audiomick

It's a longish trip, but I could concievably actually ride to that. Should it happen, and time constraints allowing.

Yeah, I've confirmed that too. But they tend to not improve the state of the wiring. Only 5V at the starter is even less than mine had when I bought it.

@docc this is solely and entirely your fault, due to the previous post. I take absolutely no responsibility.

I was going to just say "bingo", but @alannn probably hit the nail right on the head. PS: although I'm not quite sure about the "less practical". I've done rides of more than two hours. I find the riding position very good (I'm about 176 cm), the seat comfortable, the wind protection pretty good, and you can put a luggage rack on it if you want to. PPS: the pillion seat is shithouse, though.

A more serious attempt at that question. I haven't ridden a 4-V big-block (your Griso, for instance) or a V85, but... The 4-valve head is the "modern" iteration of the old big block motor. From what I've heard and read, it is very good. The V85 is the latest generation of the motor in my V35 and my Breva. By all accounts, also very good. The motor in the V11 is more or less the ultimate developement of the 2-valve big block motors. As far as I understand it, the motor in the 2-valve Griso, 1100 Breva and 1100 Norge was not much different, but they were all CARC models and a bit more refined than a "classic" Guzzi. The V11 has the spine frame, so not a classic Tonti frame and therefore not quite a classic Guzzi anymore, but also not that far away from it because of the motor. What you have is a big, classic Guzzi twin tuned to within an inch of it's life wrapped up in a pretty good frame and suspension. In its time, very good. All the character of the old Guzzi V-twin combined with pretty snappy motor response, and very useful handling and brakes. It is a combination I like. The difference to the other two you have? Barely concealed brute force. A bit like a bouncer in a dinner suit.

Of course. I've got three. Everyone should have three. Mine are a V35 Imola, a Breva 750 i.e. , and a V11 Le Mans. All very different, but still all very much Guzzi. My Le Mans is actually a problem case. It obviously had one or more somewhat less finicky previous owners, and I've already fixed a number of things. Right at the moment, it is waiting on at least a new fork seal, maybe a fork re-build, and it doesn't run at all well between 2,000 and 3,000 revs. Might be the timing sensor, I think. Despite all that, I love it. You need one.

Legend.

What, like this? or maybe more like this?

That's this bike. The photo of the front tire, first photo in the thread, turns up in the video about 20 minutes in. @wavey_davey1 great to see the bike on the road, and on the correct side of the road into the bargain.

I was allowed to ride a TZ 350 one time. Proper race bike, with slicks and all. No idle, started working at 6,000 rpm, went mad at 8,000, tailed off above 10,000, and just managed to get to 12,000 without any additional gain. Loads of fun, but that was on a track. On the road, it would have been a pain, if not to say completely useless.

I'm a bit loath to say it mate, but that is more or less exactly what Resolve is. I'm not even sure there are all that many other products out there. To be honest, I don't do very much editing at all. Even so, my experience is, "simple" products are generally crap. To get good results, you need a good product. The trick is to concentrate on the features you want to use, learn them, and ignore the rest.

The point with the external mic is the critical one. The audio recording quality on a GoPro is fine (we've got two of them at work too...), as is the quality on a Zoom recorder and co. . The point is collecting good audio to record. The short answer to that: use good mics and do it right. The GoPros we have are these, I think https://gopro.com/en/us/shop/cameras/hero10-black/CHDHX-101-master.html further equipped with these https://gopro.com/en/us/shop/mounts-accessories/camera-media-mod/ADFMD-001.html The media mod does have an audio input. It is only a 3.5mm mini jack, but better than nothing. PS: that is not to be construed as a recommendation for GoPro. I've barely used the things. It's just an indication of what is possible. If GoPro have something like that, I dare say competitiors will too.

Although I (still) don't know how to use this, I'll throw it into the ring. We have it at work, and the colleague that uses it most seems to like it. Another colleague, only been there 2 years or so, did a Masters in Documentary Film Production. I gather she learned to use it whilst at Uni, so it's not just us using it. There is a free version, but I don't know what the difference between the free and the sold version is. Even so, the sold version apparently only costs about $300,-. Have a look at it. Maybe it is a solution. https://www.blackmagicdesign.com/products/davinciresolve The blurb: One thing: the computer needs a bit of power, or it will be really, really slow. PS: I gather that the software is cheap because Davinci earns its money on cameras and such, and things like specialised controllers for the program. The want people using the software to keep them in the "ecosystem", so it is fairly cheap for the small-time user.

Book it up to environmental protection. The air that comes out of the crankcase is heavy with oil vapour. It's better for the environment if the re-condensed oil goes back into the motor.

It would be a bit pointless if it were a closed system. It is there to compensate for the change in volume in the crankcase as the pistons go up and down. This change in volume is not all that far short of the displacement of the engine. A closed system would increase the total crankcase volume, thereby reducing the relative change in volume, but would not be able to compensate for the change. For that, air has to be able to escape on the downstroke, and get back in on the upstroke.

"In this country" is the point. Convertibles just don't make sense in Australia, even in Melbourne (in the south = further from the Equator = not as savage sun as further north). The sun is too strong in summer, and, particularly in Melbourne, it's mostly too cold in winter for open top driving. Here in Germany, I could imagine having one. Perhaps not in the absolute middle of summer, but in spring and autumn it would be pretty pleasant, I reckon.

I only got half way through that. Two mates of mine in Melbourne had RG 500s. Both rode hard, and neither of them died.

As far as I understand it, that is the return that brings the re-condensed oil out of the frame back to the motor. The one that connects to the frame up near the steering head brings the vapours out of the crankcase into the frame. Please correct me if I am wrong.

Sound and Video has always been, and still is, seperately recorded in film production. I'm pretty sure everyone here would have seen at least a photo of one of these at some point Filmtechniker 15:05, 24. Aug. 2008 (CEST) (Transferred by Heubergen/Originally uploaded by Filmtechniker), Copyrighted free use, via Wikimedia Commons It's purpose is exactly what "some people" achieve by honking the horn. Hold it in front of the camera (film cameras don't record sound) and bang the top bit together to make a short, sharp, distinct sound. Obviously a clapper board is not absolutely necessary, assuming you don't need the blackboard on the front to note take number, date, whatever. You can use two bits of wood, clap, bang two hedgehogs together, anything that makes a short and distinct sound and clearly shows the "moment of impact" on camera. Then, "all you have to do" is line up the sound with the picture in post-production. PS: I would use some variation of the clapper board even when using a camera that records sound. Experience shows that it is much, much easier to find a spot in an audio track if you have pictures to give you visual cues where you are up to in the recording. For instance: start the audio recorder, count seconds up to starting the camera, get sorted and clap in front of the camera. Find the pictures of the clap, look at the elapsed time, and you know where to look for the sound of the clap in the separate audio recording.

and what did you have to do today?

Nice film, but the wind noise is annoying. If you want to reduce that, find the apeture for the microphone, and stick a nice thick bit of low-density foam rubber over it. To find the apeture, have a look at the camera, and when you think you have it, make a recording and scratch lightly on the hole you think is the mic. If you've got it, it will be obvious on the recording.

Very nice, and now I'm convinced about Billy Strings. If he can keep up with Tommy Emmanuel like that, he's ok.

That would be this. I've got one too. Brilliant. https://shop.becker-technik.de/en/products/central-lifter-24 have a close look at the pictures there, and you'll probably see the way to adapt the one you have to the V11.

And another one. As a teenager, I quite liked this band. and this bloke played guitar with them and I did end up hearing him live. Some time in the '90s I had a job in the Gasteig in Munich, and there he was on stage. And he turned out to be a nice bloke.

The best guitarist I have ever heard, most likely. At least at short range. This bloke was at Uni the same time I was, and I recorded a few demos for him, with him and a bloke playing Vibraphone. at the time, he was paying the rent playing in this band. Another Austrlian. Unfortunately, I've never heard him live. Would love to, though. The video is quite old, I think, but he is still around.