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Joined 2 years ago
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Cake day: July 6th, 2023

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  • FUCKING DOING OUR JOB AS TRANSPORT MODELLERS AND DOING A FUCKING COST BENEFIT ANALYSIS THAT SHOWS YOU’RE NEVER GOING TO GET FUCKING MODE SHIFT FROM RURAL USERS UNLESS YOU RUN A FUCKING METRO STYLE 10 MINUTELY SERVICE WHICH IS FUCKING UNFEASIBLE WITH THE FUCKING RESOURCES WE HAVE AVAILABLE.

    IN THE FUCKING UK WE HAVE A LARGE NUMBER OF FUCKING ABANDONED RAILWAYS FROM THE PERIOD OF FUCKING COAL MINING THAT WOULDN’T HAVE ANYWHERE NEAR THE FUCKING DEMAND NECESSARY TO JUSTIFY SETTING UP AN EXPENSIVE AS FUCK SIGNALLING SYSTEM TO BRING THEM UP TO MODERN FUCKING SAFETY STANDARDS, ALONGSIDE REPLACING THE FUCKING RAILS, SLEEPERS AND BEDS.

    IF INSTEAD YOU CAN HAVE A FUCKING PUBLICALLY OWNED FLEET OF FUCKING ELECTRIC ‘MINI TRAINS’ THAT PEOPLE COULD USE FOR INFREQUENT BUT NECESSARY TRIPS, THAT COULD REMOVE A FUCKING SIGNIFICANT BARRIER TO MODE SHIFT, WHICH WOULD BE PRETTY FUCKING RAD


  • chumbalumber@lemmy.blahaj.zonetolinuxmemes@lemmy.worldPerpetual Energy
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    1 year ago

    Tbh any turbine likely has the potential to be blocked, if two come along at once, making one become trapped between the turbine blade and the wall.

    For maximal efficiency, I would suggest a spring-loaded ring of rollers inside a solid metal ring, conforming to the shape of passing Linux users. The dynamos would need to be calibrated such that the stiction of passing users is enough to slow their fall to match the current flow rate of entering users (n.b. is this doable? If not may need to use the spring pressure for this) to ensure maximal energy extraction for available user flow.



  • I don’t know quite why you seem to be so hostile to the blues, or anyone that wants to defend the skill of the musicians that play it. If you want to see a skilled blues guitarist doing all the twiddly bits, then I’ll happily point you in the direction of Gary Moore, or blues-adjacent Steve Vai.

    And if you’re a metal fan, then maybe you’ll find Metallica’s respect for Gary Moore persuasive.

    His sound was not over-processed. It was very, very basic. It basically was a guitar, an amp, a fuzz box and his hands. I remember seeing him in Copenhagen in 1984 or 1985. We were recording Master of Puppets. He was playing a Strat, which is known for a clear, somewhat thin sound. But the sound he was getting out of that Strat was so thick and so full and just so raw. This was before you had all these guitar processors that could make the cheapest guitar sound like the most expensive guitar, so I kinda deduced that most of the sound was in his hands.