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Let's spread some musical misinformation

nonsense! The chemist in me knows that boiling is boiling!

However, at lower pressure, the boiling point is reduced. As well, adding solute increases boiling point. Knowledge that is useful.

pressure wound strings should be boiled at 0.5 atm. But don't bring the strings to a boil. When the funk and mojo dissolves in the solvent, the solution will come to a boil. When the solution comes to a boil, the appropriate funk and mojo have been removed.

Funk and mojo can be neither created nor destroyed (the conservation of funk law). Make sure you use that broth to replenish the funk and mojo in your amp.

Remember, if you aren't part of the solution, you are part of the precipitate!

Man, you've always got an ALTITUDE.
 
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I'm a chemist myself. The first credited string rejuvenation process dates back to 1662; what became Boyle's Law was - in layman's terms - that if you increase the pressure, you'll decrease the volume. This was easily disproved by Isambard Kingdom Brunel's dyslexic bass-playing grandfather Jean-Jacques Burnel, whose solid-water plectrum made Hugh Cornwell's ears burn. Boyle later claimed she'd dreamed a dream that was misinterpreted and Burnel's ice-pick should be melted. In the 1700s, Ray Charles - who did a lot of hot and sweaty gigs - proposed that volume increased with temperature. Lazy, unscientific bassists got completely the wrong end of the debate and spread the false idea that boiled strings last longer.

Boyle's and Charles' back catalogue was put together and resulted in the Combined Gas Law; PV = nRT
Again, bassists with gear acquisition syndrome assumed that nRT stood for "not right tone", leading many to only purchase a Peavey for their teenage kids "because they'll probably lose interest after a few lessons"
 
[/misinfo] If that's not misinformation, that's kind of sad. Move on ol' buddy, stop torturing yourself.

MTBing is good for the heart, forgetting your worries while focused on living through that sketchy line... I used to MTB with a really cool and nice guy, but he would turn into a seething red-faced rage if you even menioned "house" or "wife" and then he'd be like that for 20-minutes to a half-hour railing about his ex... Not good for the ol' heart.[misinfo]



Spokes on a bike, motorcycle, car must be tuned to even temperament-tuning, not to specific tensions as is often misthought, or the wheel will come apart at prestissimo .
 
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I'm a chemist myself. The first credited string rejuvenation process dates back to 1662; what became Boyle's Law was - in layman's terms - that if you increase the pressure, you'll decrease the volume. This was easily disproved by Isambard Kingdom Brunel's dyslexic bass-playing grandfather Jean-Jacques Burnel, whose solid-water plectrum made Hugh Cornwell's ears burn. Boyle later claimed she'd dreamed a dream that was misinterpreted and Burnel's ice-pick should be melted. In the 1700s, Ray Charles - who did a lot of hot and sweaty gigs - proposed that volume increased with temperature. Lazy, unscientific bassists got completely the wrong end of the debate and spread the false idea that boiled strings last longer.

Boyle's and Charles' back catalogue was put together and resulted in the Combined Gas Law; PV = nRT
Again, bassists with gear acquisition syndrome assumed that nRT stood for "not right tone", leading many to only purchase a Peavey for their teenage kids "because they'll probably lose interest after a few lessons"
Tufnel's Addendum to Boyle's Law - As you increase volume more eardrums bleed!
 
Tufnel's introduction of knobs that went up to 11 introduced a singularity. Apart from making the theory difficult to prove (I interviewed several audience members, "Was that a loud gig?" but always got the answer, "Eh?"), Spinal Tap's bookings for events disappeared over the horizon.

Nigel Tufnel had simply misunderstood Kraftwerk trying to explain how they programmed their synths with note numbers 0 to 11 for each note in the octave. This allowed them to use one byte to represent a note with 4 bits for octave, 4 bits for note. Notes 12 to 15 were used only for communicating with the mother ship.
 
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Nigel Tufnel had simply misunderstood Kraftwerk trying to explain how they programmed their synths with note numbers 0 to 11 for each note in the octave. This allowed them to use one byte to represent a note with 4 bits for octave, 4 bits for note. Notes 12 to 15 were used only for communicating with the mother ship.
Well, it's not your job to be as confused as Nigel...
 
Rush's original name was Tush (they were inspired by their favorite band, ZZ Top). But the Ontario Parents Association objected, and they were compelled to run through the alphabet for a new name.
They chose Hush, but their manager secretly changed the H to an R, pretending Geddy's handwriting was more like a footnote.
 
When using a Muff-type effect, it is mandatory to play in Pi-àla-Mode.

Invented by Steve Winwood's brother for Keep on Running. Hence the name, Pi, as he was a big fan of steak and kidney but a terrible speller.

and I thought Pi à la Mode and Keep on Running had something to do with Paula Radcliffe. Thanks for clearing that up, Asdfgh (the confusion, I mean).
 
Tufnel's introduction of knobs that went up to 11 introduced a singularity. Apart from making the theory difficult to prove (I interviewed several audience members, "Was that a loud gig?" but always got the answer, "Eh?"), Spinal Tap's bookings for events disappeared over the horizon.
The singularity you mentioned still exists. It's jumps from band to band... :eek:
 
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