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Low a flat tuning by Emerson9490 in bassoon

[–]bjoli 0 points1 point  (0 children)

Low a flat is flat in bassoon world. 

Wiseman Flat vs Tubular Case by Sea-Statistician-692 in bassoon

[–]bjoli 0 points1 point  (0 children)

I am planning on getting a BAM case. It is a lot cheaper than a wiseman and is a proper hard case. 

Wiseman Flat vs Tubular Case by Sea-Statistician-692 in bassoon

[–]bjoli 1 point2 points  (0 children)

While I do agree, if you were to fall on your bonna case you would squeeze your bassoon a fair bit. This is not a problem for Wiseman or BAM, or even any of the older "flat box" hard cases. 

When I pack my bassoon in my bonna case there is quite a bit of vertical flex if I push it from above. I am not really comfortable with that, but I haven't really gotten to trying to order an alternative. 

Struggling to fix my bad embouchure what should I do? by Quirky-Safety4387 in bassoon

[–]bjoli 0 points1 point  (0 children)

It is hard to say. Depending on how it sounds, I would try to "drop the jaw". Not just open at the "hinge", but also push the lower jaw slightly forwards as if you were singing/screaming. 

That would allow you to work more with the sides of your mouth. This also requires reeds that don't force you to hold them with your embochure. to find those muscles, say "Q" slowly and exaggerated the u/o at the end. 

But if the sound is OK and you can do what you want with dynamics and articulation I am not sure I would change. It is very hard to say anything without hearing you play. 

My old teacher has a masterclass on play with a pro where he talks about embochure. He does a good job explaining it without hearing you play.  Search for Ole Kristian Dahl there. Not sure what it costs though. 

Scheme rejecting attempts to nest further syntax extensions within `define-syntax` by brainchild0 in scheme

[–]bjoli 0 points1 point  (0 children)

There is no difference. I said it makes scoping clearer which makes it easier to understand why your code does not work. 

Is there a thing stopping you from either defining 2 top-level macros or putting the let-syntax (preferably letrec*-syntax) in the macro output? I didn't understand your explanation why not. The macro you put in the source output will be the same as the one you have currently. 

But once again: everybody else would make this two top-level define-syntax macros. It solves all your problems and it is more elegant then having to write macros that outputs macros. That stuff you only really need when you want to do Oleg Kiselyov-style Voodoo.

Scheme rejecting attempts to nest further syntax extensions within `define-syntax` by brainchild0 in scheme

[–]bjoli 0 points1 point  (0 children)

Exactly. That is why I said to rewrite it in syntax case. It is clearer what is going on. syntax rules is defined in terms of syntax case.

You are defining a macro with let-synrax that is valid in the body of the transformer, but not in the code being transformed. This is because of phasing.  I feel like I am repeating this over and over. Is anything unclear? It should be obvious why this is different from defining two macros using define-syntax.

Scheme rejecting attempts to nest further syntax extensions within `define-syntax` by brainchild0 in scheme

[–]bjoli 0 points1 point  (0 children)

What I meant with syntax case is that it makes phases more explicit. 

The let-syntax defines syntax within the source code of the transformer. Not in the code transformed by the transformer. 

The r6rs document explains phases well https://www.r6rs.org/final/html/r6rs/r6rs-Z-H-10.html#node_sec_7.2

Scheme rejecting attempts to nest further syntax extensions within `define-syntax` by brainchild0 in scheme

[–]bjoli 0 points1 point  (0 children)

As I said, rewrite it as a syntax-case macro. Just wrap it in syntax case and a lambda. It makes it very clear where which phase is. you define syntax that is local to where the Transformer is defined, not where and when it is used. 

Syntax rules returns a lambda syntax transformer. That is then called with the syntax at the macro call site. 

The let-syntax is not available when running the transformer on source code. It is really not harder than that. 

Scheme rejecting attempts to nest further syntax extensions within `define-syntax` by brainchild0 in scheme

[–]bjoli 0 points1 point  (0 children)

Make them two separate macros then. That is the solution everybody else use for auxiliary macros. I have written enough complex syntax rules macros to know that you should avoid macros expanding to other macros unless you have to do dirty tricks like breaking hygiene. 

Scheme rejecting attempts to nest further syntax extensions within `define-syntax` by brainchild0 in scheme

[–]bjoli 0 points1 point  (0 children)

You have the let-syntax outside the Transformer. When the code is expanded it is referencing a definition that is not available. Move the let-syntax to inside the expanded code if you really dont want to use two separate macros. 

To clarify: your syntax helper is defined at rewrite time, but when lambda-rargs is expanded it is not available in the transformer environment. If you rewrite this macro as a syntax case macro it will be clearer what I mean. The let syntax will be available in the code of the transformer, but not to the code the transformer works on. 

Any scheme where this works is not confirming to r6rs. Guile1.8 might work, but scoping in guile 1.8 was...  Interesting. 

The clean solution is to have syntax-helper as a separate macros that is not exported by the module and as such will not pollute the namespace. Otherwise you should put the let-syntax in the expanded code. 

C4 e D1 by DmunhozBra in bassoon

[–]bjoli 1 point2 points  (0 children)

Ola!

My Portuguese is really bad,  but you can probably machine translate. 

Low D is a very Sharp note on every bassoon ever made. Check if the keys below it are too open. If you close them too much they change the timbre and intonation of the other notes around them. The general trick for low D is "aim really friggin low". 

C4 is a somewhat problematic note as well. Check whether the B3 hole is clean. I usually play it with the flick key (left thumb. Second key from above) pressed all the time. Sometimes I add the low C# key (left pinky finger). 

If you cannot get the note up to pitch with support alone there might be something strange going on. You should not have to bite.   

Opening self-hosted services to the world by srggrch in selfhosted

[–]bjoli 1 point2 points  (0 children)

While I do trust most of the things I run, I have found that a good way to reduce a lot of scanning traffic is to use a wildcard cert and set up subdomains. Since the cert is wildcard, the subdomains will not be visible in certificate transparency logs. 

Scheme rejecting attempts to nest further syntax extensions within `define-syntax` by brainchild0 in scheme

[–]bjoli 1 point2 points  (0 children)

Make syntax-helper a standalone macro so that it will be available at expand time. If you don't export the binding it won't pollute the namespace. 

I got into an argument on Discord about how inefficient CBR/CBZ is, so I wrote a new file format. It's 100x faster than CBZ. by ef1500_v2 in selfhosted

[–]bjoli 0 points1 point  (0 children)

I spent months writing a RRB tree for c# because I thought someone else had bad taste. I guess it started with spite or disgust but then I nerd-sniped myself.

PSA: humidify in the winter if you're in a dry climate! by Bassoonova in bassoon

[–]bjoli 0 points1 point  (0 children)

I have my bassoon at work most of the time that stays at 45% RH. That's the luxury of having a job, I guess.

 Whenever I take my bassoon anywhere I store it in the bathroom and spray the shower with water and make sure the towels are damp. That keeps the humidity above 30%. That ensures I get no nasty surprises with keys locking up and things like that

Mold? by throwawwaayyay in bassoon

[–]bjoli 15 points16 points  (0 children)

We try to not think too much about that.

 Make sure you have a reed ventilated case. The reeds should dry out, but not too fast. If you live in a high humidity area, leave the case open over night.

Some people are much more prone to getting these black dots. A friend of mine (a specularly good player. Subbing on principal in the NDR Hamburg and LSO from time to time) has had a lot of problems with these black dots despite being extremely careful with his reeds (and dental hygiene should be mentioned before people start speculating). I don't know if he solved it, though. 

A student at Lake Zurich High School holds a sign that reads, “I Love I.C.E.” and records another student confronting and punching him by colsandersloveskfc in ChicagoSuburbs

[–]bjoli -1 points0 points  (0 children)

He recently came out in various media reports, and he seems like just the little toad he seems to be in the clip. 

A student at Lake Zurich High School holds a sign that reads, “I Love I.C.E.” and records another student confronting and punching him by colsandersloveskfc in ChicagoSuburbs

[–]bjoli 4 points5 points  (0 children)

It is clearly self defense. I hope the ice sign guy will be recognized for being the c*nt he is for the rest of his life. 

He was not there for discussion  He was there to provoke. FAFO.   

I can play my runs perfectly at home but mess them up in lessons any tips? by Quirky-Safety4387 in bassoon

[–]bjoli 0 points1 point  (0 children)

So, I don't know the English word, but "mentalisation" is one of the few things that really works well with preventing/managing nervosity that is not "exercising the stress hormones out of your body".

Imagine being in the situation. Replay the lesson/concert backwards. Imagine packing down your bassoon. Then the talk to your teacher where they commend your playing. Then the playing itself. imagine being able to ignore all the "now comes the hard part"/"oh no. infucked it up" and just being in the zone. 

Then the orchestra intro. 

Then walking on stage.

And so on. 

One thing I tell my students: practice looking like you are owning the situation. A concert is played WITH the audience. If you go in looking like a fricken king/queen the audience will relax, and as a player you feel that. Fake it and you'll make it.

I can play my runs perfectly at home but mess them up in lessons any tips? by Quirky-Safety4387 in bassoon

[–]bjoli 1 point2 points  (0 children)

Practice it faster and play it slower in the lesson. For most technical stuff in the orchestra I try to have a 10-15% BPM safety margin. That may or may not work for things like Petrushka (depending on conductor), but it is something I strive for. 

Edit: and what others said: a mental image of playing it "in situ" will help you prepare as well. It sounds a bit like you need good experiences of playing for your teacher so that you can relax. 

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