nekomatic

I got a copy of Windows 10 from these people a while back and as far as I can tell it's legit - it registered OK and the company has been in business selling these licences for several years, with UK contact details on their website, so I assume if there was anything dodgy about them Microsoft would have got them shut down some time ago. Caveat emptor obviously...

I always find the smaller and less consequential the design decision, the more time and analysis it takes to make.

Good topic! I don’t currently use any particular vocalisation techniques systematically but I sort of feel that I probably should. I think having a system of syllables like the Kodály ones for vocalising rhythms is a useful tool when playing with others, and I sometimes try to sing what I’m playing as it seems to make sense that that would build the connection from brain to fingers, but I can’t show evidence for either of those… I’ve come across some good clapping exercises in workshop classes, like ‘passing’ the beat around a circle, that seemed really effective - from a quick read up on Dalcroze it sounds as though that also uses the same sort of exercises. This is all mainly in a jazz focused context but I don’t see why it wouldn’t apply to any other style. Please let us know what comes out of your project…

Seems a shame to start making holes in (what I assume is) a nicely finished piece of aluminium - if it's strictly for mockup purposes can you use a spare bit of wood or something? I checked their T&C's and you're not supposed to use the DXF for getting the panel made elsewhere. I'm not sure how they'd know though…

Just received and checked out the Laney R500H head - in the original box with everything included, all exactly as described, Dave answered my questions quickly and got it despatched next day after receiving payment. I'm happy to recommend him as a seller.

Part two. Some excellent Steve Swallow action and a majestic version of Reactionary Tango. And some proper big band funk to finish with!

1. Stay rhythmic 2. Avoid playing up and down the scale, it always sounds rubbish 3. Don’t be afraid of leaving some space 4. Avoid playing up and down the scale, it always sounds rubbish 5. Avoid playing up and down the scale, it always sounds rubbish

@TKenrick has great advice, but listening to the track it sounds like the bass is just playing the root of the chord almost the whole time, and approaching it from a passing note on the last upbeat of the previous bar which is either a tone above or a semitone below. Sometimes great note choice is that simple 🙂

Ooh, those cases are nice aren’t they? Has anyone bought one post B****t? Similarly, what’s the pricing and delivery like from quickpanel?

Thanks Phil! Do you mean to add braces from some point on one side panel to the same point on the other one, and would you do those on their own in preference to fitting any bracing along the side panels themselves? Or am I misunderstanding that? Horn is the CDX1-1445. I have all the crossover bits, just need to stop agonising over exactly what the layout should be and build the thing.

Connecting two cabs in series isn’t advised unless they’re identical though, I thought? Otherwise (if you find ohms confusing, look away now) the interaction of the varying impedances at each frequency can give you undesired behaviour. @ziggydolphinboy if you can’t rewire both cabs, another option could be to run the aux out or post-fx DI out from your amp to a power amp that would drive the second cab?

Well that just reminds me of this

First things first: It works! It definitely goes pretty loud, and I don't think I'm sending a hot enough signal into the PA amp to hit max loudness. I would say the sound is a bit 'coloured' to my ears, but that's with just the LF driver connected, no crossover yet. Also I'm listening close up in a small room which is not really going to be its natural habitat. Also also there's no lining in the cab yet. Using a signal generator and putting a fingertip on the cone the tuning seems to be as close to correct as I can determine, maybe 52-53 Hz. Will the frequency change much when I a) seal the hardware properly and b) add some lining? I reckon I can feel a bit of a resonance at about 120 Hz on the rear panel now, and 230 or so on the sides. Might brace the sides a bit. Also there's a buzz at 130-140 but I'm fairly sure that's just bits not properly screwed in and sealed yet, as for example it goes away if I press on the edges of the horn. Next and arduous step is to take all the hardware out again and finish sanding the b_st_rd thing.

Okay so… Battens to add enough depth for the handle screws, and handles in (temporarily, obvs). The random-looking extra bits are there to block the old handle screw holes and connector hole. Connector plate for the Speakon, made out of some aluminium faced polymer laminate I happened to have (you know, the stuff they clad tower blocks with 😳) And just a couple of minutes with the ridiculously effective sanding drum attachment on the Dremel, and the port fits nicely… With UniBox I calculated 19 cm for the port based on the final volume being somewhere in the range 45 to 50 L and tuning to 50 Hz. That only leaves about 7 cm between the end of the port and the back panel but I'm hoping that's not too little. Hang about though, if I now fit the horn and the HF driver… I can try it out!! Wait there a minute…

Part one of Carla Bley as Composer of the Week on Radio 3 They're starting with her '50s to '70s free stuff but hang in there, it'll get tunefuller 😎

Any takers? I’m happy to post it at cost, btw.

Er, I don’t think that’s lead free: https://uk.farnell.com/multicore-loctite/c-400-60en-5c-0-7mm-r-250g/solder-wire-60-40-188-deg-c-250g/dp/609961

Cool. Let us know how it goes!

'derrière' lol

Well so far I have mainly learnt two things: 1) the basic right hand stuff is completely kicking my derrière and 2) I'm finding it a lot harder than I realised to consistently set aside even the suggested 20 minutes five days a week for practice. So I'm already way behind the latest lesson (although Scott says 'there's no such thing as falling behind' and everyone will go at their own pace, it still feels like that). It's definitely doing the job though, of giving me something to focus on and some sense of having committed to something that I need to keep at, and if the material stays as challenging to my current level as it has so far then it'll keep me happy for a few years…

Maybe you're thinking about it the wrong way round… rather than 'I've learned this theory but I'm not sure what to do with it' start from 'I'd like to be able to do x better, what theory will help me with that?' I've learned a fair amount of classical and jazz theory in my time but I'm completely out of practice at applying it, so for me it's currently about trying to get to where the relationships between the notes of a chord, the notes on the stave, the note names and the positions on the fingerboard are all at my fingertips (as it were) so that I can play what I want when I want it rather than sometime tomorrow! Re your last point, having started on piano I can only think through an interval or chord by visualising a keyboard…

Well… I don't know about the P Audio HF but the circuit you've posted for the Celestion HF is not the same as the one @Chienmortbb posted a couple of pages ago… I'm sure they'll both work though (I hope, because I'm in the middle of building the latter one!)

A viol consort playing Kate Bush, on Radio 3 just now. Before that they did London Calling 😎

They had sack trucks in Aldi yesterday as well