How can i uncouple HO scale boxcars without doing it manually and messing up the whole train?

Question by Speedy2006: How can i uncouple HO scale boxcars without doing it manually and messing up the whole train?

Best answer:

Answer by Steven D
If you have knuckle couplers you can get or make a magnetic uncoupler. If you have hook and horn couplers you can use a crochet hook. Hope this helps. Model railroading lasts a life time.

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Can the cab on a Lionel General locomotive be replaced without taking the whole unit apart?

Question by hx900: Can the cab on a Lionel General locomotive be replaced without taking the whole unit apart?

Best answer:

Answer by yarnlady_needsyarn
These are just two of the 568,000 listings I found when I typed Lionel Train Parts into my yahoo search box.

I hope they help.

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Is it more valuable to sell a vintage lionel train set piece by piece or as a whole set?

Question by Sinsana: Is it more valuable to sell a vintage lionel train set piece by piece or as a whole set?

Best answer:

Answer by beernotcider
Most collectors would prefer the whole set.

What do you think? Answer below!

Musical Half and Whole Steps with Respect to Frequency (Hz) [10 points!]?

Question by Sketchy Skeptic: Musical Half and Whole Steps with Respect to Frequency (Hz) [10 points!]?
I’m somewhat new to music theory and would like to truly understand it, not just memorize, so I can use it properly. I’m looking for a little more of an explanation that “because that’s the way Western music is”.

I would like to know why in a major scale we call E->F a half step and B->C a half step. An octave is a doubling of the frequency of a note, and I assume the notes A->G are spaced by some relationship of frequency (I would appreciate this relationship if you know). What I really want to know is, does this relationship of frequency actually change between E->F relative to D->E (i.e. is the expected jump in frequency between notes halved or something?) and if so, why does it sound good (do they sound like a half an interval the trained ear?), and why would they bother giving them major letter names- just laziness when making major scales?

I know that’s a lot of questions, but if you can answer them, you will have probably changed my entire outlook on music. Thanks in advance!
Cheers!

Best answer:

Answer by LACOSTZILLA
I don’t know music theory either, but I do know that Hz increases exponentially. Therefore, the jump from F3 to G3 is not as big number-wise as the jump from F4 to G4.

If you graph (easiest with a graphing calculator) the function y equals 2 to the x power,or y=2^x, you’ll notice that the interval from x=1 to x=2 is not as big as the jump from x=2 to x=3, which is not as big as the jump from x=3 to x=4, etc.
Here’s a picture of the function y=2^x http://hotmath.com/images/gt/lessons/genericalg1/exponential_graph.gif

I think you may get more (and better, and more useful) responses if you ask again somewhere else entirely (not Y! Answers). Good luck, and sorry if I couldn’t help

Know better? Leave your own answer in the comments!

Musical Half and Whole Steps with Respect to Frequency (Hz) [10 points!]?

Question by Sketchy Skeptic: Musical Half and Whole Steps with Respect to Frequency (Hz) [10 points!]?
I’m somewhat new to music theory and would like to truly understand it, not just memorize, so I can use it properly. I’m looking for a little more of an explanation that “because that’s the way Western music is”.

I would like to know why in a major scale we call E->F a half step and B->C a half step. An octave is a doubling of the frequency of a note, and I assume the notes A->G are spaced by some relationship of frequency (I would appreciate this relationship if you know). What I really want to know is, does this relationship of frequency actually change between E->F relative to D->E (i.e. is the expected jump in frequency between notes halved or something?) and if so, why does it sound good (do they sound like a half an interval the trained ear?), and why would they bother giving them major letter names- just laziness when making major scales?

I know that’s a lot of questions, but if you can answer them, you will have probably changed my entire outlook on music. Thanks in advance!
Cheers!

Best answer:

Answer by YahooUser
I’ll just answer one, see if you can figure out the rest.
One octave=doubling of frequency
There are 12 notes in one octave (never mind what they are called, 12 is the relevant number).

Each note differs from the previous ( and consequently the next one) by the 12th root of 2 which is about 1.0596. So the frequency of D is 1.0596x frequency of the (preceding) C and so on.

Note that this spacing makes the notes belong to a geometric, rather than arithmetic, progression.

Now, let’s introduce the notes’ names: A, B, C etc. We stop at G: that is seven names and we have 12 notes, so we add # (or ♭if you go backward … :-)) to each name. Problem: we now have 14 names for 12 notes! 2 have to go and you know which ones went.

Now,why 12 notes, why flats and sharps and so on: search the net, it is a long story. You may want to read why Bach composed the Preludes for the Well Tempered Clavier.

Know better? Leave your own answer in the comments!