#car ecm

[clifford-auto-parts]

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[careskillsacademy]

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[agbpaints]

So today I don't so much want to talk about some unknown mech I dug out of the bowels of Sarna, I just want to gush about a classic.

Whenever I build a list for playing Classic Battletech, I usually tend to focus a lot on my mediums and heavies. I like mechs that get into the thick of it fast and brawl and joust. Jumping jack Thunderbolts, Grasshoppers, Wolverines, Wraiths, etc. Light mechs are important too- scouts and light support and knives to push into the backs of people too busy dealing with my fast battle line. But when I get to the 80+ ton bracket I always think to myself 'why am I looking for slow fire support? I already play An Assault Mech,' and then I strap myself back into my Awesome.

Originally designed by Technicron Manufacturing in Merrick space furing the height of the Star League, the Awesome AWS-8Q was supposedly intended as a replacement for the aging Striker. The Striker itself is fairly forgettable product of early human mech design- it isn't much too write home about beyond being a janky bracket firing pile of direct fire weapons stapled onto a chassis with a questionably large engine and far too few heat sinks. I've got a feeling someone at Technicron thought the same when they looked at Stormvanger's offering.

Gone is the 320 power plant, replaced by a 240 rate fusion reactor that allows the Awesome to stride around at a stately top speed of 54 kph. All of that extra weight savings has been plowed into heat sinks to manage the Awesome's primary battery, 3 PPCs firing at unified ranges, something it does fairly well for its age with the ability to maintain a run while volleying in a 3-2-3 pattern with no decrease in performance. The Awesome is also incredibly thick skinned, carrying 97% of the potential armor its chassis weight allows, a fact that combines with its total lack of ammunition-bearing weapons to make an absolute zombie of a fire support unit- the only way to kill an 8Q is to core out the center torso or kill its pilot. That isn't to say it's without weakness- the low speed of the mech combined with the safety interlocks on the particle guns and the lack of any secondary weapons beyond a single head-mounted small laser means the Awesome is vulnerable to flanking attacks, especially whilst operating unsupported. Something for commanders to consider when fielding or facing. The 8Q is an absolute classic of a mech that continues to deliver well despite its age.

The Awesome has many variants (a few very good, a lot weird and LRM based because the purple parakeet spent most of the succession wars stapling every PPC they could get onto their Awesomes and still coming up short) but I'll just go over my own ride of choice. After an early and fairly mediocre modernization package in the 9M which mostly just made the Awesome more like the Striker (over-engined, under-sinked, and with a return to pointless ammo-bearing sidearms to threaten the precious 320 XL engine), Technicron delivered their own take on a 31st century Awesome in the form of the AWS-9Q in 3057. If the 8Q is a classic car, the 9Q is what happens when someone looks at that car and asks 'what if we super charged the hell out of it?' Unlike many other IS designs of the era, the 9Q is very deliberate with its use of lostech, simply cutting 9 heat sinks and replacing the rest with far more efficient double freezers. Those 9 extra tons play host to the mech's 4th PPC, an ECM suite, and the last available half ton of armor. As far as I'm concerned, the AWS-9Q is the zenith of Inner Sphere assault mech design prior to the adoption of clan tech and God's perfect direct fire support platform. Once it finds its hill, it will pump out PPC shots in a steady 4-4-3 pattern until the enemy removes it, and for a mear 1,875 bv or 7,456,050 c-bills, that's a damn good deal.

So, the next time you're building your inner sphere lists, consider the Awesome. It might not match the flashiness of the Clan assaults or the versatility of something like a Battlemaster, but it does beat them in terms of efficiently cranking out armor-stripping salvos until the enemy is scrap. And that's pretty awesome

[navcommrelay]

JUNO 1-2

Second Deployment: 0900 Hours

Ground Elements In Field:

SWMC Alpha Lance 

SWMC Bravo Lance 

CFRI 2C Alpha Lance 

CFRI 1C Beta Lance 

Angel Company 5 + 6 (RTB / DropShip Pickup)

DropShip Deployments at Primary LZ:

CFRI 2C CMD/Logi Unit

CFRI 1C Alpha Mechanized 

SWMC Support and Logistics

Resupply Mission (Cargo Only)

Objectives: Silver Wing: Rendezvous and support CFRI 2C-Alpha; CFRI 1C Alpha. Attached Asset “Fire Moth” + Elemental: Target infantry manned installations at target Hera CFRI 2C C/L: Deploy logistics elements and set up FOB CFRI 1C-A, 2C-A: Joint assault on target “HERA” Angel Element: Aerial pickup by Leopard to refuel/rearm

After-Action Report:

SWMC Alpha/Bravo, CFRI 1C Alpha/2C Alpha:Damaged units (SWMC A-2, A--3, B-3, B-4) escorted home by Angel-5 and Angel-6. Angel Element conducted aerial docking with CFRI Leopard-1 “Liberty” to return to JumpShip for refuel and rearm. SWMC Combined Elements held on-location against WoB Patrol elements while awaiting reinforcement from CFRI 1C-A/2C-A. Combined arms force designated “WESTWING�� proceeded to secondary target “HERA.” As predicted by intelligence, minimal ground support was present along supply routes.

Contact at target was heavy, as predicted. Accurate fire from Heavy LRM turrets accounted for heavy damage to non-’Mech units and the loss of CFRI 2C-A4. Careful maneuvering by CAMG Scorpion and attached infantry elements prevented outflank by WoB Heavy Infantry, request for commendation award. SWMC Lances suffered damage, but secured an advantage against the opposing Choir with a lucky Heavy Large Laser headshot against the commanding Grigori. Bravo 5, however, suffered a loss of right leg functionality late in the fight, and was forced to withdraw. Lack of available air assets to deliver directed anti-structure ordinance forced “WESTWING” elements to conduct an hour-long bombardment with ‘Mech and vehicular heavy weapons. Primary objective completed, all field elements returned to FOB at LZ JUNO. 

Engaged and Destroyed: 1x Grigori Invictus 2x Malak Invictus 3x Asura (variants not logged) 1x Preta Luminos 6x Heavy LRM Turret 12x WoB Anti-Tank Heavy Infantry

Damage and Losses:

All Units - Armor and external damage Alpha 1 - LRM 5 (LT), moderate internal damage (LA, LT, RL) Alpha 2 - ER PPC (RT) damaged, moderate internal damage (LT, RT) Alpha 3 - RA lost, LA all actuators damaged Bravo 1 - Gyro damage, ER Med Laser (RA), moderate internal damage (RA, CT) Bravo 2 - 2x Double Heat sink (LT), Pilot injury (triaged, treated), moderate internal damage (LT) Bravo 3 - Heat sink (RL), moderate internal damage (RL) Bravo 4 - moderate internal damage (RT, LT, LA) Bravo 5 - RL lost, pilot injury (treated), moderate internal damage (LT) Additional - CFRI 2C-Alpha-4 Rotunda Scout Car (RL) destroyed by laser fire during engagement. Deceased with Honors.

CFRI 2nd Company HQ deployed static O/P COMTES communication and ECM system. Completed setup of Collapsible Command Module. Resupplied ammunition and coolant to deployed units. Field repairs completed on SWMC Bravo 3 using replacements from SWMCS Holk. Completed construction of trenchworks, STOL landing pad, and HESCO fortifications. HQ/Logi repelled a probing attack with support from damaged elements of SWMC lances. Engaged and Destroyed: 1x Gurkha GUR-8G 1x Nexus II NXS2-A 1x Red Shift RDS-3A 16x WoB Rifle Infantry 8x WoB Anti-tank Heavy Infantry 2x Growler Service Utility Truck Damage and Losses: Light armor damage to multiple units 1 Crate, Field Rations, “VEGGIE OMELET”

WESTWING Combat Comms Log Excerpt: CI/NL: ”WESTWING Ground elements watch your flank for OpFor.” CI1A1: “Copy, OPSCOM. All elements, prepare for contact.” CI1B1: “CA-Scorpion, get your troops out and pull off the road.” CAMGS: “Copy, deploying for contact. (Background: OUT, OUT!)” CI2A5: “Sensors showing a whole fucking lot of bad, inbound.” CI2A4: “Visual, 600 meters! Sensor can’t get a lock on it…” SWA4: “Looks like Celestials…” CI1A1: “Fuck. Alright, call your targets and light ‘em up!” SWA1: “Bravo 3 on your right!” SWB3: “Oh, that Grigori is too close for comfort.” CI1A4: “Holy shit these things are hauling ass! We’re-” CI2A4: “GET SOME! HA! And they said rockets were a dumb idea.” CI2A4: “Aw, fuck. It’s not dead? HOW IS IT NOT DEA-” (END LOG 2C-Alpha-4) CI1A1: “Friendly down! Target Alpha is CT-red, hit ‘em!” (Proximity reactor containment failure warning audible) SWB2: “Engaging that pair of Malaks, good ARAD lock.” CI2A3: “Goddammit, there’s MORE of these bastards?” SWB1: “Bravo 3, stay put. I have a good…” (Multiple energy weapons fire, overheat aural warning audible) SWB3: “God preserve me…” CI2A3: “Holy shit, his cockpit is gone. That’s definitely a kill.” SWB1: “Damn it, I was aiming for the torso, but scratch one Grigori.” CI2A3: “Dead is dead, man. I’ll take fewer targets any day.” CI2B3: “How are they tanking this much fucking HE?”(SRM Ammunition 25% Warning audible) (EXCERPT ENDS) (OOC- note this occurs just prior to @the-tired-merc's most recent post involving the destruction of Amber's Fire Moth.)

@is-the-battlemech-cool-or-not @the-clawtake @lt-chari @frogblast-the-ventcore

[rubyneo]

can i ask what the problem with any of the cars is? is there a way you can set a small goal we can help u towards to get a car fixed to help you out of the uber spiral of death (been there)? i cant spare much but sending u $10 after this ask

uhm my sister's car is just completely dead. she has changed the alternator, the battery, the starter, the ignition switch, the ignition cylinder, and all of the fuses and it just will not turn on.

my mom's Cadillac has some sort of electrical issue. either the fuse panel OR the ecm but my sister isn't sure and if she gets it wrong the replacement might fail anyway.

and my mom's little beater car (that we got while trying to fix the Cadillac last year) the transmission just went. and it's a 30 year old car and every mechanic is quoting us upwards of 1k to install a new one.

but i can probably do a goal of 1500 to get the transmission fixed on the last one?

[jpbjazz]

LÉGENDES DU JAZZ

STANLEY CLARKE, L’IMPERTURBABLE

‘’That's one thing that an artist can't do -if any creative person starts listening to other people, he goes down."

- Stanley Clarke

Né le 30 juin 1951 à Philadelphie, en Pennsylvanie, Stanley Clarke est le fils de Marvin Clarke et Blanche Bundy. La mère de Clarke était chanteuse d’opéra et l’avait encouragé à apprendre la musique. Clarke avait commencé à apprendre à jouer de l’accordéonavant de passer au violon, au violoncelle et à la contrebasse. Clarke avait finalement adopté la contrebasse, car il mesurait plus de six pieds et avait de très grandes mains. Un jour, Clarke avait aperçu une contrebasse abandonnée dans un coin, et il avait décidé d’essayer d’en jouer. Clarke expliquait:  "The bass was tall and I was tall; it was similar to a violin and a cello, which was the direction I was taking anyway, so I started playing the bass."

Clarke avait étudié la musique classique durant cinq ans à la Settlement Music School de Philadelphie et avait pris quelques cours de contrebasse durant ses études. Clarke avait commencé à jouer de la basse électrique à l’adolescence afin de pouvoir séduire les filles. À cette époque, Clarke avait commencé à se produire dans des fêtes dans lesquelles il imitait les groupes que les filles adoraient.

Après ses études secondaires, Clarke avait fréquenté la Philadelphia Musical Academy (devenue plus tard le Philadelphia College of the Performing Arts, puis l’University of the Arts).

DÉBUTS DE CARRIÈRE

Clarke avait amorcé a carrière professionnelle à l’âge de seulement quinze ans, comme membre du groupe du saxophoniste Byard Lancaster au club Showboat.

Après s’être installé à New York en 1970, Clarke avait fait ses débuts sur disque avec le tromboniste Curtis Fuller. Après avoir travaillé avec Horace Silver, Joe Henderson et Pharoah Sanders, puis avec le groupe Tony Williams Lifetime Experience, Stan Getz, Dexter Gordon et Art Blakey, Clarke avait collaboré avec Gil Evans et Mel Lewis.

Clarke rêvait de devenir le premier musicien de couleur à faire partie du Philadelphia Orchestra lorsqu’il avait fait la rencontre du pianiste Chick Corea. À l’époque, Corea était en train de mettre ur pied un nouveau groupe avec Stan Getz tout en écrivant de la musique pour la formation. Ces pièces avaient été publiées pour la première fois sur deux albums enregistrés en février et en mars 1972: Captain Marvel (publié sous le nom de Getz en 1974) et Return to Forever (publié sous le nom de Corea en 1972). Le jeu et les improvisations de Clarke avaient particulièrement été mises en évidence sur les deux albums. Le groupe avait aussi participé à quelques performances avec Getz en Europe. À l’époque, Return to Forever était essentiellement un groupe de studio, mais les membres de la formation n’avaient pas tardé à réaliser qu’ils avaient le potentiel de devenir un véritable groupe à succès.

La première version de Return to Forever interprétait principalement de la musique latine et utilisait exclusivement des instruments acoustiques (à l’exception du piano électrique Rhodes de Corea). Le groupe était composé de la chanteuse Flora Purim, de son époux Airto Moreira à la batterie et aux percussions, du collaborateur de longue date de Corea, Joe Farrell, au saxophone et à la flûte, et de Clarke à la basse électrique. Le premier album du groupe, intitulé Return to Forever, avait été enregistré pour les disques ECM en 1972. Le groupe, qui était passé progressivemt à une version plus orientée vers le jazz-fusion (notamment avec l’ajout du guitariste Al Di Meola et du batteur Lenny White), avait enchaîné l’année suivante avec Light as a Feather. L’album avait été enregistré pour les disques Polydor et comprenait le grand succès  "Spain". Après la parution de l’album, Farrell, Purim et Moreira avaient quitté la formation pour fonder leur propre groupe. Le guitariste Bill Connors, le batteur Steve Gadd et le percussionniste Mingo Lewis s’étaient alors joints au groupe. Lenny White (qui avait joué avec Corea dans le groupe de Miles Davis) avait par la suite remplacé Gadd et Lewis à la batterie et aux percussions. Le troisième album du groupe, intitulé  Hymn of the Seventh Galaxy, a été publié en 1973.

Combinaison de rock et de jazz, le jazz-fusion s’était développé au début des années 1970. Mais bien avant de se joindre au groupe Return to Forever, Clarke s’était déjà établi comme un remarquable virtuose de la basse électrique. Comme le critique Mikal Gilmore l’écrivait dans le magazine Rolling Stone: "During his tenure as bassist for Return to Forever, Clarke established himself as one of the most prodigious instrumentalists in modern music: an exceptionally nimble, resourceful electric and acoustic bassist.’’ Pour sa part, Joachim Berendt avait commenté dans son ouvrage The Jazz Book: From New Orleans to Rock and Free Jazz : "Stanley Clarke combines [Miroslav] Vitous's fluidity with Oscar Pettiford's 'soul.'"

Un peu comme Jaco Pastorius, Jack Bruce et Larry Graham, Clarke avait contribué à donner à la basse électrique ses lettres de noblesse et en avait fait un véritable instrument soliste, démontrant ainsi qu’elle pouvait jouer un rôle mélodique à part entière en plus de son traditionnel soutien rythmique. Décrivant ses premières influences, Clarke avait commenté:

‘’You can see, if you study the music, the way certain influences culminate in one player. Prior to me, there were so many types of bass players – acoustic bass players and electric bass players. Larry {Graham} was really a strong force. To many of us in the bass community, we all love Larry and look up to Larry as someone who innovated something. There were a lot of them: James Jamerson, even Paul McCartney – he was one of the first melodic bass players. In the jazz world, Charlie Mingus, Scott LaFaro, Ron Carter. I think when I came along, having listened to all of these different players, it was natural for all of these things to have this interesting convergence in my world. It’s funny, you don’t really think of it so much when you’re a player. Really, to be quite honest, I never thought of myself at first as someone who was trying to liberate the bass. It was only years later, around the time of the School Days album, that I started championing the whole idea of bass liberation.’’

Décrivant l’influence que Pastorius avait eu sur son jeu, Clarke avait précisé: ‘’I remember, I was so happy when Jaco Pastorius came on the scene. Then I didn’t feel alone. When you’re trying to do something out there, it’s always nice to have a friend, someone with similar ideas. I know many people thought that Jaco and myself would be sort of natural adversaries, but it was actually the opposite – the complete opposite. He understood what was happening with the bass: The instrument had to move forward.’’

D’abord formé comme musicien classique, Clarke était passé à la basse électrique un peu par hasard. Il expliquait: ‘’You can go to school now to learn how to play the electric bass. When I was younger, there was no literature out there for studying the electric bass. All of those early records that you’re hearing, I was only playing electric bass on the side. I was really an acoustic bass player. I just sort of developed that stuff, like most of us at that time, by picking the instrument up and doing what I could.’’

Comme Clarke l’avait déclaré dans le livre Jazz-Rock Fusion de Les DeMerle publié en 1988:  "Years ago there was a fixed idea that bass players played background, and bass players have this particular theme--kind of subdued, numb, almost looking numb, and just to make a long story short, I wasn't going for any of that." Très influencé par Scott LaFaro, un contrebassiste qui avait joué avec le légendaire pianiste Bill Evans, Clarke avait démontré beaucoup d’imagination dans son jeu en trio avec les pianistes et les batteurs. Comme Clarke l’avait expliqué au magazine Rolling Stone: "I've always been more drawn to melodic than rhythmic playing... I had all these melodies running around in my head, all this knowledge of classical music I was trying to apply to r&b and jazz, and I decided it would be a loss in personal integrity just to be a timekeeper in the background, going plunk plunk thwack thwack."

Même s‘il était devenu très populaire après la parution de l’album Light as a Feather en 1973, ce qui lui avait permis d’obtenir plusieurs offres pour aller travailler avec Bill Evans, Miles Davis et même Ray Manzarek du groupe The Doors, Clarke était demeuré avec Return to Forever  jusqu’en 1976 alors qu’il avait formé son propre groupe.

Corea avait enregistré un premier album solo intitulé Children of Forever en 1973. Produit par Chick Corea, l’album mettait à contribution le guitariste Pat Martino, le batteur Lenny White, le flûtiste Art Webb et les vocalistes Andy Bey et Dee Dee Bridgewater. Clarke jouait à la fois des claviers, de la basse électrique et de la contrebasse sur l’album. Publié en 1974, le second album de Clarke comme leader, simplement intitulé Stanley Clarke, avait été enregistré avec un groupe composé de de Bill Connors aux guitares acoustique et électrique, et de Jan Hammer aux synthétiseurs et  au piano électrique et acoustique, et de Tony Williams à la batterie. Durant la tournée qui avait suivi la publication de l’album, le guitariste britannique Jeff Beck avait interprété la pièce ‘’Power’’ tirée du même album. Par la suite, Beck avait de nouveau collaboré à plusieurs albums de Clarke, dont Journey to Love (1975), Modern Man (1978) et I Wanna Play For You (1979). Clarke était particulièrement devenu populaire après la parution de l’album School Days en 1976. En fait, la pièce-titre de l’album avait remporté un tel succès que les amateurs avaient commencé à la réclamer lors des concerts. Commentant sa collaboration avec Beck, Clarke avait précisé:

‘’This is one of the greatest things that happened to me. It was just fun. I had this house on Long Island, and I was living out there with my wife. There was this knock on the door, and I looked out the window and there was this long limousine. This guy got out with this rooster haircut – that’s what I used to call them – and it was Jeff Beck. He knocks on my door, and I didn’t know much about him. I had definitely heard his name, but I hadn’t really gotten into his history. He comes in, and he has this really heavy accent. He’s telling me he was playing in town, and somebody gave him my address. He came over and he wanted to meet me, because he was playing a song from one of my albums. He just took a song from the first album, called “Power,” and he was playing it live. He wanted to meet me. We talked for about an hour, then he got back in the car and he left. That led to him playing on my second album, on a song called “Hello Jeff.” I called him and said: ‘Hey do you want to play?’ It was like that.’’

Décrivant sa collaboration avec le groupe Return to Forever, Clarke avait précisé: ‘’There’s a connection there that is much like the relationship between twins. Certain things, you just know the other guy is going to say this, or do that. Chick is like a big brother to me. I have known him for a long time. We’ve done a lot of things together, and Lenny is the same way.’’ Très populaire, le groupe comptait même parmi ses admirateurs Billy Joel et Elton John. Ce dernier laissait même les membres du groupe conduire sa Rolls Royce.

Même s’il est aujourd’hui davantage identifié comme musicien de jazz, Clarke avait passé la plus grande partie de sa carrière dans la musique pop. En 1979, le guitariste Ronnie Wood des Rolling Stones avait formé le groupe New Barbarians avec Clarke et Keith Richards. Deux ans plus tard, Clarke avait fondé avec le claviériste George Duke le groupe Clarke/Duke Project qui combinait le pop, le jazz, le funk et le rhythm & blues. Le duo s’était rencontré en 1971 en Finlande alors que Duke faisait partie du groupe de Cannonball Adderley. Clarke et Duke avaient enregistré ensemble pour la première fois dans le cadre de l’album de Clarke, Journey to Love en 1975. L’album comprenait le simple "Sweet Baby", qui s’était classé dans les vingt premières positions du Hit Parade. Le duo s’était de nouveau réuni dans le cadre de tournées dans les années 1990 et 2000.

Après avoir fait une nouvelle tournée avec le groupe Return to Forever au début des années 1980, Clarke avait travaillé avec  Bobby Lyle, Eliane Elias, David Benoit et Michel Petrucciani. Clarke avait également joué de la basse sur les albums de Paul McCartney Tug of War (1982) et Pipes of Peace (1983). Décrivant sa collaboration avec McCartney, Clarke avait commenté: ‘’He’s a beautiful player. Of all of the recordings I’ve played on, those two records are among the most memorable. We went down to this island, and I hung out with Paul for a couple of weeks. I really, really had a lot of fun. He’s a very melodic player. Melody just comes right out of him. That’s only natural for him to play the bass like that. He does it without thinking. He’s a writer who sings songs, so it was only natural when he plays the bass, his lines would be very melodic.’’

En 1985, Clarke avait fondé The Stanley Clarke Band. Le groupe, qui avait expérimenté différents styles allant du rock au jazz en passant par le R & B, le funk, la musique classique, la musique latine et africaine, était composé de Ruslan Sirota, Beka Gochiashvili et Cameron Graves au piano, de Shariq Tucker à la batterie, de Salar Nader au tabla et Evan Garr au violon. Le groupe avait publié l’album Find Out! la même année. Avec d’autres musiciens, Clarke avait également enregistré l’album The Stanley Clarke Band qui s’était mérité un prix Grammy pour le meilleur album de jazz contemporain en 2011. La pièce "No Mystery’’ avait aussi obtenu une nomination dans la catégorie de la meilleure performance instrumentale de pop. Le groupe était composé notamment de la sensation japonaise Hiromi Uehara au piano, de Ruslan Sirota aux claviers et de Ronald Bruner Jr. à la batterie. L’album était co-produit par Clarke et Lenny White . Le groupe avait récidivé en 2018 avec The Message.

ÉVOLUTION RÉCENTE

En 1988, Clarke avait formé le groupe Animal Logic avec l’ancien batteur des Police Stewart Copeland. Le groupe comprenait également l’autrice-compositrice-interprète Deborah Holland. Clarke connaissait Copeland de longue date et avait fait sa connaissance bien avant la fondation du groupe The Police. Copeland avait aussi fait une apparition sur l’album Up de Clarke en 2014.

En 1991, Clarke avait joué en tournée avec un groupe comprenant Herbie Hancock et Wayne Shorter. En 1998, Clarke avait fondé le groupe Superband avec Lenny White, Larry Carlton et Jeff Lorber.

En 2005, Clarke avait fait une tournée en trio avec Béla Fleck et le violoniste Jean-Luc Ponty. Clarke et Ponty avaient également joué  en trio avec le guitariste Al Di Meola en 1995 et enregistré l’album live The Rite of Strings. Clarke et Ponty avaient de nouveau joué en trio en 2012 avec le guitariste gitan Biréli Lagrène. Deux ans plus tard, le trio avait enregistré l’album D-Stringz.

En 2007, Clarke a publié le DVD Night School: An Evening of Stanley Clarke and Friends, un enregistrement d’un concert présenté en 2002 au Musicians' Institute de Hollywood. Dans le  cadre du concert, Clarke jouait à la fois de la contrebasse et de la guitare électrique et avait été rejoint sur scène par des artistes invités comme Stewart Copeland, Lenny White, Béla Fleck, Shelia E. et Patrice Rushen.

En 2008, Clarke avait formé le trio SMV avec les bassistes Marcus Miller et Victor Wooten. Le trio avait enregistré l’album Thunder la même année. En 2009, Clarke avait publié Jazz in the Garden, un album mettant en vedette son trio composé du pianiste Hiromi Uehara et du batteur Lenny White.

En 2010, Clarke avait publié un nouvel album avec le Stanley Clarke Band, qui comprenait Hiromi au piano, Ruslan Sirota aux claviers et Lenny White à la batterie. L’album s’était mérité un prix Grammy dans la catégorie du meilleur album de jazz contemporain.

La même année, Clarke avait fondé sa propre compagnie de disques appelée Roxboro Entertainment Group. Basée à Topanga, en Californie, la compagnie avait été baptisée ainsi en hommage au high school que Clarke avait fréquenté dans les années 1960. Le premier album publié par la compagnie était un enregistrement du guitariste Lloyd Gregory et du compositeur Kennard Ramsey. Parmi les autres artistes sous contrat avec la maison de disques, on remarquait le claviériste Sunnie Paxson et les pianistes Ruslan Sirota et Beka Gochiashvili.

En 2014, Clarke avait été invité à se produire sur scène avec le groupe Primus dans le cadre de la tournée Primus and the Chocolate Factory. La tournée comprenait également comme artistes invités Stewart Copeland et Danny Carey du groupe Tool. À cette occasion, Copeland et Carey avaient interprété avec Clarke et le bassiste Les Claypool le succès de Primus intitulé "Here Come the Bastards". La même année, Clarke avait enregistré Up, un album réalisé notamment avec son ancien partenaire de Return of Forever, Chick Corea au piano, le guitariste Jimmy Herring du groupe Widespread Panic  et Steward Copeland à la batterie. En 2018, Clarke avait publié The Message, un album du Stanley Clarke Band mettant en vedette Cameron Graves aux synthétiseurs, Beka Gochiashvili au piano et Mike Mitchell à la batterie. Le rapper Doug E. Fresh et le trompettiste Mark Isham avaient également participé à l’album. Continuant de connaître de fréquents changement de personnel, le Stanley Clarke Band était composé en 2019 de  Cameron Graves et de Beka Gochiashvili au piano, de Shariq Tucker à la batterie, de Salar Nader au tabla et d’Evan Garr au violon.

En 2020, Clarke avait été invité à enseigner au Bass Bootcamp animé par le bassiste Gerald Veasley. Le camp, qui avait lieu à Philadelphie, permettait aux bassistes de tous âges d’étudier avec plusieurs professeurs et professionels de l’instrument comme Richard Waller, Rob Smith, Freekbass et Michael Manring. Malheureusement, le camp avait dû être reporté à l’année suivante en raison de la pandémie de la COVID-19. Très impliqué dans le développement de la relève, Clarke avait également fondé la Stanley Clarke Foundation, une organisation caritative qui accorde des bourses à des jeunes musiciens talentueux à chaque année.

Également compositeur de bandes sonores pour la télévision et le cinéma, Clarke était notamment l’auteur de la musique de la série télévisée Pee-wee's Playhouse (1986-1990), qui avait été mise en nomination pour un prix Emmy. Clarke avait aussi écrit la musique des films Boyz n the Hood (1991), Passenger 57 (1992), What's Love Got to Do with It (1993), Poetic Justice (1993), Romeo Must Die (2000), The Transporter (2002), First Sunday (2008), Soul Men (2008), The Best Man Holiday (2013), Barbershop: The Next Cut (2016). Il était également l’auteur des trames sonores des émissions de télévision Waynehead (1996-1998), Static Shock (2000-2004), A Man Called Hawk et Soul Food (2000-2004) et Lincoln Heights (2006-2009). En plus d’avoir plus de 75 bandes sonores à son actif, Clarke a aussi écrit la musique du vidéo "Remember the Time" de Michael Jackson. En 2019, Clarke avait également composé la trame sonore du documentaire Halston de Frédéric Tcheng. Le film raconte l’histoire incroyable du désigner américain Roy Halston Frowick.

Comme contrebassiste, Clarke avait toujours utilisé une technique assez particulière. Lorsqu’il joue de la basse électrique, Clarke place sa main droite de façon à ce que ses doigts s’approchent des cordes un peu comme il l’aurait fait avec une contrebasse, mais avec un angle de 90 degrés. Afin de réaliser tout cela, Clarke devait placer son avant-bras au-dessus et parallèlement aux cordes. Pendant ce temps, son poignet était placé en crochet vers le bas afin de former un angle droit. Lorsqu’il jouait en solo, Clarke frappait les cordes vers le bas, ce qui permettait de produire un son beaucoup plus percussif. Commentant l’approche très ‘’métallique’’ de son jeu, Clare avait précisé: "I found from plucking the strings in various ways that just the slightest movement can change your whole sound.’’

Clarke démontrait également énormément de rapidité dans ses solos. Comme il l’avait expliqué au cours d’une entrevue accordée au magazine Guitar Player: "On electric bass, I use any finger, even my thumbs--anything!... I pluck mainly with three fingers. I have certain patterns that I can only play with four fingers. Sometimes when I get to those real fast runs that just fly, they'll be a fourth finger in there to help play it."

Clarke se sert de contrebasses Alembic depuis 1973. En plus de se innovations comme musicien, Clarke avait également développé ses propres instruments comme une basse électrique piccolo et une basse électrique ténor.

Mis en nomination à de nombreuses reprises au gala des prix Grammy (il en a remporté trois à ce jour), Clarke avait également été lauréat s’un prix Grammy pour le meilleur album instrumental en 2011 dans le cadre des 12th Annual Latin Grammy Awards. Le prix avait été décerné conjointement à Clarke, Chick Corea et Lenny White pour l’album Forever. Clarke s’était également vu accorder un Lifetime Achievement Award par le magazine Bass Player en 2006. Le Festival international de jazz de Montréal a également décerné à Clarke un Miles Davis Award en 2011. Clarke a aussi été élu Jazz Master par la National Endowment for the Arts en 2022.

Clarke est aussi titulaire de deux doctorats honorifiques décernés respectivement par l’Université of the Arts de Philadelphie en 2008 et le Music Institute de Philadelphie en 2009. Clarke a également été élu bassiste de l’année dans le cadre de plusieurs sondages des lecteurs des magazines Down Beat et Playboy. Il a aussi été nommé artiste de jazz de l’année en 1977 dans le cadre du sondage de lecteurs du magazine Rolling Stone. Clarke est également membre de la “Gallery of Greats’’ du magazine Guitar Player. Depuis 2016, une partie des instruments et des enregistrements de Clarke font partie de la collection du Smithsonian’s National Museum of African American History and Culture (NMAAHC) de Washington, D.C.

En plus de ses activités de musicien et de compositeur, Clarke avait également agi comme producteur pour des artistes comme le guitariste Roy Buchanan et les chanteuses Dee Dee Bridgewater et Flora Purim. Il avait même chanté à l’occasion sur les albums de Return to Forever et sur ses propres enregistrements. En plus d’avoir tenu une chronique sur la basse dans des magazines durant un certain temp, Clarke projette actuellement d’écrire un manuel didactique en plusieurs volumes sur la contrebasse. Il précisait: "I'm writing a book on acoustic bass, maybe three or four volumes. It's going to be the full thing--everything that anyone would want to know about the acoustic bass."

Décrivant sa philosophie de la musique, Clark avait déclaré: "I don't feel I should have to make music to satisfy anyone. But I do feel that one of an artist's fundamental duties is to create work other people can relate to. I'd be a fool to do something nobody else was going to understand."

Même si Clarke était considéré comme un excellent musicien, son passage du jazz vers le jazz-fusion n’avait pas toujours été bien accueilli par critiques. Les plus récents projets de Clarke avec les musiciens rock, comme sa collaboration avec le New Barbarians de Ronnie Wood et l’ajout de thèmes de la musique pop dans sa musique, avaient terni sa réputation auprès de certain puristes. Mikal Gilmore écrivait dans le magazine Rolling Stone: "Clarke has seemed to temper his talent, opting instead to play fairly prosaic, overbusy variations of rhythm & blues and even heavy-metal music." Gilmore s’était montré particulièrement amer envers la collaboration de Clarke avec George Duke. Commentant une collaboration de Clarke avec Duke et Sonny Rollins, Chris Albertson du magazine Stereo Review avait déploré:  "Pianist George Duke and bassist Stanley Clarke, men of great jazz potential who were bitten by the chart bug before they could show us more than the tip of their talent, here prove that they have spent too much time in fusionland.’’ Dans son compte tendu de l’album Hollywood de Maynard Ferguson sur lequel Clarke avait agi comme producteur, Don Heckman écrivait dans le magazine High Fidelity: "The title certainly tells you what to expect. But if there are any doubts, note that the album was 'produced and directed' by Stanley Clarke... Jazz? Forget it."

Mais malgré toutes les critiques dont il avait été l’objet, Clarke avait toujours refusé de se laisser ébranler. Lorsqu’un critique du magazine Down Beat avait demandé à Clarke si un musicien avait déjà changé son fusil d’épaule en raison des critiques de la presse, il avait simplement rétorqué: "I've seen guys do that, and I've seen them go right down the drain, too. That's one thing that an artist can't do--if any creative person starts listening to other people, he goes down." Déterminé à continuer d’explorer différents styles, Clarke avait défendu le caractère éclectique de sa musique en ces termes: ‘’It would get boring for me if I just did one thing and played just one type of music for the rest of my life. I don't think I could take it." Dans une entrevue accordée au magazine Rolling Stone, Clarke avait tenu à préciser: "I know it upsets some people, but I could never be a conservative jazz musician." 

Mais il y avait parfois des revirements étonnants. Reconnaissant qu’il avait peut-être été trop sévère avec Clarke,  le critique Chris Albertson écrivait: "I used to think of Stanley Clarke as one of the defectors, a jazz man drawn away from his art by the waving of the green. Now I am inclined to think that I did Clarke an injustice." Caractérisé par un remarquable charisme et par une grande présence sur scène, Clarke avait inspiré le commentaire suivant à Bill Milkowski du magazine Down Beat: "Clarke remains the same crowdpleaser he always was, an engaging presence with a flashing smile, playing up the rock theatrics during his explosive solos."

Stanley Clarke a épousé Carolyn Helene Reese le 29 novembre 1974. Le couple a eu un fils, Christopher Ivanhoe. Tout comme Chick Corea, Clarke était membre de l’Église de Scientologie.

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

‘’Stanley Clarke.’’ Wikipedia, 2023.

‘’Stanley Clarke.’’ National Endowment for the Arts, 2023.

‘’Stanley Clarke Biography.’’ Net Industries, 2023.

‘’Stanley Clarke, bass-playing jazz legend: Something Else! Interview’’. Something Else, 2023.

[clifford-auto-parts]

Buy ECM| PCM| ECU for your GMC - Clifford Auto Parts

Get top-quality GMC ECM, PCM, and ECU at Clifford Auto Parts. Our extensive selection includes genuine and high-performance engine control modules which are manufactured to optimize your vehicle's performance and reliability. Whether you're looking to replace a faulty ecm or upgrade for better efficiency, we offer reliable solutions for your needs. Shop with confidence and experience exceptional customer service for automotive requirements.

Visit us to know more: https://cliffordautoparts.com/product-category/gmc/

[noloveforned]

start your weekend off tonight with four hours of no love for ned on wlur from 8pm until midnight. for those with busy schedules, you can catch up with last week's show on mixcloud whenever you get a chance!

no love for ned on wlur – march 15th, 2024 from 8-10pm

artist // track // album // label vampire weekend // oxford comma // vampire weekend // xl vanishing twin // life drummer // life drummer 7" // sub pop horsebeach // let me stay in tonight // things to keep alive // re:warm torrey // slow blues // torrey // slumberland charlène darling // disparais // la porte // disciples klapper // inner drive // high for no reason // mangel the vovos // ernie // lilla gubben // blossom rot three body problem // thinner skin // the dark edge of the dancefloor // twice as high superette // touch me // tiger // flying nun new radiant storm king // founder's day // singular, no article // rainbow quartz the burning hell // no peace // garbage island // you've changed the cakekitchen // everything's going to work out just fine // everything's going to work out just fine // freek caleb daily // if i could only fly // live at trafo in jenna, germany on december 7th, 2022 // moone erika angell // one // the obsession with her voice // constellation kim gordon // tree house // the collective // matador dave harrington, max jaffe and patrick shiroishi // dance of the white shadow and golden kite // speak, moment // arthur king presents gary peacock // flower crystals // december poems // ecm paul weiner quartet // spirale // spirale // mad about neue grafik featuring brother portrait // black // transmissions from total refreshment centre compilation // blue note billy woods and blockhead featuring aesop rock and homeboy sandman // wonderful // known unknowns // backwoodz studioz yungmorpheus // revenge // states of precarity // de rap winkel maxo featuring sharp // appletree // smile // love turl liv.e // on my mind // f.r.a.n.k. // street corner music home boy and the c.o.l. // i saw you dancing // out break // tidal waves looper // up a tree again // up a tree // mute hairband // paris // two two seven compilation // prefect richard hamilton // yellow datsun car // yellow datsun car 7" // feral kid melenas // 1986 // ahora // trouble in mind patio // performance // collection // fire talk the parallelograms // papageno // dream on daisy 7” // cloudberry

[tamorisana]

Spark plugs and wrench.

“No, no, no. You don’t understand the problem. I don’t need your guesses, I need you to see where this is coming from.” Harpia said, more like whispered, to the rookie standing next to them. Not even looking up at the frustrated noise the future technical specialist made as they fidgeted with a small decorative device between their fingers. Its hair and cloth clip with strong grip which makes it a necessary thing. They need to either try doing something, which could lead to even more serious, not this easily solved things or get a grip of themselves and ask.

“I checked everything! RPM is normal and goes in time. Strokes go in a full cycle and proceed all four steps of said strokes. . .” He looks up at Sergeant sitting on the car next to him. “I was wrong. I don’t know what’s wrong with the engine. Explain this to me, please”

“Alright,” they say getting down and setting the butterfly in the back of the bun not actually needing it at the moment. “did you check the electrical?” they met with silence. “It doesn’t need check-.” “Who told you. Did Farflan came and checked for you?” they interrupt and continue before the other gets a chance to speak. “Think. You tried everything you could without thinking. Now, you check electrical, tell me how everything works just fine and report to me.” they tower over the poor newbie as the sentence is finished. Harpia leans back using a car as a support collum.

“Yes, sergeant” is the only pip heard before the rookie gets to work, checking the spark plugs, coil packs and ECM. A good minute passes in such way, studying each spark plug before the silence is broken in a moment by the third voice. “So. . you do speak, good to know.” Not even registering their moves, almost on instinct, sergeant grabs the nearest object, a heavy 140 mm wrench, and threw it in the direction of the intruder. The person out of nothing dodges the threat, resulting in the tool getting stuck in the wall behind them. Well, her.

“Sergeant Vice.” Harpia murmured coming closer to said sergeant before motioning the rookie to get back to work. 

“Oh please, just Vice. You really did put him in place” 

“Someone has to. If he will continue to put himself above everyone else in every sense he does, he either will have to learn the hard way or leave if lucky.” both of them turn back and look at the mentioned man. Silence sets in as they watch him work. Suddenly there is “Sorry about wrench. .”

“It’s nothing, I understand,” Vice says as she makes her way to the plugged-into-the-wall tool, handing it over once freed. “Now. Let's make sure he gets his lesson and fixes the car right, yeah?”

(imma just @dismightyman )

(upt. since its a lore thing ill @codblr-breakroom )

[ivansergeyevichturgenev]

so on thursday the shop told us they have no idea what is wrong with our car and basically insisted we take it to this other shop that i have heard horrible things about because it's probably the ecm if they can't figure it out 😐 we didn't even want to go back to this shop because they had been overfilling our oil but elijah panicked when the car broke down and they were open. anyways we got it towed to another more reputable shop that i know a lot of my friends and acquaintances trust and they should be able to look at by monday at the latest. considering the engine is newish ~5 years old i would like a second opinion

[bimmerperformance]

Top Reasons Why the Check Engine Light Turns on in a Mini Cooper

The check engine light (CEL) in your Mini Cooper is a vital component of your vehicle's onboard diagnostics system. While its illumination might be alarming, it serves as a critical alert to potential issues that could affect your car's performance and longevity. Understanding the top reasons behind this warning can help you address the problem promptly and avoid costly repairs.

1. Oxygen Sensor Failure

The oxygen (O2) sensor measures the level of oxygen in the exhaust gases to ensure optimal fuel-air mixture for combustion. A failing O2 sensor can cause:

    Poor fuel economy

    Increased emissions

    Engine misfires

Solution: Replace the faulty oxygen sensor promptly. Driving with a malfunctioning sensor can lead to further damage to the catalytic converter.

2. Loose or Damaged Gas Cap

One of the simplest yet common triggers for the check engine light is a loose, cracked, or damaged gas cap. This can lead to fuel vapor leakage, impacting your vehicle’s evaporative emissions system.

Solution: Check if the gas cap is securely tightened. If damaged, replace it with a compatible one to resolve the issue.

3. Catalytic Converter Problems

The catalytic converter reduces harmful emissions by converting exhaust gases into less toxic substances. Common issues include clogging or damage, often caused by neglected maintenance or prolonged driving with engine misfires.

Symptoms:

    Decreased fuel efficiency

    Sulfur-like odor (rotten egg smell)

    Poor acceleration

Solution: Have the catalytic converter inspected and repaired or replaced by a professional mechanic.

4. Faulty Ignition Coils or Spark Plugs

Faulty ignition coils or worn-out spark plugs can lead to incomplete combustion, causing engine misfires and triggering the CEL.

Symptoms:

    Rough idling

    Engine hesitation or loss of power

    Poor fuel economy

Solution: Replace spark plugs and ignition coils as per the manufacturer's recommendations or when they show signs of wear.

5. Mass Airflow Sensor (MAF) Issues

The mass airflow sensor monitors the amount of air entering the engine to adjust the fuel injection system accordingly. A faulty MAF sensor can result in:

    Reduced fuel efficiency

    Difficulty starting the car

    Stalling during idle

Solution: Clean or replace the MAF sensor and check for associated air intake system issues.

6. Vacuum Leaks

Your Mini Cooper’s engine relies on a network of vacuum lines for various functions, such as operating the brake booster and controlling emissions. Cracks or loose connections in these lines can trigger the CEL.

Symptoms:

    Rough idling

    Hissing noise under the hood

    Decreased engine performance

Solution: Inspect vacuum hoses and connections for damage and have them repaired or replaced as needed.

7. Malfunctioning Exhaust Gas Recirculation (EGR) System

The EGR system reduces nitrogen oxide emissions by recirculating a portion of the exhaust gases into the engine. A clogged EGR valve can affect engine performance and trigger the CEL.

Symptoms:

    Increased emissions

    Rough engine performance

    Reduced fuel efficiency

Solution: Clean or replace the EGR valve and inspect the related components.

8. Faulty Sensors or Wiring Issues

Modern Mini Coopers rely on a network of sensors and electronic components to ensure proper functioning. Faulty sensors (such as the crankshaft position sensor) or damaged wiring can disrupt communication with the engine control module (ECM).

Solution: Use diagnostic tools to identify the problematic sensor or wiring issue and replace or repair it.

Diagnosing the Problem

When the check engine light comes on, it's essential to address the issue promptly. Here’s how to proceed:

    Check for Obvious Issues: Inspect the gas cap, visible wires, and connections.

    Scan for Trouble Codes: Use an OBD-II scanner to retrieve diagnostic trouble codes (DTCs) from the ECM.

    Consult a Professional: If the issue isn’t clear, visit a certified mechanic experienced in Mini Cooper repairs for a thorough diagnosis.

Preventive Maintenance Tips

    Schedule regular engine tune-ups and inspections.

    Replace components like spark plugs, filters, and sensors at recommended intervals.

    Use high-quality fuel and follow the manufacturer’s guidelines for oil changes and other services.

By understanding the common reasons for the check engine light in your Mini Cooper, you can take proactive steps to maintain its performance and reliability. Prompt attention to these issues not only extends your car’s lifespan but also ensures a smoother and more enjoyable driving experience.

[hitechauto]

ECM repair train in India

ECM repair train in India specializes in giving hands-on training in ECM Repair Course In India, vehicle electricals/electronics, key coding, automobile wiring, and all diagnostic methods using cutting-edge oscilloscope and simulator technologies. Our knowledgeable instructors will walk you through the most recent techniques and tools to help you become a proficient specialist in the field of automotive diagnostics and repairs. Join our course and begin your path to a rewarding career in the automotive sector!

Hitech Automotive Skills Developments Academy provides hands-on, in-depth training on the most recent procedures for repairing and diagnosing engine control modules (ECM). Our professional instructors will show you how to utilize oscilloscopes and simulators to diagnose and repair automotive electrical and electronic systems, such as key coding and car wiring. Our course curriculum covers diagnostic methods for all sorts of automobiles, making it necessary training for anybody wishing to develop a career in the automotive business.

ECM Repair Course:

• Sensor Knowledge. • Wiring Checking Sensor Testing. • Scanner Training. • ECM-ECU Component Checking. • Soldering / Desoldering. • ECM-ECU Fault Diagnose. • ECM-ECU On Table. • Practical of ECM. • Fault Code In ECM. • Immobilizer Checking. • ECM Programming/ Software.

Our Training course duration is 60 days and it covers all company ECM modules:

• Car Scanning/Fault code reading & solving the problem case for a clear problem. • Preparing datasheets for ECU output & input voltage pin. • ECM tuning using KTAG for reading and writing. • Training on EPS-BCM-SRS-ABS-Immobilizer-Meter. • Airbag crash programming / Resetting Airbag control unit. • Sensor signal testing using a Digital Oscilloscope. • Complete Soldering Training on the SMD chip level. • Fuel Injection Coding and Testing using a simulator. • Key Programming for ECU/BCM/IMMO. • Testing Power Regulator IC / Driver IC using voltage data sheets. • Basic training skills for the datasheet marketing process. • Providing datasheets for cars ECU. • Car & Commercial ECU / ECM Repair Course Training.

Assured Quality Training & Technical Support for the students who are willing to take the ECM Repair Course Training from Hitech Automotive Skills Developments Academy will get lifetime technical Support

FUTURE SCOPE:- Students who complete our institute's Hitech Automotive Skills Developments Academy training can start their businesses in the Automobile/Car Repair Department, ECM Repair Course, Electrical Repair, Meter Repair Training, BS-6 Car & Truck Repair, and other fields. After training, anyone can be successful in the vehicle field, depending on their firm, region, work profile, and experience.

[akuma1950]

HOME mauriciorg photos only 紳士の記録 こう見えても求道系なんです THE MINIMALISTO フィレンツェ 画像保管庫 ふろしきや LEO juicycool henk-heijmans whiskey look-sharp-notes justforbooks ピアニスト探求物語 secos.fins its-where-the-wild-things-are showcase デビル ブドラ国王 coffeeman joeinct 凹型 ECM black-white ジャズ喫茶 four41north car peacefulandcozy inge.schuster 札幌学派 高橋洋一

[eatsless]

my hours at work got cut and i have no idea why, literally only working 5 hours this week?? normally i do 11 to 14 but this week im only scheduled for 5. freaking out that i might get fired?? it was hell finding a job at all and im not gonna pitch a fit if they fire me like it'd suck but at least i made some money working there, but finding a new job would majorly suck. maybe i could get something on campus??? my guitar teacher says that they pay students a good amount so maybe?? plus my car has a worse problem than i thought, it's the ECM 😭💔 it's losing connection with both the engine and the transmission. thousands to fix and honestly id be better off getting a new vehicle instead but i can't afford that anyway let alone with my hours getting cut. doing so great you guys!!! literally amazing rn!!! definitely not considering throwing myself off a bridge!!!

[mechanicsdirect]

Recognizing the Signs of a Damaged Exhaust System in Honda Cars: Key Symptoms to Watch For

The exhaust system in Honda vehicles is essential for minimizing emissions, reducing noise, and ensuring optimal engine performance. Comprised of several key components like the exhaust manifold, catalytic converter, oxygen sensor, muffler, and pipes, this system channels toxic gases away from the engine, reduces harmful emissions, and ultimately protects both the environment and occupants. However, due to wear and tear over time, exhaust systems can become compromised, leading to decreased performance, harmful emissions, and increased repair costs if ignored. Recognizing the signs of exhaust issues early is crucial for maintaining your Honda’s reliability, efficiency, and safety.

1. Increased Engine Noise

One of the most immediate and noticeable signs of a damaged exhaust system is increased engine noise. When the exhaust system has a leak—whether due to cracks in the exhaust manifold or deteriorated seals—it often results in a louder engine. Honda owners might notice an intensified, almost roaring sound, especially upon acceleration or starting the engine.

    Cause: Exhaust leaks can occur when metal components, such as the manifold or connecting pipes, expand and contract over time, leading to cracks. Alternatively, loose or rusted connections between pipes can create gaps, allowing noise to escape.

    Solution: Identifying the source of the noise early on allows for cost-effective repairs, such as sealing leaks or replacing gaskets. Ignoring it could result in a larger, more expensive fix later on.

2. Decreased Fuel Efficiency

A damaged exhaust system may negatively impact your Honda’s fuel efficiency. Exhaust leaks can interfere with the oxygen sensor’s ability to provide accurate readings, causing the engine control module (ECM) to adjust the air-fuel ratio incorrectly. This adjustment results in the engine burning more fuel than necessary, reducing miles per gallon.

    Cause: When exhaust gases escape before reaching the catalytic converter, the oxygen sensor might receive false readings, indicating that the engine requires more fuel than it actually does.

    Solution: Fixing exhaust leaks early can restore fuel efficiency. Replacing worn-out components or resealing pipes can help keep fuel costs down and improve overall performance.

3. Rattling or Hissing Sounds

Two distinct sounds often point to exhaust system issues: rattling and hissing. Rattling is commonly associated with a failing catalytic converter or loose heat shields around the exhaust system. A hissing sound, on the other hand, usually suggests leaks, often in the exhaust manifold or pipes.

    Cause: Rattling noises can indicate broken internal components within the catalytic converter, which may also lead to reduced emissions efficiency. Hissing typically points to a small crack or hole in one of the pipes, allowing exhaust gases to escape prematurely.

    Solution: Identifying whether the noise is a rattle or hiss can help pinpoint the issue. Replacing the catalytic converter, if needed, is essential for emissions compliance, while smaller leaks may require pipe repairs or replacement.

4. Check Engine Light Activation

The check engine light on your Honda’s dashboard can illuminate for various reasons, but a common cause relates to the exhaust system. When the catalytic converter or oxygen sensor malfunctions, the ECM detects irregularities and activates the check engine light. For instance, if an exhaust leak is affecting oxygen sensor readings, this could lead to error codes and, subsequently, the warning light.

    Cause: Exhaust leaks and damaged catalytic converters can disrupt the exhaust flow, affecting sensors that monitor emissions and triggering the check engine light as a safety measure.

    Solution: Performing an OBD-II scan will provide codes to diagnose the issue. Once the problem is pinpointed—whether it’s a faulty oxygen sensor or catalytic converter—replacing or repairing the part can resolve the issue and restore emissions control.

5. Unusual Exhaust Odors

An exhaust leak near the engine can allow exhaust gases to enter the cabin, potentially exposing occupants to harmful fumes. Sulfur-like smells (often described as rotten eggs) can indicate that the catalytic converter is failing, as this component is designed to convert toxic gases into safer emissions. Unusual smells in or around the vehicle, particularly when idling, can be a clear sign that something is wrong with the exhaust system.

    Cause: The sulfur smell is usually due to incomplete combustion in the catalytic converter, often because it has deteriorated internally. When the converter isn’t effectively processing exhaust gases, it produces a noticeable odor.

    Solution: Replacing the catalytic converter is typically the best option for resolving sulfur odors, as this component is essential for reducing harmful emissions.

6. Visible Smoke from the Exhaust

In Honda vehicles, visible smoke from the exhaust can indicate a variety of issues, with color often providing clues about the source. Blue smoke typically suggests burning oil, black smoke points to excessive fuel consumption, and white smoke may indicate a coolant leak. Any visible exhaust smoke is an indicator that the exhaust system is not processing emissions efficiently, and this should be addressed promptly to avoid further damage.

    Cause: Internal engine issues, such as worn piston rings or damaged valve seals, can result in oil leaking into the combustion chamber, causing blue smoke. A failing catalytic converter or leaky fuel injectors might cause black smoke, while a compromised head gasket could lead to white smoke.

    Solution: Identifying and fixing the root cause of smoke is essential. Depending on the color of the smoke, a mechanic can determine if the issue is with oil seals, fuel injectors, or other engine components.

7. Poor Vehicle Performance

A damaged exhaust system can affect the engine’s power and overall performance. Honda owners may experience decreased acceleration or sluggish response, especially when exhaust gases are not flowing freely. A clogged or damaged catalytic converter or muffler restricts exhaust flow, which can lead to backpressure and affect engine efficiency.

    Cause: Exhaust restrictions often stem from carbon buildup in the catalytic converter or a blockage in the muffler, hindering the free flow of gases and compromising the engine’s performance.

    Solution: Cleaning or replacing a clogged catalytic converter or muffler can restore exhaust flow and improve engine responsiveness.

Conclusion

Recognizing the signs of a damaged exhaust system in Honda cars is crucial for maintaining both performance and safety. Increased noise, decreased fuel efficiency, check engine warnings, unusual odors, and visible smoke all point to potential exhaust issues that need prompt attention. By addressing these symptoms early, Honda owners can prevent costly repairs, reduce harmful emissions, and ensure a safer driving experience. Regular maintenance checks and timely repairs can extend the life of your exhaust system, keeping your Honda running smoothly and efficiently.

[eobdtooluk-blog]

Why Choose Autel MaxiSys MS908s Pro?

In this blog, we will review the Autel MaxiSys MS908s Pro, an advanced scanner that's well-suited for both professional mechanics and serious DIY enthusiasts.

We'll dive into its features, performance, and how it compares to other models, helping you make an informed buying decision.

Top 7 Reasons to Choose Autel MaxiSys MS908s Pro

The Autel MS908s Pro stands out due to its comprehensive diagnostics, advanced ECU programming, and user-friendly interface.

Here are a few reasons why this model has earned its place in repair shops worldwide:

1. Advanced Processing Power

Equipped with a Samsung Exynos octa-core processor and 2GB RAM, the MS908s Pro delivers lightning-fast performance. This means quicker data processing and multitasking, allowing you to run multiple diagnostic tests simultaneously without lag.

● Key Benefit: Fast, reliable, and ideal for high-volume workshops.

2. Comprehensive Vehicle Coverage

Supporting over 80 vehicle brands, including American, European, and Asian models, the MS908s Pro is compatible with most light-duty, commercial, and heavy-duty vehicles. Whether you're working on a Toyota, Ford, BMW, or Mercedes-Benz, this tool covers it all.

● Key Benefit: One scanner for multiple brands, making it versatile for various vehicles.

3. OE-Level Diagnostics

The MS908s Pro provides OE-level diagnostics, meaning you can access deep systems like Engine Control Modules (ECM), transmission, ABS, airbag systems, and more. It also offers bi-directional control, allowing you to test components like fuel injectors, valves, and solenoids directly from the scanner.

● Key Benefit: Perform advanced diagnostics that help pinpoint exact issues.

4. J2534 ECU Programming

One of the standout features of the MS908s Pro is the inclusion of a J2534 ECU programming device. This allows you to perform online ECU programming and re-flashing for various vehicle makes. It's especially beneficial for complex software updates and module replacements.

● Key Benefit: Access dealership-level programming and coding functions, saving time and money.

5. Wireless Diagnostics

The MS908s Pro includes a wireless Vehicle Communication Interface (VCI), giving technicians the freedom to move around the shop while performing diagnostics. This is a huge advantage when you need to work remotely without being tethered to the car.

● Key Benefit: Wireless capabilities improve flexibility and workflow efficiency.

6. Large Display and User-Friendly Interface

Featuring a 9.7-inch capacitive touchscreen with a resolution of 2048x1536, the MS908s Pro provides a sharp, clear display for diagnostics. The Android-based system ensures a smooth user experience, with easy navigation through diagnostic menus and quick access to essential functions.

● Key Benefit: An intuitive interface that reduces the learning curve for new users.

7. Extensive Software Updates and Support

Autel provides regular software updates for the MS908s Pro, ensuring that the tool stays current with new models and systems. This makes it future-proof for changing vehicle technologies. Additionally, we offers remote technical support, helping users troubleshoot issues without having to send the unit in for repairs.

● Key Benefit: Keep up with new vehicle technology and access ongoing support.

Autel MS908s Pro Main Features:

1. Full System Diagnostics: Whether it’s the engine, transmission, ABS, or airbag systems, the MS908s Pro delivers in-depth diagnostics for every system in your vehicle.

2. J2534 Pass-Thru Device: This is a must-have for anyone working on ECU programming, as it allows you to perform OE-level programming on many makes and models.

3. Online Coding: The scanner supports online coding, adaptation, and module replacement on supported vehicles, particularly European models like BMW, Mercedes-Benz, and Audi.

4. Fast Processing: The MS908s Pro has a fast processing speed, ensuring that diagnostic tests are run quickly and efficiently. You won’t need to wait long for scan results.

5. Auto VIN & Auto Scan: Auto VIN automatically detects vehicle details, while Auto Scan quickly scans all available vehicle systems for issues, streamlining the diagnostic process.

Autel MaxiSys MS908s Pro VS Other Scaners:

1. Autel MaxiSys MS908s Pro vs. Autel MaxiCOM MK808

MK808 is ideal for beginners and DIY mechanics, offering basic diagnostic and reset functions. However, it lacks the advanced ECU programming, bi-directional controls, and comprehensive vehicle coverage that the MS908s Pro provides.

MS908s Pro is for advanced users who need OE-level diagnostics and J2534 programming, making it a superior option for professional environments.

2. Autel MaxiSys MS908s Pro vs. Autel MaxiSYS MS906

The MS906 is a mid-range tool, offering many of the same diagnostic functions but lacking the J2534 programming device found in the MS908s Pro.

For technicians requiring advanced ECU programming and a wireless VCI, the MS908s Pro is the better investment.

How to Autel MS908s MaxiSys Pro?

1. Connecting the Device: Connect the MS908s Pro to your vehicle’s OBD-II port. The scanner will automatically detect the vehicle’s make and model.

2. Running Diagnostics: Use the system menu to select the specific diagnostic test. You can choose from options like reading DTCs, performing active tests, or retrieving live data.

3. ECU Programming: With the J2534 pass-thru device, follow the software’s instructions to reflash the vehicle’s ECU. Be sure to have a stable power source during programming.

4. Bi-Directional Testing: Use bi-directional testing to command components like fuel injectors, lights, or HVAC systems to ensure they are functioning properly.

Is the Autel MS908s Pro Worth to Buy?

If you're a professional mechanic or shop owner who needs comprehensive diagnostics and ECU programming, the Autel MS908s Pro is well worth the investment. Its advanced features, vehicle coverage, and speed make it a must-have tool in any workshop.

For DIYers or those handling simpler repairs, other models like the MS906 or MK808 might be more appropriate due to their lower cost and simpler interfaces.

Learn more: https://www.eobdtool.co.uk/wholesale/autel-maxisys-ms906.html