Not a Number
В модуле math есть особый объект, который называется NaN (Not a Number).
Эти объекты NaN не уникальны, и даже не равны самим себе, так что вы можете иметь несколько подобных объектов, взятых из нескольких разных источников.
Например можно создать подобный объект, просто передав строку 'nan' во float. Кстати говоря, это значит что вы можете использовать NaN в качестве ключа в словаре (хотя мы и не советуем это делать).
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Что такое дизеринг и зачем он нужен?
Дизеринг — это процесс добавления очень тихого шума при понижении битности аудиофайла, например, с 32 до 24 бит или с 24 до 16 бит. Битность отвечает за количество амплитудных (громкостных) значений в сигнале, то есть это ось Y для фазы (волны) звука.
Понижение битности в теории может привести к появлению артефактов, таких как потрескивание или искажения звука, особенно в тишине или на затухающих элементах микса (например, в хвостах реверберации или сустейнах инструментов). В теории.
Алгоритмы дизеринга:
- Rectangular (RPDF) — простейший алгоритм дизеринга, который равномерно распределяет шум по всему диапазону. Используется в простых случаях, когда требуется минимальная обработка.
- Triangular (TPDF) — более универсальный метод, который является стандартом для большинства лимитеров. Это также используется в рендере Ableton в стандартном режиме дизеринга, так как он эффективно скрывает шум в большинстве случаев.
- Noise Shaping — продвинутый метод, который перемещает добавляемый шум в менее заметные частотные диапазоны. Он используется в профессиональных инструментах, таких как FabFilter Pro-L2, iZotope Ozone и Waves L2, и позволяет достичь более высококачественного результата.
Дизеринг имеет смысл применять при экспорте, когда вы понижаете битность сигнала с 32/24 бит до стандартных 16. Использовать этот процесс несколько раз или на каждом этапе сведения/мастеринга — не нужно, так как это может привести к накоплению шума и ухудшению качества звука. А если битность экспорта вообще не меняется, то дизеринг применять не стоит.
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Три правила аранжировки.
Многие продюсеры электронной музыки сталкиваются с проблемой аранжировки.
Как превратить свой квадрат на 8 тактов в законченную композицию? Если вы из их числа, вот три простых правила, которые помогут завершить трек, даже если вас настиг творческий кризис.
Правило 1: Каждый квадрат (8 тактов) должен быть уникальным!
Не стоит понимать это правило буквально. Нет нужды менять темп, размер или тональность по несколько раз за трек, если это не часть вашей концепции. Речь идет о том, что в готовой композиции не должно быть квадратов, расположенных по принципу "копировать-вставить".
Добавляйте микро-паузы в конце и иногда в начале квадратов. Начинайте дропы с минимальным количеством элементов, чтобы каждый следующий квадрат привносил новые детали. В некоторых жанрах достаточно только кика и баса, чтобы дроп произвел сильное впечатление. Используйте автоматизацию эффектов и параметров синтезаторов (например, cutoff).
Правило 2: У каждого квадрата должен быть вход и выход!
Любую завершенную композицию можно представить как аттракцион для слушателя. Представьте себе американские горки без плавных подъемов и спусков, где все углы по 90 градусов. Согласитесь, не хотелось бы кататься на таких после плотного обеда. Вот так же будет восприниматься трек, если вы не подготовите слушателя к смене элементов или даже квадратов. Для плавных переходов используйте спецэффекты: sweep up, sweep down, райзеры, impacts, sub drop, reverse vocal, перевернутые крэши. Чтобы вход в квадрат не был слишком навязчивым, можно использовать реверберационный хвост от выхода предыдущего квадрата.
Правило 3: Делайте переходы уникальными!
Для обычного слушателя спецэффекты будут заметны только в том случае, если они либо отсутствуют, либо повторяются из квадрата в квадрат. Худшее, что можно сделать — это скопировать один sweep up и вставить его в каждый переход на протяжении всего трека. Проявите креативность и продумайте разные решения для каждого перехода. Если вдохновения не хватает, используйте хотя бы разные семплы спецэффектов.
Примечание.
Сначала сосредоточьтесь на создании разнообразных и интересных переходов без использования спецэффектов. Работайте с автоматизацией, сбивками и паузами, а затем, только после того как эти элементы будут настроены, добавляйте эффекты и саунд-дизайн в виде wav-семплов. Это поможет избежать зависимости от спецэффектов и не даст вам схалтурить.
21 Great Writing Tips by Famous Authors
1. The first draft of everything is shit. -Ernest Hemingway
2. Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass. -David Ogilvy
3. If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy. – Dorothy Parker
4. Notice how many of the Olympic athletes effusively thanked their mothers for their success? “She drove me to my practice at four in the morning,” etc. Writing is not figure skating or skiing. Your mother will not make you a writer. My advice to any young person who wants to write is: leave home. -Paul Theroux
5. I would advise anyone who aspires to a writing career that before developing his talent he would be wise to develop a thick hide. — Harper Lee
6. You can’t wait for inspiration. You have to go after it with a club. ― Jack London
7. Writing a book is a horrible, exhausting struggle, like a long bout with some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. — George Orwell
8. There are three rules for writing a novel. Unfortunately, no one knows what they are. ― W. Somerset Maugham
9. If you don’t have time to read, you don’t have the time — or the tools — to write. Simple as that. – Stephen King
10. Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong. – Neil Gaiman
11. Imagine that you are dying. If you had a terminal disease would you finish this book? Why not? The thing that annoys this 10-weeks-to-live self is the thing that is wrong with the book. So change it. Stop arguing with yourself. Change it. See? Easy. And no one had to die. – Anne Enright
12. If writing seems hard, it’s because it is hard. It’s one of the hardest things people do. – William Zinsser
13. Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college. – Kurt Vonnegut
14. Prose is architecture, not interior decoration. – Ernest Hemingway
15. Write drunk, edit sober. – Ernest Hemingway
16. Get through a draft as quickly as possible. Hard to know the shape of the thing until you have a draft. Literally, when I wrote the last page of my first draft of Lincoln’s Melancholy I thought, Oh, shit, now I get the shape of this. But I had wasted years, literally years, writing and re-writing the first third to first half. The old writer’s rule applies: Have the courage to write badly. – Joshua Wolf Shenk
17. Substitute ‘damn’ every time you’re inclined to write ‘very;’ your editor will delete it and the writing will be just as it should be. – Mark Twain
18. Start telling the stories that only you can tell, because there’ll always be better writers than you and there’ll always be smarter writers than you. There will always be people who are much better at doing this or doing that — but you are the only you. ― Neil Gaiman
19. Consistency is the last refuge of the unimaginative. – Oscar Wilde
20. You must stay drunk on writing so reality cannot destroy you. ― Ray Bradbury
21. Don’t take anyone’s writing advice too seriously. – Lev Grossman
#tips@WritersCafe
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Networkers,
For those who have been playing with GNS3 1.0, a few tips that might make your experience little easier…
%AMDP2_FE-6-EXCESSCOLL:Ethernet0/2 TDR=0, TRC=0
This command annoys you when you start switching. Its basically the same syslogs GNS3 pre 1.0 shot at us saying “invalid duplex/speed”. Unfort the fix isnt as straight forward as we did in the past. I found an article online on how to hide this error.
http://www.routereflector.com/2013/06/hide-the-amdp2_fe-6-excesscoll-error/
logging discriminator EXCESS severity drops 6 msg-body drops inc EXCESSCOLL
logging buffered 50000
logging console discriminator EXCESS
Source:http://www.nycnetworkers.com/gns3/amp2_fe-6-excesscoll-syslog-superputty/
Visuwords (visuwords.com) is an interactive online visual dictionary and thesaurus that maps out words and their relationships in a network diagram. It helps users explore word meanings, synonyms, antonyms, derivations, and other linguistic connections in a visually engaging way.
How It Works
Enter a word in the search bar.
The tool generates a word map where words are connected with lines and color-coded nodes.
Different types of relationships (e.g., synonym, antonym, hypernym, hyponym, derivation, etc.) are represented with distinct colors and styles.Clicking on any word expands the map further.
Example: Searching for "Bright"
If you type "bright" into Visuwords, you'll see a web of connected words such as:
Synonyms: Radiant, brilliant, luminous
Related concepts: Light, intelligence, clever, vivid
Antonyms: Dim, dull
Derived forms: Brightness, brighten
Each of these words will have its own connections, allowing you to keep exploring related terms dynamically.
Use Cases
✅Writers looking for richer vocabulary and inspiration.
✅Students learning new words and their relationships.
✅Poets and lyricists crafting creative expressions.
✅ESL learners understanding word meanings in context.
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Writing an action scene can be challenging, but with the right approach, you can create a dynamic and engaging sequence. Here are some tips to help you write action scenes with ease:
#1. Focus on Pacing
- Keep it Fast-Paced: Action scenes thrive on quick pacing. Use short, punchy sentences to create a sense of urgency.
- Vary Sentence Length: Mix short sentences with slightly longer ones to control the rhythm and keep the reader engaged.
#2. Show, Don’t Tell
- Use Strong Verbs: Instead of saying “he moved quickly,” say “he sprinted” or “he dashed.” Strong verbs convey action without needing extra description.
- Avoid Over-Explaining: Let the action speak for itself. Don’t bog down the scene with too much internal monologue or backstory.
#3. Stay in the Moment
- Keep Focused: Don’t drift into other subplots or characters’ perspectives during the action. Stay with the main character or event.
- Real-Time Action: Describe events as they happen, moment by moment, to keep the reader in the action.
#4. Use Sensory Details
- Engage the Senses: Describe not just what’s happening visually, but also the sounds, smells, and physical sensations.
- Be Selective: Choose details that enhance the intensity, like the crack of a bone or the taste of blood.
#5. Simplify the Scene
- Avoid Over-Complication: Don’t overpopulate your scene with too many characters or elements. Focus on the key players and actions.
- Clarity Over Complexity: Ensure the reader can easily follow what’s happening. Clarity is more important than complex choreography.
#6. Use Dialogue Sparingly
- Keep Dialogue Minimal: In the heat of action, characters don’t have time for long conversations. Keep dialogue brief and to the point.
- Focus on Action, Not Words: Let the physical conflict drive the scene rather than dialogue.
#7. Show Consequences
- Highlight Impact: Show the immediate consequences of actions, whether it’s injury, damage, or emotional reactions.
- Keep it Realistic: Even in fantastical settings, actions should have realistic consequences to maintain believability.
#8. Use Internal Reactions
- Character Reactions: Briefly show how your character feels during the action—fear, anger, determination—to add depth.
- But Keep it Brief: These should be quick flashes of emotion or thought, not long introspections.
#9. End with a Hook
- Cliffhanger or Resolution: End the scene with a punch—either a cliffhanger that keeps the reader turning the page or a resolution that leads into the next chapter.
#10. Revise and Refine
- Edit Ruthlessly: Cut any unnecessary words, phrases, or descriptions that slow down the action.
- Read Aloud: Reading the scene aloud can help you catch awkward phrasing or pacing issues.
By focusing on these elements, you can craft action scenes that are engaging, clear, and compelling.
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10 different approach or style to write about sadness
1. Descriptive Imagery:
The rain tapped against the window, a monotonous, dreary sound. She sat in the dimly lit room, staring at the drops sliding down the glass, feeling as though each one was a tear she could not shed. Her heart felt like a stone, heavy and cold, sinking deeper with every passing moment.
2. Internal Monologue:
He tried to put on a brave face, but inside, everything was crumbling. Every smile felt forced, every word hollow. He was tired of pretending, tired of the charade, but most of all, he was tired of feeling so alone in a room full of people. Was this sadness, or something deeper, darker? He didn’t know anymore.
3. Metaphorical Language:
Sadness was a fog that wrapped around her mind, dulling the edges of everything. It seeped into her thoughts, her bones, her very soul, until all that was left was a muted, aching emptiness. She wandered through life like a ghost, unseen and untouched, trapped in her own private storm.
4. Dialogue:
“Are you okay?”
She nodded, but her eyes told a different story. They were pools of sorrow, reflecting a pain she couldn’t put into words.
“You can talk to me,” he said softly.
“I’m fine,” she whispered, her voice breaking like fragile glass.
5. Symbolism:
The withered rose lay on the table, its once-vibrant petals now a dull brown. She stared at it, feeling a strange kinship with the dying flower. It was a symbol of what she had lost, of all the things that had withered inside her, too.
6. Stream of Consciousness:
It doesn’t stop, this feeling. It’s a weight that presses down on my chest, squeezing my lungs until I can’t breathe. I want to cry, but the tears won’t come. I want to scream, but my voice is gone. I want to be happy, but I don’t remember what that feels like anymore.
7. Contrasting Emotions:
The laughter of the children outside only made the silence in her room feel louder. She used to laugh like that, didn’t she? Or was that someone else, a girl from another life? The memory was distant, like a faded photograph. Now, all she felt was the quiet ache of emptiness.
8. Personification:
Sadness sat beside her, a silent companion, its presence as real as her own. It whispered in her ear, reminding her of all the things she had lost, all the mistakes she had made. She wanted to push it away, but it clung to her like a shadow, always lurking just out of sight.
9. Narrative Reflection:
He remembered the day his father left, the way his mother’s face crumpled as she watched the car drive away. That was the first time he’d felt true sadness, a heavy, suffocating weight that settled in his chest and never quite went away. Even now, years later, he could still feel it, like an old wound that never healed.
10. Vivid Sensory Detail:
The room smelled of stale coffee and cold sweat. The curtains were drawn, casting long shadows that seemed to reach out like hands. She sat on the edge of the bed, her hands clenched in her lap, feeling the prickle of tears that refused to fall. The silence was deafening, pressing against her ears until she could almost hear the sound of her own heart breaking.
These examples showcase different techniques to evoke and convey sadness, from sensory details to metaphor and internal reflection.
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Few recommendations for new writers / poets or even for someone who is already into writing:
1️⃣Focus on Imagery and Senses
Use Vivid Descriptions: Try to paint a picture with your words. Describe how things look, sound, smell, taste, and feel. Strong imagery helps create emotional connections with the reader.
Show, Don’t Tell: Instead of saying "I was sad," describe what sadness looks or feels like for you. This makes your writing more engaging and evocative.
2️⃣ Play with Sound and Rhythm
Read Your Work Aloud: Poetry often has a musical quality. Reading your poems aloud can help you hear the rhythm and flow of your words, making it easier to spot any awkward or uneven lines.
Experiment with Rhyme: While not all poems need to rhyme, playing around with rhyming words can help you explore how sound affects the feel of a poem.
3️⃣At last, edit Thoughtfully
After writing a poem, set it aside for a day or two and then revisit it. Look for places where you can tighten the language, improve the imagery, or enhance the rhythm.
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