Help!! Is there a way to restore/reset permissions to default?
- Login o registrati per inviare commenti
Thanks a million in advance for any help!
I managed to mess the permissions pretty badly (all of it, I think) when recovering files from an external drive, now I am wondering if it's possible to reset them to default (Trisquel 10).
The whole thing went south, it seems this was a true donkey move!
Here is what I've got myself into, please refrain from laughing too loudly :)
NAME SIZE OWNER GROUP MODE
sda 465.8G root disk brw-rw----
├─sda1 1M root disk brw-rw----
├─sda2 513M root disk brw-rw----
├─sda3 732M root disk brw-rw----
└─sda4 464.6G root disk brw-rw----
└─sda4_crypt 464.5G root disk brw-rw----
├─vgtrisquel-root 18.6G root disk brw-rw----
├─vgtrisquel-swap_1 1.9G root disk brw-rw----
└─vgtrisquel-home 444G root disk brw-rw----
The owner is 'disk'... ?!?
Should I add any other info that might help to make sense of this? The learning curve is very exciting, but can lead to unknown territory with shocking speed!
... I mean, the group is 'disk'... it is 1:59 AM here, on my panel rich of clocks!
About the music
It is not what we are used to... moving from 440 Hz to 432 Hz is like leaving windoze or macoze behind for GNU/Linux!
It is an amazing change worthy of a free brain.
The info on the web is pretty confusing, there is a lot of junk on the subject, like in all subjects, so don't go by what you read, it takes researching and experiencing the outcome for ourselves.
All the new-age stuffs about 432 Hz are crap!
The A's frequency is just a convention made to be able to play with different instrumentists, the only interest is for capability of the instruments regarding this or that composition in this or that key, especially for the vocalist that might not be able to reach the higher(s) note(s) or the lower one(s), in that scenario, there are two solution: changing the key or changing the A frequency (that is just a different way to achieve the same thing). For some other instrument, the string tension (or any of such physical limits or playing comfort considerations) might be considered regarding the frequencies used and so the A frequency (or the key used).
Johannes Chrysostomus Wolfgangus Theophilus Mozart used a 422 Hz A. Bagpipes traditionaly have a A that is in between 460 Hz and 470 Hz (if I remember correctly).
And last argument, i might be 431 Hz or 433 Hz, whatever the instrument, you might hear the difference, but you wouldn't notice any difference in any other fields (playing or singing comfort, shakra balancing my dancing ass and so on). But, 432 is a number with a downward sequence of ciphers from 4 to 2, so, it's easy to write, how cool is that? Well, I find no interest in it but believers to new-age concepts might find this number more “mystic” because of that, who knows…
For more information, I suggest you the following wikipedia pages:
I tend to think that the kind of temperament used is much more important then the actual A frequency.
I had to smile... that is 'old age', not 'new-age' at all. I agree with you, new-age is crap at its crappiest!
As I said to Hikaru, the web is littered with junk info about it, but I also realise it's not easy to differentiate at the beginning, only time tells you if it is better or not. I must say I can't listen to music in the standard frequency any more, it irritates me in the long run (long run being the key words)... but it is not an obvious thing, of course, we have to tune our ears as well.
Also, it's known that many musicians prefer it. Pink Floyd, for example, gave their Albert Hall concerts with instruments tuned to 432 Hz and while converting their albums, I usually found at least 10% were already at that frequency (maybe 10% is all they can get away with)... and they are not alone, there were many others who also sneaked some 432 Hz in, even heavy metal bands had some included.
Anyway, this is not Trisquel talk, so I'll refrain from going on :)
I personally have no problem being off-topic.
So, what I perceive, and you are far to be the only one, is something related to the perfect pitch syndrome, just with a 432 Hz A, you know those boring people who yell about note(s) not being in pitch, but if you dig a little bit, that means that their hear is so used to standard 440 Hz A pitch (and also in a bunch of standard scales and modes) that if the all is not what is intended but perfectly in pitch, they will still yell to you that you are not in pitch. It's the same with lots of 432 Hz fans, the more they are fan, the more they are used to it and the more they can't stand anything else anymore while, about pitch, all should be relative because all is naturally relative.
For example (of this relativity) a choir (so a group of people only singing, with no instruments) will begin at a certain A and have great chance (it depends on the composition) to finish with another A because their mind do perfect and most of all just fifth, third and so on that makes the pitch derivative (mathematically except if the composition is made so that it resolves mathematically to the initial state, but I don't think any compositor would loose his time to do that, but theoretically, that's possible and even not really hard to achieve).
But if a choir team up with an ensemble (who's instruments are limited to a certain A pitch), the choir will follow the instruments with continuous micro-adjustments they won't even think about, nowadays (and since quite a few centuries), most instruments are in equal temperament that is even less natural then just temperament, so signers are a lot more used to those micro-adjustments because of the added constrains that is equal temperament.
So, to summertime, the perfect pitch syndrome is unnatural and really new-age (even though not tied to the religion of that name that, yes, began to age).
If you play any instrument, just try, let's say 429 Hz or 435 Hz, it will be slightly different and on the long run, you will find it perfect, but this is not tie at all to the chosen pitch, no pitch is better then another, it's tied to the conformation to an habit.
My own voice makes that I'm closer to Johannes Chrysostomus Wolfgangus Theophilus Mozart's A pitch, but I wouldn't choose his A pitch specifically because this would mean conform to something existing, I would chose arbitrarily* something close and non-existing because art is about expressing once personality in any possible way.
*: because, frankly, from a voice's perspective, a few Hertz do not change anything, maybe something like 5 Hertz might do a slight difference concerning the ability to do certain notes close to one's voice's own limits.
Thank you for giving time to this... you made me smile again!
In art, a tiny winy Hz can be the difference between the sublime and the derivative... (I am an artist, by the way, the kind that paints :)
- Login o registrati per inviare commenti