MOSFET Single Ended Pre Amplifier (modified)
MOSFET : LND150
Total Gain = 2.05
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SRPP 2A3 Redux @ jelabs.blogspot.com
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The fact that the Boston transit system has been a garbage fire for so long that our mascot is a sad little man who is literally stranded on the train until the end of time due to a fare increase. Charlie's desiccated corpse has been riding this train since the 1940s and everyone just sort of rolls with it it this point
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I'm sure this has been talked about plenty but I'm still awestruck at how well Frieren handles Himmel and Frieren's relationship. I have never seen the 'character haunts the narrative' story beat done to such effectiveness.
Frieren's regret is that she didn't know Himmel before he was gone- but he exists in everything Frieren does without her fully realizing it. Frieren is a fundamentally different person and we *know* it is mostly thanks to Himmel's influence. The constant flashbacks, the way in which Frieren's logic and everyday routines have been altered by his memory. She collect spells because he and the others complimented the mundane, random spells she had found. The way that instead of her master, Himmel is the person who the monsters choose to immitate.
The flashbacks too, are so so potent in characterizing who Himmel was- not only in regards to Frieren, but in regards to Himmel as the hero. The person who lead his group to kill the demon king. The person who did everything in his power to help those around him. The person who was so clearly in love with Frieren but understood intimately that Frieren would not love him in the same regard and even worse, would be walking a very long and lonely path.
Hell, it's at the start of every chapter, in which time is only kept by the years before and after Himmel's death.
It all comes back to him, in the end
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So like...Sam's Liminal. Definitely Liminal.
She's also very pretty.
Constantine's a little tipsy, but he's very, very sure he just accidentally sat next to a Fae at the bar.
Heavily influenced by certain lines in Inferno, buttttt
Sam's a very pretty young woman. Beautiful smile (with too sharp teeth), lovely eyes (but they're a little too wide, a little too bright), fantastic skin (unnaturally pale, suspiciously cold), and a very pretty face (perfectly symmetrical)-first glance anyone who leans towards women would get instant butterflies in the stomach.
But Constantine's been around danger enough to recognize those aren't butterflies.
That's fear.
There's a deep, instinctual fear that is telling him he has to run.
Just as he's about to leave, though, her hand rests itself on his arm.
"Leaving so soon, Hellblazer? And here I thought you'd want to take a look at this...interesting contract I found."
Ah. Shit.
He sits back down, next to the Unseelie Fae who, apparently, owns part of his soul.
Sam, for her part, just wants to scare the idiot straight so he'll stop making work for Danny. (Danny's days are almost nothing but fielding complaints about Constantine and he's so fucking close to hunting the man down himself).
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シングルかプッシュプルか
判官贔屓という言葉があります。人間は、やや不利な立場にある者をあえて応援したがる、という性を持っています。シングルアンプは、どこか判官贔屓の心をくすぐるところがないわけではありません。プッシュプル回路の方が性能がいいのはあたりまえ、シングル回路で工夫し、あれこれ考えるのが面白い、という意見は説得性があります。いや、アンプの自作をやると、かなり多くの人がこの気持ちに囚われます。私もその一人です。
(http://www.op316.com/tubes/tips/tips18.htm)
私のアンプ設計マニュアル / 雑学編
18.シングルかプッシュプルか
by Tetsu Kimura
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SHUT THE FUCK UP IT'S A FUCKING. BIG ASS. RASHOMON SHIELD. FOR THE FIRST TIME IN HIS LIFE AKUTAGAWA HAS LEARNT TO PROTECT RATHER THAN TO ATTACK. I NEED TO SEE A THERAPIST
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i'm on a virgin reader kick which somehow led me to coupling that w former chief conservation officer/retired alpha John Price. so. you know. shoot me. or something.
It's an accident, of course.
An unfortunate combination of poor timing and human error.
But this accident culminates in Price folding his body over you—mating press, you note a touch hysterically; you'd have expected him to be all tradition: presenting to an alpha on your hands and knees, cunt bare for the taking, waiting to be claimed. And while it might not be traditional, Price will claim you tonight. Bully his cock into your drenched cunt, split you wide on the thick of him, on his knot (fuck, fuck, fuck—), and keep you plugged up around him until the unexpected heat passes.
And really. What's an old, grizzled alpha like him supposed to do when an untouched, unclaimed omega like you—so sweet, so desperate—is thrown headfirst into a vicious, blistering heat. It's not like either of you really have a choice, after all. It's agony. It's want. Primal, instinctual. You need him. Ache with it. The urge, the desperation, to be filled. Claimed. Conquered. Owned.
As he presses bluntly against your drenching slit, notching heavy and insistent into your fluttering, aching hole, spilling slick in thick rivulets down your thighs, over the engorged head of his cock, you can't help but to wonder how could you be so stupid?
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Just saw someone on Twitter complain about the lack of Japanese people in Oppenheimer, and what did you expect??? Did you want the final act to be the bomb dropping and see people burning alive???
The reason why we don't see a Japanese perspective is because one, including a Japanese perspective, just to see how bad the suffering was would be exploitation. Two, to see an accurate and sensitive take on how the japanese felt about Oppenheimer, Christopher Nolan (as incredible as he is) isn't the right person to do this. And three, it's based on Oppenheimer's biography
Oppenheimer, the movie, literally shows you people (mostly the superiors, because by the middle/end of it you see Oppenheimer regretting his creation) doing something dubious and inhumane because they removed themselves away, both emotionally and physically, from the people they are hurting.
Nagasaki and Hiroshima only exist in those men's distant thoughts and imaginations. One guy literally asks to take a city off the bombing because that's where he had his honeymoon. It's disturbing and unsettling, as if those people were not real human beings. The lack of Japanese people drives the entire point home.
Also, Japanese cinema is right there. Barefoot Gen, Grave of the Fireflies, or Hiroshima (responsible for showing to many Americans the effects of the bombs for the first time) are just a few of the many, many decades of post-war Japanese movies we have
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