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In his review for No Ripcord, Stephen Wragg stated that "there's such a polyphonic richness to these recordings that it sounds, at times, like five people are present" and noted that the techniques employed in the recording of the album "creates this heady, vertiginous rush – adrenaline-inducing in its deftness; and that's an effect that strikes me as incredibly difficult to recreate in music".
"Wow, isn't that great?" she will say after a shot that impresses her, or, "Look at that, did you see that?" after an acting moment that strikes her as particularly subtle and difficult.
Now, that strikes me as a pretty important lesson actually.
Another factor that strikes me as potentially important is the ability to anticipate turns of prey.
One idea in the book that struck me as unproblematic but proved surprisingly difficult to demonstrate is the notion that recorded music has played a decisive role in a levelling — incomplete, certainly, but a levelling nonetheless — of musical hierarchies.
That strikes me as a lot of cash for a blog network, especially given the difficult margins and the relatively small valuations being paid for the few blogs that have exited.
That strikes me as absurd.
That strikes me as lunatic.
That strikes me as a touch optimistic.
That strikes me as protesting too much.
That strikes me as arguably backward.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com