Inch-pitch is for sissies

On 1/15/2011 3:45 PM, Tºm Shermªn™ °_° wrote:
On 1/15/2011 11:45 AM, Peter Cole wrote:
On 1/15/2011 10:44 AM, AMuzi wrote:
Tºm Shermªn™ °_° wrote:
On 1/14/2011 12:54 PM, aka Jobst Brandt wrote:
[...]
I thought "bugle oil" was mainly for folks who didn't know a (sliding)
trombone from a bugle. A bugle has no moving parts and has no use for
lubrication.

Trombone, schombone. Real Menâ„¢ play the sackbut:
http://www.youtube.com/watch?v=43Gf-_3hmHs.

"Never look at the trombones, it only encourages them." - Richard
Strauss


Meh.

Muddy Waters invented electricity.
http://www.youtube.com/watch?v=8hEYwk0bypY


Heh. As much as I admire the spirit of your claim, I'd have to say Mud's
big contribution was bringing the amplified blues harmonica to the
front, as demonstrated in the clip you cited. Another one from what
appears to be the same performance, again featuring the great James
Cotton:

http://www.youtube.com/watch?v=f0K6RMLNXio

This song is actually much more representative of his work, since it
incorporates the call and response style he was so famous for -- plus,
he actually wrote it, unlike Mojo.

Unfortunately, Muddy Waters didn't invent electricity, he did invent
Rock 'n Roll, and he says so:

http://www.youtube.com/watch?v=VyMeA8CfnGo

I find the distortion of amplified live music to be fatiguing.


In electric blues, distortion is an integral part of the art form. I
guess it's not for everybody.

On Jan 15, 12:56 pm, Peter Cole wrote:
On 1/15/2011 3:45 PM, T m Sherm n _ wrote:



On 1/15/2011 11:45 AM, Peter Cole wrote:
On 1/15/2011 10:44 AM, AMuzi wrote:
T m Sherm n _ wrote:
On 1/14/2011 12:54 PM, aka Jobst Brandt wrote:
[...]
I thought "bugle oil" was mainly for folks who didn't know a (sliding)
trombone from a bugle. A bugle has no moving parts and has no use for
lubrication.

Trombone, schombone. Real Men™ play the sackbut:
http://www.youtube.com/watch?v=43Gf-_3hmHs.

"Never look at the trombones, it only encourages them." - Richard
Strauss

Meh.

Muddy Waters invented electricity.
http://www.youtube.com/watch?v=8hEYwk0bypY

Heh. As much as I admire the spirit of your claim, I'd have to say Mud's
big contribution was bringing the amplified blues harmonica to the
front, as demonstrated in the clip you cited. Another one from what
appears to be the same performance, again featuring the great James
Cotton:

http://www.youtube.com/watch?v=f0K6RMLNXio

This song is actually much more representative of his work, since it
incorporates the call and response style he was so famous for -- plus,
he actually wrote it, unlike Mojo.

Unfortunately, Muddy Waters didn't invent electricity, he did invent
Rock 'n Roll, and he says so:

http://www.youtube.com/watch?v=VyMeA8CfnGo

I find the distortion of amplified live music to be fatiguing.

In electric blues, distortion is an integral part of the art form. I
guess it's not for everybody.

They messed up the Stones Hot rocks when they remastered and tried to
clean it up.

Hey Andre, find a copy of Fastball's "All the Pain Money Can Buy" and
rock the house with those electrostats.

-- Yours truly, Dan O

thirty-six wrote:

Chalo wrote:

A respectable bugle these days, and for the last century or so,
features a tuning slide. *That means it needs a little viscous grease,
not oil.

It would not need a tuning slide if it was hand made, it would be
tuned in manufacture to a reference pipe. *Machine made brass is held
in poor regard.

The tuning slide is for accommodating different temperatures,
elevations, and anatomical differences among players. These things
are not addressed by using a reference pitch during manufacturing.

Chalo

On Jan 16, 12:31*am, Chalo wrote:
thirty-six wrote:

Chalo wrote:

A respectable bugle these days, and for the last century or so,
features a tuning slide. *That means it needs a little viscous grease,
not oil.

It would not need a tuning slide if it was hand made, it would be
tuned in manufacture to a reference pipe. *Machine made brass is held
in poor regard.

The tuning slide is for accommodating different temperatures,
elevations, and anatomical differences among players. *These things
are not addressed by using a reference pitch during manufacturing.

They dont need to be. I don't know where you are coming from with
"anatomical differences". The audience dint listen to one bugle at
the top of hill in the sun with one ear while listening to another in
the shade in the valley. They all sound together, in the same place,
at the same temperature, at the same elevation. Each bugle is
affected equally. If there were other unkown differences, they can be
acomodated with the mouthpiece and extension. The complication is
there because machine rolled horns are crap.


Chalo

?{JB} wrote in message ...

I thought "bugle oil" was mainly for folks who didn't know a (sliding)
trombone from a bugle. A bugle has no moving parts and has no use for
lubrication.

I'm impressed you know that not all trombones are slide. Having excelled at
the euphonium for many years, I started playing /valve/ trombone in rock
bands, jazz ensembles and the like. (I had a gorgeous King Silver-Bell 2B
stolen from the storage room in high school. Plain old brass 3B replacement
was just not the same...)

BS

thirty-six wrote:

Chalo wrote:

The tuning slide is for accommodating different temperatures,
elevations, and anatomical differences among players. *These things
are not addressed by using a reference pitch during manufacturing.

They dont need to be. *I don't know where you are coming from with
"anatomical differences". *

People's lips are different. Players can "lip up" or down to one
extent or another, but the original equipment introduces a bias.

The audience dint listen to one bugle at
the top of hill in the sun with one ear while listening to another in
the shade in the valley. *They all sound together, in the same place,
at the same temperature, at the same elevation. *Each bugle is
affected equally. *

But the glockenspiel is not affected by the same things, and it isn't
tuneable. Bands tune to absolute pitches, not local variations. If
everybody is playing a G bugle and there are no other instruments,
then it only matters that the horns all have the same relative pitch.
But then one of the horns gets dented...

At least, these are some of the concerns we have when we play Earth
music.

Chalo

On Jan 16, 2:46*am, Chalo wrote:
thirty-six wrote:

Chalo wrote:

The tuning slide is for accommodating different temperatures,
elevations, and anatomical differences among players. *These things
are not addressed by using a reference pitch during manufacturing.

They dont need to be. *I don't know where you are coming from with
"anatomical differences". *

People's lips are different. *Players can "lip up" or down to one
extent or another, but the original equipment introduces a bias.

You get different size mouthpieces, in diameter (and occasionally
length).

The audience dint listen to one bugle at
the top of hill in the sun with one ear while listening to another in
the shade in the valley. *They all sound together, in the same place,
at the same temperature, at the same elevation. *Each bugle is
affected equally. *

But the glockenspiel is not affected by the same things, and it isn't
tuneable. *Bands tune to absolute pitches, not local variations. *If
everybody is playing a G bugle and there are no other instruments,
then it only matters that the horns all have the same relative pitch.
But then one of the horns gets dented...

and it sounds better. All G's will all be g's without knowing the
frequency of oscillation. It happens when all instruments are the
same. The temperature, barometric pressure blah ,blah, are the same,
the pitch is the same, no tuning slide required (except for crappy
modern machine rolled horns).



At least, these are some of the concerns we have when we play Earth
music.

Chalo

On 1/15/2011 8:46 PM, Chalo Colina wrote:
thirty-six wrote:

Chalo wrote:

The tuning slide is for accommodating different temperatures,
elevations, and anatomical differences among players. These things
are not addressed by using a reference pitch during manufacturing.

They dont need to be. I don't know where you are coming from with
"anatomical differences".

People's lips are different. Players can "lip up" or down to one
extent or another, but the original equipment introduces a bias.

The audience dint listen to one bugle at
the top of hill in the sun with one ear while listening to another in
the shade in the valley. They all sound together, in the same place,
at the same temperature, at the same elevation. Each bugle is
affected equally.

But the glockenspiel is not affected by the same things, and it isn't
tuneable. Bands tune to absolute pitches, not local variations. If
everybody is playing a G bugle and there are no other instruments,
then it only matters that the horns all have the same relative pitch.
But then one of the horns gets dented...

At least, these are some of the concerns we have when we play Earth
music.

Remember that Trevor's bugle is held together with tubular glue and
tying and soldering, has tread for better grip when wet, and swings 10
feet side to side while changing notes 210 times a minute while
traveling 70 mph, and is lubricated with almond oil.

--
Tºm Shermªn - 42.435731,-83.985007
I am a vehicular cyclist.

On Jan 13, 3:26*pm, wrote:
Carl Fogel wrote:
"One inch pitch is still the almost invariable rule, from which the
1 & 1-4 inch pitch used on the Waltham company's special chain and
sprocket construction forms the most notable exception."
--Cycling Life, 1897

*http://www.archive.org/stream/cyclin...n1307/mode/1up

Good to see that "snake oil" was popular in bicycling more than 150
years ago. *I wonder whether the customer base was as gullible as they
are today, be that about carbon fiber or saddles with holes and slots
in them as well as riding technique... always spinning at over 100RPM.

There must be an interesting bit of math and mechanics hidden in
there. If the chain's pitch were longer, then there would be fewer
links. So in a given distance ridden, there would be fewer links
bending. Of course, they'd be bending through a larger angle each
time, which is likely to offset that somewhat.

The question is, where would the sweet spot be? Do 8 flexes of 22.5
degrees use less energy than 4 flexes of 45 degrees? Does chain
condition matter? Speed?