I've worked on teams using trunk based development before and I ended up being the one having to fix other people's messes, deal with them losing work, and the absolute hell of trying to find where a bug was introduced.

The only people I really want on my team are those that understand Git. And even when there are team members that don't understand Git, I sure do and can pretty easily un-eff any situation someone gets themselves into.

Seriously, Git is actually simple and it should be a fundamental CS class taught at all universities.

One thing about them though is they continue to innovate with new ways to put effects into their locomotives. Other companies have contributed as well, like MTH, ESU LocSound, SoundTrax, Broadway Limited, and others.

Model trains have a pretty loyal following, but the industry continues to narrow year after year.

IMHO all of these companies, but particularly Lionel and MTH missed out big time in the “maker movement” due to their closed, proprietary command and control systems. The patents have expired though, and many people have started to reverse engineer everything about them.

I think they also have completely failed on the marketing aspects of their businesses. Model trains have so many educational opportunities, and pitting this against video games could be a big win for them IMHO. The great thing for programmers and engineering types is it’s low threat to us since there is still a lot of software and hardware that could be built around model train products in the form of control and automation, and maybe even gamification of the operations of a model railroad.

But all of this is coming from a long time model train (and real train) enthusiast who is software engineer by day, so I’m biased.

He had a hand the design of the BassTech 7 servo drive subs as well. Their not being made anymore as I think they went out of business 20 years ago or so. All the reports I've read about those indicated that those subs were a pinnacle of rock concert audio technology and were devastatingly loud, lol.

Once BassTech folded, he worked with an online forum known as the Live Audio Board (LAB) to open source the design and replace the servo based driver with a conventional voice coil and cone driver.

The resultant design became known as the LAB Sub. A friend of mine built 12 of these beasts ~ 45x45x22 inches and let me tell you, they were amazing performers, that you could build yourself for around $500 (at the time).

Mr. Danley truly is a treasure to audio engineering and loudspeaker design.

Wrong, especially today. Modern ADCs use oversampling to push quantization noise into the inaudible range, and then filter it out before decimation to standard PCM.

CDs don't record 0s as pits and 1s as lands. A change from pit to land or land to pit is a one, and no change over a time base is a 0.

Therefore, the recording and tracking performance can be affected by the disc content and processing applied.

However higher bit rates and sample rates are needed for multi track recordings so that during the mixing stage and mastering, the fidelity is preserved when _math_ causes rounding errors and what not. Unless, you are using nondestructive editing.

As for listening to the final product, i.e. store bought CDs and their equivalent MP3 and AAC rips... I can often hear the difference in specific recordings, no matter the bit rate, because the perceptual encoding schemes often butcher certain recordings.

For example, on RUSH's Red Barchetta from Moving Pictures, there is a synth intro that slowly vamps in volume. Every MP3 encoder (that is normally worth it's salt) I've ever tried encoding that with outputs a garbled, distorted, electronic sounding distortion. It clears up immediately once it reaches full volume, but during the crescendo it falls on it's face.

In the early days of digital audio, and before oversampling was possible, the anti aliasing filters were analog circuitry.

It's very difficult to cheaply implement a 20kHz brick wall filter with a 2kHz sideband.

Doing it in 4kHz yielded better results at the cost of slightly faster ADC designs.

I believe this is why 48kHz designs got the foothold in professional audio circles. The analog parts of those designs were WAY better sounding.

Once oversampling became common and affordable, the anti aliasing filters where implemented much more easily in the digital domain.