If you happen to have Google Chrome settings managed by your network administration, on Linux, the fixed settings are stored into JSON files in the folder:
/etc/opt/chrome/policies/
If you have write permissions, you can change the settings you want. You don’t even need to restart Chrome to the changes start working. This has been tested in Chrome 77.
When trying to figure out how go doc command works, I just found out that I don’t need to use it.
There’s an incredible feature of Go documentation website: it can generate and display the documentation of all your project, straight from GitHub – and other websites too. The generated HTML is very polished.
To use it, append your GitHub user name and repo to their URL, such as:
https://godoc.org/github.com/username/reponame
Even more interesting: all types and Go built-in types are automatically linked. And it also provides direct links to GitHub source files. On top of all that, it’s very fast. Written in Go, I suppose.
Being a C language admirer, the more I work with Go, the more I like its simplicity.
Suppose I have a Go project, “foo”, which writes to the console. In this project, I have some .go files which have all the functions that actually write to the console.
Now I want to make these writing routines a separated module: “writer”, in another directory. I want two sibling directories: “foo” and “writer”. The “writer” will be used as a dependency within “foo”.
Within “writers” folder, run go mod init writer to create the go.mod file. Back in “foo”, edit its go.mod adding the new dependency:
module Foo go 1.13.1 require ( shoutergo v0.0.0 ) replace ( shoutergo => ../shoutergo )
The replace line will inform Go where to look for the module. Without it, Go will search in the internet, that’s why GitHub URLs work right away.
The version of the dependency, as far as I could find, is a Git tag, and to local modules it’s completely irrelevant, although necessary.
Now, in “foo”, we can import “writer” just like any other package:
import (
"writer"
)
func main() {
writer.SomeFunc()
}
As I keep learning Go and exploring the limits of the language, although I’m not entirely satisfied – lack of enums and namespaces –, I’m very pleased with its design choices with opted for simplicity. Feels like a better C.
Here I intend to summarize how the Go package cache system works, after spending half of my afternoon running tests and figuring out this weird thing.
First off, to create a new Go project outside the awful GOPATH directory, you run:
mkdir my-project cd my-project go mod init my-project
This will create a go.mod file.
To add a dependency from GitHub, you run:
go get github.com/username/reponame
This will create a go.sum file, which contains the dependency tree. The package files themselves will be downloaded and buried within ~/go/pkg/mod directory, so they are effectively cached at global, machine-wide scope.
To list the packages inside my-project, run:
go list ./...
This won’t list globally downloaded, cached dependencies installed with go get.
To list the packages installed (not the cached ones) globally, run:
go list ...
Downloaded dependencies will be listed if you are in my-project folder, and if they have been downloaded already. If you run the command above from within a project directory, it will download and install any missing packages for current project, and then they will be listed.
So, if you’re outside my-project directory, there’s no way to list globally cached packages.
There’s no way to remove a globally cached package from cache individually. All you can do is delete the whole cache, with:
go clean -cache -modcache -i -r
This month I was trying to layout a very complex form in two columns, and I ended up with this CSS sorcery. It’s important to notice that the number of columns and rows must be tightly controlled via their widths and heights.
I’ve been using Git Subtrees for more than two years to manage the dependencies of my projects in Git. Today I found this article explaining Git Submodules, and I realized that I had it all wrong. Submodules suits my needs much better.
I finished migrating my C++ repositories which have WinLamb as a dependency. The nested “winlamb” folder effectively acts as a separated repository, without interfering with the top one. No more annoying merges with a huge hash as the commit message, when updating the library.
From time to time I get back to studying Rust, which looks like a good alternative to the unthinkable complexity of C++ for native programming, which even after about 20 years, still upsets me tremendously. From the perspective of a seasoned C++ programmer like me, the Rust concept of lifetimes has been particularly esoteric.
Fortunately, I found a great resource online today:
30 minutes of Introduction to Rust for C++ programmersIt’s a very concise online book with direct comparisons between C++ and Rust codes, exactly what I was after. It explains Rust basic concepts by direct comparison to C++, what greatly helps. Although you’ll need a little over 30 minutes to properly digest it, it’s well worth reading, and I consider to be the greatest introductory material so far to C++ programmers who want to dig into Rust.
Props to vnduongthanhtung, who authored the book back in 2017.
I’m having some trouble while setting up my new Music Man Majesty. It seems that Music Man applies some kind of pre-tension to the mahogany neck so it backbows, to counterweight the .010 strings that come stock with the guitar. Looks like a bad design decision to me, I wonder: isn’t it what the truss rod is for?
Since the guitar is hard-set to .010 gauge, my custom .008 is causing a strong backbow, with the 5th and 6th frets buzzing like crazy in all 6 strings, even with the truss rod completely loose. But I’m really enjoying the neck profile and the overall feeling of the Majesty, so I’m trying to work it out.
My current gauge is .008 .009 .011 .021 .030 .038, which I use in the Ibanez JPM and the Suhr Modern Satin without any problems. The Suhr setup is particularly perfect.
So yesterday I rescued the two heavier strings from the .009 D’Addario set I had thrown into the trash bin, and now I’m trying .008 .009 .011 .021 .032 .042 on the Majesty, with the hopes that the heavier strings from the .009 set will pull the neck forward and alleviate the backbow.
Plot twist: A couple weeks later, measuring the neck relief, I found out that the neck wasn’t backbowed, but very close to straight. The real problem was, probably, a raised 7th fret, which made the 6th fret unusable. Being an expensive instrument with stainless steel frets, I found it to be unnaceptable.
I received my ESP Eclipse II Silver Sparkle in February 14 of this year, as part of my Les Paul craze. Today, almost 5 months later, I posted it on the mail after selling it out.
It’s a bit sad, because it was a great guitar. Way more comfortable than my previous Gibson Les Paul Studio, which I had back in 2014. The neck felt very comfortable, but it helped me understanding how I prefer flatter neck radiuses. The ESP has a 12” fretboard, which felt a world of difference from my Suhr, which is close at 14”. The ebony fretboard was very smooth, but I missed the stainless steel frets. All that not mentioning the incredible looks of this guitar, shiny all around – one of the main reasons that made me buy it.
This ESP had an EMG 81 in the bridge, and an EMG 85 in the neck. I swapped them, and the guitar sounded much more balanced. The cleans were beautiful, but somewhat overcompressed, it was hard to tweak a proper clean tone for rhythm parts.
This ESP had the D string slot very low, the open D was buzzing. I played my sole gig with this guitar having the nut like that, improvising paper shims inside the nut slots. I replaced this nut with a new bone nut soon after.
In the sole gig I played with it, in March 23, it felt very heavy on my shoulder. Also, it made me do a lot of mistakes, probably because of the different position the Les Paul shape puts you in, and the rounder fretboard radius. Since then, I played no other gig. And I realized I’m not playing it anymore. Saddened, I decided to sell it. And it was gone today. And I must say, despite everything, I miss it.
Now, I hope my Les Paul craze go away.
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It finally happened.
After an awful amount of time wondering, I finally managed to temporarily steal a precision weighing scale from my girlfriend’s kitchen, and finally find out how much my guitars weigh. Here are the results of my current guitars, updated:
| Year | Model | Weight (kg) | Weight (lbs oz) | Weight (lbs) |
|---|---|---|---|---|
| 2012 | ESP Eclipse II silver sparkle | 3.75 kg | 8 lbs 4 oz | 8.25 lbs |
| 1992 | Ibanez UV7BK | 3.63 kg | 8 lbs | 8 lbs |
| 1997 | Ibanez JPM P2 | 3.52 kg | 7 lbs 12 oz | 7.75 lbs |
| 2014 | Music Man JP6 silver sparkle | 3.45 kg | 7 lbs 10 oz | 7.6 lbs |
| 2016 | Music Man Majesty arctic dream | 2.95 kg | 6 lbs 8 oz | 6.5 lbs |
| 2013 | Suhr Modern Satin natural | 2.77 kg | 6 lbs 2 oz | 6.11 lbs |
| 2023 | Ibanez Q52PB | 2.17 kg | 4 lbs 13 oz | 4.78 lbs |
I actually tought the JPM was lighter, and the Eclipse was heavier. The Modern Satin is, indeed, a very lightweight guitar.
The JP6 silver sparkle was said on Reverb to weigh 7 lbs 14 oz, or 3.57 kg, which was actually wrong.
In another chapter of my Les Paul craze, hoping for something more comfortable than my previous Gibson Les Paul Studio, which I had back in 2014, I bought an amazing-looking ESP Eclipse II, in silver sparkle finish. Realy eye-catching. A Japanese one, not the LTD crap.
I’m very pleased with the EMG pickups. Originally this guitar probably had a Seymour Duncan JB/59 set, and they were replaced by EMG 81 (bridge) and 85 (neck). However, I noticed the 85 is higher output and also it has a lot more bass, so I swapped both pickups. This EMG system is great: once you have the circuit installed, the pickups can be changed quickly by detaching the cables. Now, with the 85 at the bridge and the 81 at the neck, the guitar sounds very balanced.
As for the comfort, it’s not bad as my old Gibson, but definitely it’s not a comfortable guitar. The neck made me realize how much I like finished necks, and the ebony fretboard is sweet. Other than that, I played only one gig with it, and it felt very awkward on my shoulder. I guess I’m a superstrat player, definitely.