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Joined 3 years ago
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Cake day: June 13th, 2023

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  • DE completely depends on your workflow. The way you do things directly impacts what DEs you’ll like and which ones you won’t.

    I’m with you on KDE: I respect it and it clearly seems to be one of the most feature-rich DEs, but I’ve had trouble actually using it regularly.

    I have been using Cosmic DE for the last 6 months or so. I love it because it seamlessly blends tiled and non-tiled workspaces in an effective way. Part of me really enjoys the simplicity of things like i3, but part of me just wants floating windows. It fully depends on what I’m working on and sometimes just my mood, so for me, the seamless blending in Cosmic has felt perfect.

    But how important is DE? Tbh I think it is the most important part of a setup, because you interact with it more than any other piece of the system.









  • To me, it can be hard to pin down what makes a movie “great” because the criteria change from genre to genre, and much of it is more of a subjective whole than an amalgamation of objective parts.

    But, there is one metric my family uses to decide, unequivocally, if a movie was “bad” or not: if you watched it and it doesn’t lead to conversation, it was a bad movie. That means it didn’t spark any curiosity or need for discussion or even stand out in any way. Minimally, it wasn’t worth thinking about once it was over. I don’t mean short comments like “this effect was neat” or “I liked the part where…”, but substantive discussion of 5+ minutes.

    By extension, movies that lead to discussions must be good, simply because there was “something about it” that spurred discussion. The specifics of that x-factor don’t really matter by this metric.

    One thing I find interesting about this approach is that movies that many agree are objectively bad can lead to discussion if they are also unique or even just uniquely bad. And this approach says such movies are actually good, and I do agree with that.

    The ones that end up consistently bad are big franchise films that are always same-samey, or other low-effort films that are mostly derivative.






  • This is why the debate still exists:

    There is no analog audio format that can rival a 32bit 96KHz PWM recording, and that’s not even the best digital recording available

    Analog audio is not sampled. By definition, it includes more data than any sampled version.

    Now, the benefits of the sampling in terms of reducing format noise or similar are (subjectively) up for debate.

    Totally agree with things sounding better if you introduce noise. I suspect it has to do with sampling, and maybe is not well understood.

    Fun fact: if you add some hisses and pops and a little bit of compression to CD audio before playing it, some people (me included) will say it sounds better.

    Exactly. It is subjective. It’s not about right or wrong.

    I think there are things (like above) where the measurements are misguided. But at the end of the day, even that doesn’t matter.


  • Agreed. Main issue is “better” is subjective and doesn’t always mean the same thing to different people.

    I have dabbled in other tape formats, and one thing stands out to me about the compact cassette (not VHS): most people used them in the car, where conditions were bad for cassette storage. Car cassette players also tended to have poorer quality mechanisms and heads. As a result, many people remember the format being bad, when in fact, it was more about their use case. A quality home cassette deck with a quality cassette (e.g. type II or chrome) stored in the right conditions is capable of extremely good results.

    Not sure if there is something similar with VHS audio, though. Very different format. I just know there is a debate, but it could be entirely bogus.