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About GRollins

  • Birthday 11/30/1999

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  1. I figured that someone would have already started a thread on this, but apparently not... https://www.cnn.com/2024/02/25/us/rick-beato-youtube-everything-music-cec/index.html Grey
  2. TJ Cornish, --Lots of hi-fi amps pass DC. Some don't even cost very much money. I happen to own several at varying price points. Get over it. --A square wave is switched DC by another name. By definition. --Your attempt to excuse or rationalize someone wanting turning up an unsatisfactory sound system in an attempt to make it sound better is just...peculiar. Maybe it's a "thing" in your area, but I assure you it's not universal. So, with those facts in hand, all of your posts this afternoon implode. Nothing left to debate. There's no substance. Nada. Rien. Smoke on the wind. Move along, nothing to see here. I suspected earlier that it would come to this. Your posts have gone far enough over the line that facts clearly no longer matter. I wish those of good heart well, but this is getting to be a waste of time and I have better things to do. I'm going to bow out of this thread. Everybody have fun, okay? Grey
  3. It's like Nelson Pass once said to me: "Music is part of the entertainment industry. Some people just happen to get their entertainment value out of arguing about it." I'd never thought about it in those terms, but...yeah...he's right. Your post is largely nonsense. I don't have the time (or the energy, frankly) to deconstruct all the errors, but I'll take an easy one right off the top...your very first paragraph. This isn't about the heat delivered to the load by the signal (regardless of waveform), it's about the load's ability to dissipate that heat. It just happens that square waves have this unique thing where the cone lurches forwards (or backwards) and sits there, unlike sine, triangle, or other waveforms, which are always in motion. Until you understand that distinction, you'll go nowhere, fast. It's easiest to visualize with a woofer because you can see the cone move and you can look at the spider and see that it's an open mesh that air can pass through. As the cone moves, it pumps air past the voice coil, cooling it (clever trick, eh?). If the cone is sitting still, reproducing a square(ish) wave, it's not pumping air and the voice coil isn't cooling. Heat builds up. Driver dies. The same is true for mids and tweeters. You just have to trace the heat dissipation. It's that simple. ...or...apparently, that hard... For homework, take a battery and apply it to a woofer as a crude approximation of (half of) a square wave. The cone jumps, then sits. Yet the heat doesn't stop just because the cone is sitting still--the full current is still flowing, creating heat in the voice coil. Now, a D-cell isn't going to do a decent sized woofer any harm because there's not enough current available (an 8 Ohm driver would be facing a terrifying 0.28W or so...do not use a car battery!). This is just a visualization aid. But the same principle holds true at higher signal levels. Lurch, sit, get hot. Lurch back the other way, sit, get hotter. The ventilation represented by the lurch isn't proportionate to the heat buildup. Ventilation falls behind heat production. Heat reaches the point where the driver fails. Simple. Bad...but simple. And if I'm reading your post correctly--maybe there's something I'm missing (man, I hope so, because this is just weird)--you're still arguing that people who are unhappy with the sound turn up the volume in a doomed attempt to make things sound better...? Huh? What? I repeat, it's not about volume, per se, it's about heat dissipation. Focus on the heat buildup, not the volume. Heat is the enemy. Oh, well...argue away, if that's your entertainment value. I'll go along for a little while longer, but will reach a saturation point soon. Until you've actually thought this through, there's not going to be a lot more to be said. Back to work--plumbing (done, thankfully) and more sheetrock (ugh)... Grey
  4. That's easy, they're played by men wearing capes! Grey
  5. TJ Cornish, We are in agreement. Fourier analysis breaks a square wave down into a succession of sine wave harmonics. But...you're missing the point that that's true for any repetitive waveform, triangles, sawtooths, etc. (Smart guy, that Jean-Baptiste...) Yet it's square waves (i.e. clipping) that are fatal, not triangles, et. al. Curious, that... Amps don't clip in sine, triangle, ramp, or sawtooth waveforms, they clip in square waves (once you push 'em hard enough). Your statement about bigger amps being a pet fallacy makes no sense. "...Anyone who is unhappy with the performance of their setup such that they run them into clipping..." So you're saying that people who are unhappy with the sound of their system...what?...they think higher volume will make it sound better? This, I don't understand. I don't know about people in St. Louis, but over here in the Carolinas, people tend to crank their volume knobs for the exact opposite reason. They like what they hear and want more of the same. They're not running their gear into clipping because they don't like what they hear. I am completely at a loss to understand why anyone would do as you describe. Note also that your statement about tweeters being least able to handle power flies in the face of reality. Go to, say, Parts Express or Madisound and look at the wattage ratings for tweeters. If you've got a tweeter that's rated for 90W (ScanSpeak Classic D2010/852100, chosen at random, but a decent tweeter, for all that), the entire output of a 100W amp would not be sufficient to blow the tweeter...if your position was correct. Remember, subtract passive losses through the crossover (quite a bit, actually--consider that 10W and 20W resistors are common in crossovers, and it's not just to say "my resistor is bigger than your resistor"), also subtract the power represented by the fundamental and lower harmonics of the waveform, which will be handled by the woofer and/or midrange. Note, per Fourier analysis, that the fundamental is going to be far, far larger in amplitude than any harmonics routed to the tweeter. Yet, I guarantee you a 100W amp will fry a tweeter rated for any wattage you care to throw into the fray. How can a, let's say, 20W signal (after crossover insertion losses and the signals powering the woofer and midrange) destroy a tweeter if it's rated for 90W? Or even 50W? If it's only a matter of the power rating of the tweeter, as you claim, then you've got some 'splaining to do. Besides, you've already admitted that I'm right: "Square waves - at least in units of time relevant for audio (at some point a square wave at very low frequency is essentially DC and can indeed be power dissipation without cooling from movement)..." Note that square waves don't have to be 'at a very low frequency' to be harmful. Consider heat dissipation in computer CPUs, for instance. Lotsa heat. Very high frequencies. But at this point we're going to get off into duty cycles and such and I'm out of time. Just sit and think it through, you're already most of the way there. Grey
  6. I've spent many, many years in hifi audio and could yammer on at length about the uses and abuses of mid-fi to high end speakers for live instruments. I'm short on time (today is sheerock...and I hate sheetrock...by suppertime tonight I will be in a truly foul humor) and will limit myself to saying: 1) Yes, you can use home stereo speakers in a studio setting. 2) I would recommend decent mid-fi speakers, never lo-fi, and usually not high end. 3) As a general rule, stereo speakers will have lower distortion, but... 4) Will not play as loud, and... 5) May or may not handle transients well. (This will vary widely from speaker to speaker.) 6) "Pro" speakers can reach ear-crushing volumes. DO NOT try this with stereo speakers. You need to be honest with yourself about what volume levels you intend to strive for. If you want "live" 120dB levels, go with pro studio monitors, not stereo speakers. Me? I want to keep my hearing intact. I play at lower volumes these days. 7) I have a range of speakers available...some very, very nice. Know what I use for my studio? My venerable old ADS 300C speakers from back in the day, with subs...they're damned near perfect for what I do. NOTE: I do not play loud. If I were to do so, I would pull out different speakers. The ADS 300 series were available in different formats--a bookshelf speaker (300), a version with a mounting clamp (the ones I'm using...very convenient for my layout)(300C), a flat, open-backed version for mounting in the rear deck of a car (300i...NOT recommended for this application). Maybe others that I'm not remembering. There were also different generations, but that's going to be going rather far afield. 8 ) ADS had other speakers, some downright huge, that were used in various applications, including pro studios (Telarc used ADS monitors. Not sure about which model...2030s?) Although some would argue that ADS was a high end company, in my book they're just mid-fi. For my money, the best speaker in their lineup was the early 710...no, not the 810, the 710. I'd use them instead of my 300s if I had room. The best speaker they ever made. --Not a fan of this auto-format thing where I'm try to make #8 on a list and it's insisting on turning it into a sunny, cool emoji...that's why this entry has a space and the others don't-- 9) PAY ATTENTION, THIS IS IMPORTANT: You can use speakers of any sort with more power than they're rated for. The critical thing is never to let an amp clip. EVER. It's clipping that kills speakers, not (usually) power, per se. When a waveform clips, it begins to approximate a square wave. The cone lurches forward, then sits there. Current is flowing through the voice coil, but the cone isn't moving. Dynamic drivers are air-cooled devices and if they're not moving, air isn't flowing past the voice coil and they're not cooling. Heat builds up rapidly and the coil former (plastics or synthetics--metal formers will be okay) will melt or the adhesive (anything from shellac to epoxies) used to hold the voice coil windings in place will melt, then burn. Likewise the insulation on the wire on the voice coil. In extreme cases the wire itself melts. As long as the cone is moving freely the driver can cool. When I was toiling in the audio fields and someone burned up speakers, I'd sit 'em down and have a talk, then sell them a bigger amp...not bigger speakers. More speakers die from too-small amps than too-big amps, by a 10:1 ratio. 10) Woofers are susceptible to over excursion on transients. How well a stereo speaker will handle this varies--some do, some don't. Here's where you run into people screaming not to use stereo speakers in a studio. They bottomed the woofer; the voice coil slams against the back plate of the magnet structure. This sounds like shit (loud, clattering noise) and very quickly destroys the voice coil. Or the surround on the cone rips. Options: Use a subwoofer to take up the lower octaves or try a different speaker. Yes, this is sorta #5 again, just in a little more detail. 11) It's not a bad idea to use a compressor to lower the transients, especially for higher volumes. Combined with a sub, a compressor will let you get away with murder. 12) If you go with mid-fi speakers (ADS or other), try an assortment. They have a strong tendency to have bumped-up bass (technically the woofer's Q will be over 0.707, sometimes by ridiculous margins) right before the low end rolloff. My Rogers LS3/5a's are a good example. They were specifically designed as monitors for the BBC. Bump, but very well handled. Lovely speakers. No, you're not going to find LS3/5a's for pennies on the dollar--look for the ADS. The ADS 200 variants were too small. Skip those. The 300 or maybe 400s (the ones with the larger cabinets) would be good bets. Then jump to the 710. After that, you're into models that will require help moving and start taking up floor space. Your call. If you've got a speaker (of any sort) with a bass hump, use your active crossover to tune it out; set the crossover point above the bump. I need to move on. Good luck. Grey
  7. I long ago gave up on the notion of pets. I don't want to "own" another creature. I used to feed raccoons on the back deck; they were wild animals, free to come and go as they pleased. Sadly, that practice fell to the realities of my current life situation, but I feel absolutely no need to have an animal in my life just to make me feel better. And I absolutely do not need one to go out in the world. That's just dumb. Short of a seeing eye dog, I don't see that anyone needs a critter to get through the day. Harrumph! Grey
  8. I, sadly, have not turned on my synth stuff in months (like, since last June...it's pathetic). I am so completely clobbered by my fall-apart-house and single parenthood that there simply isn't time. However, there's comfort in knowing that it's still waiting for me. I've got a bodacious number of Euro pieces and can attest that: a) They're more fun than the law allows b) I finally reached a point where I'm pretty stable, module-wise, and no longer buy 99 modules a month--may even sell a couple c) It doesn't have to be beeps and boops...you can actually make tunes and melodies from Eurorack modules Grey
  9. dsetto, Holy Moley, man, sounds like you either had a very good night or a very bad one. If it was a good one, I want some of whatever you had. I have this...thing...this attitude about "mistakes" that is different from the other peoples'. A lot of people panic or get angry when they hit a wrong note. I long ago came to the conclusion that mistakes should be listened to. Later, Oogway came along and phrased it thus, "There are no accidents." Now, in this I am aided and abetted by the fact that my mistakes are usually in the proper scale, just not necessarily the note I intended to hit. And when they're not in the proper scale...they still work somehow. How I do this, I do not know. And so it was with this tune. I started off by trying to play two-handed. Always problematic, this is. Worse yet, I was trying to play a specific piece (Fur Elise, of all things). My attempt was laughable, or would be if it hadn't been so painfully rendered. However, as so often happens in cases like this, my mind started wandering...well, what if I try this instead of that, and then I can do this and then...and before I knew it, I had gone completely off the reservation and developed the A major part. This always happens. I start to learn something and my imagination goes wild, haring off after some other thing. Given the choice between dutiful slavery to old, scowly Beethoven and following my muse, it was a no-brainer. I happily went trotting after my muse. I always was a sucker for a pretty face. Now, them what's savvy to the ways of classical musicality will note that Fur Elise is marked 3/8. I tried to force my unruly piece into something more conventional, but the only rational way I could understand it was 11/8. Very well, 11/8 it is. Then came the magical mistake. I was going over the A part and my pinky fell on the G by 'mistake.' Oogway and I held a quick consultation and on the fly I decided to investigate this serendipitous wrong turn, because it changed everything. G natural isn't an A major sort of thing to do, yet it worked. Hmmm... So I started poking around and developed the G part, which is rhythmically and melodically similar to the A, but then I was stuck in G without a way either home or further afield. Enter the second non-accident (as Oogway would have it) and suddenly I was back to A. Yes, at this point I should probably play the piece 400 times in a row and wait for another accident...only I can't afford the time right now. My purpose in starting this thread was to find a way to 'accidentally on purpose' make a constructive mistake so as to go somewhere else. Apparently, there's not a rule/recipe/suggestion of the sort I was seeking. Oh, well. Perhaps my muse will once more favor me with her presence. She's awful pretty and I nearly always follow when she calls. Girls have that effect on me. Grey PS: ...Still haven't made it past the first page of Fur Elise...
  10. I mentioned above that I've been listening to classical music a lot recently. I just discovered Balakirev's Islamey. What the hell was the guy eating that week? Had he been inspired by Flight of the Bumblebee? It's a bloody finger-breaker: Why have I never heard of this piece before? Sounds like the kind of compositional stunt Rachmaninoff would pull. My sympathies to Boris Berezovsky, somebody grab a fire extinguisher and spray his knuckles--they're smoking... Tusker, Nah. Not done by a long shot. I'm not going to try to pull something on the scale of Close to the Edge (especially not working by myself--as I've noted many times, I'm not that far removed from being a two-fingered keyboardist [in your mind, picture Schroeder in the Peanuts X-Mas special when he single-fingers Jingle Bells for Lucy...that's about my speed]), but it deserves more than just A-G-A-G-A... Or maybe I should write lyrics and get Lady GAGA to sing it, eh? <...for the humor-challenged in the audience, that was a joke, okay?> Back to work... Grey PS: Remember to tip your waitress well. She's heard these same gags every night for a week and is heartily tired of my show, poor girl--yet she still smiles every time, bless her. The patience of a saint, she has.
  11. AROIOS, I'm not trying to smooth the transition. It already works well both ways, A to G and G back to A. I'm trying to decide where to go next. stoken6, Ah! Classical music! After all, if it's that old, it must be classical, right? According to my sons, I must have personally known Tchaikovsky, being the age I am. I saw the Allman Brothers at the August Jam in Charlotte in 1974. You know...back when dinosaurs ruled the Earth. This is one of those stories that's so painful I don't know whether I should laugh or cry, even now. I try to laugh, but it's not easy. Some of you might remember an OT thread I started in '21 after my daughter died. In the process of settling her estate, I was told that I would need a Medallion stamp on some paperwork (it's kinda like a notary public stamp on steroids). I'd never heard of a Medallion stamp and said so to the young fellow I was talking to. I said, "Medallion? I've never heard of that. When did this start?" Quoth he: "Oh, it's been around forever--since the 1900s." WTF? 'Forever?' 'Since the 1900s?' I was rather strung out emotionally, as you might imagine. Losing a child is a kick in the teeth. But even in my stressed state of mind, I realized that the world was shifting beneath my feet. When you're talking to a guy whose entire world view has formed during years that begin with 2xxx, I suppose that it's inevitable that any year beginning with 19xx would seem sepia toned. But...seriously...? Grey
  12. Canoehead, You're fired. Unfortunately, the confounded floor isn't flat. Part warpage of the joists over time (aided and abetted by the moisture that led to the damage) and partly due to the fact that the house is old enough that plywood that used to be 1/2" or 3/4" is now thinner--something or other 32nds of an inch. This makes life annoying for those of us who are having to redo and repair. So, you've touched on a sore spot. Grey
  13. I'm sensing that there's not a modal progression theory out there or someone would have tossed it into the conversation already. I'm okay with that--it was just an idea I had while I was priming the floor. MOI (and others) Suggestions for D are appreciated. I'm sure there's something there that's useful, but unfortunately the move from A (or G, for that matter) to D seems to trigger all my useless go-to riff neurons. We've all got our cliches that we fall back on and I'm no different. They're not helping. That's my fault, not you guys'. Leroy C Thanks. Lacking an overall "Theory of Modal Modulation" [you have to say that in a portentous voice so it sounds important], then approaching it as a simpler chord change question will apparently have to do. I was looking for MapQuest directions (get off at Mixolydian, Exit 29, follow Dorian Avenue for 1.6 miles...), but will need to be content with following my 'bump of direction.' I spent a few minutes on your F# Aeolian suggestion and it sparked an idea or two that seemed promising. I'll try to pick back up on the idea later. jazzpiano88 Whoa! There's a lot to chew on in that link. Thanks. Your comment about degrees in other keys is valid. It meshes with something that the YouTube suggestion algorithm threw at me the other day. Man, I get so disgusted with the stupid suggestions...then it finally coughs up something useful and I'm almost tempted to forgive the 99 previous time-wasters...almost. My earlier II-V-I wasn't to be taken literally (as some seem to have done). It was just an example of the chord change theory that you see in books. Given that the tune starts in A, it's tempting to think of it as being in that key, but when it shifts to G, it does so pretty firmly. It could stay there; there's not really any sense of longing to go back to A, although it does so readily enough. So...I'm not sure that you could say that there's a fixed key yet. I can treat it as an intro that will settle into something else later or I can take it as it is now. On that, I'm flexible. However, it does kind of leave things hanging in the wind as to where the root, fifth, etc. are. Obviously, the 11/8 timing will need to settle into something more conventional. Got to have a danceable rhythm, right? <joking, in case it's not clear> If I'm not careful, I'll end up with Pictures at an Exhibition with its fat-man-waddling riff. Yes, I've been listening to a bunch of classical recently. It's influencing my thinking. No, I haven't listened to Pictures...probably ought to... Grey
  14. Oh, and your earlier suggestion of trying D was something I'd already gravitated towards, at least as far as a key. Unfortunately, the riffs I came up with were junk so I backed away. D may very well be the ticket, it's just that I haven't managed to be clever enough to see the possibilities yet. Grey
  15. Speaking as an author, I am profoundly concerned about the way AI is encroaching on all the arts (some magazines have quit accepting over the transom submissions due to an overwhelming onslaught of AI-generated manuscripts). In an alternate universe, I'm probably already done with the tune, thanks to AI. In this universe...I'd prefer not to. It just feels wrong, if you know what I mean. Where does it stop? Next time, I might just succumb to temptation and tell the AI to do the whole song, from start to finish...then take credit for the whole thing. What's to stop me? Besides, if there really is some sort of modal progression concept out there, then I stand to learn something. If I turn it over to an AI, I'll just take the music it hands me without having any deeper understanding of music. I'm weak on theory and know it, but I'm willing to learn. On the other hand, if there's no such theory (and no one has popped up and said, "Go look up xxxx and that'll get you going), then I'll have learned something else--it may not be what I'd hoped for, but I will have learned. Grey
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