Category Archives: Awesome

Disagree well – Why do you want to believe that?

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To disagree well, it’s essential to approach conversations with epistemic humility—acknowledging that you could be wrong. This mindset opens the door to understanding, not just winning the argument. By asking “Why do you want to believe that?”, you invite the other person to reflect on their beliefs, fostering a deeper dialogue rather than a debate.

Key Points for Disagreeing Well:

  • Start with humility: Recognize your own limits and uncertainties.
    “I see your point, and I could be wrong, but here’s how I see it.”
    “I’m not entirely sure, but I think there’s another way to look at this.”
  • Invite Dialectic Sialogue, not debate: Shift from winning to understanding.
    “I’m interested to hear your thoughts on this. Maybe we’re both missing something.”
  • Listen actively: Engage with the other person’s perspective, not just preparing your rebuttal.
    “That’s a good point. I hadn’t considered that angle before. Here’s how I’m thinking about it…”
  • Stay open to revising your view: Be willing to change your mind if presented with compelling evidence or new insights.
    “You make a solid point. Let me think about that and see if it changes how I view things.”
  • Avoid personal attacks: Focus on ideas, not individuals.
    “I understand your perspective, but I think this approach might have some flaws.”

In any discussion, it’s important to ask “Why are we here together?”—to understand the purpose of the conversation—and “What is our goal?” This helps guide the dialogue toward constructive outcomes. Ultimately, how we get from the purpose to the goal is through humility, active listening, and an openness to growth. By focusing on these principles, we foster meaningful, respectful exchanges that can lead to shared understanding or even change.

Dialectic is more than just a method of argument—it’s a disciplined way of seeking truth through the structured tension between opposing ideas. Whether in philosophy, politics, or everyday conversation, it emphasizes that progress often comes not from avoiding conflict, but from engaging it thoughtfully to reach deeper understanding.

The “Non-Issue” Economy: Why Job Security Lives in the Problem, Not the Solution

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The “Non-Issue” Economy: Why Job Security Lives in the Problem, Not the Solution

In the private sector, if you solve a problem permanently, you’re a hero who just saved the company money. In the world of sprawling government bureaucracy, if you solve a problem permanently, you’ve just made yourself redundant.

This creates a perverse incentive structure where job security is found in the persistence of the problem, leading to a culture that treats “non-issues” as if they were existential crises.

1. The Perverse Incentive of Permanent Management

If a department’s goal is to “eliminate” a hurdle, their ultimate reward is a zero-dollar budget and a pink slip. To avoid this, the objective shifts from solving to managing.

The Solution: A one-time fix that removes a hurdle for the citizen.

The Management: A perpetual process of filing, auditing, and “monitoring” that requires a dedicated staff of twenty.

By keeping the problem on life support, the bureaucrat ensures that the “solution” remains a line item in the next fiscal budget.

2. Manufacturing “Artificial Friction”

When real problems run dry, bureaucracies often manufacture Artificial Friction. This involves taking a “non-issue”—a minor inconvenience or a naturally functioning process—and introducing mandatory complexity.

Red Tape as a Moat: If a process is simple, anyone can do it. If it is wrapped in 400 pages of contradictory regulations, you need a specialized government “facilitator” to navigate it.

Validation through Complication: The more complex a non-issue is made to seem, the more “essential” the employees managing it appear to be.

3. The Failure Loop: Funding the Problem

In most industries, failure results in a loss of contracts. In government, failure is often a growth strategy. If a program fails to solve a “problem,” the leadership rarely admits the program was unnecessary. Instead, they argue that the problem is more “complex and systemic” than previously thought. This leads to:

Increased Headcount: To “better study” the issue.

Expanded Authority: To “tackle the root causes” of the non-issue.

Budget Hikes: Because “current resources were insufficient.”

4. Professional Gatekeeping

By turning simple tasks into “problems” that require specialized government oversight, bureaucrats engage in a form of gatekeeping. They speak a language of acronyms and “compliance” that makes the average person feel incapable of handling the matter themselves. This creates a dependency where the citizen believes they need the bureaucrat, even when the bureaucrat is the one who created the obstacle in the first place.

When a system rewards the existence of a problem rather than its disappearance, the world becomes filled with “non-issues” that never seem to go away. We aren’t paying for progress; we are paying for the careful maintenance of the status quo.

The most dangerous thing for a bloated department isn’t a crisis—it’s a solution.

Rethinking Adult Autism Through Signal Analysis

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Seeing the Whole Spectrum: Rethinking Autism Through Signal Analysis

 

In signal processing, frequencies come in two forms: positive and negative. These represent the direction of oscillation in a wave, and both are essential in forming a complete understanding of a signal. When we perform a Fourier Transform on a real-valued signal, the result is a symmetrical frequency spectrum—negative frequencies are the mirror image of positive ones. Because of this symmetry, analysts often focus only on the positive side, assuming the negative adds no new information. But the full signal only truly makes sense when both sides are considered. Ignoring half the spectrum might simplify the math, but it also filters out part of the story. In many ways, this mirrors how society has understood autism: by focusing only on the “visible” or more disruptive traits, we’ve overlooked the full richness of the spectrum.

The autism spectrum is broad, encompassing a diverse range of traits, experiences, and ways of thinking. Yet, historically, the conversation has focused almost entirely on the challenges—communication difficulties, social struggles, and behaviors deemed “abnormal” by neurotypical standards. These challenges, while real, are only one part of the picture. Like the negative frequencies in a signal, they have dominated the public perception, shaping a narrow, deficit-based narrative around autism. This framing treats difference as dysfunction and complexity as something to be minimized or managed, rather than understood.

What often gets overlooked are the strengths and unique abilities that also reside on the spectrum. Many autistic individuals demonstrate exceptional skills in pattern recognition, deep focus, honesty, creativity, and unconventional problem-solving. These are the “positive frequencies” of autism—traits that can be incredibly valuable, but which society often misses because it has been trained to look for problems rather than potential. Just as an engineer who only studies half the frequency graph misses the full shape and texture of a signal, we miss the full humanity and capability of autistic people when we ignore their strengths.

It’s not that the struggles should be denied or minimized; they are real and deserve support and understanding. But focusing only on the challenges creates an incomplete and often damaging narrative. We need to broaden the lens—to recognize that autism is not just a list of deficits, but a spectrum of human difference that includes resilience, insight, and gifts that may not always be immediately visible. The goal should be to tune into the full signal, not just the parts that are easiest to categorize.

By shifting the way we talk about autism—from a disorder to a spectrum, from a problem to a difference—we create space for inclusion, acceptance, and appreciation. Just as signal processing becomes more powerful when we understand both positive and negative frequencies, our society becomes more compassionate and whole when we learn to see the full range of human neurodiversity. The spectrum is not broken—it’s just been misunderstood.

Production Offsets – Delay is dead, latency is lame

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Production Offset (noun):

The accumulated timing differences within a production process caused by variations in signal transportation time, processing speed, or media transfer over IP networks. These offsets occur when different elements of a production pipeline experience inherent latency due to the nature of their processing paths.

A production offset specifically applies when synchronization between signals is required to maintain a cohesive output.

Examples of Production Offsets:

  • Audio-to-Video Delay: When video encoding and transmission take longer than audio, causing lip-sync issues.

  • Program Audio vs. Video Delay: A mismatch between broadcast-quality audio and video paths, requiring realignment.

  • Media Transfer Delays: Timing mismatches when files, streams, or packets arrive at different times due to network transport latency.

Control Audio vs. Program Audio – Is It a Production Offset?

  • Control Audio (Intercom, IFB, Coordination): Must be as close to real-time as possible to minimize awkward pauses in live communication.

  • Program Audio (Broadcast, Recorded Content): May have additional latency due to processing, mixing, and distribution.

  • Since these serve different functional purposes, their latency differences are generally not considered a production offset unless they must be synchronized for a specific use case (e.g., when coordinating live feeds with talent responses).

Managing Production Offsets Involves:

  • Measuring transport and processing delays across different signal paths.

  • Collating and analyzing timing discrepancies.

  • Applying delay compensation or synchronization techniques.

  • Optimizing network and processing paths to reduce unnecessary latency.

By properly managing production offsets, teams ensure seamless synchronization where required, while also prioritizing real-time communication for control audio.

Example: The team compensated for the production offset between program audio and video while ensuring control audio remained as real-time as possible for smooth coordination.

 

The Redder, The Better 🚦

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The Redder, The Better – A phrase used in audio engineering to describe how an audio signal is often considered optimal when the volume unit (VU) meter or LED peak meter enters the red zone. This indicates a strong signal level, improving the signal-to-noise ratio (SNR) by ensuring the desired audio remains well above the noise floor. In analog systems, slight red-zone peaks can add warmth and presence, while in digital systems, red peaks indicate maximum headroom before potential distortion or clipping. 🚦

 

 

Vigital – definition – Vigital Audio

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Vigital (adj.) – A blend of vintage and digital, referring to obsolete or outdated digital technology that has been revived due to nostalgia, affordability, or unique aesthetic and functional qualities. While not the latest or most advanced, vigital tech holds value for enthusiasts who appreciate its historical significance, distinctive characteristics, or cost-effectiveness compared to modern alternatives.

“That synth is vigital.”
“Vigital consoles are sweet”

“Like the Vigital spx90… what it lacks in depth, it makes up for in brittleness and nastalgia”

Recording studio Survival Guide

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When it comes to recording studios, it’s easy to obsess over gear—the mics, preamps, monitors, and plugins that shape your sound. But while equipment is critical, it’s often the overlooked details that make or break a session. A forgotten cable, an overheated amp, or even a lack of snacks can grind the creative process to a halt. That’s where this Studio Survival Guide comes in. It’s a practical checklist for everything beyond the gear—cleaning supplies, tools, food, and creature comforts—that keeps sessions running smoothly and everyone focused on making great music. Whether you’re a seasoned engineer or a first-time studio owner, this guide ensures you’re prepared for anything, so the session never skips a beat.

Cleaning Supplies

  • Cable ties (for organizing cables)
  • Compressed air cans (for cleaning gear)
  • Contact cleaner/lube (for maintaining electrical contacts)
  • Deodorant (for personal hygiene during long sessions)
  • Dust covers (for protecting equipment not in use)
  • Fingernail clippers (for personal grooming)
  • First aid kit (for emergencies)
  • Javex, mop, broom (for cleaning floors and surfaces)
  • Light bulbs (for replacing burnt-out lights)
  • Microfiber cloths (for cleaning delicate surfaces like screens or instruments)
  • Mouthwash (for freshening breath)
  • Q-tips (for detailed cleaning of gear or instruments)
  • Rubbing alcohol (for cleaning and disinfecting)
  • Sink (for general cleaning and handwashing)
  • Towel per person (for personal use or spills)
  • Washroom Stock  (for personal hygiene and convenience)

Food

  • Apple juice (for hydration or snacks)
  • Aspirin or Tylenol (for headaches or minor pain)
  • Bottle of scotch (for celebratory or relaxing moments)
  • Breath mints (for freshening breath)
  • Candy, fruit, nuts, sodas, bottled water (for snacks and refreshments)
  • Coffee grinder and beans (for fresh coffee preparation)
  • Condiments (for enhancing food)
  • Cough drops (for soothing sore throats)
  • Drugs (medicinal, herbal, recreational) (as appropriate for the session)
  • Glasses (one per person) (for drinks)
  • Lemon juice, coffee (with all the fixings), tea, herbal tea (for beverages)
  • Local restaurant menu book (for ordering takeout)
  • Microwave or toaster oven (for cooking/warming food)
  • Mini freezer (for ice or frozen snacks)
  • Non-alcoholic beverage alternatives (e.g., sparkling water or mocktails)
  • Plates (for serving food)
  • Reusable water bottles (to reduce waste)
  • Silverware (for eating meals)
  • Snacks for dietary restrictions (e.g., gluten-free, vegan options)

Furnishings

  • Ashtrays (if smoking is permitted)
  • Chairs for everyone (for seating during sessions)
  • Coat rack (for storing outerwear)
  • Comfortable seating (e.g., ergonomic chairs for extended sessions)
  • Eating area (tables and chairs) (for meals or breaks)
  • GOBOs/Soundproof curtains (for windows or additional isolation)
  • Humidifier, possibly air cleaner (for maintaining air quality)
  • Mirror (for personal grooming or visual checks)
  • Mood lighting (to set the vibe for creative work)
  • Music stands with clip-on lights (for holding sheet music)
  • Office dividers (used as ISO dividers for sound separation)
  • Portable heater (for maintaining warmth in cooler environments)
  • Rugs, candles, and lights (for creating a comfortable atmosphere)
  • A small fridge or cooler (to keep perishable items fresh)
  • Storage solutions (bins, shelves for cables and accessories)
  • Waste bins and recycling containers (for managing trash and recyclables)

Gear

  • Adapters and patch cables (RCA, XLR, 1/4″) (for connecting various gear)
  • Backup hard drives (for session safety and data backup)
  • Extra vacuum tubes (for tube-based equipment)
  • Ground lift adapters (for troubleshooting hum and grounding issues)
  • Headphone amps/distributors (for multiple users to monitor audio)
  • Power conditioners or surge protectors (to protect equipment from power surges)
  • Snakes (for connecting gear to the patch bay)
  • Splicing tape and edit block (for tape editing and repair)
  • Studio monitor isolation pads (to reduce vibration and improve sound accuracy)
  • Test tone generator (for calibration and troubleshooting)

Instrument supply

  • Guitars

    • Baby powder (cornstarch-based) (for reducing hand friction while playing)
    • Capo (for changing the pitch of the guitar)
    • Extra guitar patch cables (for connecting guitars to amplifiers or pedals)
    • Guitar stands (for safely holding guitars when not in use)
    • Guitar strings (nylon, acoustic, electric, and bass) (for replacements)
    • Picks (for playing)
    • Slide (for slide guitar techniques)
    • Straps (for comfortable guitar playing while standing)

  • Drums

    • Drum dampening gels or rings (for controlling overtones and resonance)
    • Drum key (for tuning drums)
    • Extra drumheads (for replacements during sessions)
    • Extra drumsticks (for replacements or variety in playing styles)
    • Lug lube (for maintaining tension rods and smooth tuning)
    • Metronome or drum machine (for keeping time)
    • Percussion mallets and brushes (for different tonal textures)
    • Various-sized cymbal felts, nylon cymbal sleeves, snare cords, tension rod washers (for maintaining drum hardware)
  • Chromatic tuner (for tuning instruments accurately)
  • Keyboard stand(s) (for securely holding keyboards)
  • Keyboard sustain pedals (for expressive keyboard playing)
  • Violin rosin (for maintaining bow grip if working with string players)

Office Supplies

  • Backup players (for covering absent musicians)
  • Blank CDRs (for storing recordings or sharing sessions)
  • Business cards (for networking opportunities)
  • City map (for navigating the area)
  • Clothespins or clamps (for holding papers or securing cables)
  • Decent restaurants that deliver (menus on hand) (for ordering meals)
  • Debit/credit card terminal (for client payments)
  • Dry-erase board with markers (for tracking or brainstorming)
  • Good restaurant list (for dining recommendations)
  • Good rolodex of numbers (for contacts like clients, vendors, and repair people)
  • Graph paper (for sketching layouts or diagrams)
  • Guitar Player, Bass Player, Modern Drummer (magazine subscriptions) (for inspiration or industry insights)
  • Label maker (for organizing cables, drawers, or gear)
  • Large wall calendar (for scheduling studio time or tracking projects)
  • Manuals for all equipment (for troubleshooting and reference)
  • Music staff paper (for writing out parts/arrangements)
  • Notepad (for jotting down lyrics, cues, or notes)
  • Pens, pencils, highlighters, and Sharpie markers (for writing and marking)
  • Repair people (contact information for equipment repairs)
  • Rental companies (for gear or equipment rentals)
  • Track sheets (for organizing session details)
  • USB drives or external SSDs (for data backup and transfer)
  • Vacuum (for cleaning the studio)
  • Whiteout (for correcting written errors)

Tools

  • Blue masking tape (for marking spots on the floor)
  • Cable tester/DMM (for testing and troubleshooting cables)
  • Console labeling tape (for marking controls or sections on the console)
  • Crimping tool and connectors (for making custom cables)
  • Digital multimeter (for measuring voltage, current, and resistance)
  • Earplugs (for hearing protection during loud sessions)
  • Fire extinguisher (for safety precautions)
  • Flashlight (for working in dimly lit areas)
  • Gaffer tape (for securing cables and other temporary fixes)
  • Heat gun (for shrink-wrapping or repairs)
  • Matches or a lighter (for igniting or emergency use)
  • Miscellaneous portable fans (for ventilation during long sessions)
  • Multi-tool, screwdriver set, socket set, and soldering/wiring tools (for general repairs and maintenance)
  • Portable phone chargers (for clients or band members)
  • Razor blades (for precise cutting tasks)
  • Roomba (for autonomous cleanup)
  • Safety goggles (for soldering or repairs)
  • Sandpaper (for smoothing surfaces or cleaning contacts)
  • Small step ladder (for reaching high shelves or fixing lights)
  • Small vacuum cleaner (for detailed cleaning)
  • Spare fuses (for outboard gear or amplifiers)
  • Stud finder (for securely mounting or hanging gear)
  • Tape (for general use)
  • Tester (RCA, XLR, 1/4 with polarity checker) (for verifying cable connections)
  • Thermal camera (for locating overheating gear)
  • WD-40 and 3-in-1 oil (for lubricating and maintaining equipment)
  • Weather stripping (for sealing gaps to improve sound isolation)

Computerism (noun)

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Computerism (noun): A form of discrimination or bias where individuals are judged, stereotyped, or treated differently based on their choice of computer operating system (e.g., macOS vs. Windows vs. Linux) or browser preference (e.g., Chrome vs. Safari vs. Firefox). This phenomenon often manifests as social stigma, exclusion, or assumptions about a person’s technical skills, personality, or values based on their technology preferences.

For example, a macOS user might be labeled as “trendy but impractical,” while a Linux user could be stereotyped as “overly technical” or “elitist.” Similarly, browser preferences might spark debates or judgments about privacy, efficiency, or mainstream conformity.

“Jason’s blatant computerism was evident when he refused to collaborate with Sarah, simply because she preferred macOS over Windows.

A computerist is someone who engages in or perpetuates discrimination, bias, or stereotyping based on another person’s choice of computer operating system, software, or browser. They may judge or treat others differently because of their tech preferences, often making assumptions about their personality, competence, or values.

For example, a computerist might mock someone for using Internet Explorer, assume all Mac users are creative professionals, or stereotype Linux users as overly technical and antisocial.

In a broader sense, a computerist could also describe someone deeply passionate about computer systems and their associated cultures, though this usage is less common.

“Don’t be such a computerist—just because I use Linux doesn’t mean I think I’m better than everyone else!”

 

 

In memory of Mick Ellis

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In memory of Mick Ellis, whose influence shaped a generation in the media world.

Mick had a huge impact on my life – he was the reason I deviated from Catholic school into the “sinful” path of multimedia. His work on TV Soul Time was a defining moment for me, helping me decide which high school to attend. His media studies program from grade 9 drew me in, and I became one of his mentees, hooked from the start. Mick and I worked countless events together – pep rallies, plays, sock hops – creating hours upon hours of media that built my skills and passion for this field.

Russ Ramsden - Tony Kuzub - Mick Ellis

Russ Ramsden – Tony Kuzub – Mick Ellis

Mick, Russ, and I tackled at least a dozen Gateway plays, and every project we took on was filled with lessons that stuck with me. Mick introduced me to multi-track audio recording, even gifting me a copy of “SAW” so we could push our audio-visual work to new heights. That experience shifted my career, opening my eyes to what was possible in media, and to this day, I wouldn’t be where I am without those early projects.

Mick helped me understand the media landscape – how to tell stories, to motivate, and to wield the art of sound and visuals in ways that captivate audiences. I often reached out just to say hello and to thank him for the countless opportunities, encouragement, and wisdom he provided. Even now, with each new experience, I’m brought back to those days in his classroom.

Mick, you were not only a mentor but a true friend. My thoughts are with his family, friends, and everyone lucky enough to have known him. He will be greatly missed.

It is with broken hearts that we have to say goodbye to our beloved Mick. Our husband, father, friend, grandfather – our rock, Mick. Mick died on August 18 after a short illness from cancer. He loved life and his family beyond measure. Mick is survived by his wife and best friend of 54 years, Lorraine; his children, Erin (Dany), Mike (Kathleen), and Dan; grandchildren, Malcolm and Gillian; brothers, Peter (Maria) and Colin (Susan); sisters-in-law, Linda and Lynne; and 9 nieces and nephews along with their children.

Mick has been an actor, a woodworker, a musician, a consummate fix-it guy and DIY dude, an artist, a media studies pioneer, a beer-maker, a gardener, a student, a teacher, and above all a dad and husband. He had an appreciation for everyday joys, every day. “Oh man, that’s good!” he would exclaim over each evening cup of coffee. If he could creatively salvage something into usefulness the whole day was “great!” Relentlessly positive and gifted with seemingly endless energy, nothing was ever too much trouble for him. He showed his care through action, perpetually willing to lend a helping hand, especially to his (sometimes needy) family.

He was an educator who left a lasting impression on students and colleagues. Many former students from his years teaching at Evan Hardy Collegiate and running audio-visual programs through the Saskatoon School Board have sought him out to reconnect and share the ways he impacted them as a teacher. He truly was a pioneer in his field, creating lasting programs such as Telemedia.

Mick was a dedicated environmental steward, and ingrained the ethos of reduce, re-use, recycle into his children. More recently, he described saving energy as his hobby, and he derived great joy from checking the energy production of his solar panels every day.

We are bereft, but Mick loved life and so we will strive to carry on that tradition, at times through bleary eyes, however working to live with joy in our hearts, one scrap piece of wood re-purposed or quiet morning savouring a good book at a time.

A Celebration of Mick’s life will be held at Glass and Lumber, 432 20th St. W, on Sunday, September 15 from 1-5 p.m., presentation at 2 p.m. Mick had an intense dislike of formal wear, so please wear whatever you’re comfortable in.

Charitable giving was important to Mick, so rather than flowers, if you would like, his family suggests that a tribute donation is a loving way to honour him. Some of his favourite charities included: Doctors Without Borders, Meewasin Valley Authority, and EGadz. (Also, hug your loved ones and unplug your not-in-use appliances.)