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Se muestran los artículos pertenecientes a Junio de 2008.

St. John's, Newfoundland May 24 2008

1.Watching The River Flow (Bob on keyboard and harp)
2.Lay, Lady, Lay (Bob on keyboard)
3.The Levee's Gonna Break (Bob on keyboard, Donnie on electric mandolin)
4.Shelter From The Storm (Bob on keyboard and harp)
5.Rollin' And Tumblin' (Bob on keyboard)
6.Visions Of Johanna (Bob on keyboard, Donnie on electric mandolin)
7.Stuck Inside Of Mobile With The Memphis Blues Again
(Bob on keyboard and harp)
8.Ballad Of Hollis Brown
(Bob on keyboard, Donnie on banjo, Denny and Stu on acoustic guitars, Tony on standup bass)
9.Highway 61 Revisited (Bob on keyboard)
10.Workingman's Blues #2 (Bob on keyboard)
11.It's Alright, Ma (I'm Only Bleeding) (Bob on keyboard, Donnie on banjo)
12.Spirit On The Water (Bob on keyboard and harp)
13. High Water (For Charlie Patton) (Bob on keyboard, Donnie on banjo)
14.Summer Days (Bob on keyboard)
15.Masters Of War (Bob on keyboard)
  
 (encore)
16. Thunder On The Mountain (Bob on keyboard)
17. Blowin' In The Wind (Bob on keyboard and harp, Donnie on violin)
  
02/06/2008 13:54. plotino #. BOB DYLAN No hay comentarios. Comentar.

Helsinki, Finland June 1, 2008

1.Leopard-Skin Pill-Box Hat (Bob on keyboard)
2.Lay, Lady, Lay (Bob on keyboard)
3.Rollin' And Tumblin' (Bob on keyboard)
4.Visions Of Johanna (Bob on keyboard)
5.Things Have Changed (Bob on keyboard)
6.The Levee's Gonna Break (Bob on keyboard)
7.Tangled Up In Blue (Bob on keyboard)
8.Watching The River Flow (Bob on keyboard)
9.Every Grain Of Sand (Bob on keyboard)
10.It's Alright, Ma (I'm Only Bleeding) (Bob on keyboard)
11.Nettie Moore (Bob on keyboard)
12.Highway 61 Revisited (Bob on keyboard)
13. Spirit On The Water (Bob on keyboard)
14.Summer Days (Bob on keyboard)
15.Ballad Of A Thin Man (Bob on keyboard)
  
 (encore)
16. Thunder On The Mountain (Bob on keyboard)
17. Like A Rolling Stone (Bob on keyboard)
  
02/06/2008 13:56. plotino #. BOB DYLAN No hay comentarios. Comentar.


Bo Diddley, Who Gave Rock His Beat, Dies at 79

20080603113423-02diddley.jpg
June 3, 2008

Bo Diddley, Who Gave Rock His Beat, Dies at 79

 

 

Bo Diddley, a singer and guitarist who invented his own name, his own guitars, his own beat and, with a handful of other musical pioneers, rock ’n’ roll itself, died Monday at his home in Archer, Fla. He was 79.

The cause was heart failure, a spokeswoman, Susan Clary, said. Mr. Diddley had a heart attack last August, only months after suffering a stroke while touring in Iowa.

In the 1950s, as a founder of rock ’n’ roll, Mr. Diddley — along with Chuck Berry, Little Richard, Jerry Lee Lewis and a few others — helped to reshape the sound of popular music worldwide, building on the templates of blues, Southern gospel, R&B and postwar black American vernacular culture.

His original style of rhythm and blues influenced generations of musicians. And his Bo Diddley syncopated beat — three strokes/rest/two strokes — became a stock rhythm of rock ’n’ roll.

It can be found in Buddy Holly’s “Not Fade Away,” Johnny Otis’s “Willie and the Hand Jive,” the Who’s “Magic Bus,” Bruce Springsteen’s “She’s the One” and U2’s “Desire,” among hundreds of other songs.

Yet the rhythm was only one element of his best records. In songs like “Bo Diddley,” “Who Do You Love,” “Mona,” “Crackin’ Up,” “Say, Man,” “Ride On Josephine” and “Road Runner,” his booming voice was loaded up with echo and his guitar work came with distortion and a novel bubbling tremolo. The songs were knowing, wisecracking and full of slang, mother wit and sexual cockiness. They were both playful and radical.

So were his live performances: trancelike ruckuses instigated by a large man with a strange-looking guitar. It was square and he designed it himself, long before custom guitar shapes became commonplace in rock.

Mr. Diddley was a wild performer: jumping, lurching, balancing on his toes and shaking his knees as he wrestled with his instrument, sometimes playing it above his head. Elvis Presley, it has long been supposed, borrowed from Mr. Diddley’s stage moves; Jimi Hendrix, too.

Still, for all his fame, Mr. Diddley felt that his standing as a father of rock ’n’ roll was never properly acknowledged. It frustrated him that he could never earn royalties from the songs of others who had borrowed his beat.

“I opened the door for a lot of people, and they just ran through and left me holding the knob,” he told The New York Times in 2003.

He was a hero to those who had learned from him, including the Rolling Stones and the Beatles. A generation later, he became a model of originality to punk or post-punk bands like the Clash and the Fall.

In 1979 Joe Strummer and Paul Simonon of the Clash asked that Mr. Diddley open for them on the band’s first American tour. “I can’t look at him without my mouth falling open,” Mr. Strummer, star-struck, said during the tour.

For his part Mr. Diddley had no misgivings about facing a skeptical audience. “You cannot say what people are gonna like or not gonna like,” he explained later to the biographer George R. White. “You have to stick it out there and find out! If they taste it, and they like the way it tastes, you can bet they’ll eat some of it!”

Mr. Diddley was born Otha Ellas Bates in McComb, Miss., a small city about 15 miles from the Louisiana border. He was reared primarily by Gussie McDaniel, the first cousin of his mother, Esther Wilson. After the death of her husband, Ms. McDaniel, who had three children of her own, took the family to Chicago, where young Otha’s name was changed to Ellas B. McDaniel. Gussie McDaniel became his legal guardian and sent him to school.

He was 6 when the family resettled on Chicago’s South Side. He described his youth as one of school, church, trouble with street toughs and playing the violin for both band and orchestra, under the tutelage of O. W. Frederick, a prominent music teacher at the Ebenezer Baptist Church, where Gussie McDaniel taught Sunday school. Ellas studied classical violin from 7 to 15 and started on guitar at 12, when a family member gave him an acoustic model.

He then enrolled at Foster Vocational School, where he built a guitar as well as a violin and an upright bass. But he dropped out before graduating. Instead, with guitar in hand, he began performing in a duo with his friend Roosevelt Jackson, who played the washtub bass. The group became a trio when they added another guitarist, Jody Williams, then a quartet when they added a harmonica player, Billy Boy Arnold.

The band, first called the Hipsters and then the Langley Avenue Jive Cats, started playing at the Maxwell Street open-air market. They were sometimes joined by another friend, Samuel Daniel, known as Sandman because of the shuffling rhythms he made with his feet on a wooden board sprinkled with sand.

Mr. Diddley could not make a living playing with the Jive Cats in the early days, so he found jobs where he could: at a grocery store, a picture-frame factory, a blacktop company. He worked as an elevator operator and a meat packer. He also started boxing, hoping to turn professional.

In 1954 Mr. Diddley made a demonstration recording with his band, which now included Jerome Green on maracas. Phil and Leonard Chess of Chess Records liked the demo, especially Mr. Diddley’s tremolo on the guitar, a sound that seemed to slosh around like water. They saw it as a promising novelty and encouraged the group to return.

By Billy Boy Arnold’s account, the next day, as the band and the men who were soon to be their producers were setting up for a rehearsal, they were idly casting about for a stage name for Ellas McDaniel when Mr. Arnold thought of Bo Diddley. The name described a “bow-legged guy, a comical-looking guy,” Mr. Arnold said, as quoted by Mr. White in his 1995 biography, “Bo Diddley: Living Legend.”

That may be all there is to tell about the name, except for the fact that a certain one-string guitar — native to the Mississippi Delta, often homemade, in which a length of wire is stretched between two nails in a board — is called a diddley bow. By his account, however, Mr. Diddley had never played one.

In any case, Otha Ellas McDaniel had a new name and the title of a new song, whose lyrics began, “Bo Diddley bought his babe a diamond ring.” “Bo Diddley” became the A side of his first single, in 1955, on the Checker label, a subsidiary of Chess. It reached No. 2 on the Billboard singles chart.

Mr. Diddley said he had first heard the “Bo Diddley beat” — three-stroke/rest/two-stroke, or bomp-ba-domp-ba-domp, ba-domp-domp — in a church in Chicago. But variations of it were in the air. The children’s game hambone used a similar rhythm, and so did the ditty that goes “shave and a haircut, two bits.”

The beat is also related to the Afro-Cuban clave, which had been popularized at the time by the New Orleans mambo carnival song “Jock-A-Mo,” recorded by Sugar Boy Crawford in 1953.

Whatever the source, Mr. Diddley felt the beat’s power. In early songs like “Bo Diddley” and “Pretty Thing,” he arranged the rhythm for tom-toms, guitar, maracas and voice, with no cymbals and no bass. (Also arranged in his signature rhythm was the eerie “Mona,” a song of praise he wrote for a 45-year-old exotic dancer who worked at the Flame Show Bar in Detroit; this song became the template for Buddy Holly’s “Not Fade Away.”)

Appearing on “The Ed Sullivan Show” in 1955, Mr. Diddley was asked to play “Sixteen Tons,” the song popularized by Tennessee Ernie Ford. Without telling Mr. Sullivan, he played “Bo Diddley” instead. Afterward, in an off-camera confrontation, Mr. Sullivan told him that he would never work in television again. Mr. Diddley did not play again on a network show for 10 years.

For decades Mr. Diddley was bitter about his relationship with the Chess family, whom he accused of withholding money owed to him. In her book “Spinning Blues Into Gold,” Nadine Cohodas quoted Marshall Chess, Leonard’s son, as saying, “What’s missing from Bo’s version of events is all the gimmes.” Mr. Diddley would borrow so heavily against projected royalties, Mr. Chess said, that not much was left over in the final accounting.

Mr. Diddley’s watery tremolo effect, from 1955 onward, came from one of the first effects boxes to be manufactured for guitars: the DeArmond Model 60 Tremolo Control. But Mr. Diddley contended that he had already built something similar himself, with automobile parts and an alarm-clock spring.

His first trademark guitar was also handmade: he took the neck and the circuitry off a Gretsch guitar and connected it to a square body he had built. In 1958 he asked Gretsch to make him a better one to the same specifications. Gretsch made it as a limited-edition guitar called “Big B.”

On songs like “Who Do You Love,” his guitar style — bright chicken-scratch rhythm patterns on a few strings at a time — was an extension of his early violin playing, he said.

“My technique comes from bowing the violin, that fast wrist action,” he told Mr. White, explaining that his fingers were too big to move around easily. Rather than fingering the fretboard, Mr. Diddley said, he tuned the guitar to an open E and moved a single finger up and down to create chords.

As his fame rose, his personal life grew complicated. His first marriage, at 18, to Louise Woolingham, lasted less than a year. His second marriage, in 1949, to Ethel Smith, unraveled in the late 1950s. He then moved from Chicago to Washington, settling in the Mount Pleasant district, where he built a studio in his home.

Separated from his wife, he was performing in Birmingham, Ala., when, backstage, he met a young door-to-door magazine saleswoman named Kay Reynolds, a fan, who was 15 and white. They moved in together in short order and were soon married, in spite of Southern taboos against intermarriage.

During the late 1950s Mr. Diddley’s band featured a female guitarist, Peggy Jones (stage-named Lady Bo), at a time when there were scarcely any women in rock. She was replaced by Norma-Jean Wofford, whom Mr. Diddley called the Duchess. He pretended she was his sister, he said, to be in a better position to protect her on the road.

The early 1960s were low times. Chess, searching for a hit, had Mr. Diddley make albums to capitalize on the twist dance craze, as Chubby Checker had done, and on the surf music of the Beach Boys. But soon a foreign market for his earlier music began to grow, thanks in large part to the Rolling Stones, a newly popular band that was regularly playing several of his songs in its concerts. It paved the way for Mr. Diddley’s successful tour of Britain in the fall of 1963, performing with the Everly Brothers, Little Richard and the Rolling Stones, the opening act.

But Mr. Diddley was not willing to move to Europe, and in America the picture worsened: the Beatles, the Stones, Bob Dylan and the Byrds quickly made him sound quaint. When work all but dried up, Mr. Diddley moved to New Mexico in the early 1970s and became a deputy sheriff in the town of Los Lunas. With his sound updated to resemble hard rock and soul, he continued to make albums for Chess until his contract expired in 1974.

His recording career never picked up after that, despite flirtations with synthesizers, religious rock and hip-hop. But he continued apace as a performer and public figure, popping up in places both obvious, like rock ’n’ roll nostalgia revues, and not so obvious: a Nike advertisement, the film “Trading Places” with Eddie Murphy, the 1979 tour with the Clash, and inaugural balls for two presidents, George H. W. Bush and Bill Clinton.

His last recording was the 1996 album “A Man Amongst Men” (Code Blue/Atlantic), which was nominated for a Grammy. He was inducted into the Rock and Roll Hall of Fame in 1987 and in 1998 was inducted into the National Academy of Recording Arts and Sciences Hall of Fame as a musician of lasting historical importance.

Since the early 1980s Mr. Diddley had lived in Archer, Fla., near Gainesville, where he owned 76 acres and a recording studio. His passions were fishing and old cars, including a 1969 purple Cadillac hearse.

The last of Mr. Diddley’s marriages was to Sylvia Paiz, in 1992; his spokeswoman, Ms. Clary, said they were no longer married. His survivors include his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn McDaniel; a brother, the Rev. Kenneth Haynes; and 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren.

Mr. Diddley attributed his longevity to abstinence from drugs and drinking, but in recent years he had suffered from diabetes. After a concert in Council Bluffs, Iowa, on May 13, 2007, he had a stroke and was taken to Creighton University Medical Center in Omaha. On Aug. 28 he suffered a heart attack in Gainesville and was hospitalized.

Mr. Diddley always believed that he and Chuck Berry had started rock ’n’ roll, and the fact that he couldn’t financially reap all that he had sowed made him a deeply suspicious man.

“I tell musicians, ‘Don’t trust nobody but your mama,’ ” he said in an interview with Rolling Stone magazine in 2005. “And even then, look at her real good.”

 

03/06/2008 11:34. plotino #. BOB DYLAN No hay comentarios. Comentar.

GUZZIOLOGY

GUZZIOLOGY

 

 

A Guide to Moto Guzzi

 

V-twin Motorcycles —

 

designed to supplement existing

 

service manuals and parts references

 

 

David Richardson

 

Self-Published by David Richardson

Seattle, USA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

FIRST EDITION, VERSION 5.1

THIS VERSION FIRST AVAILABLE IN MARCH, 2001

 

 

TABLE OF CONTENTS

CHAPTER

NUMBER

ALL THAT STUFF THAT COMES BEFORE THE FIRST CHAPTER                                  1

MODEL HISTORY                                                                                                                           2

BASICS                                                                                                                                             3

ENGINE TOP END                                                                                                                          4

ENGINE BOTTOM END AND EXTERNALS                                                                             5

IGNITION SYSTEMS                                                                                                                       6

CARBURETORS, FUEL INJECTION, & air FILTERS                                                           7

EXHAUST SYSTEMS                                                                                                                     8

CLUTCH AND FLYWHEEL FOR MANUAL TRANSMISSIONS                                            9

MANUAL TRANSMISSIONS                                                                                                      10

AUTOMATIC TRANSMISSION, CLUTCH, FLYWHEEL, & A.T.F. SYSTEM                     11

DRIVESHAFTS AND U-JOINTS                                                                                                12

REAR DRIVES                                                                                                                              13

GEARING                                                                                                                                        14

CHASSIS                                                                                                                                        15

HAND & FOOT CONTROLS AND INSTRUMENTS                                                              16

ELECTRICS — OTHER THAN IGNITION AND CHARGING SYSTEMS                           17

CHARGING SYSTEMS                                                                                                                18

BRAKES                                                                                                                                         19

FRONT FORKS                                                                                                                             20

REAR SHOCK ABSORBERS                                                                                                    21

WHEELS                                                                                                                                         22

GUS’S BIKE                                                                                                                                   23

PARTS AND PERFORMANCE KITS                                                                                        24

OWNER’S HANDBOOKS, PARTS REFERENCES, AND SERVICE MANUALS            25

 



 

 

ALL THAT STUFF THAT COMES BEFORE THE FIRST CHAPTER


Listening to Car Talk on (US) National Public Radio, I heard a statement of profound truth. One of the brothers (Tom & Ray Maliozzi) hosting the show told a listener that her local mechanic probably learned to fix cars the old-fashioned way: by making mistakes on other people’s cars. This is probably even more prevalent in motorcycle repair, especially with Moto Guzzis, since I’ve only recently known of national service training seminars for dealers’ mechanics here in the US. Add to that the sometimes — shall we say — inspecificity of the factory manuals and it became obvious to me that there was a place for my compilation of experiences (mistakes).

This is not a repair manual in the usual sense. That need has already been attended to by the factory and others. Instead, this manual is intended to supplement repair manuals and parts references. To that goal I have provided expanded explanations, corrections, new ideas, opinions, easier methods, and updates. I’ve also tried to alert you to likely problems where repair manuals tend to list all operations without weighing them as to frequency. As well as helping owners, my hope is that this book will benefit new Guzzi dealers (and old ones) and new dealer personnel.

Besides the gaps in the service manuals, the Guzzi parts references are also incomplete to varying degrees. Much necessary information regarding correct part numbers has been lost over the years so I’ve also included as much of it as I know. I have not, however, included references to square-fin and small-twin police models, as their variations are too many, too frequently revised, and I’ve never seen the bikes over here. I have listed many of the accessory items now being distributed in the US by our importer, Moto Guzzi North America. Obviously for European owners, far more accessories are available from more logical sources than Moto America.

I have long been a self-appointed cheerleader for Moto Guzzi, missing no opportunity to point out the obvious and unrealized advantages of owning one. Yet another reason for compiling this book has been to offer what hopefully will be one more plus to owning a Moto Guzzi. I don’t know of any other motorcycle brand for which this scale of reference material exists in one volume. And that segues to another reason for writing this book: so that I could compile all the information I need in a way I can easily use. Yes, I do have a well-worn copy of this book at work and frequently use it. You don’t think I remember all this stuff, do you?

It has not been my goal to produce yet another thin, slick book that’s longer on sales appeal than in-depth content. I don’t believe that we need another book to describe the many advantages of a V50 II over a V50. There are already plenty of books like that type, designed for an evening’s entertainment. This is a reference book — intended to help you make your Moto Guzzi into what you want it to be and keep it that way.

Mind you, I don’t profess to be the authority on Guzzis. I’m just a guy who bothered to put what I believe to know in a book. I have no formal training as a mechanic. My college degree is in, of all things, human services.

So what are my qualifications? As a kid I rode dirt bikes, the last before my “age of the first driver’s license” was a Ducati RT 450. That lead to a Ducati V-twin street bike which lead to a few years as a very inept road racer. My racing days ended when I realized that I had never crashed on the street (and still haven’t, knock on wood!) but usually hit the pavement about every other weekend racing. My Ducati days ended in 1985 when I concluded that Cagiva was never going to support my 900 Desmo with a sufficient parts supply. At the time, a Guzzi was “that other Italian bike” that was usually sold at the same shops as Ducatis, due to the fact that from the mid ’60s through 1982 the two brands were imported to the US through the same firm.

From ’85 through the present I have owned a Guzzi and have earned my living working at a Moto Guzzi dealership almost continually since 1983, most of that time until recently as a mechanic. Probably my best qualifications become evident when I tell you how many of various parts my old Convert has worn (not worn out). It has had 3 sets of cylinder heads, 4 sets of cylinders, 5 sets of pistons, 3 crankshafts, 3 crankcases, 3 camshafts, 2 sumps, 4 sets of connecting rods, 2 flywheels, 3 engine breathers, 5 sets of carburetors, 2 front wheels, 4 rear wheels, 4 swingarms, 3 sets of brake calipers, 2 sets of brake rotors, 4 alternators, 3 center stands, 4 sets of rear shocks, 3 sets of fork dampers, 3 sets of fork sliders, 2 sets of fork tubes, 3 front fenders, 3 clutch levers, 3 foot master cylinders, 5 hand master cylinders, 3 sets of footrests, 4 left handlebar switch modules, 2 throttles, 2 headlights, 2 instrument panels, 3 seats, 2 gas tanks, 6 handlebars, 3 air filter arrangements, 2 tail lights, 2 sets of luggage, 3 sets of luggage mounting brackets, 4 exhaust crossovers, 2 sets of mufflers, and somehow, only 2 speedometer cables. Now this (I hope) says a lot about me and about my beliefs. First off, I believe that you learn a lot by trying things. Secondly, most of the parts on my bike are standard Guzzi—they just come from a whole lot of different models and reflect my ever growing respect for ricambi originale.

Kevin Cameron once wrote in the now defunct Cycle Magazine about aspects of “super-good ride feel.” This somewhat clumsy term fairly accurately describes my last aim in producing this volume: to help you make your Moto Guzzi the best it can be and the best suited to you.

In describing this book to others, I have often heard it said that what I have done is create yet another Moto Guzzi tips book, similar to those offered through the US Moto Guzzi National Owner’s Club. In a sense that’s true, but the differences are many. For instance, my realm of experience includes exposure to many examples of each model, so I have more opportunity to know if a particular problem is unique or common. Also, I have far more factory documents at hand for information and comparisons. On the down side, I wrote this entire book myself so the perspective is narrow. The MGNOC Tips Books are the compilations of hundreds of people writing down their ideas about just their bike(s). I think both approaches are very useful.

As this manual is intended for my fellow members of this litigious society, I need to make a statement of disclaimer, as if it will do me any good in the worst eventuality. This manual exists as a compilation of my knowledge and experience as a Moto Guzzi mechanic and owner. Any and all information in this manual is only to be used by others at their own risk. Any suggestions that would modify the engine, exhaust, or intake systems of US or other emission-controlled models are intended for off-road or racing purposes only. Street applications of these modifications are illegal, and should not be construed as their implied intent.

As this manual was produced in the United States from experience with US-model V-twin motorcycles legally imported here since 1967, some suggestions may not be applicable to other models and variants of Moto Guzzis. Since there has been some interest in this book outside the US (thank you very much!), I have been adding more and more references to non-US models.

A word on conventions: so as to ease the flow of the book, I have used several terms, borrowed or made up, to classify various models and relationships. They are:

      Left/Right                      As perceived by a normally seated rider

      Inside                             Closer to the fore/aft centerline of the frame

      Outside                          Farther from the fore/aft longitudinal centerline of the frame

      Front/Forward              Situated closer to the most forward point on the motorcycle

      Back/Rearward             Situated closer to the most rearward point on the motorcycle

      Big Twin                        Any model displacing 703 (700), 749 or 757 (750), 844 (850), 949                                                                 (1000) or 1064 cc (1100), not including the high-cam 992 (1000 cc)

      Small Twin                     Any model displacing 346 (350), 389 (400), 490 (500), 643 (650), or                                                              744 cc (750) — Ippogrifo not included until we know more about it

      Round Fin                     Any big-twin model with oval-shaped cylinder and head finning (all                                                        pre-1985 except the California II, T5, and LeMans III)

      Square Fin                     Any two-valve big-twin model that  has cylinder and head finning with                                                   angled corners (all 1983–on big twins except the 1000 SP)

      Civilian                           Models with footpegs and standard (medium height)   handlebars

      Police                             Variant of civilian model sold to the public with footboards and high                                                       handlebars — sometimes referred to as a “California”

      Loop Frame                   Any model with a generator

      Tonti Frame                   Any big-twin with an alternator except those with the spine frame or                                                        dual-sport frame. The term pays tribute to Lino Tonti, who first                                                             designed this straight-tube masterpiece with removable lower rails for                                                     the V7 Sport. It’s been the pattern for all subsequent big-twin frames                                                              through the California EV?Jackal/Bassa except spine frame and dual-                                               sport models.

      Spine Frame                  As used on the Daytonas, Sport 1100s, Centauros, & V11 Sports

      Dual-sport Frame         As used on the Quota models

      Exposed Driveshaft     As used on the Daytonas, Sport 1100s, Centauros, & V11 Sports

      Enclosed Driveshaft    All models except the Daytonas, Sport 1100s, Centauros, & V11 Sports

      Small Valve                    Any big twin with standard 41-mm intake and 37-mm exhaust valves.                                                       These engines have 29- or 30-mm carbs or rarely fuel injection.    

      Medium Valve              Any big twin with standard 44-mm intake and 37-mm exhaust     valves                                                    with either 36-mm carbs or fuel injection. Does not include the uniquely                                             configured Sport 1100s and V11 Sports.

      Big Valve                       Any big twin with standard 40-mm carbs, 47-mm intake & 40-mm                                                               exhaust valves — doesn’t include the Sport 1100s & V11 Sports.

      High Cam                       Any 992 cc big twin with a belt-driven camshaft in each cylinder head.

      1000                                Any 949 cc engine with two valves per cylinder. High-cam models are                                                     excluded because they have so many unique details, to have included                                                             them would have filled the book with lists of exclusions.

      1000 SP NT                    Late version of the 1000 SP having nearly flat (non-upswept) mufflers                                                     and non-folding footpegs

      1000 SP                          Refers both to the early and NT versions unless otherwise specified

      V50                                 Refers both to the V50 and V50 II unless otherwise specified

      LeMans II                      Refers only to this specific model and not also to the US variant, the                                                       CX 100, unless otherwise specified

      LeMans                         Refers only to the LeMans I, II, III, IV, and V and not also to the                                                               CX 100 unless specifically included (which doesn’t mean that I                                                      don’t think of the CX 100 as a true LeMans)

      California II                   Refers to just the five-speed version and not also to the California II                                                        Automatic unless specifically included or written as plural

      California III                  Refers only to carbureted version and not also to the California III i.e.                                                     unless specifically included or written as plural

      FD or Dresser               Refers to the fully-outfitted version of the California III, with a frame-                                                      mounted touring fairing, saddlebags, and a trunk

      Cruiser                           Common version of the Cal III without Dresser appointments, may or                                                      may not have a windshield and may or may not have saddlebags, but                                                           will have standard (not [low] Classic or [big] Dresser) handlebars

      Classic                           Low-bar Cal III, always without accessories (windshield & bags)

      California 1100              Refers only to carbureted version and not also to the California 1100i                                                      unless specifically included or written as plural. Chassis details also                                                         apply to the California 1000 (not the same as the California III)

      V40 Capri                       Rare model hardly covered here, mainly because I lack references for                                                       it— can be considered the same in most respects as the V35 Imola II.

      Sport 1100                     Refers only to carbureted version and not also to the Sport 1100i                                                              unless specifically included or written as plural

      Sport 1100s                   Refers only to the Sport 1100 and the Sport 1100i and not also to the                                                       V11 Sport

      Daytona                         Refers only to original version and not also to the Daytona Racing                                                          and/or RS unless specifically included or written as plural

      T5                                   Refers only to early series I, II, & III and not also to the ’94-on version

      Euro or world                Standard version (as opposed to a country-specific variant) of a model

      US                                   Variant of the Euro version for the US market

      EPA                                United States Environmental Protection Agency — refers to                                                                      modifications for compliance with US emissions standards.

      N/A                                                Not available or not applicable

      N/L                                 Not listed — in other words it never has been available

      NAS                               Not available separately — can only be had as part of an assembly

      NLA                               No longer available

      i.e. or i                            Model suffix for the fuel-injected variant of a carbureted model

      MGNOC                         Moto Guzzi National Owner’s Club (US)

      Moto America              US Moto Guzzi importer (now officially Moto Guzzi North America)

      EV                                   Refers to both the California EV and ’98—’99 US-only V11 EV

      V11 EV                           Refers to just the ’98—’99 US-only variant

      Bassa                             Refers to both the California Special and ’99—’00 US-only V11 Bassa

      Jackal                             Refers to both the California Jackal and 2000 US-only V11 Jackal

      Nikasil/Nigusil              Used interchangeably, the former refers to the modern cylinder plating                                                    developed by Mahle and used by BMW, Ducati, and several others.                                                         The latter is Guzzi’s own version.

A big problem for me in writing this book has been organization. I know my style and I know the material I’m covering — this isn’t a gripping novel destined to hold readers spellbound cover to cover. Since most readers will only be looking for small, specific pieces of information at any one time, the difficulty for me has been in making the information accessible.

That’s why all chapters begin on a right-hand page so that they’re easier to find when thumbing though the book. Within the chapters, the headings and subheadings each have their own style so you can tell which topics relate to which previous ones. What follows is what they each look like.

chapter title

Main heading within a chapter

First degree sub-heading

Second degree sub-heading

Third degree sub-heading

Fourth degree sub-heading

The master table of contents (which precedes this chapter) merely lists the number of each chapter. There is also a highly-detailed and very extensive table of contents at the beginning of each chapter. In each chapter’s table of contents, the main headings alone are in bold type with each degree of sub-heading further indented from the left margin. The pages of each chapter are numbered with the chapter number followed by a hyphen, then the page number of that chapter. For example, pages in the Brakes chapter are numbered 19-1, 19-2, 19-3, and so forth. I wanted to include continuous page numbering but the size of this work apparently exceeds some sort of structural limit in my word processing software (no matter what Microsoft said in their manual for it). What you see is the best method I could devise and, I believe that once you get used to it, actually makes it easier to navigate the book. Better yet, this setup made it possible for me to make immediate updates, requiring at most the reprinting of a single chapter.

While many sections only have meaning when a need occurs, some, I believe, contain important information for you to consider immediately. To alert you of the latter, those headings are double underlined, as are their corresponding listings in their chapter’s table of contents. This important information applies whether you have just purchased a used bike, a new one, or the same familiar mount has graced your garage for a long time.

Side column headings are used to signify when a section is only applicable to certain models or variations. Some abbreviations within the side headings aren’t specific enough, such as “Late Eldorado” or “All.” My intention is simply to draw your attention to everything that may be useful to you. Just remember that that section may only apply to a variant of your model other than your own. This same rule applies to applications listed in tables. Otherwise, some tables and side headings would have been longer than their accompanying text! The same side-heading applications are in force until a new side heading appears, even if it’s several sections later.

Of greatest importance is to tell you how I envisioned this book to be used. I tried to organize the material in such a way so that when you are about to work on something or order parts, you can first look in the appropriate section to see if this book offers anything applicable. This can be a tedious way of going about things but it’s really the only way that works.

Often I will cite Moto Guzzi part numbers for convenience. Usually they appear in parenthesis without further explanation as two groups of four digits separated by a single space (Moto Guzzi lists them as 8 digits in a row but I find that style more difficult to read, say, and remember). Some part numbers will appear in strike-through (1208 7000), meaning they are no longer available. This notation shouldn’t be trusted completely as parts suddenly become unavailable and some unavailables return. More so, what is currently unavailable in the US may be available from European sources. Stranger yet, we sometimes have the last of something over here that’s long been unavailable in Europe.

I’ve also included many references to aftermarket parts and accessories available through Moto America. I rarely included similar references to parts from other sources as they may not all be easily available to everyone and, quite frankly, I certainly don’t know everything offered by everyone. When a part number reference is to a Moto America offering it will appear something like “(MA 9999 2800)”. I realize of course that many more accessories and aftermarket parts are available in Europe. Until Moto America began importing accessories in the early ’90s, few items other than factory Guzzi parts were easily available to North Americans. It’s still spotty but generally getting better.

To European Guzzisti, please excuse our American excitement regarding the availability of items you may think of as common. I know that many of the same items we finally enjoy have long been available to you from a variety of sources. So that you do have at least one source for reference, I’ve included many part numbers from Teo Lamers Motorrijwielen in Nijmegen, Holland, as they sell both retail and wholesale throughout Europe and are conversant in most Western European languages (and they’re great people as well!). When a part number reference is to a Teo Lamers offering it will appear something like “(TL 2803 6060 5150)”.

Rarely will I refer to the US price of an item, and then usually only in general terms. Obviously, prices change and I don’t want to make your local dealer look bad because the dealer’s price is more than my possibly dated appraisal.

Some explanations are enhanced by information in additional sections. In many cases I have abbreviated references to the name of the chapter and the heading enclosed in brackets, such as {Ignition Systems: Spark plug wire}. If the reference is in the same chapter I just name the appropriate section {Spark plug wire}. If there are two references in the same chapter I separate them with an italic “and” such as {Integrated brakes on big twins and Reverting to conventional (non-integrated) brakes}. Some sections have relevance to several chapters. If it’s a small point, I’ve often repeated the information each time it’s applicable. In others I have placed the section in the Basics chapter (my miscellaneous chapter, somewhat like that drawer full of odds and ends in the kitchen) with appropriate references.

Factory updates are often cited by the frame number at which they first apply. Older models are usually five-digit numbers. US-spec bikes have an aluminum plate that after about 1978 contains the US-mandated 17-digit number. The original factory five-digit number is usually stamped into the steering head — hopefully not under the foil tag. I believe that the 17-digit format became a world standard some time in the 1990s.

I found in writing this manual that I had to assume a level of mechanical knowledge, ability, and aptitude in the reader. Otherwise, I would have had to start by describing which end of the screwdriver to hold. My assumptions are that you can find your way around a motorcycle and a toolbox and that what you seek here is specific information about Moto Guzzis. I’m sure you will be frustrated at times that some points aren’t described in sufficient detail. Some may be oversights and some may be because I don’t know either. I truly hope that these points of frustration are few.

I’ve noticed among my motorcycle friends that we have developed our own set of unrecorded rules regarding where to use American measurements and where to use metric. We tend to use metric for linear measurement except for exacting measurements such as bearings and journals and inches again for larger measurements over a few centimeters. I have no justification for this but I did want you to know that this practice spilled over into this book.

Sometimes you will notice that I refer to “parts references” when you might expect “parts book”. My intention is to let you know that in these instances, both a book and a microfiche may exist.

Looking back, I see that there is much less information in this book specific to small twins than for the big bikes. There is nothing intentional in this as I really like the small bikes. As stated before, this book is merely a compilation of what I think I know about Guzzis. As an excuse I offer that there are fewer small twins on this continent, they tend to have less mileage, they are less often modified, and there is less parts swapping done or possible. All of these reasons have contributed to the disparity of information quantity. Starting with version 2.0 of this book, I have added a huge number of new references to non-US small twins although I still lack hands-on experience with these bikes.

Like Bill James’s famous baseball books, Guzziology is an outsider’s book. That is, it consists of information gathered from the outside: personal experiences, the experiences of mechanics, customers and other owners, and the perusal of the factory-published service manuals and supplements, parts references, and service bulletins. As such, some explanations and conclusions are suppositions and extrapolations while others are based on actual experience. I hope that in each case it is clear to you when I’m sharing experiences and when I’m being theoretical (guessing).

Regarding perspective: I tried to vary the writing voice between “This is what I do,” “You should do this,” and “The next step is...” in an attempt to make reading large sections less tedious.

I had a lot of input from printers and publishers regarding format, which may lead you to wonder why this book looks the way it does. My goal has always been to include everything I know rather than leaving out information simply because it’s rarely used. To do otherwise would have diminished the purpose and utility of this book. I wanted to pack as much as possible into a useful format while keeping the price reasonable. This book could possibly have been a slick, “professional” publication, but would have cost more, had half the content, and probably have been bound in such a way that it couldn’t be laid flat on a workbench. I’m very proud of the way my book turned out and I hope very much that it serves you well and exceeds your expectations. I also wanted you to know that it is hand made — as it obviously appears.

The one detail of my book that I am truly apologetic about is the quality of some of the drawings. Obviously, scanning and photocopying poor drawings could only result in blurry resolution.

I have often referred to the shop I work at: Moto International. I didn’t intend this book as an advertisement (I started the book long before the shop existed) but I did want to make sure that you had at least one source for unusual offerings. I’ve tried to limit the commercial impact by referring to Moto Int. as “our shop” or “we” or other similar terms. Special parts are prefixed as “MI.”

As with anything that is believed to be known, my beliefs as recorded in this book are always changing. New information can either add a new subject to this book or confirm, improve, or replace previous beliefs. For these reasons, this book has a specific version listed on page four. Recently I’ve added the date the current version was first offered, as some have mistakenly believed that no version is more recent than the last copyright date. Because this book is produced in small batches (10 to 30 at a time) the version number is always progressing as (I hope) is the book’s content, in a way no hard-cover book can match. The downside of all these revisions is that I’m sure the continuity has been reduced and some references no longer agree. Sorry about that. I fix problems when I find them or when someone kindly points them out to me.

Already in this introduction I have “borrowed” ideas from a radio show about cars, a motorcycle magazine article, and a series of baseball books. Keeping with that plagiaristic theme, here is my version of Robert Fulghum’s now-immortal Credo from his book, All I Really Need To Know I Learned In Kindergarten. I’ve seen it recycled in various forms, usually giving credit to various pets as the altars of wisdom. As for me, I’ll claim that rather than stealing the idea, I simply share the same inspiration, having grown up just down the street from Fulghum’s church. No doubt there was something special in the air (besides the stench of the peat bog) around Chase Lake in Edmonds, Washington, USA. If nothing else, I learned a lot about bikes there, playing motorcycle tag (CRASH! You’re it!) in the surrounding woods. Anyway, here is my rendition which, if you’re not into warm and fuzzy lists, can also be thought of as the Moto Guzzi version of Alcoholic’s Anonymous’s 12-step program, appropriately containing thirteen promulgations.

 

Credo for Moto Guzzi Owners and Mechanics

Stock parts are always best — except occasionally when they’re not

Always fix the problem as well as the symptom

The only way to really find out if something is better is to try it yourself

Just because something makes sense doesn’t mean it’s right

Changes are as likely to be tradeoffs as improvements

Nothing is believable until you’ve made the same mistake yourself

Even if you cut it twice it will still be too short

Don’t fix it if it ain’t broke — unless you know it’s going to break anyway

A big problem is easier to find than a small one

No easier or cheaper approach is ever the best way

Wrenches are brain tools, not hand tools

Rarely does anything work out the way you want if left to chance

Maintenance is almost always easier than repairs — and costs less too

And for your friends and motorcycling acquaintances along the way who wonder why you don’t ride a motorcycle with a name beginning with an “H”, just remind them that the best is rarely the most popular.

 

03/06/2008 19:11. plotino #. MOTO GUZZI Hay 1 comentario.

V 10 CENTAURO

20080605115357-v10-centauro-for-plot.jpg

Seems the BEAST was getting (shall I say) temperamental on me at idle as of late. After reading Guzziology and understanding the trim pot a bit more, I went in to take a peek. I richened things just a tad (about 11:30 on the dial) and whoa did it make a difference. It’s like a whole new machine how smooth it is down low and not a wink at idle. Pretty cool stuff. There’s a Hell of a lot to learn on this machine...but it’s fun to have to be in touch with its behaviors. Razz
-Kev

There is an idle mixture screw (actually from idle to 3000 RPM) in the CPU under your seat. You have to take off the tape and rubber plug to get at it. That is known as the "trim pot". It is much smaller than I had imagined (the screw that is). To lean out the mixture you turn the screw clockwise, for richer anti-clockwise. I warn you to be VERY careful with this. Any static electricity will fry the CPU, so ground yourself first if you use a small metal screwdriver. It is best if you have a plastic one. ANyhow, if you should try adjusting things, make very small changes at a time. Also...the CPU needs time after shutting down the bike to recalibrate, so wait about 30 seconds before messing again with the screw. I got mine the first try without the bike running with a very small adjustment from about 12:30 to 11:30. I think it turns from about 8 to 4 if you’re thinking of a clock (roughly 120 degrees). I’m looking at the screw as if sitting backwards on the seat. I hope this helps? I simply read in Guzziology that if the idle is rough one answer could be to richen the mixture a bit. It worked for me, but I tried the idle adjustment screw first. Please be careful inside the CPU...and also replace the tape afterward to seal it from water.
-Kev
Others...please chime in if I’ve stated something wrong. I am far from being one to thoroughly understand this or walk someone through it.

Yes. Treat the trim screw about like the idle mxture screw on carbs.

Keep in mind that it only has about 270 degrees of rotation. I’ve had to repair a couple where the owners cranked them too far and broke them.

A plastic screwdriver is a good idea if you have one. And a little mark with a sharpie marker can help you see the trim screw turn easier.

Where precisely is this air/fuel screw on the injectors... anybody got a picture and an arrow?

It's inside the standard WM16M ECU - look under the large rubber bung for a small slotted poetiometer.


The "By-pass" adjustment (air/fuel) is at bottom of the injector body inside a hole facing up. I use a thin small screw driver. The "trim" adjustment is under the rubber plug inside the ECU.


_________________

 

05/06/2008 11:53. plotino #. MOTO GUZZI No hay comentarios. Comentar.

V 10 CENTAURO

20080616144338-v10-centauro-for-plot.jpg

 

Buenas Plot..., me alegra que poco a poco vayas pillando el "intringulis" técnico..., es muy conveniente si se tiene una Guzzi ...

Bueno, en las "directrices básicas" que te pasaron,  recomiendan ENCARECIDAMENTE (MUST !!!!  ) que conectes la carcasa del regulador al borne negativo de la batería, usa para ello un cable con un grosor mínimo de 4mm . 
Dicen que la ausencia de este cable, genera picos de voltaje que llevarian a la destrucción de la ECU (caja negra)...

Ya sabes, manos a la obra...       Es facil de hacer y te ahorrarás sustos...  

matt

 

 

Efectivamente Plot...., se trata del reglaje de válvulas... Recomiendan regular la válvula de admisión a 0,15mm , y la de escape a 0,20mm.

Esto significa dejarla a 0,05mm más de lo descrito en el manual de usuario, pero según dicen, es necesario para garantizar una "estabilidad" a largo tiempo, y mantener los intervalos de mantenimiento cada 10000 kilómetros. Sin ello , incluso a ralentí iría mal...

Estos temas los puedes ir "recopilando" y cuando la lleves al taller le comunicas al paisano que te la deje como tu quieres...

matt

 

 

Si sale aceite del frente de la caja del cardan, se debe cambiar el retén del eje... , caben dos retenes !!! 


No sé exactamente a que retén se refiere..., lo mejor es que preguntes cual exactamente , mira el siguiente esquema:

 

 

Si el aceite sale de cualquier otro sitio, taladra un pequeño orificio en el tornillo de llenado, conectale un tubito de plástico y posiciona el otro extremo del tubo lo mas alto posible. Yo tengo ese tubo en dirección a la caja de cambio , debajo del asiento, finalizando cerca de la ECU


 Con ese tubito lo que se pretende es crear un "respiradero" para la sobre presión de aceite que pueda haber... , normalmente acaba en algún "recoge-aceites made en casa", como puede ser una lata de coca cola (te sirve tambien cualquier otro refresco  )  Lo vas controlando y cuando esté lleno lo vacias...

Aunque el tema de la sobrepresión no es tan facil como ponerle el respiradero... Lo primero es procurar no llenar demasiado aceite, lo mejor es tener la cantiad justa... , que se mantenga entre mínimo y máximo...
Si echa mucho aceite (incluso teniendo el justo) puede ser indicativo de cilindros gastados ... , éstos al tener mucha holgura, ejercen presión hacia el carter

 

La horquilla delantera debe rebajarse en 10mm


Se refiere a rebajar la altura de las barras delanteras.... Seguro que así se consigue una mejor conducción. La manera de hacerlo es dejar que las barras "sobresalgan" de la tija 10 milimetros. En la siguiente foto podrás observar como las barras (en color bronce ) sobresalen de la tija..., de esta manera bajas la suspensión delantera:

 

Cita


No uses jamás pastillas de freno sinterizadas


Seguro que lo dice porque al ser mas duras que las normales, se "comen" el disco de freno muy rápido...


matt

 

Tema 4
Pinzas de freno: 
Cambia los tornillos estandar de 8.8 que aprietan la mitad de cada pinza frontal de frenos , por unos M8x40mm de tipo "allen" . El par de apriete debe ser de 40 Nm. 
Obtendrás una frenada lineal en vez de decreciente



Se refiere a los dos tornillos que van en la parte frontal de cada pinza (freno delantero).... En la imagen (pinza  izquierda ) verás los huecos donde van...  



matt

 

Presión de gasolina: Conecta el medidor de presión de gasolina a una de las tomas o a las dos... Incrementará la manejabilidad en cambios de lastre (ver mi descripción de EPROMs ) .

Correa de distribución: Contitech Syncroforce CXP STD 640-S8M-20 con 80 dientes.



 

TEMA 6:

Nivel de aceite de motor: 10 mm por encima del máximo (con el medidor totalmente enroscado )

Aceite de motor: Sintético  10W60, 1oW50 o 20W60. Nunca 5W... or 0W...

Nivel de aceite de la caja de cambios: Sintético 0,60l.  Olvídate del indicador de nivel.

Nivel de aceite del cardan: Sintético 0,20l. Olvídatte del indicador de nivel

Filtro de gasolina: Mahle KL14, Art. 07637655 o MANN WK 613

Filtro de aceite: MANN W712/52


No estoy muy de acuerdo con el nivel de aceite del motor, yo jamás sobrepasaría el nivel de máximo... , lo mejor es dejarlo un pelín por encima de la mitad y controlarlo a menudo...

Sobre los filtros de aceite, tambien :

 

> Bloque 1100 (Centauro, Cali, V11, etc... )   
UFI 2328700
CHAMPION   C305 
HIFLO-FILTRO   HF551 (incluso Griso, Stone, Quota... )
Purolator ML17782

Rojo = Alternativos contrastados en la web del fabricante.

 

 

 

 

16/06/2008 14:43. plotino #. MOTO GUZZI No hay comentarios. Comentar.

Leonard Cohen: Out of the monastery and back on the road

20080617120042-cohen.jpg

 

Independent.co.uk

Leonard Cohen: Out of the monastery and back on the road

The womanising, the four bottles of wine a day and the five-year retreat in a Buddhist monastery are all behind him. This week, Leonard Cohen embarks on his first British tour for 15 years. And the former poet laureate of despair might even be singing with a smile on his face...

By Simon Worrall
Sunday, 15 June 2008

 

On Tuesday a spry 73-year-old man in a double-breasted suit and fedora will step on to the stage at the Manchester Opera House. For those of us in Britain who love his music, this moment will be both an epiphany and a relief. It is 15 years since Leonard Cohen last toured – after four nights in Manchester, he'll play several more dates in the UK this summer, including the O2 Arena and the Glastonbury Festival. And, like millions of other fans, I had come to believe that he had hung up his Spanish guitar and Jew's harp for good. But now the man who gave us "Suzanne" and "Hallelujah" is on the road again – or, in the words of one of his recent songs, "back on Boogie Street". The rasping voice, scorched by a million Marlboro Lights, is deeper. The vocal range is narrower. But none of which matters to his fans, who will just be pleased to see him performing again.

 

Much has distracted him from music. Cohen spent most of the 1990s in retreat at a Zen Buddhist centre in California. Then in 2005, following a return to recording, he discovered that his manager had run off with almost all of his fortune. No wonder that, at the opening concert of his world tour in Canada last month, he was given a three-minute standing ovation before he had even sung a single note.

I was a teenager in the late 1960s when I first heard a song by Leonard Cohen. Something about his voice and his lyrics chimed with the way I felt at the time. Later, while studying English at Bristol University, I would send my friends screaming from the room by picking up a guitar, well past midnight, and singing "Famous Blue Raincoat", Cohen's haunting song about a love triangle. "It's four in the morning, the end of December/I'm writing you now just to see if you're better."

Since then he has dipped in and out of my life. My ex-wife and her then-husband, the documentary film-maker, DA Pennebaker, spent three weeks with Cohen on the island of Hydra in Greece, researching a film about him. The film never got made but the visit yielded three contact sheets of grainy, black-and-white stills showing a tousle-haired young man eating olives and drinking Ouzo with Marianne Ihlen, the Norwegian muse of one of his most famous songs.

Then, this spring in Los Angeles, I found myself cooking dinner for Cohen's friend and collaborator Sharon Robinson (see box, overleaf), one degree of separation from my boyhood idol.

Though Cohen spent many years in sunny places, such as Hydra and California, in his soul it always seemed to be winter. He became known as the poet laureate of despair, the godfather of gloom. Cohen himself joined in the fun, quipping to a reporter that his CDs should come with razor blades.

The source of the melancholy and spirituality that flows like an underground river through all of his work is his Jewish upbringing in Montreal. He was 10 years old when the horrors of Auschwitz broke over the world and, while he has seldom talked about the subject, one can reasonably assume that it had a deep and lasting impact. His maternal grandfather was a prominent Talmudic scholar. His father, Nathan, was a wealthy clothing manufacturer who died when Cohen was just nine. His mother, Masha, was a Russian Jew from Lithuania, from whom Cohen inherited his love of song and poetry. His sister, Esther, still lives in Montreal.

From infancy, he was steeped in the rituals and language of the synagogue. "I think I was touched as a child by the music and the kind of charged speech I heard in the synagogue, where everything is important," he recalls."I always feel that the world was created through words – through speech in our tradition – and I've always seen the enormous light in charged speech and that's what I've tried to get to."

He never intended to be a singer and performer. He wanted to be a proper writer, like his boyhood heroes, Byron, Yeats, Sartre and Camus. And, above all, to be like the Spanish ' poet of love and war, Fernando Garcia Lorca, after whom he named one of the two children he has had with the Los Angelean artist Suzanne Elrod. (Elrod, incidentally, was not the Suzanne who brings him tea and oranges in the famous song. That was Suzanne Verdal, the wife of one of Cohen's Montreal friends in the 1960s.)

His 1956 book of verse, Let Us Compare Mythologies, established him as one of the most important new voices in Montreal's English-speaking literary scene. (The song "To a Teacher", on his latest album, Dear Heather, is dedicated to one of his early mentors, the Canadian writer AM Klein.) He went on to publish two novels: The Favourite Game in 1963 and Beautiful Losers in 1966.

Having learned to play the guitar as a teenager, Cohen formed a band called the Buckskin Boys at Montreal's McGill University. But he freely admits that he became a singer because he couldn't make a living as a poet. At his first major performance, with folk-singer Judy Collins at an anti-Vietnam concert at New York's Town Hall in 1967, his guitar was out of tune, his voice was a hoarse whisper and he suffered a paralysing attack of stage fright. But by the end of the evening he had conquered the crowd. A record contract with Columbia followed and Cohen soon found himself at the epicentre of 1960s New York. He lived at the Chelsea Hotel, hung out with Warhol and his Superstar, Nico, Baez, Dylan and Janis Joplin (who famously gave him head on an unmade bed).

"I had a great appetite for the company of women," he has said of that time. "And for the sexual expression of friendship, of communication. And I was very fortunate because it was the 1960s and it was very possible."

Yet, by the middle of the following decade, the tortured love celebrated in his songs was starting to sound tired. Misery was out. Disco was in. His 1977 album, Death of a Ladies' Man, which traded on his reputation as a Lothario and which Cohen recorded with another fading legend, Phil Spector, seriously misjudged the changed cultural mood. It was more than a decade until Cohen really hit his stride again with the 1988 album Various Positions, which contained one of his best known, and most covered, ballads, "Hallelujah".

But, although he began to sell more records than ever before and had gained a new generation of fans, his life was spinning out of control. He needed three or four bottles of wine per day to stop his knees from knocking on stage. His health was breaking down. His love life was a train wreck. And so, in 1994, following a tour to promote his latest album The Future, he sought sanctuary in the Mount Baldy Zen Buddhist monastery in the rattlesnake-infested San Gabriel mountains behind Los Angeles.

Cohen had been a regular visitor at the monastery for more than a decade, sometimes spending three months at a time there. But this time it looked as though the world had lost him for good. He shaved his head, donned black robes and devoted himself to the study of Zen Buddhism.

"I wasn't looking for a religion," he says. "I already had a perfectly good one [his Jewish faith]. And I certainly wasn't looking for a new series of rituals. But I had a great sense of disorder in my life, of chaos and depression, of distress. And I had no idea where this came from. The prevailing psychoanalytic explanations of the time didn't seem to address the things I felt. Then I bumped into someone who seemed to be at ease with himself and at ease with others..."

That someone was Kyozan Joshu Sasaki Roshi, the monastery's founder. Cohen became his cook, driver and late-night sake-drinking buddy. A special dispensation allowed him to get up earlier than the rest of the monks so he could brew coffee and smoke a few Marlboro Lights. In 1996, Sasaki gave him the monastic name Jikhan, meaning "silence".

For someone as wedded to words as Cohen, and so fond of talking, it seemed an ironic choice. But he didn't stop expressing himself as an artist, steadily filling a pile of little green notebooks that would eventually yield a golden harvest of new work. In a poem called "Titles", from his latest collection of verse, Book of Longing, Cohen describes ' his time on Mount Baldy, where he ended up staying for five years until 1999: "For many years I was known as a Monk/I shaved my head and wore robes/and got up very early/I hated everyone/and no one found me out."

Elsewhere, he has called himself The Useless Monk. "I felt it wasn't doing any good," he recalled in a recent interview. "It wasn't really addressing this problem – distress – which is the background for all my activities, feelings and thoughts. It was a lot of work for very little return."

Cohen says that his experience on Mount Baldy strengthened his Jewish faith, which he has described as a "4,000-year-old conversation with God and his sages". Yet, no sooner was he back in the world than he had to deal with the devil. A year after leaving the monastery Cohen was accusing his long-time manager, Kelley Lynch, of defrauding him of more than m. After 30 years' recording and performing, he was had been left with just 0,000. In 2006, he was awarded m in a civil lawsuit but so far Lynch has ignored the verdict and Cohen may never see the money.

Cohen has reacted to what he has called "the oldest story in Hollywood" with a typically Jewish fortitude. "It's enough to put a dent in your mood," he said, "but I was still eating every day; I had a roof over my head. I don't have the savings, that security I used to have, but I live the same kind of life. So, except for the hassle of dealing with lawyers and forensic accountants and tax specialists, the actual blow was not that severe."

Now in his eighth decade, the singer of what he recently referred to ironically as "a lot of Jew-sounding songs in different keys" is back at the top of his game. He has just finished a new album, to be released later this year, his third since 2001's Ten New Songs. Book of Longing has been well received. Cohen is also finally getting recognition for the paintings and drawings he has been producing since childhood.

And something else happened on Mount Baldy. The black dog of depression, "a kind of mist, a kind of distress over everything", which had dogged Cohen throughout his life, finally released its hold. Senescence appears to have brought serenity and a new contentment with the simple things of everyday life. When not working, the man who took Manhattan with 1960s hell-raisers such as Janis Joplin and Lou Reed can be found preparing matzo-ball soup in a pair of slippers and a suit at the modest house in a middle-class suburb of Los Angeles he shares with his daughter Lorca and several dogs. His son, Adam, a folk-rock singer like his father, is across town. His partner, the Hawaii-born singer, Anjani Thomas, lives down the street. Cohen has also gone back to his roots and now spends half a year in his native Montreal.

"I feel tremendously relieved that I'm not worried about my happiness," he says. "There are things, of course, that make me happy: when I see my children well, when I see my daughter's dogs, a glass of wine. But what I am so happy about is that the distress and discomfort has evaporated."

As Cohen himself might well sing a few times this summer, hallelujah.

For more information on Leonard Cohen's world tour, go to www.leonardcohen.com. Simon Worrall is the author of 'The Poet and The Murderer' (Fourth Estate, £7.99)

My life with Leonard

By Sharon Robinson

I first met Leonard when I auditioned for the Field Commander Cohen tour in 1979. I had been working as a singer and dancer in Las Vegas and as a session singer in Los Angeles. I knew of famous songs such as "Suzanne", but I wasn't that familiar with Leonard. My background is blues and R&B. So I didn't really know what to expect. The audition was at a rehearsal space in LA. The band was up on the stage and Leonard was sitting on a couch, listening. I remember noticing that he was really friendly and polite and gracious. And really handsome.

We became very good friends during the second half of that tour. I then studied Zen with him at Mount Baldy in the years following the tour. And that anchored our friendship. Later, we started writing together. Our first collaboration was on a song called "Summertime", which we wrote on the road in 1980 and has been recorded by Roberta Flack and Diana Ross. I had the melody but I had not found a lyric. One day on tour, when the band was collecting in the lobby waiting to go to the airport, I noticed that there was a baby grand piano in the lobby and so I went over and started to play the melody.I asked Leonard to come over and check it out, which he did. He started walking around the lobby, looking up at the ceiling and counting the number of notes in the melody and in a few minutes had come up with a couple of verses for the song.

We didn't work together that much during the late 1980s.I had signed a publishing deal with Universal and in 1985 I had a hit record with "New Attitude" for Patti LaBelle. I was also writing for The Pointer Sisters. Leonard was doing other things but we were there for each other as friends. In 1989 Leonard became godfather to my son, Michael, and he comes to the milestones in his life, such as piano recitals and birthday parties. For his 18th birthday Leonard gave him a book on how to mix martinis.

Leonard didn't tell me he was going to enter Mount Baldy, but I knew that he was having difficulty. And of course I was concerned. He was very depressed during that period; he was drinking on that tour [for The Future]. I didn't see him much during his time at Mount Baldy. I spoke to him a few times but didn't go up. I was concerned, as all his friends were, but with someone like Leonard, you just have to trust that he's doing what he has to do.

The next time I saw him was in 1999 when I ran into him outside a movie theatre in the Beverly Center Mall in LA.I didn't know that he had come back from Mount Baldy. It was a complete surprise. He was wearing a double-breasted suit and his fedora. We didn't hug or anything. He's not a big huggy guy. I invited him to one of my son's piano recitals and as we were standing outside the recital room Leonard asked me to work on an album [Ten New Songs] with him.

Sometime shortly after that I went over to his house and the first day, rather than going to a keyboard or handing me a verse, we sat down in his kitchen and he said, "Listen to this. I think this is so beautiful," and we sat there for a very long time, listening to this Indonesian chant music, without talking. It was like a meditation. And that was it for the day. At the time it felt a little strange but now I see that what he was doing was trying to set the tone for the project.

It took us two years to make that album. Leonard would give me verses that he'd written, for the most part, while he was at Mount Baldy. And I tried to immerse myself in the meaning of the words, so the music would always serve those words. The process is really collaborative. Both of us prefer to do the dirty work in solitude. Then, when we're happy with that, we present it to the other person. He either comes over to my house or I go to where he lives. I usually try to make a rough demo of my idea, in his key, so he can relate to it and he will be able to start singing along if he wants. Then I'll bring that demo to Leonard and play it for him.

Leonard is well versed in many kinds of music. He listens to the music people give him, music recorded by friends and associates. He listens to Bob Dylan and Joni Mitchell, blues and R&B, Otis Redding. I see myself as part of his palette, to be a sounding board and to execute whatever we decided would work. It's intimidating working with him if you think about it. So I try not to think about it.

When we had finished a song, we'd take a drive and listen to it on the car stereo to give us that extra objectivity. When you are working so intensely you can lose that objectivity. And when you're in a studio you're listening to the absolute best reproduction of the sound. But most people won't hear it in that environment. So we'd go for a drive – the car test.

Leonard is a quiet, gracious person; he's generous and contemplative. He always makes you feel that you are as important to him as he is to you. He references Chinese teaching stories, eastern philosophies and Jewish teaching devices to enlighten or inform a conversation. And though everyone thinks he is so serious, he has a fantastic sense of humour. He tells jokes. He cracks me up all the time.

He doesn't exactly know what caused his depression to lift. Now he's in a very good place. He's enjoying his new book of poetry and his artwork. He's enjoying being a grandfather and having a close relationship with his children. He's enjoying touring again, too. The hotels keep giving him the VIP suite but he doesn't like those huge rooms, so he always asks for a smaller one. We're doing a lot of the old music and some of the arrangements are the same because Leonard's fans are very attached to that old sound. The audiences have been amazing. His music speaks to the heart. It resonates on a very deep level where people are working to sort out their own emotions. We see people in tears out there.

Sharon Robinson is touring with Leonard Cohen this year as a backing singer. Her album 'Everybody Knows' will be available for digital download from early July and on CD from 19 August

17/06/2008 12:00. plotino #. LEONARD COHEN No hay comentarios. Comentar.

RECHARGING OF BATTERY

AGM Battery Technology Primer
16 June 2008

General:

AGM (Absorption or Absorbed Glass Mat) battery technology was developed in the 1980's for military aircraft.

In AGM batteries, the acid is absorbed between the "plates" and immobilized by a very fine fiberglass mat.

The "plates" in an AGM battery may be flat like wet cell lead-acid battery, or they may be wound in a tight spiral. Their unique construction (as they are supported in large part by the mat) also allows for the lead in their plates to be purer as they no longer need to support their own weight as in traditional cells.

Some of the liquid material will escape during charging thus decreasing the overall capacity of the battery. The lids (covers) allow safe dispersal of any excess hydrogen that may be formed during overcharge. They are not permanently sealed, but are maintenance free; and they can be oriented in any manner, unlike normal lead-acid batteries which must be kept upright to avoid acid spills and to keep the plates' orientation vertical.

Many modern motorcycles on the market utilize AGM batteries for the combined benefits of reduced likelihood of acid-spilling during accidents, and for packaging reasons (lighter, smaller battery to do the same job, battery can be installed at odd angles if needed for the design of the motorcycle).

Specific things AGM's do not like (i.e. impair their working correctly):

• Parasitic loads - Any small continues load that is on 24x7 such as theft alarms.
• Short rides - Because the battery is difficult to recharge completely, 35 mile (50 kilometers) rides are a minimum. Potentially a once a month ride of 200 miles (300 kilometers) may give enough of a topping off to the charge to keep the battery happy.
• Charging voltages which exceed 15 VDC. Most chargers are not so tightly controlled for over voltage protection.

Things I have found out:

• The cover can be removed.
• Using a syringe distilled water can be added (do not use scented water made for steam irons).
• The water is absorbed slowly so be patient (20 minutes is not abnormal for a couple of ml to be absorbed).
• While charging a discharged battery the battery can handle a high current (20 A for 10 minutes, 10 A for 20 minutes, etc.) and in fact a high current is useful to charge the deep recesses of the battery.

Some people have had very good success augmenting their battery charges with various AGM specific battery tenders that seem to take care of the problems of parasitic loads and short rides.

If you do not have the facility to deliver power to a garage area as is needed with a battery tender you could do what I do!

I have had my battery pronounced dead and used up on several occasions! On each of those occasions I have done the following procedure.

My way:

Equipment and supplies needed:

• A wrench to remove the battery from the bike.
• Distilled water (the cheap good stuff, no scents for steam irons, etc.).
• An old hypodermic needle (look around most play ground areas or contact a junkie).
• A flashlight.
• A plastic bag to protect your table surface from acid.
• A battery charger with a voltage protection, or limiter that kicks in at 15 VDC. Maximum current can go to 20 Amps, but minimum should be at most 2 Amps.
• A Volt meter to check resting voltage.
• A screw driver to carefully pop the cover off.


The procedure:

• Removed the battery from the bike.
• Carefully open the cover of the battery. If you break off a few plastic studs (as I have done) you can use some tape when it comes time to put the cover back on, but be sure to leave some breathing room around the cover (i.e. don’t tape it completely sealed).
• Pop the lids off the cells.
• With a flash light look into the cells.

Any cell that appears to be dry will need some distilled water, I use a hypodermic with the metal needle removed, and I add 4 ml at a time to each cell that appears dry.

1. Add water.
2. Wait 20 minutes.
3. Recheck cells condition.
4. Add water as needed and repeat steps 2 thru 4 until the surface of the cell seems to keep a moist appearance.
5. When the cells stop absorbing distilled water put the charger on at maximum current.

Note: It is possible that the battery will not charge at maximum, do not worry, it may need some TLC. I have dropped the charging rate down to low (trickle, or about 2 A) and monitored the water adding it as needed to maintain the moist appearance of the cells. If you over fill your cells, when the battery is put on high charge, later in the cycle, the excess fluids will bubble out the cell access points (be careful with the bubble over because it is acid).

• If the battery absorbs maximum current (depending on what that is) stop the maximum current at an appropriate time and continue with a trickle charge over night.

I have found that checking the battery every 2 hours while on trickle is sufficient to keep it from going dry, if you apply 4 ml above the barely moist cell condition.

• Until the battery will maintain a 12.x VDC (plus or minus) with the charger leads disconnected over night and has been charged for a period of time between 24 to 48 hours with a trickle and a short duration high current charge it is not up to snuff.
• Let the battery finish off by trickle charging it until you observe the moist (but not wet) cell condition on all cells evenly.

You may need to let the battery charge longer to remove excess water, or add water to some cells as the fluid goes down to get them all looking similar.
Alternative water reduction techniques for the impatient:

• Excessive water that remains on the cells after your battery is fully charged can be removed by putting the metal needle tip back on the hypodermic and sucking the excess water out of the cells.
• Tip the battery upside down in the sink and see what comes out.

BECAREFUL with the fluids that the battery yields via any mechanism, they should be diluted with water and flushed down the pipes because they are acid. It will put a hole in clothes and cause an open cut to burn (leaving a scar).

Most important is not to exceed 15 VDC while charging.

At 160 euro a pop, I have saved myself 480 euros so far with this technique.
_________________
Ken "motts" Applegate, Paris (France not Texas)
AMA, MGCB, MGWC, MGCGB, FEMA Friend
California EV, V10 Centauro GT

17/06/2008 15:39. plotino #. MOTO GUZZI No hay comentarios. Comentar.

Bergamo, Italy June 16, 2008

1.Leopard-Skin Pill-Box Hat (Bob on keyboard)
2.If You See Her, Say Hello (Bob on keyboard and harp, Donnie on violin)
3.Just Like Tom Thumb's Blues (Bob on keyboard and harp)
4.The Levee's Gonna Break (Bob on keyboard, Donnie on electric mandolin)
5.Moonlight (Bob on keyboard, Donnie on electric mandolin)
6.Things Have Changed (Bob on keyboard, Donnie on violin)
7.A Hard Rain's A-Gonna Fall (Bob on keyboard, Donnie on electric mandolin)
8.High Water (For Charlie Patton) (Bob on keyboard, Donnie on banjo)
9.When The Deal Goes Down (Bob on keyboard)
10.Honest With Me (Bob on keyboard)
11.Just Like A Woman (Bob on keyboard and harp)
12.Highway 61 Revisited (Bob on keyboard)
13. Beyond The Horizon (Bob on keyboard)
14.Summer Days (Bob on keyboard)
15.Ballad Of A Thin Man (Bob on keyboard and harp)
  
 (encore)
16. Happy Birthday (insturmental) (Bob on keyboard and harp) (Happy Birthday John)
17. Thunder On The Mountain (Bob on keyboard)
18. Like A Rolling Stone (Bob on keyboard)
  

18/06/2008 11:40. plotino #. BOB DYLAN No hay comentarios. Comentar.

Grenoble, France June 19, 2008

1.Watching The River Flow (Bob on keyboard and harp)
2.Girl Of The North Country (Bob on keyboard and harp)
3.Lonesome Day Blues (Bob on keyboard)
4.Love Sick (Bob on keyboard, Donnie on electric mandolin)
5.Tangled Up In Blue (Bob on keyboard and harp)
6.Rollin' And Tumblin' (Bob on keyboard, Donnie on electric mandolin)
7.Love Minus Zero/No Limit (Bob on keyboard)
8.High Water (For Charlie Patton) (Bob on keyboard, Donnie on banjo)
9.A Hard Rain's A-Gonna Fall (Bob on keyboard, Donnie on electric mandolin)
10.I'll Be Your Baby Tonight (Bob on keyboard and harp)
11.Workingman's Blues #2 (Bob on keyboard)
12.Highway 61 Revisited (Bob on keyboard)
13. Ain't Talkin' (Bob on keyboard, Donnie on viola)
14.Summer Days (Bob on keyboard)
15.All Along The Watchtower (Bob on keyboard)
  
 (encore)
16. Thunder On The Mountain (Bob on keyboard)
17. Blowin' In The Wind (Bob on keyboard and harp, Donnie on violin)
  
23/06/2008 15:54. plotino #. BOB DYLAN No hay comentarios. Comentar.

Toulouse, France June 20, 2008

1.Cat's In The Well (Bob on keyboard, Donnie on violin)
2.Lay, Lady, Lay (Bob on keyboard and harp, Donnie on pedal steel)
3.Just Like Tom Thumb's Blues
(Bob on keyboard and harp, Donnie on lap steel)
4.Rollin' And Tumblin' (Bob on keyboard, Donnie on electric mandolin,
Denny on electric slide guitar, Stu on acoustic guitar)
5.Simple Twist Of Fate
(Bob on keyboard and harp, Donnie on pedal steel, Stu on acoustic guitar)
6.The Levee's Gonna Break
(Bob on keyboard, Donnie on electric mandolin, Stu on acoustic guitar, Tony on standup bass)
7.Spirit On The Water
(Bob on keyboard and harp, Donnie on pedal steel, Tony on standup bass)
8.Things Have Changed (Bob on keyboard, Donnie on violin)
9.Desolation Row
(Bob on keyboard, Donnie on electric mandolin, Stu on acoustic guitar, Tony on standup bass)
10.Honest With Me (Bob on keyboard, Donnie on lap steel)
11.Sugar Baby
(Bob on keyboard, Donnie on pedal steel, Stu on acoustic guitar, Tony on standup bass)
12.It's Alright, Ma (I'm Only Bleeding)
(Bob on keyboard, Donnie on banjo, Tony on standup bass)
13. Nettie Moore (Bob on keyboard, Donnie on viola)
14.Highway 61 Revisited (Bob on keyboar, Donnie on lap steel)
15.All Along The Watchtower
(Bob on keyboard, Donnie on lap steel, Stu on acoustic guitar)
  
 (encore)
16. Thunder On The Mountain
(Bob on keyboard, Donnie on lap steel, Stu on acoustic guitar)
17. Like A Rolling Stone (Bob on keyboard, Donnie on pedal steel)
23/06/2008 15:56. plotino #. BOB DYLAN No hay comentarios. Comentar.

Encamp, Andorra June 22, 2008

1.All Along The Watchtower (Bob on keyboard, Donnie on lap steel)
2.Don't Think Twice, It's All Right
(Bob on keyboard and harp, Donnie on lap steel, Stu on acoustic guitar, Tony on standup bass)
3.High Water (For Charlie Patton)
(Bob on keyboard, Donnie on banjo, Tony on standup bass)
4.Tryin' To Get To Heaven (Bob on keyboard and harp, Donnie on pedal steel)
5.Rollin' And Tumblin' (Bob on keyboard, Donnie on electric mandolin,
Stu on acoustic guitar, Denny on electric slide guitar)
6.Visions Of Johanna
(Bob on keyboard, Donnie on electric mandolin, Stu on acoustic guitar)
7.Million Miles (Bob on keyboard and harp, Donnie on lap steel)
8.Beyond The Horizon
(Bob on keyboard, Donnie on pedal steel, Tony on standup bass)
9.Tangled Up In Blue
(Bob on keyboard and harp, Donnie on pedal steel, Stu on acoustic guitar, Tony on standup bass)
10.Highway 61 Revisited (Bob on keyboard, Donnie on lap steel)
11.Sugar Baby
(Bob on keyboard, Donnie on pedal steel, Stu on acoustic guitar, Tony on standup bass)
12.It's Alright, Ma (I'm Only Bleeding)
(Bob on keyboard, Donnie on banjo, Tony on standup bass)
13. Nettie Moore (Bob on keyboard, Donnie on viola)
14.Summer Days (Bob on keyboard, Donnie on pedal steel, Tony on standup bass)
15.Ballad Of A Thin Man (Bob on keyboard and harp, Donnie on lap steel)
  
 (encore)
16. Thunder On The Mountain
(Bob on keyboard, Donnie on lap steel, Stu on acoutic guitar)
17. Blowin' In The Wind (Bob on keyboard and harp, Donnie on violin)
23/06/2008 15:58. plotino #. BOB DYLAN No hay comentarios. Comentar.

V10 CENTAURO

bising wrote:
Was wondering whether our bikes share the same engine oil used on cars. Referring to TIPS, those names mentioned, eg Castrol GTX, are common engine oil for cars.

Comments?

Tks



Oh good - an oil thread!

Yes in principal - with some minor reservations about the actual specification being more suitable for our 'old fashioned' Guzzi OHV engines. Wink

Why? - Conventional modern motorcycle engines have the engine and gearbox combined in a 'unit' construction. Therefore they must use specialist oils which can deal with the lubrication needs of the engine and also provide the extreme pressure (EP) values required for the gearbox cogs - and often the clutch assembly as well in bikes without dry clutches.

On the face of it this sounds like a good situation - only using one type of oil - until you realise that dedicated motorcycle oils can be much more expensive and almost invariably require changing at more frequent intervals.

As Guzzi engine and transmission assemblies are seperate entities - much the same as old style car assemblies - they can use oils which are formulated to function best in the different units. As you have noted, multigrade 'car' oil in the engine and EP oil in the gearbox and rear drive box. Benefits are lower overall costs of the oils and vastly increased service intervals - for the gearbox and rear drive at least.

I'd add that I feel more than happy that the gears are running in oils designed specifically to give higher shear strength, (85W-140 in my case), than engine oil multigrades.

Something else to consider is that it is being reported more often that the latest synthetic multigrades may not be the best selection for the older design of pushrod type engines - do a search on the forum and elsewhere for the reasons why - so cheaper semi-synthetic or dino oils might be better in our Guzzis with subtle differences between the hi-cams and other 2 valve engines of the same era. I'm sure that some recommendations will follow.


There's a lot of what I think is marketing and regulatory silliness going on with engine oils right now... the bike manufacturers have taken to recommending exorbidantly expensive oils, probably because they are in fact better at handling high temperatures, but equally (I believe) because they have marketing arrangements with the oil manufacturers. They have to get their oil for new bikes from somewhere, and I'm guessing they get it that oil for free if they write the right oil recommendation in the owners manual, and put the right sticker on the crankcase...

I was recently confronted with the spectre of a liter of motorcycle oil on a gas station shelf in Italy for 24 Euro... or roughly 37 US dollars per liter! Around 0 for an oil change! Total insanity from my point of view, and not something I'm going to get involved with. I've run my Guzzis for 100's-of-thousands of miles on what is now /quart 20W-50 car oil, and with all the hype right now I choose both the bike to ride and the oil in its crankcase with a certain level of critical thinking... Every bike is different, but marketing in the motorcycle industry has gone off the rails, and into orbit, in alliance with regulations that push towards oil viscosities closer to water than what the engine really wants: 5W oil, regardless of its stability in modern synthetic multigrade form, was not invented because your engine likes it.

That's the way I look at it, and act on it Smile


24/06/2008 14:18. plotino #. MOTO GUZZI No hay comentarios. Comentar.

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