My solution was to give up on CertBot and use dehydrated instead. This did require me to come up with a script to make the necessary API call to the DNS hosting, which dehydrated will then run as necessary.

I don't currently use Smalltalk, most of my code is now written (and read) in vscode. The means available for showing the context around the code under consideration (splitting and resizing panes, hunting through lists of tabs, scrolling around) feel pretty crude by comparison.

(Can't remember now where I chanced upon this.)

It should probably be given as: dB(A) SPL, or dB SPL (A-weighted).

https://youtube.com/playlist?list=PL0pnlLzhW4c1v-vKUWRWXZBD4...

Of course, you can improve on the rejection of off-axis sound by instead using a microphone with a more specialized polar patten (e.g. a shotgun mic), but then you lose the property of the pattern being steerable merely by signal processing.

Lastly, such an array of dirt cheap pressure sensitive mic capsules with some clever computation behind them strikes me as the sort of thing you could throw Moore's law at, if you could justify the quantity. Whereas, Soundfield mics don't make much sense unless you're working with very precisely machined pressure-gradient capsules.

Still, I get the feeling it'll be a while yet before this technique starts looking viable for audio production work, but it's very interesting.

One interesting detail was that the more rapid startup and cooldown of turbines meant that blade spacing couldn't be as tight as before, reducing efficiency during operation. (The turbine casing has less thermal mass than the rotor, and hence contracts faster during cooldown. The spacing of the blades needs to account for this.)

And, with his intellectual property hat on, he was a regular source of advice to the Squeak community (none of it in an official capacity, he would hasten to add) as they worked through the process of relicensing from the original Squeak License to MIT.

ISO 1600 colour film will have been available at the time, but was probably pretty poor compared to B&W.

What changing the focal length does do is (e.g.) make you stand further back, and that changes the perspective, causing distance compression, etc.

And on top of that, DigitalNativeDance is an outlier. It was (for its day) such a profligate use of ROM that it's not even representative of what a D-50 could do, in general.

Not that this contradicts your main point about GM constraining the choice of sounds.

I discovered the issue was that the plugin does some pretty broad-brush guesswork about which domain in your DNS hosting it should actually populate with the response value. If you own a bunch of similar domain names (as many orgs do), the plugin may guess wrong.

Much happier to be using dehydrated, and I don't regard it as a major impediment that I had to spend 10 minutes hand writing the necessary API call to the DNS provider.