichever way the party decided, while still being able to argue my character's point of view.) When the rogue got in trouble over old gambling debts, I helped him out- all the while grousing good naturally.
Think about what exactly you like about this kind of character. If it's a holier than thou attitude and telling off other players for their ill behavior, you have a problem we can't really help with. But for me, I love playing a wise man who is full of good advice for the party, and being a stalwart defender of the innocent. Make a list of commandments your god has given you, check them with the DM, then follow those commandments as best you can. Things like "Never kill a foe who has surrendered" or "Forgive those who sin against you" are good, as are "Never use a bow, as it's cowardly" or "Booze is good. Sobriety is boring." "Never kill people" or "Do not tolerate those who steal" are not good, because they conflict with either the expectations of the game or could conflict totally with the party. Think about which commandments are most important- Maybe it's okay to kill someone who has surrendered if it's the only way to save an innocent life. Maybe it's okay to use edged weapons if it's cheaper to do something else.
The most important thing to think about is that you are both lawful *and* good. Don't be afraid to break the law if it's the good thing to do. Don't be afraid to get your hands dirty if that's what the law requires. In a perfect world, you are both at all times, but I doubt you're playing in a perfect world.
And if your DM thinks that bending even slightly from the rigid path of law and the perfect path of light causes you to lose your class levels, find a new DM. |
75,699 | What kind of storage configuration would you recommend for a small Exchange server deployment supporting about 50 users? Probably won't grow past 75 users in 3 years. Majority will be "medium" users, with a few "heavy" users and BlackBerry clients.
So far, everything that I've read suggests keeping the Exchange database and the transaction logs on separate physical drives, and keeping both of those off of the system drive. It also says to put the transaction logs on something fast, like a Raid 1+0 array. Considering that all the data needs to be protected, it looks like this would be an optimal setup:
System drive - 2 small drives in RAID 1
Exchange database - 2 big drives in RAID 1
Transaction logs - 4 fast drives in RAID 1+0
However, using 8 drives for a tiny Exchange server seems like incredible overkill. Where would it be safe to cut back? | 2009/10/18 | [
"https://serverfault.com/questions/75699",
"https://serverfault.com",
"https://serverfault.com/users/23300/"
] | Even with heavy users and a lot of headroom you are not going to see much more than 2 IOPS per user and you will probably never even break 1 IOPS per user if it's a small environment like this [See [this Technet article](http://technet.microsoft.com/en-us/library/bb125019(EXCHG.65).aspx). Even taking a fairly conservative number of 80 IOPS per drive (assuming you opt for large 7200rpm SATA drives for the data) and factoring in the double IOPS overhead for write IO, you should still be fine with lumping all the Exchange data and logs onto a two drive RAID1 pack. If you have the option and want to isolate the logs, then by all means go ahead but you are never going to stress a half decent 2-drive RAID-1 set up with the sort of IO that your Exchange environment is going to generate even at 75 users. | I'd say the first place to cut back would be not using striping for the t-logs. On such a small server you really don't need striping-backed performance there.
You could also consider not putting the logs on a separate storage, but the first thing I'd cut would be the two extra drives for striping and just run two drives in RAID 1 for the t-logs. |
75,699 | What kind of storage configuration would you recommend for a small Exchange server deployment supporting about 50 users? Probably won't grow past 75 users in 3 years. Majority will be "medium" users, with a few "heavy" users and BlackBerry clients.
So far, everything that I've read suggests keeping the Exchange database and the transaction logs on separate physical drives, and keeping both of those off of the system drive. It also says to put the transaction logs on something fast, like a Raid 1+0 array. Considering that all the data needs to be protected, it looks like this would be an optimal setup:
System drive - 2 small drives in RAID 1
Exchange database - 2 big drives in RAID 1
Transaction logs - 4 fast drives in RAID 1+0
However, using 8 drives for a tiny Exchange server seems like incredible overkill. Where would it be safe to cut back? | 2009/10/18 | [
"https://serverfault.com/questions/75699",
"https://serverfault.com",
"https://serverfault.com/users/23300/"
] | Even with heavy users and a lot of headroom you are not going to see much more than 2 IOPS per user and you will probably never even break 1 IOPS per user if it's a small environment like this [See [this Technet article](http://technet.microsoft.com/en-us/library/bb125019(EXCHG.65).aspx). Even taking a fairly conservative number of 80 IOPS per drive (assuming you opt for large 7200rpm SATA drives for the data) and factoring in the double IOPS overhead for write IO, you should still be fine with lumping all the Exchange data and logs onto a two drive RAID1 pack. If you have the option and want to isolate the logs, then by all means go ahead but you are never going to stress a half decent 2-drive RAID-1 set up with the sort of IO that your Exchange environment is going to generate even at 75 users. | How much traffic will each user generate? This is quite an important factor to take into account. How much storage per user? How much growth a day?
Whatever you do, don't cut down on RAID. Use ***at least*** RAID 1 for each volume. A crashed server because of a single disk failure is definitely something you don't want.
Also, there's a really good reason to physically separate databases from transaction logs: disaster recovery. It's really, really bad to have them on the same volume, because you risk losing both at the same time. If you by chance lose your database, you want to have you transaction logs ready, otherwise the most you can do is restore your last full backup (which may be from some days before the crash).
Summary: RAID 1 for the O.S., RAID 1 for transaction logs, RAID 1, 5 or 10 (depending on your storage needs) for database(s). |
75,699 | What kind of storage configuration would you recommend for a small Exchange server deployment supporting about 50 users? Probably won't grow past 75 users in 3 years. Majority will be "medium" users, with a few "heavy" users and BlackBerry clients.
So far, everything that I've read suggests keeping the Exchange database and the transaction logs on separate physical drives, and keeping both of those off of the system drive. It also says to put the transaction logs on something fast, like a Raid 1+0 array. Considering that all the data needs to be protected, it looks like this would be an optimal setup:
System drive - 2 small drives in RAID 1
Exchange database - 2 big drives in RAID 1
Transaction logs - 4 fast drives in RAID 1+0
However, using 8 drives for a tiny Exchange server seems like incredible overkill. Where would it be safe to cut back? | 2009/10/18 | [
"https://serverfault.com/questions/75699",
"https://serverfault.com",
"https://serverfault.com/users/23300/"
] | Even with heavy users and a lot of headroom you are not going to see much more than 2 IOPS per user and you will probably never even break 1 IOPS per user if it's a small environment like this [See [this Technet article](http://technet.microsoft.com/en-us/library/bb125019(EXCHG.65).aspx). Even taking a fairly conservative number of 80 IOPS per drive (assuming you opt for large 7200rpm SATA drives for the data) and factoring in the double IOPS overhead for write IO, you should still be fine with lumping all the Exchange data and logs onto a two drive RAID1 pack. If you have the option and want to isolate the logs, then by all means go ahead but you are never going to stress a half decent 2-drive RAID-1 set up with the sort of IO that your Exchange environment is going to generate even at 75 users. | With the small number of users you have, I don't think you should be going *too* far down the route of optimizing storage. Bottom line is, unless you do something *completely* daft, the storage subsystem is *not* going to be a bottleneck. So take some basic common sense recommendations and don't worry overly much about it. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | From day one.
In my experience in Germany, proofs are taken seriously from day one, or even before that. We had a voluntary prep course before the first semester that was half a repetition of calculus (which is a part of the high school curriculum here) and half an introduction to proofs.
And the very first homework assignments in analysis and linear algebra already included some simple proofs as well. | At my school, UIUC (<https://illinois.edu/>), we have a dedicated proofs course for CS majors (CS 173: Discrete Mathematics) and a dedicated proofs course for math majors (Math 347: Fundamental Mathematics). CS majors will typically take CS 173 in the first or second semester of their first year, and Math majors will take Math 347 before the end of their second year, as it required or highly recommended for almost all math classes after Calc 3. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | This answer is meant to supplement [Daniel R. Collins' answer](https://matheducators.stackexchange.com/a/18496/8571), which is excellent—my goal is to draw a little more distinction between the "levels" of education and training in the US.
### Short Answer
In the United States, "proofs based" courses (and formal proofs in general) are typically regarded as topics in "higher mathematics", and are taught to mathematics majors (rather than a more general audience). Undergraduates in the US typically don't specialize into a major until their third year of college. Thus most US undergraduates never take course in mathematical proof, and mathematics majors typically don't see such topics until their third year.
### Academia in the US
Eduction in the United States is roughly broken into three levels:
1. **Primary and secondary eduction**, which consists of grade school (Kindergarten to 5th or 6th grade; ages 5 to 11–12), middle school (or junior high; grades 5–6 through 9–10; ages 11–12 to 14–15), and high school (grades 9–10 through 12; ages 14 to 18 or so). The following descriptions are based on (1) my experience as a public school student in three states as a child, (2) the experiences of my siblings in two other states, and (3) my training as a classroom instructor in Nevada (in particular, I have probably spent more time reading and learning the Common Core than most folk, though I would imagine that there are folk *here* more knowledgable than I—I welcome their comments). Thus it is anecdotal, but (I think) broad enough to make some general statements.
* In grade school, students are taught by in a single classroom by a single teacher throughout most of the day, with (perhaps) excursions to other classrooms for specialized instruction in art, must, PE, technology, and so on. Instruction at this level is *very* general—with respect to mathematics, it is mostly basic arithmetic, plus related "life skills" like how to count currency, tell time, and use a ruler.
* In middle school, students start to take classes from more than one instructor—they will often have a "homeroom" class, where organization and directed studying take place, but will move as a cohort from one classroom to another, where they receive specialized instruction in mathematics, social studies (history, civics, etc), science, language, and so on. At this stage of instruction, students might be exposed to some very minimal mathematical reasoning, but it is typically informal. The emphasis is on rote memorization and algorithms.
I'll note for clarity that not every middle school has the same structure; indeed, the structure of middle schools is quite variable. The common theme is that these institutions are transitional places where students go from being children in grade school to being young adults (teenagers...) in more rigorous high schools.
* In high school, students start to have some choice in the classes which they take, and when they take them. Typically, math, language, science, and social studies classes are compulsory every term, but students take 6–8 classes every term, and there is quite a bit of flexibility in how those extra classes are filled out. There are also generally multiple "tracks" which can be taken. In short, there is some specialization which takes place in high school.
It used to be that students were first introduced to proofs (in the style of Euclid, via the study of geometry) in the 10th or 11th grade (15–17 years old). My experience of these classes is that they are very scripted and algorithmic—students learn how to write "[two column proofs](https://en.wikibooks.org/wiki/Geometry/Proof#Two-Column_Proof)". My impression is that the [integrated math](https://en.wikipedia.org/wiki/Integrated_mathematics) approach has gained significant traction in the US. This approach downplays mathematical proof, though doesn't completely eliminate it.
In any event, American students very rarely see very much in the way of mathematical reasoning before they graduate from high school. American high schools are *very* general—there is very little specialization in high school. Beyond a handful of students who take Advanced Placement or "dual-enrollment" classes, most students take essentially same curriculum, and there is very little "tracking" (e.g. there are not really "college tracks" and "vocational tracks" in US schools, which *I think* is different from much of how the rest of the world operates—my understanding is that, for example, European students often start to specialize into academic topics as early as age 16).
2. **Tertiary education** (or post-secondary education, or post-high school education), which consists of college-level studies through the completion of a bachelor's degree. I think that a lot of the confusion about the American education system is related to the transition from high school to college. As noted above, high school is very general, so the first two years of college are generally devoted to more general studies which are part of a classical liberal education. There are typically two tracks:
* Many students spend their first two years of post-secondary education at "community" or "junior" colleges. These institutions teach general education classes, which are often taught by folk with masters degrees who are not required to conduct research. Community colleges generally offer only 2 year [associate's degrees](https://en.wikipedia.org/wiki/Associate_degree), which are not terribly specialized, and are seen as preparation for work, i.e. the majority of community college attendees obtain a degree and enter the workforce (and leave academia). However, a significant number to transfer to bachelor's granting institutions.
* The other track is to matriculate at a bachelor's granting institution right out of high school. The first two years of study at such an institution are typically very similar to what a community college offers, but the classes tend to be larger, and taught either by PhD'd faculty, or graduate teaching assistants.Whether students start at a bachelor's granting institution or not, the first two years of post-secondary education tend to be fairly general. These "lower division" classes are meant to give students a broad foundation of knowledge, and to help them determine a course of specialization.
After a student's second year of post-secondary education, they are expected to declare a major. That is, they are expected to pick a field in which they will specialize. In most majors, there is a major change in the type and style of courses offered at the "lower division" (which are taught to non- and potential-major) and at the "upper division" (which are taught primarily to majors). For example, lower division courses in anthropology tend to focus very broadly on the four fields (cultural, linguistics, physical, and archaeology), whereas upper division classes will be more specialized (people's and cultures of southeast Asia; archaeology of the Puebloan southwest, etc).
In mathematics, the transition is marked by a change from "cookbook" classes (e.g. introductory calculus) to "proofs based" classes (e.g. introduction to analysis). It is common in American institutions to offer some kind of course which is meant to offer a transition to higher mathematics as part of this advancement from lower- to upper-division classes, though the nature of this transition is far from uniform.
* At my bachelor's institution, the first proofs based course that many students took was undergraduate real analysis (limits, continuity, elementary metric topology, differentiation, and integration from a more formal point of view). This class was mostly attended by students in their third year (calculus and differential equations were prerequisites). This class had a very high fail rate (as it amounted to tossing novice students into the mathematical deep end), so the institution eventually started offering a specific transitional class which focused on proof techniques and logic as applied to set theory (the class essentially followed the skeleton of Halmos' book *Naive Set Theory*, though I think that some other text was used).
* At my PhD institution, there was also a transitional class, called "discrete mathmatics", which is offered (typically) at the end of a student's second year of post secondary education. The class is meant to teach the basics of proof via combinatorics, modular arithmetic, and naive set theory, and is a "recommended" prerequisite for all upper division mathematics classes. My impression is that this is not an uncommon approach.In any event, mathematics majors (i.e. those students who have declared that they will pursue a bachelor's level specialization in mathematics) and minors (i.e. those students who are specializing in something other than mathematics, but are taking on a secondary specialization in math) are typically first exposed to "formal" proofs in the transition from lower- to upper-division coursework, which roughly corresponds to the end of their second year of college, or the beginning of their third year.
3. **Post-graduate education**, which consists of masters and doctoral level training. My feeling is that an American masters or doctoral degree (particularly in mathematics) is quite similar to a masters or doctorate awarded by a European (or other) institution. As I don't think there is much difference, and as post-graduate students are expected to know how to read and write a proof from their first day, I'll stop here. | I think, in the US, it is the norm for classes focusing on proofs to be nominally at the 3rd-year level. This is because the third year of college is generally the first year that students have committed to their academic specialty.
More advanced students can still take those classes in the first or second year. This may end up being the norm for students expecting to go on to an advanced degree. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | At my school, UIUC (<https://illinois.edu/>), we have a dedicated proofs course for CS majors (CS 173: Discrete Mathematics) and a dedicated proofs course for math majors (Math 347: Fundamental Mathematics). CS majors will typically take CS 173 in the first or second semester of their first year, and Math majors will take Math 347 before the end of their second year, as it required or highly recommended for almost all math classes after Calc 3. | I think, in the US, it is the norm for classes focusing on proofs to be nominally at the 3rd-year level. This is because the third year of college is generally the first year that students have committed to their academic specialty.
More advanced students can still take those classes in the first or second year. This may end up being the norm for students expecting to go on to an advanced degree. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | In my experience (U.S.), that's on the boundary between 2nd and 3rd year -- either the end of sophomore year or the start of junior year.
Two years ago I did a survey of Associate in Science (2-year) Mathematics degree programs. It's not common to have a dedicated only-proofs course, but I think many use a Discrete Mathematics course as a vehicle where proof-writing is taken seriously for the first time, and one of the core focus points of the course (I could be biased, but that's how it's used at my institution, following the Rosen text; previously Ross/Wright with similar themes). About half (6 of 12) of the programs I looked at have either a Discrete Mathematics or dedicated Introduction to Proofs course.
That also matches my own undergraduate experience, where the Introduction to Proofs course was again taken either sophomore or junior year. | At my school, UIUC (<https://illinois.edu/>), we have a dedicated proofs course for CS majors (CS 173: Discrete Mathematics) and a dedicated proofs course for math majors (Math 347: Fundamental Mathematics). CS majors will typically take CS 173 in the first or second semester of their first year, and Math majors will take Math 347 before the end of their second year, as it required or highly recommended for almost all math classes after Calc 3. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | In the UK, students usually learn proofs in the first year of a mathematics degree. My experience is similar to Sumyrda's answer.
They also gain some exposure to proof techniques before university in A-Level Mathematics and Further Mathematics, which include proof by contradiction, trig proofs, elementary algebraic proof and proof by induction. | I think, in the US, it is the norm for classes focusing on proofs to be nominally at the 3rd-year level. This is because the third year of college is generally the first year that students have committed to their academic specialty.
More advanced students can still take those classes in the first or second year. This may end up being the norm for students expecting to go on to an advanced degree. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | In my experience (U.S.), that's on the boundary between 2nd and 3rd year -- either the end of sophomore year or the start of junior year.
Two years ago I did a survey of Associate in Science (2-year) Mathematics degree programs. It's not common to have a dedicated only-proofs course, but I think many use a Discrete Mathematics course as a vehicle where proof-writing is taken seriously for the first time, and one of the core focus points of the course (I could be biased, but that's how it's used at my institution, following the Rosen text; previously Ross/Wright with similar themes). About half (6 of 12) of the programs I looked at have either a Discrete Mathematics or dedicated Introduction to Proofs course.
That also matches my own undergraduate experience, where the Introduction to Proofs course was again taken either sophomore or junior year. | Naval Academy has their proofs class spring of sophomore year. It is required for either applied math or pure math.
<https://www.usna.edu/MathDept/_files/documents/majorMatrices/SMA.pdf>
<https://www.usna.edu/MathDept/_files/documents/majorMatrices/SMP.pdf>
They have it before linear algebra. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | From day one.
In my experience in Germany, proofs are taken seriously from day one, or even before that. We had a voluntary prep course before the first semester that was half a repetition of calculus (which is a part of the high school curriculum here) and half an introduction to proofs.
And the very first homework assignments in analysis and linear algebra already included some simple proofs as well. | I'm in Scotland and did rigorous proofs in the first year of my degree (Physics) as I sat the full first year maths syllabus. Although, in the final year of high school we were introduced to some simple proofs such as sqrt(2) irrational, and had discussed logic and different proof methods such as contradiction and proof by induction. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | At my school, UIUC (<https://illinois.edu/>), we have a dedicated proofs course for CS majors (CS 173: Discrete Mathematics) and a dedicated proofs course for math majors (Math 347: Fundamental Mathematics). CS majors will typically take CS 173 in the first or second semester of their first year, and Math majors will take Math 347 before the end of their second year, as it required or highly recommended for almost all math classes after Calc 3. | Yes.from the first day we learned proofs.
But i dunno which approach i correct.
We had a course called fundementals of mathematics which introduced us to mathematical proof and college level math. Also in every course including calculus we used to study proofs for every theorem.
But it was frustrating and hard for us as freshmen and led to disappointment for some students. I guess it's better to have a lighter program which teaches how to THINK right instead of introducing students to a lot of proofs.then u can teach them what you think suits best for them. |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | This answer is meant to supplement [Daniel R. Collins' answer](https://matheducators.stackexchange.com/a/18496/8571), which is excellent—my goal is to draw a little more distinction between the "levels" of education and training in the US.
### Short Answer
In the United States, "proofs based" courses (and formal proofs in general) are typically regarded as topics in "higher mathematics", and are taught to mathematics majors (rather than a more general audience). Undergraduates in the US typically don't specialize into a major until their third year of college. Thus most US undergraduates never take course in mathematical proof, and mathematics majors typically don't see such topics until their third year.
### Academia in the US
Eduction in the United States is roughly broken into three levels:
1. **Primary and secondary eduction**, which consists of grade school (Kindergarten to 5th or 6th grade; ages 5 to 11–12), middle school (or junior high; grades 5–6 through 9–10; ages 11–12 to 14–15), and high school (grades 9–10 through 12; ages 14 to 18 or so). The following descriptions are based on (1) my experience as a public school student in three states as a child, (2) the experiences of my siblings in two other states, and (3) my training as a classroom instructor in Nevada (in particular, I have probably spent more time reading and learning the Common Core than most folk, though I would imagine that there are folk *here* more knowledgable than I—I welcome their comments). Thus it is anecdotal, but (I think) broad enough to make some general statements.
* In grade school, students are taught by in a single classroom by a single teacher throughout most of the day, with (perhaps) excursions to other classrooms for specialized instruction in art, must, PE, technology, and so on. Instruction at this level is *very* general—with respect to mathematics, it is mostly basic arithmetic, plus related "life skills" like how to count currency, tell time, and use a ruler.
* In middle school, students start to take classes from more than one instructor—they will often have a "homeroom" class, where organization and directed studying take place, but will move as a cohort from one classroom to another, where they receive specialized instruction in mathematics, social studies (history, civics, etc), science, language, and so on. At this stage of instruction, students might be exposed to some very minimal mathematical reasoning, but it is typically informal. The emphasis is on rote memorization and algorithms.
I'll note for clarity that not every middle school has the same structure; indeed, the structure of middle schools is quite variable. The common theme is that these institutions are transitional places where students go from being children in grade school to being young adults (teenagers...) in more rigorous high schools.
* In high school, students start to have some choice in the classes which they take, and when they take them. Typically, math, language, science, and social studies classes are compulsory every term, but students take 6–8 classes every term, and there is quite a bit of flexibility in how those extra classes are filled out. There are also generally multiple "tracks" which can be taken. In short, there is some specialization which takes place in high school.
It used to be that students were first introduced to proofs (in the style of Euclid, via the study of geometry) in the 10th or 11th grade (15–17 years old). My experience of these classes is that they are very scripted and algorithmic—students learn how to write "[two column proofs](https://en.wikibooks.org/wiki/Geometry/Proof#Two-Column_Proof)". My impression is that the [integrated math](https://en.wikipedia.org/wiki/Integrated_mathematics) approach has gained significant traction in the US. This approach downplays mathematical proof, though doesn't completely eliminate it.
In any event, American students very rarely see very much in the way of mathematical reasoning before they graduate from high school. American high schools are *very* general—there is very little specialization in high school. Beyond a handful of students who take Advanced Placement or "dual-enrollment" classes, most students take essentially same curriculum, and there is very little "tracking" (e.g. there are not really "college tracks" and "vocational tracks" in US schools, which *I think* is different from much of how the rest of the world operates—my understanding is that, for example, European students often start to specialize into academic topics as early as age 16).
2. **Tertiary education** (or post-secondary education, or post-high school education), which consists of college-level studies through the completion of a bachelor's degree. I think that a lot of the confusion about the American education system is related to the transition from high school to college. As noted above, high school is very general, so the first two years of college are generally devoted to more general studies which are part of a classical liberal education. There are typically two tracks:
* Many students spend their first two years of post-secondary education at "community" or "junior" colleges. These institutions teach general education classes, which are often taught by folk with masters degrees who are not required to conduct research. Community colleges generally offer only 2 year [associate's degrees](https://en.wikipedia.org/wiki/Associate_degree), which are not terribly specialized, and are seen as preparation for work, i.e. the majority of community college attendees obtain a degree and enter the workforce (and leave academia). However, a significant number to transfer to bachelor's granting institutions.
* The other track is to matriculate at a bachelor's granting institution right out of high school. The first two years of study at such an institution are typically very similar to what a community college offers, but the classes tend to be larger, and taught either by PhD'd faculty, or graduate teaching assistants.Whether students start at a bachelor's granting institution or not, the first two years of post-secondary education tend to be fairly general. These "lower division" classes are meant to give students a broad foundation of knowledge, and to help them determine a course of specialization.
After a student's second year of post-secondary education, they are expected to declare a major. That is, they are expected to pick a field in which they will specialize. In most majors, there is a major change in the type and style of courses offered at the "lower division" (which are taught to non- and potential-major) and at the "upper division" (which are taught primarily to majors). For example, lower division courses in anthropology tend to focus very broadly on the four fields (cultural, linguistics, physical, and archaeology), whereas upper division classes will be more specialized (people's and cultures of southeast Asia; archaeology of the Puebloan southwest, etc).
In mathematics, the transition is marked by a change from "cookbook" classes (e.g. introductory calculus) to "proofs based" classes (e.g. introduction to analysis). It is common in American institutions to offer some kind of course which is meant to offer a transition to higher mathematics as part of this advancement from lower- to upper-division classes, though the nature of this transition is far from uniform.
* At my bachelor's institution, the first proofs based course that many students took was undergraduate real analysis (limits, continuity, elementary metric topology, differentiation, and integration from a more formal point of view). This class was mostly attended by students in their third year (calculus and differential equations were prerequisites). This class had a very high fail rate (as it amounted to tossing novice students into the mathematical deep end), so the institution eventually started offering a specific transitional class which focused on proof techniques and logic as applied to set theory (the class essentially followed the skeleton of Halmos' book *Naive Set Theory*, though I think that some other text was used).
* At my PhD institution, there was also a transitional class, called "discrete mathmatics", which is offered (typically) at the end of a student's second year of post secondary education. The class is meant to teach the basics of proof via combinatorics, modular arithmetic, and naive set theory, and is a "recommended" prerequisite for all upper division mathematics classes. My impression is that this is not an uncommon approach.In any event, mathematics majors (i.e. those students who have declared that they will pursue a bachelor's level specialization in mathematics) and minors (i.e. those students who are specializing in something other than mathematics, but are taking on a secondary specialization in math) are typically first exposed to "formal" proofs in the transition from lower- to upper-division coursework, which roughly corresponds to the end of their second year of college, or the beginning of their third year.
3. **Post-graduate education**, which consists of masters and doctoral level training. My feeling is that an American masters or doctoral degree (particularly in mathematics) is quite similar to a masters or doctorate awarded by a European (or other) institution. As I don't think there is much difference, and as post-graduate students are expected to know how to read and write a proof from their first day, I'll stop here. | I can only speak to my personal experience, but during my time in Undergrad there was a dedicated proof writing class ("Introduction to Higher Mathematics") that was coded as a 330 course. All courses coded above 330 required 330 as a prerequisite, while everything below it did not. Courses below 330 were Calculus 1, 2, 3; Linear Algebra, and (I believe) Differential Equations -- along with a ton of other options for non-STEM majors. During my time there, I think all of the math majors took 330 after taking Calc 2. Sometimes after Calc 3, or Linear Algebra, or Differential Equations (or in the same semester as these). |
18,494 | I teach in a regional university.
In my department, students take their "proof course" (a course that sole focus on writing proofs) in the *third* or even *fourth* year.
All the courses before that have minimum proof component.
E.g., even linear algebra is taught without requiring students to produce non-trivial proofs.
Is this normal? What are the common practices?
Do students in other universities learn proofs in first or second year? | 2020/06/24 | [
"https://matheducators.stackexchange.com/questions/18494",
"https://matheducators.stackexchange.com",
"https://matheducators.stackexchange.com/users/-1/"
] | In my experience (U.S.), that's on the boundary between 2nd and 3rd year -- either the end of sophomore year or the start of junior year.
Two years ago I did a survey of Associate in Science (2-year) Mathematics degree programs. It's not common to have a dedicated only-proofs course, but I think many use a Discrete Mathematics course as a vehicle where proof-writing is taken seriously for the first time, and one of the core focus points of the course (I could be biased, but that's how it's used at my institution, following the Rosen text; previously Ross/Wright with similar themes). About half (6 of 12) of the programs I looked at have either a Discrete Mathematics or dedicated Introduction to Proofs course.
That also matches my own undergraduate experience, where the Introduction to Proofs course was again taken either sophomore or junior year. | In the UK, students usually learn proofs in the first year of a mathematics degree. My experience is similar to Sumyrda's answer.
They also gain some exposure to proof techniques before university in A-Level Mathematics and Further Mathematics, which include proof by contradiction, trig proofs, elementary algebraic proof and proof by induction. |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | My biggest piece of advice for this is that *acceptable* art [isn't good enough](http://mikamobile.blogspot.com/2011/02/appeal.html) to create a successful game.
That said, if you *can* create something that looks right to an honest 3rd party after hours of fiddling then you're not a hopeless case, you just need practice.
There are three things I suggest you do for practice:
* Find a local art school, if you can, and take a basic drawing class to learn basic techniques
* Practice drawing real scenery and objects **to scale and in full**
+ Try to practice on larger paper (11"x17" or larger), and fill the page
* Find pieces from artists you like and try to replicate them
The more you practice with real scenes, the less time it will take you to create acceptable results. There's no easy way out of this, unfortunately. Furthermore, the more art styles you can absorb, the more stylistic tools you will have to apply to your game.
In terms of specific tools for 2D game art, you can't go wrong with [Adobe Photoshop](http://success.adobe.com/en/na/sem/products/photoshop.html?kw=p&sdid=FISSD&skwcid=TC%7C22182%7Cphotoshop%208%7C%7CS%7Cb%7C7873432938), or [the GIMP](http://www.gimp.org/) if you're on a budget. Generally you can either scan a real-life drawing and work with that as a basis, use a [graphics tablet](http://en.wikipedia.org/wiki/Graphics_tablet) system to draw directly into Photoshop, or a combination of the two. | A great place to start learning is by modifying existing artwork rather than starting from scratch. Find something that's sort of what you want, and modify it to be what you want. |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | You could try starting with **pixel art** by taking some graph paper and never violating the golden rule of "one colour per square." The alternative to using graph paper is a graphics editing application like Adobe Photoshop and it's "zoom" feature.
With practice, you can keep reducing the total number of different colours used and still make really nice images.
I've included two contrasting examples of pixel art below, the first one being a very simple one of some cherries, and the second one being an amazingly complex one (to see it in detail, you may need to right-click on it and choose "Open"). For more examples of pixel art, use Google's Image Search: <http://images.google.com/images?q=%22pixel+art%22>
 | A great place to start learning is by modifying existing artwork rather than starting from scratch. Find something that's sort of what you want, and modify it to be what you want. |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | Programming generally involves thought processes located in the left-hemisphere of the brain that handle logic, linear sequencing, and predictability. Drawing utilizes thought processes dealing with space, patterns (visual or otherwise), shapes, color, etc located in the right.
You probably got some instruction on the thought processes required to create a program. You will probably need some instruction on the the same for creating artwork.
I recommend first [Drawing on the Right Side of the Brain](http://rads.stackoverflow.com/amzn/click/0874774195) by Betty Edwards to learn what the thought processes used by artists are; how they work; and importantly, how they *feels*. If you ever recognize being in the *flow* where your ability to code just continues effortlessly you have a sense of the way thinking can feel. The spatial and coordination thought processes required for drawing are not often used by programmers who develop using typical conventional practices and languages, and you can feel the difference when they're employed.
The second text I recommend is Kimon Nicolaides' [The Natural Way to Draw](http://rads.stackoverflow.com/amzn/click/0395530075). Different drawing techniques, exercises and intents will also help develop your innate ability to draw. And everyone has the ability to draw *well* once they understand how to draw. | A great place to start learning is by modifying existing artwork rather than starting from scratch. Find something that's sort of what you want, and modify it to be what you want. |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | Programming generally involves thought processes located in the left-hemisphere of the brain that handle logic, linear sequencing, and predictability. Drawing utilizes thought processes dealing with space, patterns (visual or otherwise), shapes, color, etc located in the right.
You probably got some instruction on the thought processes required to create a program. You will probably need some instruction on the the same for creating artwork.
I recommend first [Drawing on the Right Side of the Brain](http://rads.stackoverflow.com/amzn/click/0874774195) by Betty Edwards to learn what the thought processes used by artists are; how they work; and importantly, how they *feels*. If you ever recognize being in the *flow* where your ability to code just continues effortlessly you have a sense of the way thinking can feel. The spatial and coordination thought processes required for drawing are not often used by programmers who develop using typical conventional practices and languages, and you can feel the difference when they're employed.
The second text I recommend is Kimon Nicolaides' [The Natural Way to Draw](http://rads.stackoverflow.com/amzn/click/0395530075). Different drawing techniques, exercises and intents will also help develop your innate ability to draw. And everyone has the ability to draw *well* once they understand how to draw. | My biggest piece of advice for this is that *acceptable* art [isn't good enough](http://mikamobile.blogspot.com/2011/02/appeal.html) to create a successful game.
That said, if you *can* create something that looks right to an honest 3rd party after hours of fiddling then you're not a hopeless case, you just need practice.
There are three things I suggest you do for practice:
* Find a local art school, if you can, and take a basic drawing class to learn basic techniques
* Practice drawing real scenery and objects **to scale and in full**
+ Try to practice on larger paper (11"x17" or larger), and fill the page
* Find pieces from artists you like and try to replicate them
The more you practice with real scenes, the less time it will take you to create acceptable results. There's no easy way out of this, unfortunately. Furthermore, the more art styles you can absorb, the more stylistic tools you will have to apply to your game.
In terms of specific tools for 2D game art, you can't go wrong with [Adobe Photoshop](http://success.adobe.com/en/na/sem/products/photoshop.html?kw=p&sdid=FISSD&skwcid=TC%7C22182%7Cphotoshop%208%7C%7CS%7Cb%7C7873432938), or [the GIMP](http://www.gimp.org/) if you're on a budget. Generally you can either scan a real-life drawing and work with that as a basis, use a [graphics tablet](http://en.wikipedia.org/wiki/Graphics_tablet) system to draw directly into Photoshop, or a combination of the two. |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | My biggest piece of advice for this is that *acceptable* art [isn't good enough](http://mikamobile.blogspot.com/2011/02/appeal.html) to create a successful game.
That said, if you *can* create something that looks right to an honest 3rd party after hours of fiddling then you're not a hopeless case, you just need practice.
There are three things I suggest you do for practice:
* Find a local art school, if you can, and take a basic drawing class to learn basic techniques
* Practice drawing real scenery and objects **to scale and in full**
+ Try to practice on larger paper (11"x17" or larger), and fill the page
* Find pieces from artists you like and try to replicate them
The more you practice with real scenes, the less time it will take you to create acceptable results. There's no easy way out of this, unfortunately. Furthermore, the more art styles you can absorb, the more stylistic tools you will have to apply to your game.
In terms of specific tools for 2D game art, you can't go wrong with [Adobe Photoshop](http://success.adobe.com/en/na/sem/products/photoshop.html?kw=p&sdid=FISSD&skwcid=TC%7C22182%7Cphotoshop%208%7C%7CS%7Cb%7C7873432938), or [the GIMP](http://www.gimp.org/) if you're on a budget. Generally you can either scan a real-life drawing and work with that as a basis, use a [graphics tablet](http://en.wikipedia.org/wiki/Graphics_tablet) system to draw directly into Photoshop, or a combination of the two. | **Check out two sources**
<http://ctrlpaint.com/>
<http://www.proko.com/>
The first has a vast video library with great info on digital painting. You will learn the process and the tools.
The second has great info on human anatomy and drawing portraits and figures.
But, the main problem is: **you wont get good enough without unreasonable amouts of tiem and hard work**
If you have a job or university to go to, AND you are making your own games, you already have enough work on your hands. Learning to make art is **hard work** and lots of it. The sites I recommended often tell you that you need to be patient, that you need to draw everyday for 1-2 hours at the minimum, and you will have to work for months for substantial improvement.
Im playing around with varous forms of art as a side hobby, and after a year or so, my work is nowhere near worth putting into a game.
**The problem with learning art**, from a programmers point of view, is that you cant understand it just by reading and seeing it done. If you see some code, have it explained to you, and you can reference it while making your own attempt at the subject, you can get good at it very fast and produce reasonable results quickly. In art, you can intelectually understand the process, but it is not enough to go through it yourself. You have to teach you brain a subconcious understanding of form and lighting, and you have to acquire needed control over what you draw. This can be only done through work work work.
Working in 3D is the same, just harder, because drawing in 2D is almost a prerequisite for 3D work.
And **even if** you could produce a piece of acceptable quality having little training and experience, it wont be worth the time investment. In the time you make the piece you could write code for someone to earn enough cash to hire an artist.
**Learning art is fun, but only if its a goal itself.** You see it as a means of acquiring art for your games, "you're gonna have a bad time". |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | Programming generally involves thought processes located in the left-hemisphere of the brain that handle logic, linear sequencing, and predictability. Drawing utilizes thought processes dealing with space, patterns (visual or otherwise), shapes, color, etc located in the right.
You probably got some instruction on the thought processes required to create a program. You will probably need some instruction on the the same for creating artwork.
I recommend first [Drawing on the Right Side of the Brain](http://rads.stackoverflow.com/amzn/click/0874774195) by Betty Edwards to learn what the thought processes used by artists are; how they work; and importantly, how they *feels*. If you ever recognize being in the *flow* where your ability to code just continues effortlessly you have a sense of the way thinking can feel. The spatial and coordination thought processes required for drawing are not often used by programmers who develop using typical conventional practices and languages, and you can feel the difference when they're employed.
The second text I recommend is Kimon Nicolaides' [The Natural Way to Draw](http://rads.stackoverflow.com/amzn/click/0395530075). Different drawing techniques, exercises and intents will also help develop your innate ability to draw. And everyone has the ability to draw *well* once they understand how to draw. | You could try starting with **pixel art** by taking some graph paper and never violating the golden rule of "one colour per square." The alternative to using graph paper is a graphics editing application like Adobe Photoshop and it's "zoom" feature.
With practice, you can keep reducing the total number of different colours used and still make really nice images.
I've included two contrasting examples of pixel art below, the first one being a very simple one of some cherries, and the second one being an amazingly complex one (to see it in detail, you may need to right-click on it and choose "Open"). For more examples of pixel art, use Google's Image Search: <http://images.google.com/images?q=%22pixel+art%22>
 |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | You could try starting with **pixel art** by taking some graph paper and never violating the golden rule of "one colour per square." The alternative to using graph paper is a graphics editing application like Adobe Photoshop and it's "zoom" feature.
With practice, you can keep reducing the total number of different colours used and still make really nice images.
I've included two contrasting examples of pixel art below, the first one being a very simple one of some cherries, and the second one being an amazingly complex one (to see it in detail, you may need to right-click on it and choose "Open"). For more examples of pixel art, use Google's Image Search: <http://images.google.com/images?q=%22pixel+art%22>
 | **Check out two sources**
<http://ctrlpaint.com/>
<http://www.proko.com/>
The first has a vast video library with great info on digital painting. You will learn the process and the tools.
The second has great info on human anatomy and drawing portraits and figures.
But, the main problem is: **you wont get good enough without unreasonable amouts of tiem and hard work**
If you have a job or university to go to, AND you are making your own games, you already have enough work on your hands. Learning to make art is **hard work** and lots of it. The sites I recommended often tell you that you need to be patient, that you need to draw everyday for 1-2 hours at the minimum, and you will have to work for months for substantial improvement.
Im playing around with varous forms of art as a side hobby, and after a year or so, my work is nowhere near worth putting into a game.
**The problem with learning art**, from a programmers point of view, is that you cant understand it just by reading and seeing it done. If you see some code, have it explained to you, and you can reference it while making your own attempt at the subject, you can get good at it very fast and produce reasonable results quickly. In art, you can intelectually understand the process, but it is not enough to go through it yourself. You have to teach you brain a subconcious understanding of form and lighting, and you have to acquire needed control over what you draw. This can be only done through work work work.
Working in 3D is the same, just harder, because drawing in 2D is almost a prerequisite for 3D work.
And **even if** you could produce a piece of acceptable quality having little training and experience, it wont be worth the time investment. In the time you make the piece you could write code for someone to earn enough cash to hire an artist.
**Learning art is fun, but only if its a goal itself.** You see it as a means of acquiring art for your games, "you're gonna have a bad time". |
14,105 | I'm currently bad at drawing. If I want to create something looking acceptable, it usually takes me hours and hours to fiddle around just to get the basic looks right.
I think that I'm not completely skill-less, I just lack simple drawing techniques..
* Am I a hopeless case?
* Where is a good place to start out in drawing for 2D games? I'd like to be able to create acceptably good backgrounds, terrains / tilemaps, characters and weapons | 2011/06/24 | [
"https://gamedev.stackexchange.com/questions/14105",
"https://gamedev.stackexchange.com",
"https://gamedev.stackexchange.com/users/8226/"
] | Programming generally involves thought processes located in the left-hemisphere of the brain that handle logic, linear sequencing, and predictability. Drawing utilizes thought processes dealing with space, patterns (visual or otherwise), shapes, color, etc located in the right.
You probably got some instruction on the thought processes required to create a program. You will probably need some instruction on the the same for creating artwork.
I recommend first [Drawing on the Right Side of the Brain](http://rads.stackoverflow.com/amzn/click/0874774195) by Betty Edwards to learn what the thought processes used by artists are; how they work; and importantly, how they *feels*. If you ever recognize being in the *flow* where your ability to code just continues effortlessly you have a sense of the way thinking can feel. The spatial and coordination thought processes required for drawing are not often used by programmers who develop using typical conventional practices and languages, and you can feel the difference when they're employed.
The second text I recommend is Kimon Nicolaides' [The Natural Way to Draw](http://rads.stackoverflow.com/amzn/click/0395530075). Different drawing techniques, exercises and intents will also help develop your innate ability to draw. And everyone has the ability to draw *well* once they understand how to draw. | **Check out two sources**
<http://ctrlpaint.com/>
<http://www.proko.com/>
The first has a vast video library with great info on digital painting. You will learn the process and the tools.
The second has great info on human anatomy and drawing portraits and figures.
But, the main problem is: **you wont get good enough without unreasonable amouts of tiem and hard work**
If you have a job or university to go to, AND you are making your own games, you already have enough work on your hands. Learning to make art is **hard work** and lots of it. The sites I recommended often tell you that you need to be patient, that you need to draw everyday for 1-2 hours at the minimum, and you will have to work for months for substantial improvement.
Im playing around with varous forms of art as a side hobby, and after a year or so, my work is nowhere near worth putting into a game.
**The problem with learning art**, from a programmers point of view, is that you cant understand it just by reading and seeing it done. If you see some code, have it explained to you, and you can reference it while making your own attempt at the subject, you can get good at it very fast and produce reasonable results quickly. In art, you can intelectually understand the process, but it is not enough to go through it yourself. You have to teach you brain a subconcious understanding of form and lighting, and you have to acquire needed control over what you draw. This can be only done through work work work.
Working in 3D is the same, just harder, because drawing in 2D is almost a prerequisite for 3D work.
And **even if** you could produce a piece of acceptable quality having little training and experience, it wont be worth the time investment. In the time you make the piece you could write code for someone to earn enough cash to hire an artist.
**Learning art is fun, but only if its a goal itself.** You see it as a means of acquiring art for your games, "you're gonna have a bad time". |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Try [Speakerphone](http://www.audioease.com/Pages/Speakerphone/speakerphone.html) from AudioEase. It will do exactly what you're asking. If that's out of your price range, simply dial-in a high end and low end shelf to taste on your favorite EQ, use a good voiceover preset on your favorite compressor, and you're basically there.
PS: I would not use a lapel mic in the future since you may risk introducing unintended clothing rustle. A standard ADR mic setup is better, really, even if you plan on making it sound futzed in the end. | I worldized through plugins a song to sound like an iphone ring. I used guitar rig and with the right combinations of above mentioned EQ, and distortion, I was really happy with the sound i got. On the other hand, I've been drooling over speakerphone and the Altiverb package for awhile now but the simulations i do with guitar rig have been guiding me pretty well towards the right sound. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | To make dialog sound "old" or junky, you usually can just do as birdhousesound said and roll off everything above probably 12kHz and below 350Hz. That will keep your critical vocal range (4kHz to 9kHz or so) intact and clear. If you still feel it's not junky enough, put a brickwall limiter on the track that's almost always on.
If you're going for a specific example, take a look at it in a spectral analyzer (like Sonic Visualizer) and see what kind of frequencies it's highlighting. You can model your EQ off of that. | I worldized through plugins a song to sound like an iphone ring. I used guitar rig and with the right combinations of above mentioned EQ, and distortion, I was really happy with the sound i got. On the other hand, I've been drooling over speakerphone and the Altiverb package for awhile now but the simulations i do with guitar rig have been guiding me pretty well towards the right sound. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Check out the Cosmonaut Voice plugin. It has some great presets, and I think one gets close to that one. I believe IK Multimedia's T-Racks has a few decent presets for stuff like that as well.
You could just do it manually with a bit of eq, a TON of compression (I'd even venture into multiband compression), and a brickwall limiter. (Probably in the order of Comp --> EQ --> Limiter) This gives you the most flexibility to get exactly the sound you want.
Good luck! Maybe post a demo of what you come up with? | I realise this is an old thread, but just thought I'd throw this out there, as it hadn't been mentioned. Personally, I love McDSP's Futzbox plugin for this sort of thing. Has a lot of great presets and it's also really easy to adjust the settings for whatever you're working on. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Try [Speakerphone](http://www.audioease.com/Pages/Speakerphone/speakerphone.html) from AudioEase. It will do exactly what you're asking. If that's out of your price range, simply dial-in a high end and low end shelf to taste on your favorite EQ, use a good voiceover preset on your favorite compressor, and you're basically there.
PS: I would not use a lapel mic in the future since you may risk introducing unintended clothing rustle. A standard ADR mic setup is better, really, even if you plan on making it sound futzed in the end. | I realise this is an old thread, but just thought I'd throw this out there, as it hadn't been mentioned. Personally, I love McDSP's Futzbox plugin for this sort of thing. Has a lot of great presets and it's also really easy to adjust the settings for whatever you're working on. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Try [Speakerphone](http://www.audioease.com/Pages/Speakerphone/speakerphone.html) from AudioEase. It will do exactly what you're asking. If that's out of your price range, simply dial-in a high end and low end shelf to taste on your favorite EQ, use a good voiceover preset on your favorite compressor, and you're basically there.
PS: I would not use a lapel mic in the future since you may risk introducing unintended clothing rustle. A standard ADR mic setup is better, really, even if you plan on making it sound futzed in the end. | To make dialog sound "old" or junky, you usually can just do as birdhousesound said and roll off everything above probably 12kHz and below 350Hz. That will keep your critical vocal range (4kHz to 9kHz or so) intact and clear. If you still feel it's not junky enough, put a brickwall limiter on the track that's almost always on.
If you're going for a specific example, take a look at it in a spectral analyzer (like Sonic Visualizer) and see what kind of frequencies it's highlighting. You can model your EQ off of that. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | To make dialog sound "old" or junky, you usually can just do as birdhousesound said and roll off everything above probably 12kHz and below 350Hz. That will keep your critical vocal range (4kHz to 9kHz or so) intact and clear. If you still feel it's not junky enough, put a brickwall limiter on the track that's almost always on.
If you're going for a specific example, take a look at it in a spectral analyzer (like Sonic Visualizer) and see what kind of frequencies it's highlighting. You can model your EQ off of that. | I realise this is an old thread, but just thought I'd throw this out there, as it hadn't been mentioned. Personally, I love McDSP's Futzbox plugin for this sort of thing. Has a lot of great presets and it's also really easy to adjust the settings for whatever you're working on. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Try using your favourite distortion plug (I like lo-fi, and SansAmp) set to taste, followed by EQ (6k and 400 cut filters, and then a bump at around 2.5K -adjust to taste). Also there are a fair amount of speaker IRs out there, so use your favourite Convolution Reverb. TLSpace has some great speaker IRs with it... Again, EQ to taste. | I realise this is an old thread, but just thought I'd throw this out there, as it hadn't been mentioned. Personally, I love McDSP's Futzbox plugin for this sort of thing. Has a lot of great presets and it's also really easy to adjust the settings for whatever you're working on. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Check out the Cosmonaut Voice plugin. It has some great presets, and I think one gets close to that one. I believe IK Multimedia's T-Racks has a few decent presets for stuff like that as well.
You could just do it manually with a bit of eq, a TON of compression (I'd even venture into multiband compression), and a brickwall limiter. (Probably in the order of Comp --> EQ --> Limiter) This gives you the most flexibility to get exactly the sound you want.
Good luck! Maybe post a demo of what you come up with? | Try [Speakerphone](http://www.audioease.com/Pages/Speakerphone/speakerphone.html) from AudioEase. It will do exactly what you're asking. If that's out of your price range, simply dial-in a high end and low end shelf to taste on your favorite EQ, use a good voiceover preset on your favorite compressor, and you're basically there.
PS: I would not use a lapel mic in the future since you may risk introducing unintended clothing rustle. A standard ADR mic setup is better, really, even if you plan on making it sound futzed in the end. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Check out the Cosmonaut Voice plugin. It has some great presets, and I think one gets close to that one. I believe IK Multimedia's T-Racks has a few decent presets for stuff like that as well.
You could just do it manually with a bit of eq, a TON of compression (I'd even venture into multiband compression), and a brickwall limiter. (Probably in the order of Comp --> EQ --> Limiter) This gives you the most flexibility to get exactly the sound you want.
Good luck! Maybe post a demo of what you come up with? | To make dialog sound "old" or junky, you usually can just do as birdhousesound said and roll off everything above probably 12kHz and below 350Hz. That will keep your critical vocal range (4kHz to 9kHz or so) intact and clear. If you still feel it's not junky enough, put a brickwall limiter on the track that's almost always on.
If you're going for a specific example, take a look at it in a spectral analyzer (like Sonic Visualizer) and see what kind of frequencies it's highlighting. You can model your EQ off of that. |
892 | I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).
I used a lapel mic as that is what they probably used on set..
Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?
I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..
I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that "TV" sound I wanted.. | 2010/05/06 | [
"https://sound.stackexchange.com/questions/892",
"https://sound.stackexchange.com",
"https://sound.stackexchange.com/users/18160/"
] | Check out the Cosmonaut Voice plugin. It has some great presets, and I think one gets close to that one. I believe IK Multimedia's T-Racks has a few decent presets for stuff like that as well.
You could just do it manually with a bit of eq, a TON of compression (I'd even venture into multiband compression), and a brickwall limiter. (Probably in the order of Comp --> EQ --> Limiter) This gives you the most flexibility to get exactly the sound you want.
Good luck! Maybe post a demo of what you come up with? | I worldized through plugins a song to sound like an iphone ring. I used guitar rig and with the right combinations of above mentioned EQ, and distortion, I was really happy with the sound i got. On the other hand, I've been drooling over speakerphone and the Altiverb package for awhile now but the simulations i do with guitar rig have been guiding me pretty well towards the right sound. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | This actually seems like a nice simple song as a starting point to learning to figure out songs by ear.
* Work out what chord the song "centres around" - I would say it's D major, so let's start by assuming it's in D major.
* Learn the chords that are diatonic to D major (Google *chords diatonic to D major* or just *chords in D major* if you don't know what I mean!)
* Listen through the song, trying to follow the bass note. You might find this easier to do in the 'rockier' section of the song, starting after 0:45 ish. Then relate the bass note to the diatonic chord based on that note - e.g. if you hear G as the bass note, the chord is probably G major.
Those simple rules won't help much with some songs, but with this one, I think they'll get you most of the way there. | >
> I really, really wanna play this song:
> but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and **I'm a complete beginner when it comes to figuring out songs by ear.**
>
>
>
The problem of absolute beginners is that they always have a fixed idea what they want to play and what to learn. And they waste a lot of time for searching the one title without finding it at the end. And in this time they missed to practice from stage and sequence what would have brought a lot of benefit that they wouldn’t finally need to look for the ultimate song.
Do you know that you can look for chords and tabs?
If you like this band “future idiots” why not try to study the available titles till the one you’re looking for will be released or published?
<https://www.ultimate-guitar.com/artist/future_idiots_35837>
>
> I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder. Are there any computer programs I can put it through to figure out the song?
>
>
>
Yes, there are programs like Midi sequencers, but to learn their aplication you would need again so much time that you’d better practice your guitar and piano until the midi file will be uploaded.
My advice:
* tune the guitar (each string) a whole tone lower
* try to accompany the three 8th notes after the first beat: \*ada,\*ada etc on the 2 highest strings (b and e) in the 5 bend, they are all the same.
* try to identify the tone on the beat 1 and
* try to play them together
* practice the same thing on the piano with the right hand
* try to find out the bass line for the left hand
>
> Or if someone could help me figure it out that'd be great too.
>
>
>
Yes, I could. But this would be as I gave you a fish instead of teaching you how fishing. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | This actually seems like a nice simple song as a starting point to learning to figure out songs by ear.
* Work out what chord the song "centres around" - I would say it's D major, so let's start by assuming it's in D major.
* Learn the chords that are diatonic to D major (Google *chords diatonic to D major* or just *chords in D major* if you don't know what I mean!)
* Listen through the song, trying to follow the bass note. You might find this easier to do in the 'rockier' section of the song, starting after 0:45 ish. Then relate the bass note to the diatonic chord based on that note - e.g. if you hear G as the bass note, the chord is probably G major.
Those simple rules won't help much with some songs, but with this one, I think they'll get you most of the way there. | This song is in a different tuning than standard E-A-D-G-B-E.
Tune your guitar to D-A-D-G-A-D tuning.
The beginning is really enjoyable to play. Fret the G string on the 4th fret and pluck the bottom three strings in a 3-2-1-2 string pattern. Play that twice, then move to the 6th fret on the G string and play the same 3-2-1-2 string pattern once. Then take your finger off the G string entirely and again play the 3-2-1-2 pattern, 3 times. Finally, fret the G string on the 2nd fret and play the 3-2-1-2 pattern once more.
That's a good start. Hint: you'll alternate between this picking pattern and a pattern that involves the middle "D" string, played at the 4th fret in a 4-2-1-2 pattern.
I've never heard this song until tonight. Thank you for turning me on to it. I love it. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | This actually seems like a nice simple song as a starting point to learning to figure out songs by ear.
* Work out what chord the song "centres around" - I would say it's D major, so let's start by assuming it's in D major.
* Learn the chords that are diatonic to D major (Google *chords diatonic to D major* or just *chords in D major* if you don't know what I mean!)
* Listen through the song, trying to follow the bass note. You might find this easier to do in the 'rockier' section of the song, starting after 0:45 ish. Then relate the bass note to the diatonic chord based on that note - e.g. if you hear G as the bass note, the chord is probably G major.
Those simple rules won't help much with some songs, but with this one, I think they'll get you most of the way there. | I want to read your question as "How do I figure out this song by ear if I'm a complete beginner" ... but I ***don't want to stay a complete beginner.***
I also read "figure out" as in, understanding at least something. If you read a tab or watch a Synthesia animation and are able to press the buttons that the video instructs you to, that doesn't count as figuring out anything. :)
Start by forgetting about guitar and piano, and the exact picking patterns and voicings used in the song. That's not the song. A song is melody and chords. I assume that the melody is not a problem, you can sing that already. So we'll focus on hearing and playing chords by ear.
Learn how to play the following basic triad chords:
* **D** ("D major") : notes D-F#-A
* **G** ("G major") : notes G-B-D
* **A** ("A major") : notes A-C#-E
* **Bm** ("B minor") : notes B-D-F#
* **Em** ("E minor") : notes E-G-B
Then try to play and sing the song, accompanying yourself using those five chords. Don't care if it doesn't sound exactly like you want. Assume that you're doing an accordion version of the song. No strings, no plink plonk sounds, only chords.
I made a play-by-ear practice video for you. Listen to the chords and play what you hear. It's not exactly the song you want, but it contains things that will be useful when you get there. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | This actually seems like a nice simple song as a starting point to learning to figure out songs by ear.
* Work out what chord the song "centres around" - I would say it's D major, so let's start by assuming it's in D major.
* Learn the chords that are diatonic to D major (Google *chords diatonic to D major* or just *chords in D major* if you don't know what I mean!)
* Listen through the song, trying to follow the bass note. You might find this easier to do in the 'rockier' section of the song, starting after 0:45 ish. Then relate the bass note to the diatonic chord based on that note - e.g. if you hear G as the bass note, the chord is probably G major.
Those simple rules won't help much with some songs, but with this one, I think they'll get you most of the way there. | I think @topomorto has given you to helping hand you need with this specific song.
But, your original question...
>
> How do I figure out this song by ear if I'm a complete beginner?
>
>
>
...should really be...
>
> How do I figure out *songs generally* by ear if I'm a complete beginner?
>
>
>
The difference is between hoping someone at this site will just transcribe the song for you versus getting advice for how you eventually can do it yourself.
If you want to go beyond this one song, you should pursue *ear training*.
There are many resource available for practice including mobile apps that can do *aural testing* - meaning you can sing or play to the app and it will test if you get the right notes.
I understand how you really want *this* song right now, but I hope you will pursue the ear training, because eventually you will encounter *another song with no available sheet music* and a well trained ear will help you figure out the music. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | I want to read your question as "How do I figure out this song by ear if I'm a complete beginner" ... but I ***don't want to stay a complete beginner.***
I also read "figure out" as in, understanding at least something. If you read a tab or watch a Synthesia animation and are able to press the buttons that the video instructs you to, that doesn't count as figuring out anything. :)
Start by forgetting about guitar and piano, and the exact picking patterns and voicings used in the song. That's not the song. A song is melody and chords. I assume that the melody is not a problem, you can sing that already. So we'll focus on hearing and playing chords by ear.
Learn how to play the following basic triad chords:
* **D** ("D major") : notes D-F#-A
* **G** ("G major") : notes G-B-D
* **A** ("A major") : notes A-C#-E
* **Bm** ("B minor") : notes B-D-F#
* **Em** ("E minor") : notes E-G-B
Then try to play and sing the song, accompanying yourself using those five chords. Don't care if it doesn't sound exactly like you want. Assume that you're doing an accordion version of the song. No strings, no plink plonk sounds, only chords.
I made a play-by-ear practice video for you. Listen to the chords and play what you hear. It's not exactly the song you want, but it contains things that will be useful when you get there. | >
> I really, really wanna play this song:
> but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and **I'm a complete beginner when it comes to figuring out songs by ear.**
>
>
>
The problem of absolute beginners is that they always have a fixed idea what they want to play and what to learn. And they waste a lot of time for searching the one title without finding it at the end. And in this time they missed to practice from stage and sequence what would have brought a lot of benefit that they wouldn’t finally need to look for the ultimate song.
Do you know that you can look for chords and tabs?
If you like this band “future idiots” why not try to study the available titles till the one you’re looking for will be released or published?
<https://www.ultimate-guitar.com/artist/future_idiots_35837>
>
> I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder. Are there any computer programs I can put it through to figure out the song?
>
>
>
Yes, there are programs like Midi sequencers, but to learn their aplication you would need again so much time that you’d better practice your guitar and piano until the midi file will be uploaded.
My advice:
* tune the guitar (each string) a whole tone lower
* try to accompany the three 8th notes after the first beat: \*ada,\*ada etc on the 2 highest strings (b and e) in the 5 bend, they are all the same.
* try to identify the tone on the beat 1 and
* try to play them together
* practice the same thing on the piano with the right hand
* try to find out the bass line for the left hand
>
> Or if someone could help me figure it out that'd be great too.
>
>
>
Yes, I could. But this would be as I gave you a fish instead of teaching you how fishing. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | I think @topomorto has given you to helping hand you need with this specific song.
But, your original question...
>
> How do I figure out this song by ear if I'm a complete beginner?
>
>
>
...should really be...
>
> How do I figure out *songs generally* by ear if I'm a complete beginner?
>
>
>
The difference is between hoping someone at this site will just transcribe the song for you versus getting advice for how you eventually can do it yourself.
If you want to go beyond this one song, you should pursue *ear training*.
There are many resource available for practice including mobile apps that can do *aural testing* - meaning you can sing or play to the app and it will test if you get the right notes.
I understand how you really want *this* song right now, but I hope you will pursue the ear training, because eventually you will encounter *another song with no available sheet music* and a well trained ear will help you figure out the music. | >
> I really, really wanna play this song:
> but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and **I'm a complete beginner when it comes to figuring out songs by ear.**
>
>
>
The problem of absolute beginners is that they always have a fixed idea what they want to play and what to learn. And they waste a lot of time for searching the one title without finding it at the end. And in this time they missed to practice from stage and sequence what would have brought a lot of benefit that they wouldn’t finally need to look for the ultimate song.
Do you know that you can look for chords and tabs?
If you like this band “future idiots” why not try to study the available titles till the one you’re looking for will be released or published?
<https://www.ultimate-guitar.com/artist/future_idiots_35837>
>
> I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder. Are there any computer programs I can put it through to figure out the song?
>
>
>
Yes, there are programs like Midi sequencers, but to learn their aplication you would need again so much time that you’d better practice your guitar and piano until the midi file will be uploaded.
My advice:
* tune the guitar (each string) a whole tone lower
* try to accompany the three 8th notes after the first beat: \*ada,\*ada etc on the 2 highest strings (b and e) in the 5 bend, they are all the same.
* try to identify the tone on the beat 1 and
* try to play them together
* practice the same thing on the piano with the right hand
* try to find out the bass line for the left hand
>
> Or if someone could help me figure it out that'd be great too.
>
>
>
Yes, I could. But this would be as I gave you a fish instead of teaching you how fishing. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | I want to read your question as "How do I figure out this song by ear if I'm a complete beginner" ... but I ***don't want to stay a complete beginner.***
I also read "figure out" as in, understanding at least something. If you read a tab or watch a Synthesia animation and are able to press the buttons that the video instructs you to, that doesn't count as figuring out anything. :)
Start by forgetting about guitar and piano, and the exact picking patterns and voicings used in the song. That's not the song. A song is melody and chords. I assume that the melody is not a problem, you can sing that already. So we'll focus on hearing and playing chords by ear.
Learn how to play the following basic triad chords:
* **D** ("D major") : notes D-F#-A
* **G** ("G major") : notes G-B-D
* **A** ("A major") : notes A-C#-E
* **Bm** ("B minor") : notes B-D-F#
* **Em** ("E minor") : notes E-G-B
Then try to play and sing the song, accompanying yourself using those five chords. Don't care if it doesn't sound exactly like you want. Assume that you're doing an accordion version of the song. No strings, no plink plonk sounds, only chords.
I made a play-by-ear practice video for you. Listen to the chords and play what you hear. It's not exactly the song you want, but it contains things that will be useful when you get there. | This song is in a different tuning than standard E-A-D-G-B-E.
Tune your guitar to D-A-D-G-A-D tuning.
The beginning is really enjoyable to play. Fret the G string on the 4th fret and pluck the bottom three strings in a 3-2-1-2 string pattern. Play that twice, then move to the 6th fret on the G string and play the same 3-2-1-2 string pattern once. Then take your finger off the G string entirely and again play the 3-2-1-2 pattern, 3 times. Finally, fret the G string on the 2nd fret and play the 3-2-1-2 pattern once more.
That's a good start. Hint: you'll alternate between this picking pattern and a pattern that involves the middle "D" string, played at the 4th fret in a 4-2-1-2 pattern.
I've never heard this song until tonight. Thank you for turning me on to it. I love it. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | I think @topomorto has given you to helping hand you need with this specific song.
But, your original question...
>
> How do I figure out this song by ear if I'm a complete beginner?
>
>
>
...should really be...
>
> How do I figure out *songs generally* by ear if I'm a complete beginner?
>
>
>
The difference is between hoping someone at this site will just transcribe the song for you versus getting advice for how you eventually can do it yourself.
If you want to go beyond this one song, you should pursue *ear training*.
There are many resource available for practice including mobile apps that can do *aural testing* - meaning you can sing or play to the app and it will test if you get the right notes.
I understand how you really want *this* song right now, but I hope you will pursue the ear training, because eventually you will encounter *another song with no available sheet music* and a well trained ear will help you figure out the music. | This song is in a different tuning than standard E-A-D-G-B-E.
Tune your guitar to D-A-D-G-A-D tuning.
The beginning is really enjoyable to play. Fret the G string on the 4th fret and pluck the bottom three strings in a 3-2-1-2 string pattern. Play that twice, then move to the 6th fret on the G string and play the same 3-2-1-2 string pattern once. Then take your finger off the G string entirely and again play the 3-2-1-2 pattern, 3 times. Finally, fret the G string on the 2nd fret and play the 3-2-1-2 pattern once more.
That's a good start. Hint: you'll alternate between this picking pattern and a pattern that involves the middle "D" string, played at the 4th fret in a 4-2-1-2 pattern.
I've never heard this song until tonight. Thank you for turning me on to it. I love it. |
80,295 | I really, really wanna play this song:
but it's so unknown that I can't find any tutorials to the chord or even what strings are being played, and I'm a complete beginner when it comes to figuring out songs by ear. I'd also like to be able to play it on piano, but I guess learning a guitar-based song on piano is even harder.
Are there any computer programs I can put it through to figure out the song? Or if someone could help me figure it out that'd be great too. | 2019/02/19 | [
"https://music.stackexchange.com/questions/80295",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/57775/"
] | I think @topomorto has given you to helping hand you need with this specific song.
But, your original question...
>
> How do I figure out this song by ear if I'm a complete beginner?
>
>
>
...should really be...
>
> How do I figure out *songs generally* by ear if I'm a complete beginner?
>
>
>
The difference is between hoping someone at this site will just transcribe the song for you versus getting advice for how you eventually can do it yourself.
If you want to go beyond this one song, you should pursue *ear training*.
There are many resource available for practice including mobile apps that can do *aural testing* - meaning you can sing or play to the app and it will test if you get the right notes.
I understand how you really want *this* song right now, but I hope you will pursue the ear training, because eventually you will encounter *another song with no available sheet music* and a well trained ear will help you figure out the music. | I want to read your question as "How do I figure out this song by ear if I'm a complete beginner" ... but I ***don't want to stay a complete beginner.***
I also read "figure out" as in, understanding at least something. If you read a tab or watch a Synthesia animation and are able to press the buttons that the video instructs you to, that doesn't count as figuring out anything. :)
Start by forgetting about guitar and piano, and the exact picking patterns and voicings used in the song. That's not the song. A song is melody and chords. I assume that the melody is not a problem, you can sing that already. So we'll focus on hearing and playing chords by ear.
Learn how to play the following basic triad chords:
* **D** ("D major") : notes D-F#-A
* **G** ("G major") : notes G-B-D
* **A** ("A major") : notes A-C#-E
* **Bm** ("B minor") : notes B-D-F#
* **Em** ("E minor") : notes E-G-B
Then try to play and sing the song, accompanying yourself using those five chords. Don't care if it doesn't sound exactly like you want. Assume that you're doing an accordion version of the song. No strings, no plink plonk sounds, only chords.
I made a play-by-ear practice video for you. Listen to the chords and play what you hear. It's not exactly the song you want, but it contains things that will be useful when you get there. |
32,765 | I bought a bottle of ktc pure coconut oil but as far as I can tell, it is in solid form and not liquid as I sort of expected. How can I use it?
In case anyone has used it, is the oil going to cause the food to impart a coconut flavour?
This is the bottle I have at home:
<http://ecx.images-amazon.com/images/I/31evWfwu6-L._SL500_AA300_.jpg> | 2013/03/17 | [
"https://cooking.stackexchange.com/questions/32765",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/17326/"
] | Coconut oil is a saturated fat, which makes it solid at room temperature. Above room temperature, it behaves exactly like any other oil and has a very high smoke point. You don't need to treat it in any special way.
I personally just use a knife or spoon to dig a little bit out of the container.
Coconut oil is considered to have a neutral flavour (with the exception of some "virgin" coconut oils). It's much weaker than, say, olive oil. You'll most likely not be able to detect any coconut flavour from oil alone - you have to use something like creamed coconut (a common ingredient in satays) for that.
P.S. Although it might appear to be similar to butter or margarine, keep in mind that it is actually a cooking oil, unlike butter which has milk solids that burn, or margarine which is hydrogenated to make it solid. Coconut oil is just *barely* solid and won't always work as a substitute for those other things. | Think of it like butter or shortening -- once you heat it up, it'll melt.
I can't answer as to how much coconut flavor it'll give, as the only time I've used it was when it separates in a can of coconut milk -- I cooked with the coconut fat, then stirred the rest of the can into the curry I was making. |
32,765 | I bought a bottle of ktc pure coconut oil but as far as I can tell, it is in solid form and not liquid as I sort of expected. How can I use it?
In case anyone has used it, is the oil going to cause the food to impart a coconut flavour?
This is the bottle I have at home:
<http://ecx.images-amazon.com/images/I/31evWfwu6-L._SL500_AA300_.jpg> | 2013/03/17 | [
"https://cooking.stackexchange.com/questions/32765",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/17326/"
] | Think of it like butter or shortening -- once you heat it up, it'll melt.
I can't answer as to how much coconut flavor it'll give, as the only time I've used it was when it separates in a can of coconut milk -- I cooked with the coconut fat, then stirred the rest of the can into the curry I was making. | You can put the bottle into boiling water to melt it and decant it into a glass jar to use more easily. The bottles KTC coconut oil comes in are impossible to get it out unless it's liquid.
Here's a long post about [KTC coconut oil](http://veganheath.info/ktc-coconut-oil).. |
32,765 | I bought a bottle of ktc pure coconut oil but as far as I can tell, it is in solid form and not liquid as I sort of expected. How can I use it?
In case anyone has used it, is the oil going to cause the food to impart a coconut flavour?
This is the bottle I have at home:
<http://ecx.images-amazon.com/images/I/31evWfwu6-L._SL500_AA300_.jpg> | 2013/03/17 | [
"https://cooking.stackexchange.com/questions/32765",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/17326/"
] | Coconut oil is a saturated fat, which makes it solid at room temperature. Above room temperature, it behaves exactly like any other oil and has a very high smoke point. You don't need to treat it in any special way.
I personally just use a knife or spoon to dig a little bit out of the container.
Coconut oil is considered to have a neutral flavour (with the exception of some "virgin" coconut oils). It's much weaker than, say, olive oil. You'll most likely not be able to detect any coconut flavour from oil alone - you have to use something like creamed coconut (a common ingredient in satays) for that.
P.S. Although it might appear to be similar to butter or margarine, keep in mind that it is actually a cooking oil, unlike butter which has milk solids that burn, or margarine which is hydrogenated to make it solid. Coconut oil is just *barely* solid and won't always work as a substitute for those other things. | You can put the bottle into boiling water to melt it and decant it into a glass jar to use more easily. The bottles KTC coconut oil comes in are impossible to get it out unless it's liquid.
Here's a long post about [KTC coconut oil](http://veganheath.info/ktc-coconut-oil).. |
7,886 | * If his nose is not growing, he is telling a lie and his nose will grow but then he is telling the truth and it can't happen.
* If his nose is growing, he is telling the truth, so it can't happen.
* If his nose will grow, he will be telling the truth, but his nose grows if he lies so it can't happen.
* If his nose will not grow, he is lying and it will grow but then he would be telling the truth so it can't happen.
What will happen? The universe will explode? | 2013/08/16 | [
"https://philosophy.stackexchange.com/questions/7886",
"https://philosophy.stackexchange.com",
"https://philosophy.stackexchange.com/users/1128/"
] | That looks like a paradox, but it isn't.
The assertion is so vague that it is true even if Pinocchio's nose doesn't grow *immediately*.
Even if he says: "My nose will grow immediately" that's a vague assertion, when does "immediately" start and end as a time lapse?
If he is more specific and states: "My nose will grow in the next five minutes" then the nose can make a suspension of disbelief, if he tells a lie in those five minutes then the nose will grow and the first assertion will be true, if he doesn't then the first assertion will be proved as false and if falsehood is considered as a lie then the nose will grow after the five minutes.
Everything that is false is a lie? That depends on some definitions, but if Pinocchio says something that is false and a mistake then the nose may (or may not) consider that Pinocchio is implicitly stating to be sure about something that he is not sure and actually wrong, hence a lie. That may be a question for Geppetto.
Nothing is true or false until it is.
If Pinocchio succeeds in creating a paradox (either the liar's paradox or some other paradox) then the nose will not react to that. A paradox is something that cannot be true and cannot be false and the nose grows on falsehood, right?
No matter which logic and assumptions ([OWA](http://en.wikipedia.org/wiki/Open_world_assumption) and [CWA](http://en.wikipedia.org/wiki/Closed_world_assumption) for instance) that nose follows, in any logic where there can be paradoxes it is clear that [the middle cannot be excluded](https://en.wikipedia.org/wiki/Law_of_excluded_middle). | your question is the question of is the statement
>
> this statement is false
>
>
>
true or false?
however there are more things to consider now that we are discussing Pinocchio none that i see include the world exploding but here are some facts to consider
1. the ambiguity of my nose will grow as trylks pointed out
2. the fact that this statement must have more context an "if... then my nose will grow" is obviously case-dependent each with a yes/no answer (unless it is "if i say my nose will grow then my nose will grow" - which is the proper paradoxical statement)
3. does his nose grow if he is unaware that he is lying (and if no what about if he is unsure) |
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