We Best Love Review

[Eleanor Heidecker]

TheFTb is a workhorse SLR camera with a sturdy metal body, manual focus, manual exposure, shutter speeds ranging from 1 second to 1/1000th of a second, and a combination self-timer and stop down lever. The camera is fully mechanical and everything but its light meter works without a battery, so you can continue taking pictures even if the light meter or battery fails.

I also love Canon FD lenses because they feature intermediate clicks between f-stops. Some lenses from other manufacturers have just one click per f-stop. So if your exposure really wants to be between f4 and f5.6, you have to pick one or the other and hope for the best. With an FD lens, you can click to the intermediate spot and get a more exact exposure.

The counter-argument to the weight complaint is that little heft can be a good thing. The solidity of the Canon FTb may help me avoid blurry images at low shutter speeds. I feel pretty confident shooting at 1/30th or even 1/15th of a second with a standard 50mm lens on an FTb.

My best guess is that my earlier technique of comparing 60 minute blocks of measurements showed more of the natural fluctuation of background radiation throughout the day. When I switched to 10 minute blocks, maybe that fluctuation averaged out better between the lens measurements and the control, and maybe these particular lenses are not radioactive after all. But once again, I emphasize that I am not a scientist and everyone should do their own research and make their own decisions.

Malachi: Fine review. I understand what you mean about Noel Redding's song but there is a certain tradition in rock in which a major group allows one quirky instrumentalist with a non-singer's voice to do one song per album. I always find this charming. Think of Ringo ("Act Naturally," "Yellow Submarine"), Keith ("Happy"), John Entwhistle ("Boris the Spider," "Heaven and Hell"), Pigpen ("Good Morning Little School Girl"), and even Buffalo Springfield's drummer Dewey Martin ("Good Time Boy").

I was in college when the first three Hendrix albums came out. I agree that "Axis" is his best studio album but at the time we had all seen him live. We were dying for a Hendrix album that wasn't just short songs but had him playing the long jams we heard in concert. "Electric Ladyland" was just what the doctor ordered. I'm not sure it stands the test of time but it made a big impact at Harpur College.

I have the AP sacd and agree it sounds great. I've never heard any of the vinyl releases discussed here, so I can't offer any comparisons. I've also only listened to the mono so far. The stereo is gonna have to wait til tomorrow.

But I need to give another listen anyhow. Like Mike I noticed the bass isn't as strong as the last CD version but I hadn't paid attention to the new discs strengths. So far my Grundman mono LP and the 2014 stereo lp are the winners in my system. But the purpose of this new disc is to be played on an SACD player so I will absolutely purchase one soon since this is my favorite Hendrix recording. Also, I'm a huge fan of Reddings She's So Fine on this album and Little Miss Strange on Electric Ladyland. Sure the lyrics are strange and the singing delivery stranger but the tunes rock!

Thanks for the wonderful review Mike!!

I collect the older mono lps and there is a real difference, but when hendrix came out, his music was paned left to right and back , sometimes fast and it was his sound. so what do hendrix lovers like more..the mono mix or the stereo? I would like to know.

thanks!

I adore both as concerns Hendrix. Axis is an amazing mix in mono with great fidelity and punch. Are You Experienced is different. The only mono version of AYE I've heard is the British release. The track listings are different from the US, but it's the sound of the mono that adds a completely different feel to the songs and how I relate to them. Most of AYE was recorded by different engineers IIRC than Eddie Kramer although he probably polished the tracks and re-recorded certain parts and entire songs before it was released. The mono version of AYE captures the raw early freakish power of Jimi and the Experience very well and is probably my favorite Hendrix release.

Though the sonics on the 2013 mono vinyl reissue are good, I much prefer the stereo version. The panning right and left, as well as the image and separation are such a big part of Jimi's sound. I found the mono leaving me unengaged; akin to a chili & cheese omelet without the chili.

So far both Hendrix SACDs I've heard have alignment issues. Are You Experienced is off by 2 or 3 samples and Axis is off by 1 sample on most tracks, but a few are off by two, and If 6 Was 9 is off by 6 samples.

Make others better: Your code review techniques set an example for your colleagues. Effective author practices rub off on your teammates, which makes your job easier when they send code to you.

This advice sounds obvious, but I often see authors treat their reviewers like personal quality assurance technicians. These authors make zero effort to catch their own errors or to design their changelist for reviewability.

Reviews drastically improve when both participants trust each other. Your reviewer puts in more effort when they can count on you to take their feedback seriously. Viewing your reviewer as an obstacle you have to overcome limits the value they offer you.

He was right. I wrote the design document imagining how my teammates would read it, but I failed to consider other readers. There was a broader audience beyond my immediate teammates that included partner teams, mentors, and promotion committees. They should all be able to understand the document as well. Since that discussion, I always think about how to frame my work to explain its context.

If your team is woefully misguided and refuses to invest in continuous integration, automate these checks yourself. Add git pre-commit hooks, linters, and formatters to your development environment to ensure that your code observes proper conventions and preserves intended behavior on each commit.

The author helped me understand the function, but what about the next person who reads it? Should they dive into the change history and read every code review discussion ever? Worse is when the author comes over to my desk to give me an in-person explanation, which both interrupts my focus and ensures that nobody else ever has access to the information.

The best changelists just Do One Thing. The smaller and simpler the change, the easier it is for the reviewer to keep all the context in their head. Decoupling unrelated changes also allows you to parallelize your reviews across teammates, reducing turnaround time for your changes.

Jumbled changelists are a massive insult to your reviewer. Whitespace-only changes are easy to review. Two-line changes are easy to review. Two-line functional changes lost in a sea of whitespace changes are tedious and maddening.

Instead of changing everything at once, can you change the dependencies first and add the new feature in a subsequent changelist? Can you keep the codebase in a sane state if you add half of the feature now and the other half in the next changelist?

I try to interpret all notes as helpful lessons. When a reviewer catches an embarrassing bug in my code, my first instinct is to make excuses. Instead, I catch myself and praise my reviewer for their scrupulousness.

Look for ways to refactor the code, or add comments that make the code more obviously correct. If the confusion stems from obscure language features, rewrite your code using mechanisms that are intelligible to non-experts.

A few months ago, a user contributed a small change to an open-source project I maintain. I gave them feedback within hours, but they promptly disappeared. I checked again a few days later, and there was still no response.

A six-week pause is extreme, but I frequently see long, unnecessary delays among teammates. Someone sends out a changelist for review, receives feedback, then puts it on the back burner for a week because another task distracted them.

As you prepare your next changelist for review, consider the factors you control, and use them to guide the review productively. As you participate in reviews, look for patterns that stall progress or waste effort.

5. For the subjective analyses, all editions were ripped with XLD and played Audirvana Plus. The DAC/Amp combo was a Schiit Yggdrasil/Ragnarok stack. Most critical listening was done on KEF Reference 1 speakers with an SVS SB-1000 subwoofer and a diverse set of headphones, including NAD HP50, Sennheiser/Massdrop HD6XX, Audeze LCD2 Classic, and Focal Clear.

Josh Mound has been an audiophile since age 14, when his father played Spirit's "Natures Way" through his Boston Acoustics floorstanders and told Josh to listen closely. Since then, Josh has listened to lots of music, owned lots of gear, and done lots of book learnin'. He's written about music for publications like Filter and Under the Radar and about politics for publications like New Republic, Jacobin, and Dissent. Josh is currently a postdoctoral fellow at the University of Virginia, where he teaches classes on modern U.S. politics and the history of popular music. He lives in Charlottesville, Virginia, with his wife and two cats.

This probably isn't the place for "requests" but I would love to see you take on King Crimson's "In The Court Of The Crimson King". I've tried so many versions through the years and have never been happy with the sound. The best so far for me is from the 40th Anniversary Edition, although to be honest, probably the most enjoyable was back in my youth listening to the album on whatever turntable was available and everything just sounded amazing. I had no idea about sound quality, just loved the music.

Kate is not for everyone even here in the UK. Barking mad but that is perhaps one of the reasons why many of us over here love her music so much. The remasters are excellent and well worth a listen. Personally Hounds Of Love is not my favourite Kate Bush album but it is very good, it was also great to see her in concert a few years back. I think it would be worth your while listening to more of her albums there is some excellent music, well produced and well mastered - not a combination we get too often.

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