PAGE 2. THANKS FOR DROPPING BEYE

DANGER!!! You may not REALLY understand the <depth> of what I am about to say. BUT you can go to the rest of this website if you don't quite get it. I'm expecting you to >NOT< understand tho. Will see... OK:

Lets say you have a synthesizer. You set it for a wave constantly changing the >PITCH< in one direction: Either up or Down. Let's say going UP for this example.

So you start the note. The wave constantly changing it's >Pitch< (UP, constantly). AND you add >REVERB< to the sound. Very important (and I will get to why reverb is such a fantastic effect). It sound really cool. REALLY REALLY cool. I think it has something to do with the following:

The wave starts with the >Lowest< to the >Highest< tone. At a certain point the wave has >>>ALREADY<<< past our ears, BUT we are >>>REMINDED<<< of the LAST FEW SECONDS that JUST have passed. THEN, it re-passes again, but it is stretched again with a changed dimension (most likely the >size< or the >dimension< being a reminder of what has just happened). And you hear the reverb going on for seconds, with the information playing oven and over again... And this goes on repeatedly, with the change and the >SPACINESS< reminding us of the past.

I think it has to do with the PASSED, the FUTURE, and the >PRESENT<, >WITHIN< ourselves. We are reminded of what just happened. And tho it just happened... It is reminding us >with The FUZZINESS of the past<, that it is just a >Memory<.

Hopefully you will understand this. It's really awesome actually when you get the sense of it.

About the reverb: A lush reverb, with a length of about say 1.5 seconds to 3 seconds should be fine.

If you find somebody on the web who has prerecorded this, put DOWN you speakers, because the HIGHER frequencies can BLOW you tweeters, NO JOKE, it's not mentioned usually, but the energy in tweeters is >very< low.

Typically, a home stereo >TWEETER< has the power handling of about 2-3 watts. The reason why it is so low, is because the music we hear has >very little< High frequency information (normally). So the tweeters have no problem following the music.

>BUT< plug in a Synth and the rule just FLEW OUT WINDOW. If you put a >SYNTH< in you >HOME< system, you will (if the volume is high enough) BLOW YOUR TWEETERS!

I HAD TO GO DOWNTOWN (35 MINUTE DRIVE) TO FIX MY SPEAKERS. So, to be certain you don't blow your >HOME< speakers, >I say< (and ask a professional to be sure) put your volume at about 1/3 the maximum rating, MAX. And everything should be fine.

MAKE A SUPER CHEAP MICROPHONE SOUND LIKE A X000$ MICROPHONE

Plug the cheap mic into something like this:

A Zero Delay Equalizer (or this [quite technical] https://en.wikipedia.org/wiki/Zero-forcing_equalizer )
A Delay to adjust the different microphones (MULTIPLE Delays) in the software
A Compression to adjust the different microphones (MULTIPLE Compression) in the software

That way, you start with the Equalizer. And you add 0 delay. That takes care of the frequency completely (without adding extra delay, anywhere). The reason why I say 0 delay on the equalizer is because the software would not ADD delay to the sound. This is important for the next operation:

A Delay to adjust the different mics (MULTIPLE delays). If it's possible to adjust the delay at different frequencies, then I think you have a pretty darn close imitation of any mics. The reason why I say to adjust the level, is that, the more the upper limit of a microphone loses sensitivity, the more it increases the delay. SO by adjusting the the delay (put everything at 0), we have a FLAT response. That means you could have a cheap 5$ DYNAMIC microphone, and make it sound like a 1000$ CONDENSER microphone (or more)!

An adjustable Compression for the microphone. A fully adjustable compression, at any frequency. That way the HI, or any other frequency, gets adjusted automatically.

But I know that the 0 delay must be added to the audio. So audio will be at the very least, the length of the delay... I think it's a bit hard to understand, but some people will catch it... It's not for everybody...

I mean you could take a 5$ mic, have the software throw some pink noise, or a sine wave (20hz-20000hz). It will calculate the level difference, then adjust the delays, and voila! Pretty darn close to the real thing, right?

SO: Not withstanding things like: Maximum Sound Pressure Level, Generated Noise, Body Vibration, Pattern Selection, Distance Response (Proximity Effect), Etc. will not be adjustable... BUT the Equalizer and the Delay Effects, when they are adjusted to respond to the target microphone, are pretty dang close!

NOW (#1): WHAT MICROPHONE TO CHOOSE TO TAKE MEASUREMENTS: You could put a link to CHEAP mics (the Berhinger ECM8000 comes to mind... The price comes to about 35$ Canadian. Or if you find that too expensive, you could go to a list generated by the software company and choose a CHEAP microphone [to take the measurements of the speakers]). So you'd have a list of microphones, and YOU will choose the microphone you have.

NOW (#2): YOUR MIC TO BE TRANSFORMED: You could put in your software a list of microphones (SM58 etc.) that you want to IMITATE, you put >YOUR< microphone at the input, click "GO!", and listen to it adjusting the sound.

THAT'S IT!!!

If the delay adjustment is not quite close to the real adjustment, I think I may have a solution actually. BUT I'm not sure if it works or not. If it does work we might just be at a new beginning in anything speaker or anything related to delays. BUT I'M NOT SURE IT WORKS! I'd have to check...

Maybe someone has such a program in her/his recording software (?). When you combine these 3 effects, you basically eliminated a large portion of the difference.

If there a company that wants to give it a try, I would be very interested in hearing the difference!

-------------------------------------------------

June 3rd, 2022

I CANNOT BELIEVE IT! 18 hours after I posted this ad, THIS IS WHAT POPPED UP IN MY YOUTUBE: https://youtu.be/kGD4H-XkARE?t=1567

Here is the link (incredible, the amount of coincidences is just baffling!):

Townsend Labs Sphere L22 Review: https://townsendlabs.com/products/sphere-l22/ "SPHERE"... WAS MY FAVOURITE BAND (I was the drummer)!

(I have no link with the company. I think I'll stop saying this cause I'm making 0$ on my sites)

"NO LIMITS™"... "Wow I have a lot of these all of a sudden™"

Just the let you know... BEFORE spending all that >CASH< on your next "MICROPHONE". I just want to say... You send all >YOUR< money, on a LIMITED software.

IF you have ANY IDEA OF WHAT'S COMING... The "LIMITED" software (IE 48,000Hz , 96,000Hz, etc) will >VERY VERY VERY SOON< be replaced by an "LIMITLESS" NEW GENERATION system, that will make the systems >SO OBSOLETE< that it's not even funny!

The sound cards will NO LONGER HAVE THE "LIMITS" (or almost) we are accustomed to. NO MORE 48,000Hz, 96,00Hz, etc...

I propose a NEW system of > 1 MHz <!!!

This way there will be no more "digital" fatigue. We will COMPLETELY ELIMINATE the "digital" aspect of our lives.

You think 1 MHz is too much for audio systems? Well with my system that REDUCES the bandwidth, it will be NO PROBLEM at all... It's in the previous page... You probably saw it...

So no more standard Sound Cards "LOCKED" at 48,000Hz, etc...

It's time to switch to 1 MHz now. EVERYTHING will >CHANGE< FOR THE (MUCH) BETTER!!!

WHAT IS (WAS) SO SPECIAL ABOUT CONCERTS

NEW LINE ARRAYS VS. POINT SOURCE SPEAKERS (CONCERT SPEAKERS)

We now go to concerts that are "louder" than ever (80s to 2000s) in the >MID/HI<, BUT are very weak in the >BASS<. The Line Arrays (newest speakers) are good, But I think they lack the "bass". Here is why I think that:

"Line Array" (a >NEW< form of speaker) are a form of speaker that RADIATES sound at a >3<db per octave (DEPENDING on the frequency [LINE source]). So it "drops off" the sound at >3<db/octave< (3db every time that you DOUBLE THE DISTANCE from the speaker)
Compared to a "Point Source" (a >OLD< form of speaker) that RADIATES the sound at >6<db per octave (IRRELEVANT of frequency [ROUND source]). So it "drops off" the sound at >6<db/octave< (6db every time that you DOUBLE THE DISTANCE from the speaker)
Furthermore: The new speakers, "Line Arrays", have about >1/2< the power IN THE SUBS
Essentially you are looking at >1/4-1/3< of the output of a sub-woofer, generally. It is difficult to make predictions of the sub output. But 1/4-1/3 the power is typical
"Line Arrays" have weird behaviour, especially in the mid/hi. I was at a concert a few years back, and I noticed that moving my head even 6 inches in front or in the back, COMPLETELY changed the sound. Not just a bit, but a LOT. The difference was immense! I suspect that it the hi/mid, stacking them, was affecting the sound. If you take speakers, and you start stacking them, what happens is the tweeter (if not arranged properly) will sound bad. It is almost impossible to stack tweeters with the horns not properly designed. My guess is that speakers designed to work at a specific angle, should be designed for that angle, and should always be placed at that angle. No matter how many different angles a horn may have. An EQ (with the different outputs, MANY DIFFERENT OUTPUTS, will help you out a lot!
BUT I can tell you that, in >MY< EXPERIENCE, the BEST place to be, is 7 to 15 rows, on the floor. This is the magic place to be, all is perfect in that area. Too far ahead and it does not sound right, and too far back an something is missing. That's what I've noticed in Line Arrays
I know Line Arrays are supposed to fix certain problems, BUT we are now capable of entering a curve in the computer, press >Enter< and let the >computer< do the rest. I wonder how much the >old< boxes would sound if we give them the same attention ans >NEW< boxes. Heck, we often use drivers that date back to the 80s. Only the boxes change (on they have a "New Design" with a new part number. NUT ALL< but some!

I don't know if there has been a new code for bass drivers (it is possible mind you), but it was totally AWESOME to hear your band the way it was supposed to!

FM >BASS BOOSTER< - A "TRICK" THAT MADE YOU REALLY FEEL EVERYTHING!!! THE >>BBBAAASSSSSS... WOW!!!<<

Yep the Bass Booster. You can hear it in radio stations. The DJ has a Bass Booster on hers/his voice. It is a special effect that DIVIDES the source (approximately below 100Hz) by 2, then 4, then 8, etc. and then you add those frequencies to the original voice. It sounds like super HiFi. The voice is nice and rounded. There's bass! Lot's of bass!

You can hear the difference, very much so! It is based on the "divider" circuits (way back in the 80s). We have used this circuit on bands, in concerts. Way back when. That's why we went to a show, and we could not believe the amount of BASS. It was insane.

Here is Forrest Mims, the worlds BEST electronics scientist. He is the author of "Getting Started in Electronics", "Circuit Scrapbook", "Engineer's Mini-Notebook", "Engineer's Notebook" and others (I have a few of his books from Radio Shack). Here is his web page: https://www.forrestmims.com/

His electronics books are EXTREMELY well written. He makes electronics EASY for you and for me.

I say: Try it out, because the things you will find in there are absolutely AMAZING! He creates tons and tons of various little circuits you can easily build. Just look at the stuff he comes up with...

I have a Synthesizer I always wanted to do. Take the circuits and connect them in every which way possible. I mean ANY way POSSIBLE. You would obviously take the functional pins, mix the circuits, take the output and create a very very very complex sound. Put it in a nice body with keys, nice module, and you've got the next keyboard.

There's amazing stuff in there. YOU DON'T EVEN NEED TO FOLLOW THE NOTES. Anything goes. Just mix it! That would be awesome BECAUSE people are looking for new ideas, the new synths are great, but you can play with circuits, and IT DOES NOT MATTER WHAT YOU DO... You could >sample< what you did, and have the notes afterwards, perfectly. Many of the chips are still manufactured. GO AHEAD, I know if I didn't have the issues with me now, I would certainly be doing just that.

AND those days were THE days of electronics. Not the "computer generated" ICs we have nowadays, with everything inside. It's BETTER to have the circuit laid out in front of you, and wonder what went wrong, or play around and figure out how you can make it better. It's a bit like that, but, chips are becoming more and more complex, and they contain more of the circuits inside.

GUITAR (OR OTHER) PREAMP???

I have never heard (and it may be me, maybe there is) a >PREAMP< that goes >INSIDE< a guitar (completely >BYPASSING<) the VOLUME, and the >OTHER POTS< as well!

You see, the voltage of a pickup is pretty damn hot. That means a >VERY HIGH IMPEDANCE< signal. This can be not very good, especially if you need a >LONG< cable. You get a bunch of >NOISE< and all kinds of other problems, since the beginning of time (which is something that >BOGGLES< my mind actually).

This is why a good (a very good) cable is needed (on the >DRY<output [no >ACTIVE< preamp])

>IF< a special >PREAMP<, going >STRAIGHT< to an >ACTIVE< circuit (completely bypassing the >VARIABLE< resistor, AND make sure that a >METAL FILM RESISTOR< is used (not the cheap cheap resistors used typically, witch makes me wonder when >CHEAP< resistors are used in >HI END< [or that's what the claim to be]), we would ELIMINATE all noise (almost), and there problems. And the guitar would be able to run for >HUNDEREDS< of feet (or more actually)!

Did you know that >CHEAP< resistors give a noise value of >3 Decibels< >HIGHER< than >METAL FILM RESISTOR<??? Yes it's true, a circuit using >CHEAP< resistors give >>>T W I C E <<< the output >NOISE< then a good METAL FILM RESISTOR!!!

So the need for very expensive cable will be gone. A good cable (such as this series https://digiflexcables.com/products/nss ) is all that is needed. I think they make the best cables. And you don't have to worry about paying >INSANE< amounts of money.

Let me, for just a second, ask you this: The studios (the big studios), what kind of cables do you think they have? Do you >REALLY< think that they have >SUPER EXPENSIVE< cables? I'm telling you that they do not! You can buy a >VERY HIGH< performance cable (in studios) like this: https://www.canare.com/analogaudiocable . That is the top of audio cables. There are others, but the L-2B2AT is a basic cable, it's not very expensive, and it is >TOP NOTCH<. Now this is only for fixed install, where you don't plan on moving thing around. It's >FIXED<. But it's just to show you that >GREAT CABLES, DO NOT HAVE TO BE EXPENSIVE!!!<. Other cables are right on par with Canare cables too. I just talked about a brand that I worked with.

Another thing, when you see someone trying to sell you the >BEST CABLE OUT THERE<. Just take a look at this: What I mean is that the cable is >JUST A REGULAR CABLE< that >COMES OFF< the circuit board. The cables are very often held by >SCREWS< (only!), witch is something I personally would >NEVER DO!!!<. >AND< the circuit board carries the signal on a >SMALL< traces (which we don't even see!!!). They are >HIDDEN<... IT'S RIDICULOUS!!!: https://ae01.alicdn.com/kf/Hd755835c8f5f4d809dd8eff4c5345f8fn/XP20000S-84PCS-C5200-A1943-3000W-3000W-professional-household-pure-rear-KTV-conference-outdoor-stage-performance-audio.jpg_Q90.jpg_.webp

What you just saw is >>> 42 <<< Transistors (!!!) that are going to a small board via a pair of relatively small cable. That's it. Do you see what I mean? Look at the transformer. It's very >BIG<, and the amount of transistors is >INSANE<... The capacitors (the cylindrical components in front of the transformer), it acts like >HUGE< battery (that's basically what the capacitors do). And the power going out of this, it simply on a pair of >SMALL< cables! It has nothing special at all... The cables act like >ORDINARY< cables! Nothing special at all. >AND< I wonder if the circuit board it a regular board >OR< if it is a HEAVY board? https://www.ourpcb.com/standard-pcb-thickness.html .

I remember designing some really cool circuits for production (a >snake< that is). It was a circuit that could do >ANYTHING< you wanted (for passive circuits). You could put a circuit to eliminate resonance. You could put as many passive circuits as you wanted. (3 isolated per board, + 1 direct line, + you could stack the boards. you could have limitless isolation, provided you have enough juice to drive them).

You could even put LUNDAHL transformers on the boards ( https://www.lundahltransformers.com/ ). These are >EXCELLENT< transformers BTW (no link whatsoever [again]).

My PCB had XLR inputs and outputs, Transformers held in place with nylon cable ties, ground lift to any number of input/output etc etc... And it was so small, that it fit on a 4"x1.35" board. That means that the circuit boards were used on a 12 channel snake. And the boards came >stuck together< (and removable if you had a need for less the 12 channels). It was perfect. And like I said earlier, you stack the boards to have "unlimited" splits.

I decided to put the pics here because many many many people have ordered this for a long time, so I'm going to hope that this is OK...

Here they are:

>BUT< the reason why I am talking about this board is because when we ordered them I asked that the conductor >THICKNESS< of the board be >TWICE< the thickness of regular conductors. That is because, tho It's seem unimportant, the little things like thickness of the conductors make me feel like the boards wont fail during a world tour. NOW it probably wont happen, >BUT< you can not be too sure. SO I got the >BEST< option available to us.

So that's why I didn't cut >ANY< corner's on >ANYTHING< custom! >I< like to make sure that things I build (or repair) >WONT COME BACK< >PERIOD!!!<. Ya I know I sound hard, but I like things to be done >CORRECTLY<... >AND< then some...

Or (if you wish) an overview of many circuits:

https://www.google.com/search?q=PROFESSIONAL+ELECTRONICS+AUDIO+CIRCUIT&tbm=isch&ved=2ahUKEwj44rLQtdv6AhWju3IEHVWgDyIQ2-cCegQIABAA&oq=PROFESSIONAL+ELECTRONICS+AUDIO+CIRCUIT&gs_lcp=CgNpbWcQDDoECCMQJ1DDDFio9gJgzIYDaABwAHgAgAGsAogBmw-SAQgxNi4yLjAuMZgBAKABAaoBC2d3cy13aXotaW1nwAEB&sclient=img&ei=mRRHY7iyBKP3ytMP1cC-kAI&bih=955&biw=1920

The only thing in using something >ACTIVE< is the need for >POWER<. What I suggest, is having the guitar with a >3 PIN< jack (instead of a 2 pin jack). This way you could give >POWER< to your guitar, as >CLOSE AS POSSIBLE< to the pickup, without >EVER< needing to get power. It would take the power straight from one of the pedals (it would have to be a new design).

You would be able the do a show with just your guitar and your pedals. >NO AMP<! All you need is to have an amp simulator (pedal or module), and a monitor. >NO AMP<.

You could even have an >RCA< jack output (to plug into home equipment [into the AUX INPUT Jack]. You just have to make sure that the >OUTPUT JACK< is OK for the home, and will not hurt your equipment. It should >NOT< be a problem if the manufacture guarantees that the equipment in >SAFE TO USE ON HOME EQUIPMENT™<.

GUITARS, AND... ETC.

I've been watching a YouTube video, and realized that a lot of the pedals and other gear, they >RENAME< the functions to a >prettier< name... BUT it can be a bit confounding to have such name>s<.

If I can take the time to >realign<, sorry to do this but, its all a bit confusing... Now we have 2 (or more) different ways of calling the same thing.

If we could put all under the same thing, then it would be easier, right?

How about the same name than we find it the >PRO< audio? Done like that you will completely erase any possible >ERROR. AND you will find that the guitarist will finally understand >WHY< his equipment sounds like it does... Right?

AND there is a >1 KNOB< solution, that I don't understand why companies do NOT put on this guitar amp... Why don't they put the >VARIABLE FREQUENCY< knob on there? If they would put 1 single >VARIABLE FREQUENCY< knob, you'd solve a bunch of problems... And the sound would be huge!

The cost difference of putting the >VARIABLE FREQUENCY< knob is >maybe< 2$ and up (depending on the quality of components). It's fully CHEAP, and the sound quality with this knob is huge!!!

When I was a kid, and a bought my first mixer, I bought the 4 band >FIXED FREQUENCY<... It was a really bad mistake! I should have bought a >VARIABLE FREQUENCY<.

A >VARIABLE FREQUENCY< equalizer permits you to >SWEEP< the range from LOW to HI without a break. Whereas a >FIXED FREQUENCY< doesn't let you do that. You STUCK at the frequency they decide. That's what I mean...

I think it would be a good time for the instrument >builders< to:

Put the "bizarre" names to the PRO names
Put the >FIXED FREQUENCY< to a >VARIABLE FREQUENCY<

That way things go you will see the value of "inexpensive" gear, go up for like 2$ and up! It real real real cheap!

I think I explained it properly?

NOT TOO EXPENSIVE SOUNDPROOFING, & I THINK BETTER THAN FOAM

I have a solution for soundproofing a room. It's pretty cheap (you can buy the stuff at a hardware store), it helps soundproofing the attached rooms (a bit), it easy to install, cuts all the frequencies, it sounds fantastic (in my opinion, it sounds better than foam), it doesn't mess up your wall with glue, etc, etc...

What is it? Simple: Carpet. If you want to cut frequencies and want a room within a room, you put >thick (1/4 inch minimum, and HEAVY carpet)<. I was trying to figure out what to use, and the solution was quit simple. Heavy carpet.

What I found was black, tough, 1/4"+ thick, carpet. You could use home carpet I guess, if it's thick and heavy it will work.

Now here is the trick in (kinda) having a room within a room: You have to install the carpet on a piece of 1/2" x 2" wood. https://www.google.com/search?q=1%2F2"+x+2"+wood&tbm=isch&ved

You install the wood all around the room (on top, completely). A 8' long piece, I say, it's gonna take 5 screws to hold properly. I suggest putting "locking" screws. Maybe all that is important is having 2 locking screws per piece of wood and the 3 remaining can be ordinary screws. https://www.google.com/search?q=Toggle+bolt&tbm=isch&ved

Just make sure you have a drill (the lock has to go thru the gyps and lock it in place), or you can choose the ones that require >NO< drill. But I would suggest having the drill because it is a better choice.

Now I have carpet in my studio. And I am certain that it sounds way better than foam. It cut all negative frequencies coming from the wall. The reason is, the sounds doesn't reflect from the wall... It reflects on the carpet (or it tries to, but it is unable to). Because the carpet is not touching the wall... It is floating. So when you have a sound in the room it dampens it. Thus taking care of the vibration, and taking care of not transferring the sound to the wall. And I think its much cheaper, no? It's the perfect solution!

One last thing. The electrical plugs and heater and switch outlets... Personally, I think it would be best if you remove a good 1 inch all around. Now this just >MY< opinion. You really should ask a professional about that. And while you ask her/him about the holes you better ask her/him about which carpet is the best (against fires. But how we cover the walls with foam, I think it probably isn't a problem, but ask a pro anyways).

Details in the drawing below...

".KARTESIAN" LOUDSPEAKERS. THEY WILL BLOW YOU AWAY!!!

FINALLY, A COMPANY THAT BLOWS AWAY THE COMPETITION!!!

You think your Xmax ("max"imum excursion) was good? These guys found a way to MULTIPLY there Xmax. That means that a loudspeaker that you get from them will change output by a factor of...

Can't wait to see what impact this will have on tiny Bluetooth speakers...

Check out their website (if this is not a joke actually, I am not sure anymore...). But check it out anyways:

The videos (it might have the audio to OFF by default. Then again, maybe not...) https://www.kartesian-acoustic.com/copie-de-koncept
And ALL their videos on their site: https://www.youtube.com/@kartesian5737/videos

Wow...

Dayton loudspeakers. I purchased drivers I plan on building cabinets for them. Yes you herd me right. I (the guy with 1 usable arm) will "build" cabinets. The trick is using PVC/ABS parts. It super simple. Everything is already made (well almost).

I just put in the glue, push the cabinet to the dimension I want, and I'm done. All I need is to find some help to drill 4 of the holes.

If you have 2-3 hours to watch me put everything together, you've just seen how to make speakers.

The beauty with this is that the material is >ROUND< (Air vents). Round shape is the >BEST< shape for loudspeakers. So it's even BETTER actually.

My loudspeakers are tiny. It has a 4in bass driver (witch has an incredible Xmax, so volume is not a issue, and approximately 50-55hz of drop off [3bd, its is excellent for what I am using them for]).

And a tweeter (well almost), I'll show you all that when I'm done.

The drivers from Dayton Audio and are really cheap! And I've constructed >plenty< of cabinets, so drivers can go from really cheap (very high value and great sound), to >insane< pricing. You just have to determine what you want.

I'm just showing you the insane the amount of push/pull this little monster can do. Iiinsane...

HE'S GOT IT!

You can change MANY op-amps on many amplifiers (or plenty of other things actually). BUT you have to make sure that the op-amp is NOT SOLDERED to the PCB (board), AND that the model is a replacement for the chip you are changing.

IF IT IS SOLDERED it can be a headache (and a lot of money, and a LOT of practice) to remove...

SO if it is on the board with NO SOLDER, THEN it's a go! IF you are new to this, AND would like to learn some "Desoldering", Here is a link: https://www.google.com/search?d&q=desoldering

How's this for an idea (not sure if it exists but...), any plastic or cardboard container (milk, boxes, etc.) and you simply throw the extra cable length in there, close it (after having cut 2 holes for the in/out of the cable).

Either that, or use a piece of tube (either any plumbing tube, or kitchen paper towel tube), pass the cord inside as many times as needed, and you have a super cheap and effective solution!

It's better then having electrical tape. Actually it not very good to use CHEAP electrical tape because (after a few months) it starts to lose its shape and stars becoming yucky, and sticks to e v e r y t h i n g! At least the one that I am using (a "brand name")...

If you prefer using the electrical tape trick hes showing, it does however seem pretty good.

Yep, > I < have problems with my Behringer X32 Console! And more than a few too!

MUSIC - IS THE RIGHT TUNING AT 432Hz? I THINK... YES!!!

432 VS 440

Yes, after what was said, I truly believe that 432Hz is what we should be tuning at! It has to do with the earths frequency. It resonates at 432Hz. This is the right tone!

They say that it can be helpful for curing certain ailments, I'm not sure about that, but it is possible.

A 440Hz (the standard frequency) is off. A 432Hz however, it's a perfect pitch. It resonates with the earth. I literally feel it resonate.

But what complicates the arrangements is when the pitch becomes harder to hear. But for relaxing music, simple music, I think that there is definitively something there.

https://www.youtube.com/results?search_query=432

MY OWN DRUMS (and, almost, my company) !!!

I can't play anymore (but it's a good thing cause my hearing was taking a beating, even if I wore good ear plugs). BUT just a little section to let you know where I stand on dimensions and on materials used.

FIRST: I started my company about 25 yrs ago... I was very young!

The MATERIAL used would be synthetic. ALL SYNTHETIC. Probably a carbon fibre composite. THEY HARDLY HAVE ANY MARKS FROM BEING HIT AT ALL. They would last a very very very long time...

The LUGS (thing that holds the rings) would be, *to start off*, LUDWIG. They just look very cool. They have the right look.

FINISH: I ordered in the US a pretty long piece (a roll actually) of multicoloured film. The same colour as a CD. I put the CD colour (auto adhesive) on existeting drums and, I will tell you, it was simply AMAZING!!! I even did a show at my school (500 + people), and it was awesome! I try to find a pic, but I don't think I have it anymore. Anyway...

DIMENSIONS: This is where people think I'm weird. BUT I will explain the reason for it. You will see, after I explain it, It will make the "normal" dimensions seem off! Here are >MY< drum dimensions:

TOMS: 6x6, 8x7, 10x8, 12x9, 14x10, 16x11, MAYBE 18x12

BASS DRUM: 20x13

SNARE: 13x3

Now the dimension witch were TOTALLY FUNCTIONAL. There is no *odd* dimension (IE 13 tom?? how does that work? The 13 inch tom DOES NOT WORK... It's dimensions are totally weird. This is >THEIR< dimensions. Look at the dimensions. It does not make sens at all:

TOMS:12x10, 13x11, 16x16

BASS DRUM: 22x14

SNARE: 14x5.5

I'll let you decide what you think. All that I can say is that for tuning the drums, it seems to me that MY dimensions would work, right?...

NEW TASTES(S)!!!

Yah

Just had a ffffffffffflashback... Well going forward actually... BUT first. I'm not even sure if this is the place for this but...

A new idea on FOOD... Check this out!: A fascinating way of >DETERMINING< if certain foods will taste good with other foods (and >BRAN SPANKING NEW< tastes as well!) is as follows:

You take the >NUMBER< of your food (and by NUMBER I mean the Spheronic number(S), of your food). Different >LAYERS< of food.

Example: Steak, Potatoes, Green beans, etc. Each >LAYER< is the specific taste on your plate. So the Steak could be "37.5", the Potatoes could be "12.4", the Green Beans could be "2.17", Etc,.. The number is all the ingredients in each part of food in your plate.

You set the number by IMPORTANCE of what you eat. SO the Steak would be #1, the Potatoes #2, the Green Beans #3, Etc... So you >Keep The Angle™< of all your foods.

This is important because you "Steak, Potatoes, Green Beans" will NOT be the same as a "Steak, >GREENS BEANS<, >POTATOES<". Know what I mean?

Potato and Green Beans are >REVERSED<. That can make a significant difference in what I'll explain a bit later...

So for the Steak you'd have a Spheronic # 37 >COMBINED< with Spheronic # 5 (Spheronic combination of different flavours), Etc... This adds up to "37.5". Or even much bigger numbers, as the number required the get its taste is >LLLOOONNNGGG<... That's why number will have very long number with >MANY< "." (Dots) in the number)... I don't know if this is clear or not (???).

(NOTE: The Steak, for example, is "37.5" BUT it's just a made up number. You'd have to get EVERY SINGLE INGREDIENT and measure them. It was just mentioned here to carry on with my idea...)

OK so: You get a specific number for the different foods, THEN you ADD THEM UP in your plate. THEN you get a >SPECIAL TASTE™< number. ALL in order in witch they appear in your plate.

SO for the Steak: The 1st number is "37".

So by default you "ENTER IN THE PROGRAM" "37.5,12.4,2.17" and get a reading which will tell you which food will taste good with that number.

Its important the go with THE ORDER in which they appear to get the >RIGHT TASTE<.

That could be good for "DRINKS" as well... If somebody (or a company) can come up with all the drinks it could be a lot of fun to experiment. Different kinds of >OFF THE WALL™< drinks. Things we have not thought of until now.

It could be a bit hard cause the numbers could be excessively long. It would have to be computerized. I'll check it out with Excel, maybe I can get something out. OR maybe... I'm not sure about the math, I stink at math... Will see...

CDs (or other digital media) VS TURNTABLES

CDs (or other digital media) at 44100 Hz 16 bit ALMOST sounds as good as Turntables, but not quite. It has a too low resolution, BUT not much
CDs (or other digital media) at 96 kHz 24 bit sounds THE SAME as Turntables. The resolution is minute enough to not tell the difference.

The reason is that at 96 kHz 24 bit the sound difference is INAUDIBLE compared to Turntables. THE REASON WHY people say it sounds "better" is that:

The mix is done by a DIFFERENT PERSON
OR the "mixed" SIGNAL is different when the final product is done
THAT'S IT!

So you want the same sound as the good old Turntables? OK then try this:

RECORD the "TURNTABLE" audio in your DIGITAL RECORDER (at 96 kHz 24 bit)
THEN, press play on the RECORDED audio
THEN, press play on the TURNTABLES audio
I GUARANTEE that the people CAN NOT TELL THE DIFFERENCE, AT ALL!

If you want the same sound as the Turntables, then go get yourself a plugin that replicates the Turntable sound. I know, I once recorded the sound like it was a really bad record. I made it sound EXACTLY the same way it would sound today, and that was many years ago. SO, there are plenty of plugin out there to choose from. BUT you are saving TONS of cash by doing so.

The "underlying" source of problems with a turntable is... Well actually, I'll give you these examples to make my point:

The NEEDLE gets worn more and more each time you play the record
The NEEDLE breaks
The NEEDLES can vary enormously in price and performance
The RECORD gets worn at each time you play it
The exterior NOISE gets IN the audio (?)
The NOISE on the records "pops" thru (BUT it COULD sound OK if that's the sound you want)
The SHOCK MOUNT for the body of the turntable (is necessary for mobile application, and some home apps too)
The COST of a decent turntable in pretty high
Etc.

So the more you play the record, the more you loose the "HiFi" you paid for. It's just, in my opinion, a waste of money...