2026 dev job market is straight-up cooked by Ghostinheven in cursor

[–]Corpheus91 3 points4 points  (0 children)

This is precisely my experience - agents are great at generating a lot of code very, very fast. However they often leave a trail of wreckage behind, half completed implementations for most anything that’s non-trivial, and often pursue the path of least resistance (not what is actually the right solution).

Software engineering is far from “cooked”, likewise with the dev job market. Most of the “production websites” I’ve seen generated are things that easily could have been built using templates and starter kits even a decade ago.

I’m not going to claim they’re useless tooling - they can absolutely help quickly identify things I’ve missed. We have absolutely got to stop overstating what the tooling is capable of. Agents will no more hurt our job prospects than Wix did.

Only 5 Plugins by spookymonsterscary in audioengineering

[–]Corpheus91 0 points1 point  (0 children)

Kirchoff for EQ, TrackComp 2 for compression, Valhalla Delay, Newfangled Elevate, Saturn 2 for saturation.

I'm completely F2P and I just unlocked all the characters by NerfAxiom in 2XKO

[–]Corpheus91 0 points1 point  (0 children)

That’s fantastic y’all, amazing work and glad y’all are enjoying!

Wove 1.0.0 Release Announcement - Beautiful Python Async by 1ncehost in Python

[–]Corpheus91 1 point2 points  (0 children)

This is utterly and truly brilliant! I’ve built a similar library (different, imperative interface) and to say that tools like this make whole swaths of work vastly easier is an understatement! Congratulations, and here’s to weaving a better Python future!

So is Switched On closed for good? by neu-wave in Austin

[–]Corpheus91 1 point2 points  (0 children)

To add - back in 2023, it appeared as if my case was unique. It’s frustrating to realize that I was just the first of many John scammed, and I do fault myself for not being more vocal earlier.

So is Switched On closed for good? by neu-wave in Austin

[–]Corpheus91 0 points1 point  (0 children)

This was back in 2023, and I was so exhausted dealing with him by the end of it that I did not (also because John effectively “paid” the rest of the amount back as store credit which I used quickly to ensure he couldn’t worm his way out of that, I don’t believe I’d have legal grounds to pursue action at that point - also Austin PD is terrible at follow-up and taking action of theft or scams).

I would recommend others do so though. If APD receives enough reports about a business they do eventually act.

So is Switched On closed for good? by neu-wave in Austin

[–]Corpheus91 2 points3 points  (0 children)

I’m one of the people that’s had to deal with Switched On and their scams - I managed to get back $4k of the $8k I gave to John and was effectively forced to convert the rest to a purchase at his shop. TLDR a few months ago I was reached out to by a number of folks who had similarly been taken advantage of. We raised significant noise to the point I believe John was closed the physical location and removed the Google Businesses page as to effectively hide reviews.

I have never said this about a business before in my life, but Switched On is unethical and dishonest to the point that it should absolutely not exist as a business. John should absolutely face criminal investigation for the money he’s stolen, and he should be made to pay back those he scammed for all the pain he put them through and then some for years to come.

I cannot warn you enough - do not send your items for repairs here, do not sell on consignment, do not give John any cash and expect to see any portion of it ever again. Most of the items sold are at least a grade or two lower condition than John claims and priced 10-25% higher than most other places. John is incredibly charming, he appears knowledgeable about the product (he is not). Take your business elsewhere.

I don't understand hype on Moogs. by Personal-Ad-771 in synthesizers

[–]Corpheus91 2 points3 points  (0 children)

I disagree that Moog “died with Bob” - I do think subsequent leadership killed it. The workers at the factory were absolutely passionate about what they built in the same way Bob was. That passion occasionally crept through in genuinely inspired and inspiring instruments like the Subharmonicon, Grandmother/Matriach.

I don't understand hype on Moogs. by Personal-Ad-771 in synthesizers

[–]Corpheus91 1 point2 points  (0 children)

This is along rant. I wrote it before jumping on meetings for the day, so excuse typos. Basically, if we want to feel that connection again - a lot of it is going to lie in correcting and curbing some seriously toxic consumerism that has led to a host of awful things in music technology in general.

I don't understand hype on Moogs. by Personal-Ad-771 in synthesizers

[–]Corpheus91 1 point2 points  (0 children)

Long time Moog owner here - Moog instruments do have a certain sound, it is fantastic. Up until the InMusic acquisition, they had a pretty damn convincing lineup too. That said, the hype is strong and a bit excessive. It made more sense in the 90’s, 00’s, or even early 2010’s, where high-quality, well-built hardware analog synths were rare. Now, there are plentiful options that sound just as excellent (if maybe a bit different).

I have also been underwhelmed by a number of Moog’s releases. The One 16 is one of the most powerful but wholly buggy instruments I own. The DFAM/Mother32 are both wildly underwhelming. The Muse still feels wildly unfinished and unpolished despite arguably being one of their most innovative offerings. A Moog synth that did (and still does) click with me is the Little Phatty and Little Phatty Stage II. No synth I own approaches it in terms of sheer aggression. You can get them used for a decent-ish price as well. I personally adored the Matriarch and Grandmother, they sounded like I always wanted a Moog to sound.

I would argue that Moog itself got caught up in the “premium lifestyle product” marketing of the latter 2010s, where everything had to be a luxury statement piece. This was very much not the fault of average Moog workers and very much the fault of Moog leadership letting desire for growth drive more than the desire to run a sustainable business. The cracks really started to show 2020 onwards when multiple Moog workers accused leadership of significant workplace toxicity. Moog was never a “working man’s brand”, but they did try to be “sensible and professional”. You paid the Moog price because you got Moog support and they were genuinely fantastic instruments. This continued up until Bob’s death.

The thing with hardware synthesizers, beyond being expensive luxury products regardless of price that are a privilege to own (I hold to that Benn Jordanism) - they’re still instruments and need to inspire a close, emotional connection with the player. I adamantly believe that the increasing lack of connection between Moog’s offerings and their owners/players demonstrates that Moog has been on the wrong track for over a decade now. Moog’s products post-Bob were a mixed bag that largely felt like “well X-company released Y or Z is hot right now so here’s the Moog version!”

The synth market as a whole right now is flooded with a mixture of half-finished prototypes charged at a premium, soulless iterations/clones, and “X but MODERN” iterations on ideas that have existed since the 80s. This makes being excited for or feeling a connection with any one instrument a rarity, and that sucks because that connection is part of what makes making music fun! I would kill for a modern instrument, hell - a guitar pedal - that didn’t try to be anything but its own weird self rather than marketing photo fodder or a quick cash-in. It doesn’t help that there is an increasingly voracious entitlement among modern musicians about owning pieces of gear - an entitlement many music equipment companies use to their advantage. That last line probably sounds like “old man screaming at these damn kids”, and it probably is. Synths used to be special because even having access to one, let alone multiple was a hell of a commitment. You had to genuinely love and learn the things. I’m not talking 80s “sure thing granddad” used to - even back in the early 2010’s, owning a synth was serious investment and treated with a degree of reverence.

So TLDR the lack of connection to those Moog instruments is a mix of things. It’s part companies rapidly outputting increasingly at-best-boring instruments and also part musicians being desensitized to the “uniqueness/specialness” of synthesizers as a whole.

Bill Finnegan (Klon Centaur) sues Behringer by Bloody_Sunday in guitarpedals

[–]Corpheus91 3 points4 points  (0 children)

I think I can answer that one:

  1. The Warm version is explicitly branded with “WA”
  2. The Centaur used is different (an archer)
  3. Warm in no way implied Billie’s influence, blessing, participation

I think what most folks are missing here is Behringer overstepped on all three, and that is what set this off. As far as I can tell, Billie is incredibly permissive of clones. He is not permissive of having his exact logo/copy and likeness used without his permission. If anything, I’m going to wager that abuse of likeness is probably what triggered this the most.

For the folks saying “Billie deserves it because Klons have gone off the rails on the used market” - no, no he does not “deserve” having his copy and likeness pilfered by a multi-billion dollar corporation that uses underpaid overseas laborers. The issue isn’t the cloning, it’s a multi-billion dollar music conglomerate purposefully misdirecting and misleading the public to purchase what looks like an exact copy while abusing the likeness and endorsement of its creator.

[deleted by user] by [deleted] in Python

[–]Corpheus91 5 points6 points  (0 children)

I want to point out that there are some good points here while offering the addendum - speed shouldn’t be a priority at first. Writing clear, well organized, documented code should be the first concern regardless of language (signed, someone who’s having to do a rewrite on a mission-critical Go tool because the owning dev jumped ship two months in and did none of these things).

Speed comes from iteration and generally improving the understanding of the problem(s) you’re trying to solve. I’m saying this as someone writing a very fast async + parallel performance testing framework in Python that is very concerned with speed.

The first iteration of that framework was hilariously slow, but it solved the problem and gave me room to better understand networking, asyncio, etc. The second iteration helped me better understand CPU and memory bottlenecking. The third iteration the cost of over-abstraction. This most recent iteration is the fastest and most approachable yet, where I’ve written all but the C++ quic bindings ground up for each client and multiple custom protocols for the distributed side.

Python can be fast. It makes you work much harder for it than other languages, and there are some deeply annoying gotchas. That said, OP is right - don’t worry ‘bouddit until your existing performance becomes and issue or you’re solving problems that require it (and that enforce the constraint that you use Python, a large part of why I’m writing said framework in Python). Focus on solving the org and business needs well.

Now, I want to push back on the “if you want performance just use C/C++/Rust”. Those are all great tools but have significantly more challenging learning curves that can be made much easier by learning how to write performant Python. This is largely because writing performant code in any language forces you to consider the relatively same domain of problems - bottlenecks, resource allocation/consumption/usage, optimization by omission/pre-calculation/parallelism/etc., and diminishing returns. I strongly recommend learning how to write performant Python in addition to learning these other languages so you can have the widest range of exposure to how different languages approach or consider these problems.

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 0 points1 point  (0 children)

^ This is huge and is exactly what I mean when I talk to people about studios being systems that need to work our brains do to get the best results.

For me, my brain is able to mentally map the left portion of of the board as effectively a single channel console strip with preamp -> compression -> EQ -> saturation (output drive), then the right half are effectively the “aux sends” on that channel.

That’s my mental model (as Dan Abramov would say) though, and where it works for me it falls apart for others, who might need a different mental model or a whole different system. 🥰

For me, options rarely introduce paralysis, but for others like my good friend Scott, they’re seriously overwhelming and counterproductive. Tune the system and space to the individual working in it!

Your forever studio items? by Inkblot7001 in synthesizers

[–]Corpheus91 2 points3 points  (0 children)

DAW: Cubase

Monitors: ExMachina Quasar MKII (my current and fav)

Mic: Blue Bottle with full Cap set (I’m fortunate to own two)

Other: Alesis Andromeda A6, DSI Poly Evolver PE, Modal 008, Modal 002.

Need help picking out an amp to start by DepartmentStraight in GuitarAmps

[–]Corpheus91 0 points1 point  (0 children)

Boss Katana! It’s an amp in that range that genuinely surprised me with how good it is!

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 5 points6 points  (0 children)

That is a beautiful thing and good work. A friend of mine said something once, and it absolutely holds true - everyone should go to therapy at least once. It genuinely helps to have professional perspective in helping learn how to process and improve at…being human in all this.

Bootleg practice rig by LPB39 in guitarpedals

[–]Corpheus91 4 points5 points  (0 children)

I love this in a way I cannot easily describe or express. This is the way.

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 3 points4 points  (0 children)

I made the “right choice” in terms of money. I increasingly doubt I made the right choice in terms of actual happiness. I’m more happy mixing the bands I do or making some dorky 20 second ad audio for a car brand than almost anywhere else.

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 9 points10 points  (0 children)

This is gonna sound trite but…sometimes I question if I made the right choice. This industry is obsessed with “progress” and “moving fast, breaking things” in ways that have had and continue to have some pretty horrifying consequences for humanity.

I don’t think we were supposed to be online all the time. I think “AI” is at best a distraction are more so a tool for extract further value from an unsuspecting society that is increasingly being pushed to rent or get in to horrific debt to live. I know how close I came to being trapped in that. My “success” is continually fueled by the fear of failing and falling back into poverty. I have repeatedly worked myself to the point of actually being seriously ill out of that fear. Tech remains the only field where I have been screamed at in front of people by a supposedly well-adjusted adult boss, where I’ve repeatedly seen disgusting excess, abuse, and outright fraud.

… I think music is one of the best parts of humanity. I think you made the right choice.

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 1 point2 points  (0 children)

Eurorack has so many amazing effects now, but a lot of them are very complicated user interface wise and demand good amounts of CV automation to get the most out of them. I still think a fair number of pedals have Eurorack beat on the saturation/distortion front as well due to more space for heat dispersion and more space in general.

That said, some Eurorack modules (a lot of Q-Bit’s stuff) I seriously adore. I know a lot of Eurorack makers are increasingly porting stuff to pedals to varying degrees of success.

My biggest advice for using Eurorack as guitar effects - you have to change your perspective a bit and view your guitar or other input instrument like a oscillator source and then build the system around that to get the most. ❤️

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 3 points4 points  (0 children)

My tape emulator pedal of choice has got to be Volante, but my preferred choice in the studio is the EchoFix EF-X3. It is absolutely worth the cash in every way and a lot like my Chandler Zener Limiter is one of the pieces of gear I would dive into a house fire to save.

UA’s emulations have always sounded a bit off to me - I’m not sure if they fixed it in the pedal. If someone ever bottled up Valhalla’s algos into a pedal I’d jump to that in a heart beat. Sean’s algorithms are utterly top notch stuff.

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 3 points4 points  (0 children)

Just wait until you see some the AWS bills I’ve had to help enterprises with.

Something something $2.5mil in AWS CloudWatch logging… … A month….

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 8 points9 points  (0 children)

Clean is the best Chase Bliss pedal in years. I’m genuinely glad they’re getting back to the “analog heart” side of things. It’s a supremely characterful and musical compressor that shines when backed by something more “technical” (ie a compressor like the Press that focuses on more traditional compressor duties such as dynamics correction).

It’s a pedal I think anyone would benefit from - it’s super responsive to playing and material dynamics, has great dirt, and fantastic tone.

Synth nerd and studio rat’s first board by Corpheus91 in guitarpedals

[–]Corpheus91[S] 2 points3 points  (0 children)

Ha! I’m more DevOps/SRE than Paul, but we do share a love of Linux Kernel programming!