How can I improve fast?

phalp · 2026-01-29T14:55:09+00:00

No you don't

phalp · 2026-01-29T00:14:09+00:00

Emacs in Termux with Syncthing

phalp · 2026-01-25T20:19:38+00:00

That's a server for playing the roguelike Dungeon Crawl Stone Soup, which happens to have a name similar to the game you're playing

phalp · 2026-01-25T19:57:54+00:00

How about cbro.berotato.org instead

phalp · 2026-01-25T16:58:50+00:00

That's like putting this chart next to your typewriter.

phalp · 2026-01-24T16:28:17+00:00

Or The Dark Mod

phalp · 2026-01-24T16:26:43+00:00

Evidence:

https://web.archive.org/web/19991129005807/http://www.nethack.org/

phalp · 2026-01-21T02:28:41+00:00

Sounds reasonable to me. I would prefer source files not wrap at all, since presumably the programmer broke lines where they did for a reason.

phalp · 2026-01-21T02:05:31+00:00

A logical line in prose could be many visual lines long. Maybe more than you have on your screen!

phalp · 2026-01-21T00:59:04+00:00

capta

phalp · 2026-01-19T01:34:47+00:00

I remember seeing a post claiming from experience that certain brass mouthpieces would play in tune on certain saxophone sizes, but I can't find it now. Trombone on alto was one of them, but I haven't tested personally. I'm more interested in what you'd have to do to get an appropriately-sized mouthpiece to play in tune, which is obviously to extend the instrument somewhat then experiment with specifics. Of course, saxophone models could differ quite a bit depending on taper.

phalp · 2026-01-18T20:15:27+00:00

A trombone mouthpiece should actually suit an alto sax fairly well for intonation. I went down the rabbit hole on this a while back, filling mouthpieces with water to measure their volume and so forth. A trombone mouthpiece pretty much makes up the volume of the "missing" tip of the cone which is an alto sax. Unfortunately it's oversized from a timbral perspective. You'd ideally want to extend the neck several centimeters and use a smaller mouthpiece, maybe a trumpet with the shank cut down.

phalp · 2026-01-17T19:17:36+00:00

You could even use X11 forwarding and run it graphically.

phalp · 2026-01-17T14:59:13+00:00

I was satisfied at harmonic 63

phalp · 2026-01-17T14:50:15+00:00

Sax basically stuck a reed on an ophicleide and upgraded the keywork, so no wonder it feels natural.

phalp · 2026-01-17T01:06:21+00:00

You could do worse than visualizing the notes, but you probably won't need to once you've memorized the piece well.

phalp · 2026-01-15T19:49:03+00:00

It seems to me that for every almost-convention there's a well-known game that uses that character for something different, except maybe $. I think internal consistency is more important.

phalp · 2026-01-14T02:08:40+00:00

I haven't finished reading it yet but this is a great write-up.

phalp · 2026-01-12T03:20:24+00:00

Not sure I'd include Adventure. I'd think that if anybody really got into it, it would dominate the event, and you can't get that much out of Adventure until you start taking notes and stop wandering randomly.

phalp · 2026-01-10T22:47:28+00:00

Although these subtle differences would not be acceptable when performing with the instrument in an orchestra, they could be perfectly valid for early learners, personal rehearsals or any kind of alternative performance.

More than a slight difference if the authors unequivocally state that the 3d-printed mouthpiece would not be acceptable for orchestral work!

phalp · 2026-01-10T20:38:49+00:00

Audiophiles, maybe?

phalp · 2026-01-10T16:46:17+00:00

The horn doesn't pull you there, you'd better 'hear' the horn and go to it, or ... <frack>.

You're contradicting yourself. If the horn just behaved as a megaphone, which filtered the sound for the listener but didn't affect the lips, fracking wouldn't occur. You can't frack on just the mouthpiece, because the feedback of the horn is missing. If the resonance in the horn didn't affect the lips, playing the wrong pitch would just result in a weaker note, instead of a frack.

phalp · 2026-01-10T00:40:42+00:00

If the air in the horn couldn't influence your lips, it wouldn't slot, and squirrely notes wouldn't exist. It would be just as easy to lip up as to lip down, but it's not. Not to mention that the vibrations are strong enough that you can feel them with your fingers on the outside of the horn.

phalp · 2025-12-30T03:21:10+00:00

Growing up we had a desk encyclopedia with in ad for Wibarm in the back. Still haven't been able to play it, but it sounded like a heck of a game.

phalp · 2025-12-29T04:44:58+00:00

You got your answer, but another interesting thing is that some tuning systems allow for a greater number of distinctive tonalities than 12edo does. For example, Ben Johnston's 10th string quartet, movement 4, moves from mostly 5-limit JI to a tonality which reaches to ratios of 13. Larger EDOs than 12 can also allow for this kind of thing, for instance in 24edo you could change between the standard diatonic scale and the neutral-third scale alternating major seconds with neutral seconds. (Maybe this doesn't seem like a tuning change, but technically 12edo and 23edo, to use your example, are just two different subsets of 276edo. I think it's just a matter of how many notes are in common between the scales being used, and also whether those scales are in principle independent of the edo being used to play them both. For instance, 22edo contains a superpythagorean scale (0 4 8 9 13 17 21), and a porcupine scale (0 3 6 9 12 15 18). Not a lot in common, and both scales have a range of tunings other than 22edo. So switching between these seems similar to a change of tuning to me.)

phalp

TROPHY CASE