Slop unlock

Else was doing, and there was more cooperation—that doesn't seem that hard. But also, no one seems to have ever achieved that globally, for most things, anyway. There's been so much cool, groundbreaking AI art. There's also been a ton of AI slop. Do you think that is going to be a persistent problem? I think the AI slop is great. I think culturally, it's a good thing that it happened, because one of the things that drove people to start really caring about artists again in 2024 was the AI slop. I think everything happens for a reason. When culturally bad things happen, I think people get very pessimistic, but usually, it's [that] we go two steps forwards, one step backwards. It’s a great mediator. So I think we need the slop. And it's kind of cyberpunk.What can you tell me about the album that you're working on now? Most of the album is sort of about me being a bit of a Diogenes about the ills of modernity while still celebrating them. I don't know. I don't want to say too much about it. I want to promise nothing, but in my ideal world, things are coming out within a month or two.Has your music been inspired at all by the people who use Elf.tech to sing as you?Not so much this music. Although I do really like the idea of having a competition with them. Putting together their best work and my best work, and then having

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Everyone choose who gets to be the future Grimes.Do you think you’re ahead?I think I’m ahead now. In moments, I was shook. There have definitely been moments where I heard things where I got very shook. There's so many musicians now who I feel like have a lot of fear that AI is going to make it really hard for them to earn a living. Do you feel like those fears are founded or unfounded?I think they're somewhat founded. I think they are at times overblown. For example, Spotify being filled with easy listening slop is probably going to happen, and that probably is going to affect people to some extent. And I can see a lot of companies being easily corrupted by this. And just pushing those kinds of playlists, making lots of slop. I think there are some laws against that, but I don't quite understand the legal landscape. But overall, I do think again, it helps preserve the artist, as it were. I think it is probably overall worse for the session musician, and that does make me meaningfully sad. I don't play instruments very well, but I think it's a very good skill to have. When the music stuff gets a tiny bit better, and you can stem things out easily, and you can make edits really easily—I do think that's going to hurt traditional music in a meaningful way. It might even be somewhat of the end of it. I doubt entirely, but as a

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Contact bearings have proper lube as well. Remember, any unnecessary friction can translate into forces that want to bend or deflect something and can lead to backlash. Automatic Way OilerIn fact, this is a good time to bring up the subject of automatic lubing system. Personally, I would always invest in an automatic oiler for any machine I own that requires lube on the ways. I've seen firsthand what happens with inconsistent lube and it isn't a pretty sight.Unfortunately, adjusting your gibs is a matter of art coupled with much trial and error. I will try to provide some insights.The recommendation is to run the gibs as tightly as possible but no tighter. Easier said than done.If they are too tight, that causes the unnecessary friction that then leads to flexure or stick/slip which leads to backlash.If too loose, there can be slop in the system which translates to backlash and in the worst case, binding and more backlash.In the end, you need to creep up on it by gradually tightening the gibs and taking backlash measurements at each tightening. The backlash should gradually reduce until you've gone too far, at which point it'll jump back up. Back off in small increments and try again to find the sweet spot, being better informed about when to stop the next time around.I have often wondered if measuring the torque applied to the adjusting screws wouldn't be a way to make this a little more systematic and scientific. It can take you literally hours to get this right the first time, but it's worth it if you're chasing out the last increment of backlash.Of critical importance is balancing the forces if you don't have tapered gibs. Tapered gibs have a single adjustment screw that varies tension along the whole length of the gib. Non-tapered gibs use multiple adjusting screws along the length of the gib, and the challenge is to get them all about even. Again, I wonder whether a digital torque wrench wouldn't be a God send to balance that all out properly. Trial and Error: Tighten, Measure Backlash, Rinse and RepeatIn terms of more analytical approaches, I have two suggestions. First, you can simply adjust your gibs while systematically measuring backlash and quit when you have as little backlash as possible and it is still possible to turn the leadscrew. Note that minimum backlash may not turn out to be at maximum gib tightness, so that's why we're measuring backlash each time we tighten the gibs.Set Gibs Based on Slop Perpendicular to the AxisA second analytical approach is one I was told is the Bridgeport factory procedure (and is also recommended by Fadal) for setting up the gibs. Use a

0.0001 reading indicator and measure the slop in the slide.Example: For the X axis, place the mag base on the end of the saddle and put the stylus on the table. At that end of the table push and release. Then pull and release. The difference is the amount of clearance in the slide. Repeat at the other end of the saddle. Adjust gib in a like new machine with little wear to give a reading of 0.0005 (note, Fadal recommends 0.0003", while Pyramid, a rebuilder, recommends 0.0004"). A machine with more wear will have to be checked with the table closer to the end of travel.The same procedure is used to set the saddle to knee gib. There must be some clearance for the oil film and that film also helps dampen vibration.On a machine with hardened and ground box ways and turcite on the moving member the procedure is to set the clearance to almost nil. 0.0001 is a good number. This is again a practice of checking backlash while setting the gibs, the difference is the Bridgeport factory knew what backlash to expect on a newly manufactured machine.Prototrak wants you to adjust their lathes so the cross slide has not more than 0.001" of slop perpendicular to the axis. Use Your Load MetersNow suppose you have a CNC machine. Are there load meters on each axis? If so, you may have a shortcut to consistent gib adjustment because the load meter will tell you how tight you have them. I installed load meters on my IH mill CNC conversion for this and other reasons. The load meter is just an ammeter on the axis DC supply before it gets to the driver board, so it wouldn't be hard to add these. One account I read suggests setting the gibs so that your axis load is about 30%.I tried this on an Industrial Hobbies CNC Conversion I built. I had Load Meters on all axes. . I found them to be too inconsistent and also not sensitive enough. Readings would vary quite a lot depending on the exact position of the table. This was all probably due to the poor quality of the ways, but it made the method unusable. I got my best results adjusting for minimum backlash.Use a Torque WrenchSouthwestern Industries (ProtoTrak) sets the gib tightness on their CNC lathes using a torque wrench. They recommend 15 in/lbs of torque be all it takes to turn the ball screws.Linear Slide AdjustmentsIf you are running ball bearing linear slides, and you have two of them on an axis, are they truly parallel, or are they binding up because they're not? The latter will result in flexure if