Bit of a tangent: Around here, and likely in many other places that were developed before double-digit YDS grades were a thing, 5.9+ is a specific and notorious grade, that is usually closer to 5.11 than 5.9.
Does that explain why many outdoors top-rope and lead climbing routes in the US feel about two grades harder than equivalently graded indoor routes? Specifically east-coast but I've heard the same applies nationally.
Gyms are just a different thing. There a few places where gym grades translate well onto real rock, but they are few and far between, and nowhere with mostly trad routes will translate. Smith Rock for instance probably translates fine. Yosemite does not.
gyms are typically softer to give their clientele a feeling of progress. this makes people feel better and want to come back. if you're stuck at v3 for several months you'd be more likely to give up telling yourself you're not cut out for climbing... at least that's my(and many others') theory behind soft gyms
outdoor climbing is also usually a completely different style. I've found that often outdoor routes have way more focus on leg work. and that find a good hand hold is way more determined by how well you can read the route rather than how good the holds are in practise. Also people making the routes outside are often way better climbers so they often don't have a good pulse on grading the lower grades. Plus adjusting a routes grade based on feedback isn't really a thing because lowering the grade of a route after it has been set is quite the insult to the credibility of the person who made the route.
Counter-counterexample: your algorithm was too naive. The original song was much more interesting:
A sine wave at a single frequency, but with rhythmic volume swells from nearly inaudible to 0dBFS. The slow hopeful crescendos in the opening give way to a more playful bounce in the middle, before building to a frantic ending with nearly nauseating swings.
Pitchfork gave it a 10.0, and called it “Better than the remaster of In The Aeroplane Over The Sea. If our scale allowed, it would have gotten a 12.” What a ride.
The distortion that transformed it was fairly pedestrian: turn it up until it exceeds the dynamic range of the recording medium.
The result was that boring square wave at constant frequency and amplitude. Can you expect an AI to reconstruct this original, given both of our proposed original songs map to the same output?
I’d also argue that the original proposed algorithm is not simple, since it would have to remove the aliased frequency components when converting from the square wave back to a sine.
For the most part the MAC just looks for another signal on the wire (another train on the same section of rail) and when it looks clear, starts transmitting (driving). As you can imagine, there will be cases when 2 MACs start talking at the same time, at which point they detect the collision, wait a random delay and try again. I wouldn’t want to be on that train, I’d prefer plain old serial with hardware flow control
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They are different things, but you can use both to protect you from the rain, and an umbrella does that more efficiently than a toaster. The drawback is that the umbrella doesn't generalize to the broader field of bagel toasting
I just checked since I’ve never heard it played with that Bb7 in bar 4... I’ve got one of the old unlicensed editions and it has the “right” changes, Cm7 / Cm7 / Fm7 / Fm7. Some of the stuff in the legal versions is particularly wonky.
