Cheek to Cheek (I'm in Heaven), the Irving Berlin tune from the 30's ... I'm playing it on my guitar. I have been working it up for a few days and finally got curious what the name was, a little internet searching got it identified. I've worked out a nice jazzy bebop version I'll play next week at the club if I can catch a certain female singer by then.

I really like the Light as a Feather album...

Seems the half, quarter, and eigth space gains are generated in the near field by local boundaries but propogated into the far field. The room gain is the contribution from the proximity in the far field space of the walls, floor and ceiling boundaries which reflect and "recover" a portion of the sound that would be lost in free space. If this is all true, then the room gain would be variable from room to room, but for a particular room it would be fairly constant - somewhat independent

Three reasons to believe it is fake. Way to deadly: The tub of water is setting on what appears to be a plywood support, with sharp corners, edges, etc. No way anyone is going to be hurling toward that without safety precautions. Way too fast: The elevation of the beginning of the slide is about the same as the ending. This would result in the slider reaching the end of the ramp and stopping there. The speed coming off the slide is way too fast. The sound is wrong: Notice that the camera is very

No, what I hear in movie theaters is 30 minutes of coming attractions folowed by: crackling candy wrappers, gum popping intentional cell phone ring tones crying children, inane conversations and that excitable woman who talks to the movie screen,"Don't open that door! Don't you do it! Look out! Oh, I told you not to open that door!"...

I thought this might be about the new crop of guitars that can digitally simulate hundreds of the sounds of all the other guitars including alternate tunings, pitch transpositions, 12 strings, and effects modulations that can be altered by waving the guitar through a light sensor. There are a few of these out now. I've heard them... New ideas and technologies are always popping up, but we guitarists are a very conservative lot when it comes to instruments. For all of the "advances"

"It seems that in the US you have two choices, 15-year or 30-year, that's it." As mdeneen and others have mentioned, just as with a credit card, as it is with a mortgage - you are not restricted to just making the minumum payment. You can shorten the mortgage period by making principle payments over and above the minimum.The sacrifice is worth it - you pay off the house sooner and not only save hundreds of thousands of dollars, but looking forward, you no longer have yet another 20

I prefer speakers that reproduce the acurate sound of bass instruments, not the ones that just play more extreme "bass", or as Coulterphoto1 so elequently describes, "Crazy stupid bass". That stuff tends to be a monotone thump and buzz kind of experience I don't care to hear.

Congrat's on the La Scalas. I used to drive my Heresys with a Carver m500t, not bad for a solid state amp, but on my La Scalas I never quite cared for the sound. I tried the little Trends ta10 with the La Scalas for a while and it was pretty good, but still not quite right in the high end. That Trends amp is floating around this forum right now, being passed around for listening; I think the last one to have it was Lisa "Meagain", and I think Fini was supposed to be next... see more

I did this stuff in grad school many moons ago... Systems like this commonly use a hierarchy of negative feedback control loops. Each loop has a comparator that receives both a reference signal from the level above and an input signal from the level below. The input signal includes any disturbance encountered and the comparator subtracts the input from the reference signal. At the lowest level, this input and disturbance signal is from the sensors in contact with the outside world. The sensors measure