Yeah, let's check that the sound and everything is working. Let's start in a second. Can you write an overview of the whole code? I don't need to monitor my own sound. Get EEG data, get EEG data, handles requests fetch EEG data based on parameters like start, count and channel. It uses the load underscore data function to retrieve and send the relevant EEG data. Certainly. The provided code is part of the web application developed using Flask, a Python web framework, and JavaScript. This application is designed to process and visualize electroencephalogram, EEG, data unconverted into music. Here's an overview of the various components and functionalities of the code. It's loading for writing for so long. EEG became slower, much slower. Clear. Using this voice wave, EEG voice control thing. So you want to say, yep, it should send a message when it's clear. It should clear the text window. Clear. It actually works most of the time. If I speak properly into the microphone. Clear. Clear. Clear. Okay, no, it doesn't. Clear. Clear. Clear. Okay, this is still generating. Whatever. Okay, let's just read the whole thing while... Certainly. The provided code is part of the web application developed using Flask, a Python web framework, and JavaScript. This application is designed to process and visualize electroencephalogram, EEG, data unconverted into music. Here's an overview of the various components and functionalities of the code. Flask backend, Python. Flask app initialization. The Flask app is initialized, and roots are defined for different functionalities. Roots. Index root, serves the main page of the application. Get EEG data, get EEG data, handles requests fetch EEG data based on parameters like start, count, and channel. It uses the load underscore data function to retrieve and send the relevant EEG data. Convert EEG to music, convert EEG to music, converts the EEG data to sequence of musical notes. This involves scaling EEG frequencies, mapping them to musical notes, and returning these notes for playback. Data loading, load underscore data function, reads EEG data from a file and selects a specific portion based on the given parameters. This data is then sent back to the client. Server start, the application is configured to start with debugging enabled. JavaScript front end, main, JS. Data fetching functions. Fetch EEG data, makes an HTTP request to the backend to fetch EEG data. Convert EEG to music, requests the backend to convert the fetched EEG data into musical notes. Data visualization, plot EEG data function. This function uses chart, JS to plot the EEG data on a canvas element. Music playback, play sequence function, there's a sequence of notes, received from the backend, using a sound library. Midian sound initialization, the code initializes web MIDI, JS for MIDI input, output and loads of piano instrument using a sound from library. Event handling, DOM content loaded event, sets up initial data fetching and plots the EEG data. It also initializes the piano sound and sets up event listeners. Slider and selector event listeners, businessmen use a debounce function to update EEG data and convert it to music based on user input from a slider and selectors. Debounce function, implemented to limit the rate at which a function can fire. This is used to control the frequency of data fetching and music playback based on slider input. Integration and workflow, the user interacts with the front end for a web interface, manipulating a slider and other controls. The JavaScript code captures these interactions and makes requests a flask backend. The flask application processes these requests, fetching and processing EEG data, and returns it to front end. The front end then visualizes this data and all converts it to music, providing an interactive experience. This overview covers the core functionalities and flow of the application. Each component works together to create an interactive platform for visualizing and solidifying EEG data. So that's what the application currently looks like, it's loading some EEG data from file. This is actual EEG, not noise, it's an actual seizure in there. We have this in another application. You can check it out in EEG Noise Removal or Spectrogram on the page. This is the same data. It has a seizure in it. That's the quiet after the storm, after the seizure. You can scroll through it. Thank you. I was using different names, but I do remember your photo from LinkedIn. I was just saying how we're trying to turn EEG into music. So I'm saying this EEG is on EEG.org. I think anyone can download. I think it just requires a basic registration. And this particular data set has seizures in it. That's what they look like. It's really EEG. I know sometimes things like this look a bit fake-ish. But no, those are seizure spikes. I can check them in here. I'm trying to reduce noise in it, which this tool does that using wavelet transforms. But now we're trying to turn this into music for various reasons. Well, one possible use case is being able to review EEG just by listening to it. And you don't want to be listening to sinusoids because it's annoying, noisy. It will just sound like noise. So you might as well turn it into music. Well, when I say music, it might not be perceived as music, but instead of sinusoids, it's actually using musical notes. So notes like this is just for testing. So actual F sharp 6 or G6. So it will find this code, which GPT-4 generated for us to actually do a conversion using an interpolation. So we're trying to fix this code, however. That's the general idea. I'm getting all sorts of errors with it. Mainly to the fact that the frequency components cannot be directly translated into a musical note because it will be essentially outside the range of a typical piano, for example. Now we're using a grand piano. So that interpolation, well, it does work by generating this. Yeah, I'm not sure why. The algorithm cannot find these particular notes. I'm not sure if it's because they're not defined here. It's testing it last time. We're having this AVA error as well, which is meant to prevent us sending the same thing multiple times. So let's solve this one first. That's the error in the description. The error-oncored reference error. The bounce is not defined indicates that the bounce function you're trying to use is not defined in your main. JS file is not properly imported from an external library. The bounce function is a common utility in JavaScript used to limit the rate at which a function can fire. This is particularly useful for events that can occur more frequently than you might want to handle them, such as window resizing, scrolling, or, in your case, limbered from a slider. If the script don't have the function, Clie, Clie, Clie, this doesn't work. Clie, right, it did work. It's a hidden miss. It must be my pronunciation. The bot is not picking up. So I'm trying to define our own debounce function. Then we have a debounce available somewhere already. Bounce currently in event list now. So we have debounce four times. And the code is flowing in the error.  I mean minor errors like warnings. This one, main.js, 178 bounce function. Okay, we do need to define a function. This is what this code does. So we will pop it in here. And in the use of the function, with the bounce update data, I convert to music in a 500 millisecond delay. That looks good. Also, data slider, this line, should be the same as it is. Try it again. Okay, control F5. We already have bounce function. Have the overview of the whole code. Okay, what the problem is? What is the problem is? Let's say, all my document, actually, there should be okay. I don't know what there. Can you just go violent? It's okay in this error. Didn't realize, yeah, I suspected that, but it didn't realize JavaScript works that way. But you need to define, this function is actually not being used. Define a function before it's being used. That's odd. That's very odd. Place it here somewhere. Control F5 again. Okay, that error is gone. I'm still getting the buffer note, so the notes would not play. That needs to be sorted out. So the idea is that this EG, real EG, will be translated into musical notes. Let's reduce the window size for a sec. So as you scroll through the EG file, it will convert it to, well, music. I'm not saying it will sound like music, but it will be converted to actual, currently using a musical font called Grand Piano. So it will be converted into something like this. But we're having all this errors coming through. Messages, warnings. Audio context was not allowed to start. I'll try to resolve it both by using GitHub Copilot and Share GPT4. See what both say. Modern browsers, security. Yeah, like how GitHub Copilot already gives resolution. Yeah, GPT4 does the same. And more. We actually need all this. Let's read this quickly. I'll read myself and in the speech. The error message you're encountering, the audio context was not allowed to start. It must be resumed or created after a user gesture on the page is a security feature implemented in modern web browsers. This feature prevents audio from playing automatically when a web page loads, which is very intrusive or annoying to users. As a result, an audio context in web audio API needs to be initiated or resumed in response to user interaction, such as a click or a tap. To resolve this issue, you should modify your JavaScript code to create or resume the audio context only after a user gesture. Here's how you can do it. Create the audio context Leslie. Instead of creating the audio context immediately when the page loads, create it when the user first interacts with the page. Resume the audio context on user interaction. If the audio context is already created but is in a suspended state, you can resumed it in response to a user gesture. Here's a revised approach that you can integrate into your main. JS file. This is some sort of browser feature. Okay. So hopefully this tool will soon appear on binarycast.com. It currently has all this avatars. This tool is actually the eG noise reduction is using the same data. So you can check it out. Let's know what you think. Hopefully this one will appear there sometime this week. Or am I too optimistic? Let's check the code. With these changes, the audio context will either be created or resumed in response to a user action, like a click complying with the browser security policies. This should resolve the area you're experiencing. Right, so that's something that's, it sounds like we need to fix. We have a resumed app. I won't be able to integrate this because I don't actually know JavaScript. Can we ask GPT-4 to integrate? To essentially generate updated, was it main JS? I won't be able to integrate it myself. Just create a copy. We already had a few copies. We can get rid of those. They were from last week. Copy this one. That's the one we will be changing. We need to handle an audio context. Because I'm getting this warning. The audio context is not allowed to start. Unless there is an interaction with the page. It's actually working okay. But yes, we're getting to get rid of that error. Let's make the window size smaller again. Try this again. The main problem is that we can't hear those nos. That's obviously because of this comment here. In the buffer for note the note name is not found. So it's the kind of the real problem. Copy that. Are there any placeholders? Not yet. It's still generating the code. But if there is any comments, suggestions, requests are more than welcome. Yes, I thought we're not using the web media anymore because that was generating a file and it didn't finish it. Continue button. It used to be clearer on the bottom of the page. Continue generating. Now it's on the bottom right. It changed the interface quite a bit. For my previous chats in this tool line burger icon. Top left. So it's finished generating. The audio context is now created or resumed in response to user interaction as per the security policy of modern browsers. Right, so it sounds like we won't be able to bypass security of modern browsers and we kind of don't want to anyway, so we'll have to implement this. The play sequence function is updated to get or create audio context and pass it to the play method of the piano. Okay, that sounds legit. A click event listener has added to resume the audio context. Will any clicker code on the document? Right, well can I just try it? It's a shorter code 198 lines instead of 200 lines from prior. Yes. So this at least should get rid of this audio context warning thing. So music is still running. It's reduced the window size to then this should already play some notes. It's not doing it and it's going to be a bunch here. I can't hear anything and get the following. The error messages you're seeing, such as buffer for note E6 not found, indicate that the sound from library is unable to find the audio buffers for specified musical notes. This usually happens when the specified notes are not available in the loaded sound from instrument or if there's an issue with how the notes are being referenced. Ensure that the note names being generated by the back end and send to the front end are compatible with the sound from library's naming conventions. For instance, sound from typically uses note names like C4, D sharp 4, F5, etc. If the back end generates note names in a different format, they might not be recognized by the sound from library. Different sound from instruments may have different ranges of notes they can play. If your EEG to music conversion algorithm generates notes outside this range, you will encounter errors. One solution is to limit the range of notes generated by your algorithm to match the range of the loaded sound from instrument. Yes, is it Grand Piano? Well, I mean, that's what's called Grand Piano. It should have a larger wider range of notes, keys. Make sure the sound from instrument is loaded correctly before trying to play any notes. You can check this by logging the loaded instrument to console and ensuring it's available when play sequence is called. I'm pretty sure it's working okay because we have this button for testing is actually playing sound. Modify the play sequence function to handlegazes where a note buffer is not found. You might want to skip the notes that are not found or handle them differently. In this revised function, if a note buffer is not found, it logs a warning and skips the next note rather than stopping the entire sequence. This should allow the sequence to continue playing even if some notes are missing. Do this with that is the problem is the names. Do we have names, not names? To verify that the note names being generated and sent to the front-end are compatible with the sound from library's naming conventions, you should follow these steps. Check back-end load generation. First, ensure that the back-end, your flask application generates note names correctly. The standard naming convention for notes in most music libraries, including sound from, is like C4, D-sharp 4, F5, etc. where the letter represents the note and the number represents the octave. Inspect the data sent to front-end. Look at the data being sent from the back-end to front-end. This can be done by logging the data. Notes ray in your convert EEG to music function in the JavaScript file. Add a console.log statement to print out notes. I have to go to what happened there. It's normally errors. To verify if the note names generated in your path and code are compatible with the sound from library's naming conventions, we should review the relevant portion of your flask application where these names are generated. The key part is in a convert EEG to music root, where the EEG data is converted into musical notes. Node name generation, ensure that the note names are in the standard format, like C4, D-sharp 4, F5, etc. This format is typically a letter, A-G, optionally followed by a sharp, hash, or flat, B, and then the octave number. Node range, verify that the notes fall within the range supported by your sound from instrument. For a standard piano, this range is usually from A0 to C8. Note frequency mapping, make sure the mapping from EEG data to musical notes is correct and that it produces valid note names. What's my code? The note names are generated in the format note plus octave, EG, C4, D-sharp 5. This seems to align with the standard naming convention. So we have this line here, that's the same, that we have note labels, the same. The notes are generated within the range of C3 to C6, which is typical range and should be supported by standard piano sound. The conversion from EEG frequencies to musical notes uses linear interpolation. Ensure that this mapping does not produce indices outside the range of note on the scroll levels. The goal appears to generate the correct format of note names. If you're still encountering issues, you may need to further investigate the specific note names causing errors and confirm they're being generated correctly and exist within the sound from instrument range. We need some troubleshooting. It was working, okay. It's doing a 1D linear interpolation. Let's clear this for a sec. Clear the console as well. So we have a window size of 10. Selecting another region of EEG. The notes are B5. Generated twice. Should have been generated twice. And we don't hear the note late. After logging the generated notes, verify if all of them fall within the range of the sound from instrument. For a standard piano sound from instrument, this range is typically from 0 to C8. Manually check a few of the log notes by playing them with your sound from instrument. This can be done by hard coding these notes in your JavaScript play function and seeing if they produce sound. That's an output, that's not a bad idea. I can go this to B5. Play MIDI to B5. It's playing okay. The log data you provided shows that the scale should be 5 for every data point. This can be happening due to the way the frequency to note conversion is being handled in your python code. Let's look into a few potential reasons and solutions. So that's fine but first it's not playing at all. This code is working okay. It is playing a B5. However previously B5 said not to be available in the buffer or something. Yep. The sound front instrument might not be fully loaded when you're trying to play the notes initially. This can happen because the loading of sound front instruments is asynchronous. If there are multiple instances of audio context or if the context used to load the sound front instrument is different from the one used to play the notes, this can lead to issues. Solution, ensure you use the same audio context instance for both loading the instrument and playing the notes. If there are multiple instances of audio context or if the context used to load the sound front when you try to play the notes initially, but later, when you click the button, it is in a running state. This might explain why the notes play correctly on button click, but not initially. Here's a revised snippet that ensures the piano is loaded in the audio context is in the correct state before playing notes. Change the code is something wrong, so the music is being played here. B5 is okay, but it's not playing when we scroll through the EEG signal. Conversion is a different point. In this revised code, the piano ready flag ensures that the piano is only used after it had been successfully loaded. Additionally, the audio context is consistently managed to ensure it's in the correct state before playing any notes. This audio context thing is not being used correctly. You can re-generate all the EEG signals. This is updated with the JavaScript loading this grand piano. So it should have all the keys that error that we were getting should go away. Fetching EEG, updating the data that is happening when you're scrolling, or essentially pressing any, changing any input on the front page. Plotting the data, converting to music. It's using an R function. It should be legit. Here we have yet 200 lines of code. It's a shorter code that I haven't finished yet. To click this button for it to continue generating, a debounce function should prevent the user from clicking too many times. Now the piano is working. The EEG is working. It's loading okay. But we're still having this issue with the buffer not found. Let's do the control F5. Use the window size just so we're not overloading the thing. Select piano is working. Let's see, sharp or something. This button, play MIDI. This code, yeah, it's B5. It's working okay. This code, this code is... This code is working okay. B5 is being played when button is pressed. However, I still get the following errors. It's the code. I'm pretty sure sometimes the send response is just working with enter button. And other times you need to actually press the button on the screen. If the window, piano, play, B5, command works correctly when triggered by button press, but you're still receiving buffer for node B5 not found, messages during other parts of your script, there are a few potential causes and solutions to explore. Check for multiple instances of audio context or the sound front instrument. If there are multiple instances of audio context or the sound front instrument, the instance used for playing notes may not be the same as the one used for loading the piano. Solution, ensure that you're consistently using the same instance of audio context and the sound front instrument across your script. Avoid re-initializing the piano or the audio context multiple times. Okay, how do I actually do that? That's obviously in shallow script. Audio context, getting a network error to fix the code. Or just fix the code. Don't give me network errors. So obviously the piano is working as you can hear. But then in other parts of the code it's giving me buffer node not found. To ensure consistent use of the same instance of audio context and the sound front instrument, piano, across your script, you should manage their initialization and state carefully. Let's modify your main. JS to achieve this. Single instance of audio context, initialize audio context only once and use the same instance throughout the script. Check piano loading state. Make sure your only attempt to play notes after confirming that the piano has been fully loaded and is ready. Avoid initialization. Prevent any initialization of the piano or audio context after they have been set up. Okay, so that code is the same. Giving me all the code that haven't changed. Play sequence. Play sequence notes. Again, this is the same. Play next note. Okay, she added this if condition. Window, piano, buffer, note. Okay, so that message is actually coming from the code. So that's good to know. Play next note. Document kit. This should be the same. Document event list. Load that. Load piano. Depounce. Let's read this quickly. Get audio context ensures that only one audio context instance is created and used throughout the script. Load piano checks piano ready before attempting to load the piano to avoid initialization. The play sequence function ensures that it only plays notes if the piano is ready. Piano ready is true. By structuring your script this way, you avoid issues caused by multiple instances or states of audio context in the piano instrument, ensuring more reliable and consistent behavior in your application. Still skipping. And the piano is still working. We have B5. I need that prompt. This prompt at the bottom. That's a comment. This is a bit of a desperate move. We'll just pop this whole code into GPT4. Try co-pilot as well. So doing explain this so it has access. Okay, we can stop that. Opt this code. That prompt into co-pilot as well. This function now includes more detailed logging and checks the readiness of the piano before playing each note. If the piano is not ready, it logs a message. You can expand this by implementing a more sophisticated waging mechanism, like a callback or an event listener, that triggers note playing once the piano is confirmed to be ready. Let's co-pilot, say, sound from an instrument functional. To load the piano sound returns a prompt that resolves to an instrument object. This object has a play method. However, before you can play a note, the audio data, the note needs to be loaded into the audio buffer. The issue might be that the audio data for the Note B5 has not been loaded when you are trying to play it. It's not finished loading. Because ensuring the piano sound is fully loaded before trying to play a note. But that code is actually working. That's what I said, didn't I? I said that the window piano play B5 is working okay. Yeah, co-pilot doesn't have the context. It's really dull. This function now includes more detailed logging and checks the readiness of the piano before playing each note. If the piano is not ready, it logs a message. You can expand this by implementing a more sophisticated waging mechanism, like a callback or an event listener, that triggers note playing once the piano is confirmed to be ready. Yeah, GPT-4 is not giving an answer, but at least it understands what I'm trying to do. The issue where the buffer for Note B5 not found, error appears, despite being able to successfully play B5 where a button is pressed, suggests a potential timing or state synchronization issue between the loading of the piano instrument and the readiness to play notes. Here are a few additional steps to troubleshoot and resolve this issue. 1. Ensure play sequence waits for piano readiness. Modify the play sequence function to explicitly wait for piano to be ready before attempting to play any notes. This can be achieved by checking the piano ready flag and using a callback to lay the note playback until the piano is fully loaded. 2. Debugging logs. Add debugging logs to various parts of your code to trace the state of the piano ready flag and the window, piano object. This will help you understand if the piano is indeed ready and available when play sequence is called. 3. Verify window, piano, buffers. Ensure that window, piano, buffers is correctly populated with note buffers. It's possible that the note buffers are not being loaded as expected, which could cause the error. 4. Loading sound front instrument. Double check the sound front instrument loading logic. Ensure that the instrument is loaded just once and that any subsequent calls to play notes are made after this loading is complete. 5. Error handling in play sequence. Improve the error handling in the play sequence function to explicitly handle cases where the note buffer is not found. Yeah, let's do some more troubleshooting. Some advanced debugging. Okay. I'm going in circles. It does have C6. So now we're doing B5. It's just C6. Yeah, I don't know that. Well, the sound front is okay. Loading is okay. There might be network issues or file access issues preventing the complete loading of all note buffers. Check the network requests in your browser's developer tools to see if all requests related to the sound front loading are succeeding. Then answer your debugging by logging more information about the loaded sound front instrument. Specifically, inspect the window, piano, buffers object to see with notes are available. Close this for a sec. The terminal is not giving anything useful. Just restart the app entirely. Yeah, now load it. We know it's loaded because it's also playing tones. To restructure this code. It should be playing this tones. Okay, let's start a new chat quickly. We have to prompt the portal as well. Maybe a fresh start will help because we're going over an hour trying to fix this. What meant to be a simple fix? It seems you're facing an issue where the piano buffer for note B5 is not found, even though the note is being played. This indicates that while the audio of B5 is available and playable, the program is either not correctly recognizing the buffer or there's a discrepancy in how the buffer is being accessed or stored. Here are a few... Check buffer initialization. Ensure that all note buffers are being initialized correctly when the piano is loaded. This might involve checking a feed note, including B5 as a corresponding buffer created in window, piano, buffers. Okay. Buffer access logic. Examine how the buffer is accessed in a play sequence function. The warning buffer for note B5 not found suggests that when window, piano, buffers, note, is evaluated for B5, it returns undefined or null. There might be an issue with how the notes are being passed or indexed. Just continue. Yeah, I have notes working here. Work okay. And then continue debugging. Loading all buffers. Verify the soundphone.  There could be a limitation or error in how the buffers are being loaded, especially if you're only loading a subset of notes. Alternative loading strategy. If the problem persists, consider a different strategy for loading instruments or notes. For instance, you might load individual note buffers separately rather than relying on a single call to soundphone instrument. Inspect network activity. Use your browser's developer tools to inspect network activity when the piano is being loaded. Ensure that all necessary audio files for piano notes, including B5, are being successfully downloaded. Missing or failed downloads could lead to missing buffers. Yeah, that's probably the best advice. Simplify and isolate.  This can help isolate the problem and rule out any other factors. Your app.py script for the Flask application seems to be mostly set up correctly for handling EEG data and converting it to musical notes. However, there are a few potential improvements or clarifications that might help fix any issues you're facing. Here is handling in routes. In your get EEG data and convert EEG to musical roots, you're catching exceptions but not logging detailed information about them. It's useful to log the stack trace for easier debugging. Use traceback. Print underscore XE within your exception box to get more detailed error information. Data loading in load underscore data function. The load underscore data function assumes a specific format and location for the EEG data file. Make sure that the file path and format, delimiters, headers, etc. match your actual data file. Also, check if the skip rows and NIOWS parameters in PD. Read underscore CSV, align with your data lab. Scaling EEG frequencies. The scaling of EEG frequencies to musical note frequencies is a critical part. Ensure that the scaling factor and the interpolation logic correctly map EEG frequencies to the musical note range you've defined. Test this path separately to confirm it's working as expected. Handling edgegases. The conversion logic in convert underscore EEG should handle edgegases, like when EEG data is empty in data anomalies or results in indices outside range of load underscore labels. Make sure these cases are handled to prevent runtime errors. Debug logs. You have commented out some debug logs. It might be helpful to uncomment these logs for troubleshooting, especially to verify the input parameters and the intermediate outputs of various stages. Configuration of the Flask app. The commented out configuration for template underscore folder and static underscore folder in the Flask app initialization might be necessary if your templates and static files are not in the default locations. Make sure the paths are correctly set based on your project structure. Data structure in load underscore data. Ensure the data structure returned by load underscore data is compatible with how it's used in the rest of your code. The function returns a list of lists, where each inner list contains a data point and its corresponding dime. Confirm that this structure works well with your EEG data plotting and music conversion logic. Front-end integration. Ensure that the front-end JavaScript code making requests to these endpoints handles the responses correctly. Especially, it should be able to handle error responses and display appropriate messages or fallback behavior. Testing and validation. It's not part of your application independently. For example, test the data loading and conversion logic separately from the Flask groups to isolate issues. Performance considerations. If your EEG data files are large, loading and processing them might be slow. Consider optimizing this part, perhaps by pre-processing the files or using more efficient data structures. App deployment and environment. If you're deploying this application, ensure that the environment, like file parts and available libraries, is correctly set up. Sometimes issues arise due to differences probably going to get penalized for long prompts, probably going to get a timeout. The issue you're experiencing where the piano buffer for B5 is not found, yet the note is being played, suggests a potential inconsistency or error in how the sound from library is handling the buffers for piano notes. Here are some specific steps to troubleshoot and fix this issue. The first thing to verify is whether the sound from library successfully loads all the buffers for piano notes, including B5. You can add a debug statement to inspect the window, piano, buffers after the piano is loaded. Check if the buffer for B5 is indeed missing or not correctly initialized. After the piano is loaded, inspect the specific buffer for B5. If a specific note's buffer is not found, you can handle this case more gracefully. For instance, skip playing the note or show user-friendly message. Make sure that you are using a sound from library according to its documentation. Check if there are any specific steps or configurations needed to ensure all note buffers are loaded correctly. As a diagnostic step, try loading a different instrument to see if the issue persists. This can help determine if the problem is with a specific instrument, acoustic underscore brand underscore piano, or a more general issue with the library. If you are using an older version of the sound from library, instead of updating the latest version, sometimes bugs related to buffer loading and handling are fixed in newer versions. If the problem persists, it might be a known issue with the library. Check the community forums, e-type issues page, or other user discussions related to the sound from library for similar problems and potential solutions. If you continue to face issues with the sound from library, you might consider using alternative libraries or methods to achieve your goal. To resolve this, you should initialize or resume the audio context inside a user initiated event handler. For example, you can add a button on your web page for users to start or resume the audio, and in its event handler, call it audio context, or resume audio context. It appears that the buffers for certain notes, like B5, C6, etc., are not being loaded or found. This could be due to several reasons. The sound from library might not provide these specific notes, or it could be a mismatch in the naming convention used by the library in your code. To fix this, you need to ensure that the node names you're using match exactly with what the sound from library has loaded. Node names are often case sensitive and might include octave numbers that need to match. For instance, B5 in your code should exactly match the naming used in the sound from buffers. You can add a check to see if the note exists in window, piano, buffers before attempting to play it. If the buffer does not exist, you might need to handle it gracefully, either by skipping the note, providing a fullback, or by investigating why the buffer was not loaded. In this example, start audio would be the idea of a button on a web page. When clicked, it initializes the audio context, ensuring compliance with browser security policies regarding audio playback. In this updated play next note function, there's an additional check to see if the window, piano, buffer's object has the property corresponding to the note being played. This ensures that you're only attempting to play notes for which buffers exist. By implementing these adjustments, your application should handle the audio context and missing buffers more effectively. Ensuring that node names in your code match exactly with what the sound from library has loaded is crucial for the correct functioning of your audio playback. Here's how you can verify and adjust your code to match the naming conventions used by the sound from library. Review library documentation. Check the sound from library documentation for information on how node names and octaves are represented. This often varies between libraries. Inspect loaded buffers. If the documentation is unclear, you can inspect window, piano, buffer's object after loading the instrument. Log the object and examine the keys to understand the naming convention used. For example, case sensitivity. Ensure that the case of the node names in your code matches that used by the sound from library. For example, if the library uses uppercase letters for node names, e.g., c, dh, b. Your code should do the same. Case sensitivity. Ensure that the case of the node names in your code matches that used by the sound from library. For example, if the library uses uppercase letters for node names, e.g., c, dh, b. Your code should do the same. By taking these steps, you can ensure that the node names used in your code match the sound from library's naming convention, thereby avoiding issues with missing buffers and ensuring smooth audio playback. Case sensitivity. Ensure that the case of the node names in your code matches that used by the sound from library. library uses uppercase letters for node names, e.g. C, D, H, B, your code should do the same. Octave numbering, verify how octaves are numbered in a library. Some libraries might start counting octaves from 0, while others start from 1. For example, if C4 in a library is middle C, ensure your code refers to it as C4 and not C3 or C5. Sharp and flat notations confirm how sharps, sharp, and flats, flat, are represented. Some libraries might use H, for sharp and B, for flat, while others might use different representations. The data you've provided shows that the sound from the library has loaded a range of audio buff objects, each labeled with a number from 21 to 108. These numbers most likely represent MIDI node numbers, which is a common way for musical software and libraries to refer to nodes. Understanding MIDI node numbers, MIDI node numbers are a standard way to refer to musical nodes in the context of digital music and synthesizers. Each number corresponds to a specific musical note, with middle C typically represented as 60. The numbering generally starts at 0, which is often C1, several octaves below middle C, and goes up to 187. Adjusting your code to play notes using this library, you need to use these MIDI node numbers instead of traditional node names like C4, B5, etc. Here's how you can adjust your code. Convert node names to MIDI node numbers. Create a function that converts traditional node names to MIDI node numbers. This function will depend on how you're currently representing notes in your code. Adjust play sequence function. Modify the play sequence function to use MIDI node numbers when calling window, piano, play. Example conversion function. Here is an example of how you might write a conversion function, assuming you're starting with traditional node names like C4, B5, etc. Here's how you might adjust the play next node function. By making these adjustments, your code should be able to correctly reference and play the notes using the MIDI node numbers provided by the soundfront library. Potential improvements and considerations. Ensure that the EEG data file path and format match your actual data. The scaling and mapping of EEG frequencies to musical notes might need fine tuning to ensure meaningful musical output. Consider adding more comments throughout the code for clarity, especially in complex sections like the EEG to music conversion. Ensure error handling is comprehensive, especially if edge case is like incorrect data formats or odd range values. Your HTML code provides a user interface for an EEG to music application. It's designed to allow users to interact with EEG data and listen to music generated from it. Below is an analysis of the key components of your HTML. Head section, the back quote less than. The less than head greater than includes the title of your page, but lacks other meta tags like viewport settings for responsive design and external star sheet links if you plan to use them. Contains a simple header with a welcoming message. Includes an audio player that is intended to play MIDI files generated from EEG data. This uses Flask's url underscore for function to dynamically set the source url. A button, it equals play MIDI, is provided likely to trigger music playing through JavaScript. There is a less than canvas greater than element for presumably displaying EEG data graphically, possibly as a chart. Channel selection and window size inputs are provided to allow users to customize the data they're viewing or listening to. A slider, it equals data slider to navigate through the data. The max value of the slider is set to max underscore value, which should be dynamically set based on the data length. Includes attribution for the EEG data source and a copyright notice. You have included scripts for chart, JS, for data visualization, web MIDI, for MIDI functionality, sound from player, for audio playback, and a custom script, main, JS. The commented out scripts suggest you might have experimented with different libraries that are considering alternative options. Add responsive design meta tags in a less than head greater than section for better mobile device compatibility. Consider adding error handling in your JavaScript for scenarios where the EEG data can not be loaded or the MIDI playback fails. Validate user input for the channel selector and window size to ensure they're within expected ranges. Ensure max underscore value for the data slider is dynamically set based on the actual data length to avoid runtime errors. If your application has a style sheet, include it in the less than head greater than section. Organize your JavaScript files and libraries for better maintainability and load performance. Overall, your HTML structure is clear and functional, providing a good foundation for the EEG to music application. Ensure to test the application across different browsers and devices for compatibility. The issue you're encountering, buffer for note dollar, note, not found. Skipping suggests that when the play sequence function attempts to play a note, the corresponding audio buffer for that note is not found in window, piano, buffers. This could be due to several reasons. Let's address this issue with a few potential solutions. Ensure proper node format, verify. Verify that the notes in your array are in the correct format that the sound from library expects. For example, if your library expects node names like C sharp 4 or D flat 4, ensure that your notes match this format exactly. Preload all required notes. Modify your load piano function to preload all the notes you plan to use. By default, soundfont may not load every single note for a given instrument to save memory. You can explicitly load certain notes or an entire range if needed. Check for soundfont completeness. Some soundfonts might not have every note, especially at the extremes of the range. Check the soundfont you are using to ensure it includes all the notes you need. Add more console logs in the load piano function to verify that all the required notes are being loaded correctly. Specifically, check for the notes that are giving the buffer not found error. Enhance the error handling in the play sequence function to gracefully handle cases where a note's buffer is not found. Consider skipping the note or substituting it with a different note if its buffer is not available. Make sure you are using the latest version of the soundfont player library, as there may have been fixes or improvements related to this issue. Here's an example of how you might modify the load piano function to preload a range of notes. In this modification, I specified a range of notes to be preloaded. Adjust the array of notes to include all the notes you require. Ensure to test the modified function to confirm that all required notes are being loaded successfully. The error messages you're encountering indicate two separate issues. Audio context not allowed to start. This is a common issue in modern web browsers, which require an audio context to be initiated as a result of a user action, like a click or a tap, to prevent unwanted audio playback. Buffer not found issues. These errors occur when the soundfont player tries to play a note for which the buffer has not been loaded. Let's address each issue separately. You need to ensure that the audio context is created or resumed in response to user gesture. This means initializing the audio context or calling the resume function in an event handler for a user action, like a button click. For example, preloading specific notes, as mentioned before, ensure that all the notes you plan to play are preloaded. If you are dynamically generating notes, for example, from EEG data, you might need to load a wider range of notes. Checking node names and formats, make sure the node names used in your code match those used by the soundfont library. For instance, B5 should be the correct format, but it's worth double checking for typos or format mismatches. Handling missing buffers gracefully in your play sequence function, before attempting to play a note, check if the buffer for that note exists. If not, you can choose to skip it or log a warning, as you're currently doing. Debugging loaded buffers. Add console logs to inspect which buffers actually loaded after the soundfont loads. This can help you identify if there is an issue with the loading process itself. Soundfont library version and compatibility, ensure that you are using a compatible version of the soundfont library with your notes and audio setup. By addressing these two issues, your application should be able to initiate the audio context correctly upon a user action and handle cases where a note's buffer is not found more gracefully. It is simply an issue of how we actually using this JavaScript for playing sounds, try to understand what's the difference between the meanjs and the regularjs. So it is using median node numbers. Okay, we also got a timeout from GPT-4, as expected. There's no option to regenerate the documentation and API. Yeah really, trying to avoid reading EPFs. The soundfont player npm package is a library that allows you to play midi sounds using the web audio API. It is a simple and lightweight alternative to more complex libraries like midi, js, providing an easy way to load and play soundfont files in either midi, js format or json format. Here's an overview of its key features and usage. Load soundfont files, it can load soundfont files in both midi, js format and json format. Unlimited polyphony, it supports unlimited polyphony and allows stopping all sounds with a single function call. Note playing accepts midi node numbers and also supports decimal points for de-tuning. Midi connection, easily connect to a web midi API midi input. Note scheduling, schedule a list of notes. Using audio loader and sample bear, it uses audio loader to load soundfont files and sample bear to play the sounds. You can install soundfont player via npm or included directly in your html. Loading an instrument, javascript copycode soundfont, instrument, ac, clavnet, then, function, clavnet. Clavnet, play, c4.


The abstract Line 0.8 Co 0.1 Mn 0.102 cathode suffers from severe bulk structural and interfacial degradation during battery operation. A 3-in-1 strategy involving Zrb2 as a dopant was developed to address these issues. This strategy involves doping Zr and b into the bulk of Line 0.8 Co 0.1 Mn 0.102, which helps stabilize the crystal structure and reduce microcracking. Additionally, during high temperature calcination, some of the remaining Zr at the surface combines with the surface lithium source to form lithium zirconium coatings, which physically protects the surface and reduces interfacial phase transitions upon cycling. As a result, the 0.2 mole percent Zrb2 Line 0.8 Co 0.1 Mn 0.102 cathode delivers a discharge capacity of 183.1 mAh G-1 after 100 cycles at 50°C, 1C 3.0-4.3V, with an outstanding capacity retention of 88. This article was authored by Zae Fohm, Rangesha Rajagopalan, Sean Chang, and others. We are article.tv, links in the description below.


Those little single celled algae are lost, expelled, degraded, and so what happens is you see straight through the host animal's transparent tissue to its white skeleton. We know that the type of symbiote that a coral associates with can really change its capacity to tolerate elevated temperatures. As adults, some corals are actually able to host mixed communities of symbounds. Some of these corals are able to change the proportions of their symbiote types when they experience a temperature stress event. And we found that there were some changes, that the maternal colonies were shuffling their symbiote communities, and more importantly that when they made those changes in their communities, a lot of the time that change was directly transmitted to the offspring.


My name is Asinta. I'm a developer for Galaxy out of the Penn State University. And I'm Sergey and I'm a developer out of Johns Hopkins University. Today we're going to be walking you through the developer tutorial called Debugging Galaxy. You're going to want to have that open because there are some commands that you're going to want to simply copy and paste. In this tutorial we're going to demonstrate how to find and fix common issues that you might encounter as a contributor to Galaxy. We're going to step you through the process from finding them to locating where the issue is, developing a solution and then of course committing your fix. With the skills from this tutorial it's our hope that you're going to feel more paired to develop solutions for Galaxy and more confident to navigate any obstacles that may stand in your way. So we are going to start with local development environment setup. Many of you already know how to do it but nevertheless we'll walk through the just in case to introduce it to people who are doing it for the first time. So for almost every type of area you encounter there will be a relatively similar process. One, you locate the failing test or error on GitHub actions. You run the failing test locally. You identify the issue causing the failure. You develop a solution.  Now the process for dealing with runtime errors will be somewhat different since there will be no failed tests to review initially. However in either case the first step is to set up your local development environment. In order to contribute to Galaxy you're going to need to do a couple of things. The first thing is you need a GitHub account. So if you don't have one go create one now. Changes are proposed via a pull request. This allows our project maintainers to review these changes and suggest solutions that can improve it. The general steps are to fork the Galaxy repository, clone your fork, make your changes in a new branch that you've named, commit your changes, push the branch to your fork and then open a pull request for that branch in the Galaxy repo. In this tutorial however we're not going to be using the main Galaxy repo. We're going to be using a branch that has been created just for this tutorial. It contains several bugs that you're going to need to identify and fix and you also won't be creating a pull request in the upstream Galaxy repository. That is for when you contribute later after you've successfully completed this tutorial. And now we are heading into the pulling the buggy branch section. So first of all as you may see from the tutorial, good news. All of the failing tests are in the same Galaxy branch and that means that you only need to download one branch. The downside is that the buggy branch will have issues all over the place. Tests are not mutually independent. So multiple tests, multiple bugs will be causing different test failures but we will help you along the way. So don't you worry. So heading into the hands-on section, setting up your local Galaxy instance. So point one, use github UI to fork Galaxy's repository at Galaxy project slash Galaxy.  And with this, I'm going to share my screen and I will walk you through most of these items. So heading into the terminal. So we're going to start with cloning your repository. So we're going to do git clone, specifying the branch we need. We need the training branch, not the default dev branch, then HTTPS colon slash slash github.com slash your username. My username is ic4f and next Galaxy. And then we specify a directory name. I'm going to say Galaxy five because this is not the only Galaxy I have in that directory. And enter. This should take just a minute, maybe a little bit more depending on the speed of your connection. If you are on dial up, this might take an hour, but most likely you are not. Resolving deltas. Or at least hopefully they're not. Hopefully you're not. If you are, well, you will get there eventually. And here we are. So now we are going to change into your Galaxy root. In my case, it's Galaxy five. And this is the contents of the root director, which is exactly what it's supposed to be. So again, in the future, when you contribute to Galaxy, you'll need to clone the dev branch, which is short for development. And this is the default Galaxy branch. So you won't need to specify the dash B option in your git clone command. On to step three, before we can use Galaxy, we need to create a virtual environment and install the required dependencies. So first we create a virtual environment. And the command for that would be virtual and and we provide the name of the virtual environment. However, I'm going to stop right here because the requirement for Python is at least Python 3.6. And I know that my version of system Python is Python two. And I can check that by doing Python dash V capital V. And indeed, I have Python 2.7 point 16. So if I create the virtual environment using my default Python, which is my system Python, this is not going to work. Instead, I need to create a virtual environment specifying a path to an alternative Python interpreter, where that Python interpreter is on your environment. Well, it depends on your setup. I use a pi nth. So in my case, I would do virtual and and I'm going to pass the dash P or minus P option. And I will specify the path to my to my Python interpreter. And here I have Python 3.8.1 bin Python. So this is the path to the Python interpreter. And then I give the name of the virtual environment directory. And it's done. So the directory doesn't show up because it starts with a period. But if I show hidden files, you will see that's right there dot nth. So now I need to activate it. To do that, I do source or dot space dot then bin activate. And I know that my virtual environment has been activated because the name of the virtual environment is prepended to my command prompt in parentheses dot then on the left. In fact, if you are not sure, you can always check. So let's deactivate it for now. And let's check what Python I'm using, which Python. And I see that it's slash user slash bin slash Python. This is the system Python. This is the Python version 2.7.16. When I activate my virtual environment, it will be a different Python. It will be a Python, the Python, which lives in my dot then directory. So this is the virtual environment Python. And indeed, if I check its version, it's going to be 3.8.1. So we're safe now. On to the next step. So step four, activate your virtual environment. I've already done that once activated. Yes. So step five, now you are ready to install the dependencies. Since you will be doing development, you need to install the dependencies listed in lib slash galaxy slash dependencies slash dev requirements dot txt. So that file, it's just a file. It's a requirements file. And I need to install all the dependencies from that file. So what I'm going to do is I'll say pip install r and then I will and again, I am in Galaxy root. So lib is available. So I'm going to install lib slash galaxy slash dependencies slash dev requirements. And this will start a long process which is going to take several minutes. So I'm going to cancel it, cancel out of it. But this is going to install all the dependencies listed in that file into your virtual environment. So when you activate your virtual environment and work out of this virtual environment, all those dependencies will be available to your Python. So moving on to step five, finally, let's are running Galaxy for the first time. They'll write they should pause here maybe and let all those dependencies get installed. So if you are doing this for the first time, pause, let them install and then feel free to start us up again. Absolutely right. So now that hypothetically you've installed all of these dependencies, you check out a new branch. So right now, if you look at the available branches, let's see it branch, you have only the training branch. Now what you need to do is you need to create your own branch based on this branch. So we will do get check out minus B, and we'll call the branch my training or whatever you want to call it. And now when you say give branch, it will show you two branches and my training is going to be marked with an asterisk. And that means that it is currently the active branch. And with this, I believe your local environment is all set up. You're good to go and you can go ahead and fix those six extremely complicated bugs. Good luck. Good luck.


Welcome to the Pyramid Insider, I'm Tyler Patner. Today we pose the question, do you like it raw? For those of you that don't know or are unfamiliar rapid-air weapons really has its origins out of Theoban in the UK. Martin Rutherford, who was one of the managing partners at Theoban, came over to the States in the late 2000s and started rapid-air weapons in Tennessee. Now up to 2018, these were custom guns. Basically, you had to call up Martin, get one on order, and you could have it built out to your specs exactly. So long lead times, but very much a custom-built product. In 2018 at the Shot Show Air Force, Air Guns announced that they were buying rapid-air weapons, which is a really cool, very unique merger for them, obviously, already putting out a pretty high-end product, but going into that ultra high-end realm with an already American-made product and giving them mass scale production ability. Now for those of you that might be a little nervous about picking one of these up as a production gun, not to fear, Martin is still very much involved in the day-to-day functioning of building these rifles. So he is still there and still a presence making sure everything is up to those standards that it originally was prior to 2018. So talking features starting at the front of the gun. We do have kind of an offset or what I like to call eccentric shrouds set up here, and it is carbon fiber-tubed. So you will notice that the barrel sits up at the top and you have all of your volume of the shroud down at the bottom. Now that gives you the ability to have a lot of volume for that shroud to take up some of that noise without sitting up too high to maybe impact a low-set scope. So something to keep in mind. They're definitely thinking about what the shooter is going to want here when they're building these guns. I like this feature a lot. We're obviously going to see how quiet it keeps the gun. Now the important thing to know here is that all of the rapid-air weapons guns that you're going to see on pyramidair.com have polygonally rifled barrels. Now these are made by Lothar Walther just utilizing a different method of rifling than a traditionally rifled barrel. Normally you're going to see that maybe the barrels are a little bit less pellet-picky. They do a little bit better in the wind and you pick up just a little bit of velocity typically from them. But they are certainly kind of the hot ticket item, especially in the long-range world right now for air guns. Now, of course, the iteration we have here in this HM1000X is a 25 caliber. It's also available right now in 22 caliber also with that poly barrel. So keep that in mind there. These are going to tend to like the heavier pellets is what I'm being told by the guys at Air Force. Now, of course, we're going to test it for you guys and see just what it likes and what it doesn't. Dropping down below the barrel here, you do have a 480cc carbon fiber air cylinder. So you're going to get a lot of air capacity and it fills the 230 bar so about 3300 psi or so should deliver about 50 shots is what they're telling me and it is fully regulated as well. Now moving back from the bottle, we do have kind of our V-Block setup with our pressure gauge which reads in bar. Doesn't have a 230 bar marking which I would have liked just helps you kind of know where to fill if you don't have an output gauge on your fill setup. But certainly easy to read and a lot of spacing in between those 50 bar markings. And then on the other side of that, we have a quick disconnect fill port which is covered by this nice little plastic cap here which is secured by an O-ring like this a lot. The fact that they have a quick disconnect ready to go on the gun means no adapters, no fill probes, they lose or anything like that. Love that. And moving back, you do have a very large breech block that is topped with a Picatinny rail. Nice, I like Picatinny rails guys. If you watch a lot of our videos, you probably have noticed that I have some UTG Pro rings which are actually made right here in the States. I like these rings a lot. They're a little bit pricey compared to some of the other offerings we have on pyramidair.com. But well worth it if you're looking for a solid set of rings and then topped with that Athlon Argos 8-34. We're going to need that extra magnification to really get that fine detail in what I'm doing downrange because this gun's going to need it and this is definitely one where you're going to want a bit better scope to go with this rifle. And dropping down, we have a very smooth and easy to use side lever system. Locks back super nice. Not that difficult in terms of a cocking effort there. And in that breech area, you are going to load a 12-round magazine in 22 and 25 caliber that we have here. Now for those of you at home, you'll notice that this looks an awful lot like a Benjamin Marauder magazine.  Which in all honesty is a good thing for the industry because it's a very tried and true magazine design and works very well. The one cool thing that Air Force and Rapid Air Weapons is going to be doing with these guns is offering them in a right hand and a left hand action configuration. So you'll be able to get that with the cocking handle on the right or the left hand side, which I think is something that's pretty unique. You know, you might find for a right-handed shooter that if you're at the bench all the time, you might actually prefer to have that over here. Makes it a little easier to actuate. So something to keep in mind. Now coming to the other side of the breech, you will notice it does say made in the USA right there. So that is a big thing that should definitely be touted here. This gun maybe outside of the barrel and the air cylinders made right here in the USA, which is absolutely fantastic. Love to see it and really Rapid Air Weapons deserved an American made home like Air Force air guns. If they were looking shopping for somebody to buy them out, Air Force is definitely the right place for them. Now dropping down to the trigger, this is a match grade target trigger. It is absolutely fantastic. Out of the box, I have zero and I mean zero complaints with this trigger. It is two stage fully adjustable as well. And you do have that safety lever that can be engaged right in front of it. You can put it on whenever you like. Again, triggers very light out of the box. I'm going to say this is probably in the six ounce range. So something to keep in mind for those of you that maybe aren't used to a target trigger, you may want to tweak it up a little higher. But out of the box, these are fantastic triggers and you don't need to do anything to them if you don't want to. One other thing I want to mention before we talk about this cool stock here is the hammer spring adjustment at the back of the action. Now this is actually slotted in the stock so you can get to it with an Allen key without taking the action out of the stock. But this will allow you to adjust that hammer spring tension and make some fine tuning adjustments to your velocity. But it may have an impact on your shot count depending on how far you go one way or the other. So something to keep in mind there but gives you that little bit of flexibility to set the gun up just how you want it for the pellet that you select. But talking about the stock we have here today, this is kind of that mountain camo look. It's the green, orange and gray lay up in this laminate. Looks great guys, this is really eye catching but it's going to be available in a bunch of different color lay ups. So whatever you like, that's what you can get which is really great that they're offering all those options. On the stock itself you do have texturing on both sides of the forearm as well as on the grip itself. And you got some nice finger groove kind of texturing for the grip. And then swooping on back a nice vertical grip angle itself, an adjustable cheek piece which does have some ability to can't do it. As well as that height adjustment, you have a vertically adjustable butt pad which really locks in nice and tight. But probably the most unique feature of this LRT stock is the M-lock rail in the bottom. Now this is really cool. Not only does it also form your trigger guard here at the back, but this gives you the ability to purchase those little M-lock rail slots that you can get at any local sporting goods store that sells rifles, right? Everybody uses them on their AR-15s nowadays and you can really customize the heck out of this thing. So you can get a short little three slot guard that goes in just one of these or you can get a nice seven or 13 slot M-lock rail section to put your bipods on, lasers, flashlights. I mean really guys, whatever the heck you want can go on the bottom of this.  So I like that a lot. It keeps the forestock nice and flat for those of you guys that are going to want to buy these to bench shoot with as well and prefer to use bags or a rest. All right guys, overall gun feels great. These guns are well known for being tanks last a long, long time and rapid air weapons and the open PCPs before them have a very well known history, not just here in the United States but the rest of the world as well. I am very eager to get this out on the range and shoot it, so that's where we're headed. Pretty astonishing results out of the rapid air weapons HM-1000X here in the 25 caliber. Starting with the Barracudas, which this is our worst grouping of the day at 45 yards. 0.6 inches, this is still a fantastic grouping. 31 grain pellet, so pretty darn good there out of a relatively heavy pellet. Moving up to the King Heavy Mark IIs, a 0.54 inch group. Again, 12 shots, absolutely fantastic, right about a half inch. Bettering themselves just a little bit better with the original King Heavies, a 0.51 inch group. Again, 12 shots and the regular Kings at 25.4 grains, 0.53 inches. Guys, this is basically everything right about a half inch. Very impressive results for 12 shot groups at 45 yards. I'm not going to call any of these the best though. I think we have to stretch things out a little bit further and see what they can do. So with the ease at which this gun put half inch 12 shot groups down at 45 yards, I just knew we had to get this thing's legs stretched out a little bit further. So we've measured off 93 yards here in our warehouse. All five shot groups shot from the magazine with the HM1000X, all four of the same pellets. Let's see how we did. 1.3 inch group out of the King Heavy, the standard ones. Not too bad, but I think we could do a little bit better. Kept going, the Barracudas 1.1 inches. Certainly surprised that the Barracuda shot well out of this, knowing that that Lothar-Walther barrel typically is going to like JSB pellets. The standard King's 1.1 inches also got a decent little cluster there for five shots. But the Mac Daddy, the best pellets in this HM1000X, three quarters of an inch with the King Heavy Mark IIs. That's super impressive, guys. 93 yards, three quarters of an inch. Ross says you're going to be able to do an inch with this in the right conditions at 100 yards. Proof. With the JSB King Heavy, the Mark IIs that shot the best for us out at 93 yards, we're seeing about an 880-foot-per-second average or so, which calculates out to about 58-foot-pounds. So pretty darn close to that 60-foot-pound rating in that 900-foot-per-second mark, they say the guns should be getting with those pellets. So not too bad there. Obviously, the regulator's doing its job of 15-foot-per-second extreme spread over 56 shots from 230 bar down to about 145 is pretty darn good, in my opinion. And that 3.8-feet-per-second standard deviation certainly tells us that the reg's doing its job. And something to keep in mind, you do have that hammer spring tension adjustment in the back of the gun. So if you did want to play with the velocity, you can certainly do that. Just know that it's going to impact your shot count.  If you increase that hammer spring tension, you're probably going to see a few less. Our esteemed first president, who is riding a dinosaur on my shirt right now, would like to remind you to buy American. And he would also like to remind you to subscribe, like this video, and comment down below. The Rapid Air Weapons, HM-1000X, 25 caliber. This is everything a gun made in Murica should be. Absolutely fantastic. Obviously, represents a very high-end price point, but meets those expectations with ease. The one difference between ... I've said it before, I will say it again. A lot of guns speak for themselves from an accuracy and a performance perspective. This gun was easy to do that with. Not all of the guns that speak well for themselves with groups are easy to do that with. And this is just pellet on pellet accurate without doing much effort on the user's end. I'm super impressed with this gun. I think Rapid Air Weapons and Air Force Airguns in turn have done pretty much everything right with this gun. My only gripe is that it's a little bit on the loud side, but outside of that, it ain't bad at all, especially when you're considering 60 foot-pounds of output energy. That's a ton for a 25 caliber PCP these days.  The gun's got some heft to it, but it's nice and well balanced. The trigger is absolutely phenomenal, up there with the best of them 100%. Smooth side lever, good quality magazine, a beautiful stock that you can fit to yourself pretty easily. I love the Picatinny rail. That poly barrel certainly doing its thing. I'm eager to get more of these poly barrels on guns because I think they're going to make a huge difference for a lot of reasons. Maybe we'll address that in a separate video. But guys, the HM1000X from Rapid Air Weapons definitely deserves a look. If you are in the market for an ultra high-end PCP, this thing is fantastic and you need to check it out on PyramidAir.com right now. For the insider, I'm Tyler Patner. We'll see you guys soon.


A visualizer is a teacher's best friend. Now I've used a visualizer. I think I started using a visualizer about 2009 and the first one that's served me all this time is this IPVO USB document camera. So I think it's model two. I think roughly 30, 50 pounds, 10 plus years ago. I think you look online now, 70 to 250 pounds. They don't make them anymore. Great little device, folds closed in a little case, plugs in, originally you needed to get a bit of software but now lots of things are plugged in place. Really easy to use. But this little device has served me my entire teaching career. There's a couple of little settings, automatic focus, manual focus, take a picture, take a video, et cetera. A good reliable device. Now I've got seven or eight cameras here on my table. I just want to talk you through them. I guess the most recent upgrade, there are many other models but this one is the Dew Camera. So it's an updated version by IPVO. Nice hard metal case, USB, no software. You pop the button here and then you get this nice Z-frame with a cable behind. So you can do all sorts of fancy stuff. You can stretch it over, lift it really tall, et cetera. Another great device, another one I carry in my bag on teacher training regularly. Going a bit higher, 125 pound. This one, not so easy to fold away, a bit more cumbersome. You get a little bit more flexibility with the buttons in another video. I'll explain how to use each of these cameras but that's another model and there's many others. I guess going up even higher, this is one I have on my desk in my office. This is a wireless version, USB, HDMI. There's lots of settings, lots of cables, lots of functionality, lights. This retails at 420 pound. Another great IPVO device. Now if you don't have that budget or you can't twist your school leaders' arm to get a bit more cash, there are other things you can do. So this is the uplift arm. There's a magnetic one now, my one isn't. It's a, you stretch out the arms, you put your mobile phone in here and then you film on a static device. Or even smarter, you can buy six in a pack for 30 pound, the mirror cam. On the back here, I've got this one covered. The mirror's got a sticky label over the top. So there's a mirror on the other side. You fold, you can flat pack this into your wallet. Essentially you fold it into a triangle. You sit it on top of your laptop or on top of your camera on your desktop and it mirrors from the camera to the table so you can do an animation, a display or a demonstration. So that's another example. I've got two others outside of the IPvo world by Occhi Labs. Now the first one I've got here, I'm just gonna quickly take out the pack. This one comes attached to a mouse mat. Not your traditional mouse mat, I digress. It's more of a flat mini whiteboard. This is it. In another video I'll have all this set up, show you how to use it. But the camera clips on, oops, clips onto the device like so and allows you to annotate on here, wipe it off so you get a pen included and the stand different telescopic kind of settings and use that in a similar fashion. The other one I have here, and that one costs about 90 pound. This one about 99 pounds. I've got a webcam here on top of my screen behind me. In another video I'll show you how that works for conferences or teaching in the room. It kind of tracks the speaker. It's fabulous. There are many others. These are the ones that I have on my table and this is a kind of membership resource for people on the website that want to learn how to use visualizers more effectively but also maybe find out which one might suit you and support you in your teaching career. Like this one has to me pushing nearly 12, 13 years. So, hope you find it useful.