AernaLingus

joined 3 years ago
[–] AernaLingus@hexbear.net 13 points 3 days ago

I've never heard anyone call them "munchkins" as a generic term, personally

[–] AernaLingus@hexbear.net 14 points 3 days ago

Don't forget the immortal science of Marxism-Leninism

[–] AernaLingus@hexbear.net 2 points 3 days ago (3 children)

Here's that fanfare that sounded like something from Pokémon Red & Blue—I've made it into a clip where first the MLP fanfare plays, then the bit from Pokémon, then the two overlaid (with the Pokémon one stretched ever so slightly to accommodate for the slightly faster tempo). It's notable that they're even in the same key, so no pitch alteration was required.

https://voca.ro/1gllmTr9ezab

The main difference is that the MLP tune is in 6/8 instead of 4/4, which explains most of the subtle rhythmic differences. Pitch-wise, there is only a single note difference, with the MLP fanfare walking up diatonically (G♯-A-B) while the Pokémon melody jumps down to the tonic and then up a fifth (G♯-E-B).

Also, just to be clear, I'm not implying that there's anything untoward going on--both pieces are evoking that martial quality by emphasizing the strong tonic-to-dominant motion and a using a march rhythm in the snare. When you strip the melody down to its essential notes, it's basically just walking up from the tonic, skipping over the 4th degree. The embellishments added on top of that core are also straightforward, so it wouldn't surprise me if whoever wrote the MLP score came up with it independently. Of course, it's also possible they did the classic composer thing where you think you're writing something original but are actually pulling a lot from memory...but even then, it's such a small snippet that it doesn't matter.

[–] AernaLingus@hexbear.net 6 points 3 days ago

Sounds like a Zork command

[–] AernaLingus@hexbear.net 6 points 4 days ago

That was my first thought, but there would be more trailing woobs, as in

woooooob WOOOOB woooob......wooob woooob

[–] AernaLingus@hexbear.net 6 points 4 days ago

I've gotten back into working on my Japanese vocab and it's so much fun...can't believe I've been putting it off for so long, as is ever the case with anything fulfilling that requires effort (thanks, brain!). I love how kanji make every word into a little puzzle, and how each kanji in turn is a puzzle in and of itself, with rebuses nested in rebuses.

[–] AernaLingus@hexbear.net 7 points 4 days ago

you're nicked m8

I've narrowed you down to living somewhere on the continent of North America

[–] AernaLingus@hexbear.net 9 points 4 days ago

Which makes this even funnier:

On March 18, 2020, a man pleaded guilty to threatening to assassinate the governor of New Mexico, Michelle Lujan Grisham. He cited Clyde as an inspiration for his desired attack.

Come on, dude, have some self respect!

[–] AernaLingus@hexbear.net 10 points 5 days ago

Mega mega THREAD THREAD meow-coffee

[–] AernaLingus@hexbear.net 4 points 5 days ago

I hope this initiative will bear fruit! I was glad to hear that the Japanese Game Preservation Society has secured enough supporters to survive into next year, and maybe this program will provide them additional support. It seems that Japan's copyright laws are even more draconian than the US' in many ways, so it will be hard to effectively preserve works without reform.

 

This song is somehow simultaneously paint-by-numbers generic anisong #136 and a total banger. Been jamming to it ever since the anime started airing and the full versions just dropped today to coincide with the final episode of the anime!

Honestly, paint-by-numbers is a little harsh; I think it sounds like that at first blush since it doesn't do anything particularly innovative—Cry Baby, it's not (there are English subs!)—but it's well-written and blends a lot of typical J-pop tropes in just the right way such that the whole is greater than the sum of its parts. I love that they did a bunch of different versions--the piano one really allows you to appreciate the voice leading, while the acoustic guitar one emphasizes the rhythmic elements. Maybe it's just because it executes something really well that I'm a sucker for: taking the same melody and recontextualizing it by changing the underlying harmony (the first melodic motif in the chorus is repeated three times, and each time it gets different chord changes!). And the hook is such an earworm:

♫ MAGICAL LOVE, BE WITH YOU! ♪

 

Ever since I got introduced to the joys of Minesweeper by Girl_DM_ I've been having a lot of fun playing it as a little timewaster. I'm specifically playing the version from Simon Tatham's lovely Portable Puzzle Collection (more specifically the Android port via F-Droid) which unlike the original Minesweeper does NOT require guessing. Most of the time, I'm well-versed enough in patterns and testing candidate solutions that I'm able to clear a 16x16 board with 99 mines in about 3-5 minutes. But on a fairly regular basis I'll run into situations where I get stuck and it seems like I'd either have to calculate an inordinate amount of possible solutions or just make a random guess, neither of which are appealing. Here's one such example:

with annotations

without annotations

There's probably some cool Minesweeper shorthand I could use to describe the constraints, but what I tried to show with my annotations is how I understand that, for each of the annotated squares, there is a mutually-exclusive binary choice (or in the case of the 3, two choices) for where a mine could be located. Unfortunately, as far as I can tell, while the choices are internally mutually exclusive, it doesn't seem like there's any permutation of those choices that is invalid so I can't eliminate any possibilities. My usual strategy is to fix one choice and see if it results in a contradiction. For instance, if the other mine for the 2 is the upper choice, we can clear the lower square. That means the lower square for the 1 must be a mine, and this still leaves either of the two bottom choices as valid for the 3 (so this is a possible configuration based on these constraints).

The only remaining sections have a lot of freedom which makes them daunting to analyze. Of the remaining unanalyzed squares, from top to bottom they have 2, 2, and 3 mines remaining, respectively, which is quite a lot of options to fully check, and I can only eliminate a few heuristically (e.g. the top 3 must have at least one mine in either the east or southeast space, since otherwise the 4 to the south can't be fulfilled; the 4 must not have the remaining mines all in the east column because otherwise the 2 and 1 can't be fulfilled). I'm sure if I went through them methodically I would eventually arrive at an answer, but that's pretty tedious, so I usually just give up and generate a new board in this kind of situation.

TL;DR: am I missing some neat heuristic(s) that will allow me to either slash the possible solutions to a more manageable number or eliminate individual solutions very quickly, or is this kind of difficult spot just an inevitable outcome for some boards?

 

I like all of Scootertrix's videos, but I found this one to be particularly delightful

 

Uhhh let me play Nier

 

It's always a good day when a new Dolphin progress report drops!

 

Great video which systematically investigates the factors which cause electric guitars to sound different from each other (hint: it's not "tonewood") and manages to do so in an engaging and entertaining way. I think one of the best things about it is that the dude doesn't have terminal redditor brain--rather than wasting time putting down people that believe or perpetuate the myths or gloating about his superb intellect, he just does the experiments and lets the results do the talking.

Jim Lill put out a great video today (Tested: Where Does The Tone Come From In A Microphone?) which I would definitely check out if you enjoy the video I submitted, but it's a little more subtle/niche which is why I chose to lead with the guitar one. My next favorite after the guitar tone video is probably the one on guitar amps--equally good, and perhaps even more surprising.

 

I'm an impossibly out-of-touch boomer and was honestly only vaguely aware of Laufey having seen a few videos of hers on a music transcription YouTube channel I'm subbed to, so I felt pretty stupid for not realizing just how popular she was. Adam Neely does good work, and this is no exception; he does a great job breaking down the components and influences of her music and comparing them with the essential elements of "traditional" jazz. It's a well-organized and carefully thought-out video from an actual jazz musician--not just some hot take artist--and it's also not gatekeeping or denigrating Laufey's music.

Even if you have no interest in either jazz or Laufey, there was one really historical tidbit in there I think Hexbears will appreciate (@7:23-8:09):

Between 1942 and 1944, there were no new instrumental recordings due to a general strike organized by the musicians' union trying to get musicians paid fairly. Imagine that happening today right? No new recordings for the next couple of years until Spotify pays musicians fairly...wow, a boy can dream.

Vocalists were not part of the Union, though, and so could still record; this led to musical innovations. They started singing acapella arrangements and developing an acapella style mimicking the popular big band jazz arrangements of the day: popular jazz big band arrangements which use stuff like these mechanical voicings. Singers mimicked the big band saxophone solis popular at the era and backed up popular up-and-coming stars like Frank Sinatra.

Pretty wild that the distinct style of dense vocal harmonies heard in American WWII-era music was born out of desperation due to a prolonged strike! And impressive that the union had the strength to maintain a two year strike.

Also definitely check out Live from Emmet's Place--can't go wrong with "After You've Gone" featuring Patrick Bartley on alto sax and Bruce Harris on trumpet as a starting place.

 

This is one of my favorite videos of all time, perhaps even surpassing Watch for Rolling Rocks in 0.5x A Presses (although obviously not as iconic). It just perfectly scratches that itch of someone using a combination of technical skill and lateral thinking to complete an absurd video game challenge, all presented by an even-keeled narrator with clear visualizations and a bit of humor sprinkled in. I think I've watched it half a dozen times at this point--it's my "comfort food" for when I'm having trouble sleeping.

Kind of amazing that the very first video the creator has put out is such a banger, not just in terms of content but in terms of production value. He did say that he'd be making another video, so I'll be looking forward to that--tough act to follow, though, not unlike Watch for Rolling Rocks.

Can anyone recommend any channels/videos along the same lines? I've devoured the following:

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