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To all those asking about the 3.5mm jack:
Anything aimed at the education market needs to retain the audio jack, as the alternatives are far too costly for a school.
I’m a classroom music teacher in the UK, and have been doing the job for 26 years. The iPad is something many schools in the UK are beginning to provide to students: if the headphone jack disappears, so will that market for Apple.
- Lightning headphones: still so much more expensive than their 3.5mm counterparts, and students are unlikely to have their own, whereas they will have their own 3.5mm headphones.
- Lightning adaptors: not cheap, breakable, and prone to disappear into student’s pockets.
- Wireless headphones: again, expensive, and more prone to breaking than 3.5mm alternatives.
radarthekat said:First, it wasn’t until Apple showed the way. Par for the course on that one.
Second, sound quality is subjective, but okay, Samsung makes good hardware.
Out of interest, I spent about 10 minutes sampling every 10th of DBK's posts as I was curious to see if you extrapolated into the future at what point DBK's posts in this thread would actually exceed the total number of posts in the thread...
I'm afraid I discovered that he's currently not really quite exceeding the 45 degree angle, but I thought it was rather fun nonetheless:
The article implies that an anechoic chamber and a soundproof room are the same thing - they're not. There's often overlap: anechoic chambers have to be soundproof, but not the other way around.
An anechoic chamber has zero reverberation - that is, any sound is absorbed completely by the walls. A soundproof room can be highly resonant, soundproof just means no sound gets out. Recording studios tend not to be anechoic (although the vocal booth frequently gets close) but they are always soundproof.
To all intents and purposes a wide open space at altitude is anechoic - the sound has nothing to bounce off, so there's no return - but it's definitely not soundproof!
An excellent explanation of the potential problems with this design here: https://youtu.be/8h5hniSM7LQ.poisednoise said:I'm currently booked on a return flight on a 737-8 in July, and I really hope by that point the decision's been made that they all need to be scrapped and start again.
MCAS is a system that’s common on fighter aircraft where unstable designs can lead to greater manoeuvrability: I believe however that it doesn’t have any place on a passenger aircraft, where safety should surely come before any other consideration. If you’re needing to design software just to keep your plane in the air, then hiding its existence from the pilots (it wasn’t mentioned in the original manual apparently) and additonally changing its specs radically after FAA approval, without telling the FAA (they approved a system which could move the tail fin by 0.6 degres maximum, whereas the system as installed can move it by 2.5 degrees) something is seriously wrong.
mpantone said:n2macs said:How did the battery charge last 6 months? The diver must have plugged it in.
The hyperlinked article notes that the diver just turned on the phone (no note about charging it).
Apple's iPhone standby durations are based on ordinary room temperature conditions -- not near-freezing submersion.
This is so poorly written that I can’t even make sense of what happened. Even the first sentence:
isn’t a sentence. There’s no main verb.On Saturday, OpenSea became aware of rumors that smart contracts connected to the non-fungible token (NFT) marketplace.
tyler82 said:It takes a $30,000 Mac Pro to make electronic music? Kind of a waste of hardware. This is a workstation for extremely complex video editing, bitcoin processing, and extremely complex mathematical formulas.
Regardless of the streaming service, be it Apple Music or Spotify, it's a terrible deal for the label and the artist, particularly for the classical artist, as the whole streaming market is predicated on repeat listenings... and you don't necessarily want to listen to Shostakovich's 8th string quartet 4 or 5 times a day. This is why a lot of the classical labels such as Hyperion and Gimmel don't allow their catalogue to be streamed. They get significantly more from a single CD sale than from hundreds of playings.