I have found this free software suite to be excellent. You will find a video to MP3 converter amongst the choices
http://www.dvdvideosoft.com/
Chris
I just ordered the new Kessler low C bass
- Thread starter Merlin
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I have found this free software suite to be excellent. You will find a video to MP3 converter amongst the choices
http://www.dvdvideosoft.com/
Chris
And if all goes wrong, just start both the video player and some sound recorder and record the audio while the video is playing. (often (ab)used to convert some DRM-protected music into MP3)
Chris, I tried this program and it supposeldy created the mp3 file but actually only took a few seconds which seemed weird and the file created was tiny and didn't work.
Ben, can you explain how to do this? Can I just play the video file, for example in Winamp, then record with something like Audacity?
Ben, can you explain how to do this? Can I just play the video file, for example in Winamp, then record with something like Audacity?
Exactly. You may want to play around with the audio mixer (double-click on the speaker symbol in your system tray to bring it up).
Here's a screenshot of recording a Youtube movie with Audacity. All you have to do is select "Stereo Mix" as the sound source and adjust the volume a bit.
Well, in my case, I don't really mind the audio or not, I just want reviews: how good or bad they play, especially in comparison to "standard" horns. What you liked and didn't like. How the intonation and tone are. That sorta thing.
I'm probably never going to pick up those horns, so I'm trying to live vicariously
.
I'm probably never going to pick up those horns, so I'm trying to live vicariously
.Now the problem is that the scroll down menu that you have in your photo to choose Stereo Mix is gray without a possibility to choose anything. For whatever reason the Help doesn't help, doesn't work for some reason. I'm about to give up
Er...what Operating System? I can imagine it's different in Linux or MacOS...Now the problem is that the scroll down menu that you have in your photo to choose Stereo Mix is gray without a possibility to choose anything. For whatever reason the Help doesn't help, doesn't work for some reason. I'm about to give up
OK an older version of the same program worked.
Keep in mind I only had a few hours with the Eppelsheim and less with the Ripamonti and this is pretty much the most I've played contrabass clarinet. I also wouldn't give the most significance to different tone because the position of the recorder (camera) was different and their stands had very different acoustics too, plus all the noise from the hall.
http://www.nitailevi.com/temp/eppelsheim_cbcl.mp3
http://www.nitailevi.com/temp/ripamonti_cbcl.mp3
For a review, I can mention some things. Each of those instruments had some advantages and disadvantages, but overall I thought the Eppelsheim was better. Only some notes had slightly better response on the Ripamonti, even with just two register vents. I spoke with Benedikt about some changes to change response of some notes that are possible to make (e.g. different size register holes which I personally prefer, though other players might prefer the standard size).
Tone was great on both instruments IMO. I think people trying them would probably prefer the tone of one over the other, but which one depends on the person trying them. I liked some of the notes better on the Ripamonti but it was a lot more inconsistent too. Basically the best sounding the responding notes of the Ripamonti were especially nice but there just weren't that many of them to be significant overall. Also the better response was worse response depending on how exactly you approach the notes.
The ergonomics and mechanics of the Ripamonti are very problematic. Some keys are not in logical positions and the mechanical design in general can be improved a lot. The eppelsheim is very good mechanically. Really great design and inovative ideas. The position and angle of the neck and fingers feel a little strange at first but relatively easy to get used to. It has an automatic quadruple register key mechanism! Since I'm not used to any contrabass clarinet I felt like I need to get used to both of them.
Intonation seemed (from what is possible playing for a few hours in an exhibition) very good for Eppelsheim. Ripamonti was decent also except a few notes that had problems, like the top couple of notes of the clarion were very sharp.
I also briefly tried the Selmer Paris contrabass another time. It's more similar to Ripamonti but has better ergnomics, though still problematic and no where near as nice as the Eppelsheim. It's also costs about 50% more than either the Eppelsheim or Ripamonti.
I think realistically I'm only considering the Eppelsheim.
Keep in mind I only had a few hours with the Eppelsheim and less with the Ripamonti and this is pretty much the most I've played contrabass clarinet. I also wouldn't give the most significance to different tone because the position of the recorder (camera) was different and their stands had very different acoustics too, plus all the noise from the hall.
http://www.nitailevi.com/temp/eppelsheim_cbcl.mp3
http://www.nitailevi.com/temp/ripamonti_cbcl.mp3
For a review, I can mention some things. Each of those instruments had some advantages and disadvantages, but overall I thought the Eppelsheim was better. Only some notes had slightly better response on the Ripamonti, even with just two register vents. I spoke with Benedikt about some changes to change response of some notes that are possible to make (e.g. different size register holes which I personally prefer, though other players might prefer the standard size).
Tone was great on both instruments IMO. I think people trying them would probably prefer the tone of one over the other, but which one depends on the person trying them. I liked some of the notes better on the Ripamonti but it was a lot more inconsistent too. Basically the best sounding the responding notes of the Ripamonti were especially nice but there just weren't that many of them to be significant overall. Also the better response was worse response depending on how exactly you approach the notes.
The ergonomics and mechanics of the Ripamonti are very problematic. Some keys are not in logical positions and the mechanical design in general can be improved a lot. The eppelsheim is very good mechanically. Really great design and inovative ideas. The position and angle of the neck and fingers feel a little strange at first but relatively easy to get used to. It has an automatic quadruple register key mechanism! Since I'm not used to any contrabass clarinet I felt like I need to get used to both of them.
Intonation seemed (from what is possible playing for a few hours in an exhibition) very good for Eppelsheim. Ripamonti was decent also except a few notes that had problems, like the top couple of notes of the clarion were very sharp.
I also briefly tried the Selmer Paris contrabass another time. It's more similar to Ripamonti but has better ergnomics, though still problematic and no where near as nice as the Eppelsheim. It's also costs about 50% more than either the Eppelsheim or Ripamonti.
I think realistically I'm only considering the Eppelsheim.
Yeah, Audacity 1.3.x is still very rough around some edges (no big surprise as it's still a beta version); for Production work use 1.2.6. Fortunately both can be installed on the same machine.
I just took delivery a week ago on a new Kessler Bass Clarinet to low C. My guess is that it is ~3rd generation by now.
I have have shorter than average fingers. So this creates an issue that my RH first finger tends to pull off off the Bb key when my RH thumb reaches for the low C. The key is extended downward a little but there is room to extend it more. I may do this with some epoxy putty.
Another issue is that the low C and D are in tune enough but the low C# is quite flat. The metal tone hole on the bell seems positioned too low. I'm still investigating this. I plan to swap bells and take some measurements.
Otherwise, I have been quite pleased so far. I recently joined a community band that mostly has college level and higher caliber players. A significant amount of low notes are in the pieces they program. I don't play bari sax anymore (too heavy) so this is how I get my low note fix now.
I have have shorter than average fingers. So this creates an issue that my RH first finger tends to pull off off the Bb key when my RH thumb reaches for the low C. The key is extended downward a little but there is room to extend it more. I may do this with some epoxy putty.
Another issue is that the low C and D are in tune enough but the low C# is quite flat. The metal tone hole on the bell seems positioned too low. I'm still investigating this. I plan to swap bells and take some measurements.
Otherwise, I have been quite pleased so far. I recently joined a community band that mostly has college level and higher caliber players. A significant amount of low notes are in the pieces they program. I don't play bari sax anymore (too heavy) so this is how I get my low note fix now.
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I recently played the Kessler bass clarinet to low C. I was very pleased with the instrument although in ten years I have never seen a written low D, C# or C for the instrument in community band music. Any work you do on your instrument will most like reduce the resale value so keep that in mind.
+1. If you make alterations, make sure they're easy enough to remove if you either want to sell or if you determine that you don't like the alteration. Yes, this route takes longer, but it might inspire some creativity. You might also ask around here a bit on how to do your alterations. We have a lot of pro techs here.
Here is the custom key extension I made for the F/Bb key out if epoxy putty. It extended the key about 3/8" and is much more comfortable for me.
Also shown is a 5" long strap I made that is attached to the strap ring. It is a shoe lace with macrame knotting. This allows me to use standard length tenor/bari neck straps.
Also shown is a 5" long strap I made that is attached to the strap ring. It is a shoe lace with macrame knotting. This allows me to use standard length tenor/bari neck straps.