HDTenEightyP/NetNews huggingface dataset:
From: na0s+@andrew.cmu.edu (Nicolas Alejandro Arauz)
Newsgroups: rec.music.makers
Subject: Korg A5 FX for Sale!
Date: 10 Jan 93 18:09:57 GMT
Article-I.D.: andrew.QfIDAJS00WB6A9m1kB
Organization: Carnegie Mellon, Pittsburgh, PA

I have a Korg A5 Multi-FX processor for sale.  It's sits on the floor,
and allows 5 effects simultaneously.  It's about a month old, in perfect
condition, still have the original box, manuals, etc.  It has
Compressor, 3 Band EQ, Exciter, Chorus/Flanger, Reverb/Delay.  It's
really nice, and each effect has its own pedal.  I just decided it's not
convenient for me to use.  I prefer rack-type/table-top/micro effects,
and actually, I've replaced this with a Zoom 9002, which I prefer because
of its compact size.  It sits on my desk where I can plays with the
controls.  But if combined foot-pedals are your thing, then the A5 is
for you!  I'd prefer to sell it directly to someone in New York City,
so you can come and pick it up, and not worry about shipping, etc.
I'm selling it for $265 (cash or certified check/m.o.). I think it goes for
about $299 (plus tax) at Sam Ash last time I checked. And even if it's a
little lower now, you'll still have to pay $40 or so in taxes.  So if you're
interested, give me a call at (212) 388-9495 and ask for Alex or reply to
this account.  I may accept a SLIGHTLY lower (reasonable) offer.  Note that
this is the NON-DISTORTION version, I guess it would be ideally suited for
Acoustic Guitar, Voice, Synthesizers.
Xref: sparky rec.music.makers:11752 rec.music.makers.guitar:1187 alt.guitar:11184 nj.wanted:1027 misc.forsale:34841
From: sis1@cbnewsm.cb.att.com (steven.i.schwebel)
Newsgroups: rec.music.makers,rec.music.makers.guitar,alt.guitar,nj.wanted,misc.forsale
Subject: Electric guitar for sale
Keywords: Kramer guitar
Date: 7 Jan 93 21:58:56 GMT
Distribution: ne
Organization: AT&T


################################################################################
	FOR SALE:

		KRAMER AMERICAN/STAGEMASTER CUSTOM guitar
		
		Red, with FLOYD ROSE, 3 SEYMOUR DUNCAN pickups.

		Neck-through-body construction.

		In excellent condition, with case $600 or best offer.

		Will also consider swapping for Gibson Les Paul Jr.
		or Epiphone Wilshire.

Call Gene Calarco daytime at (212) 708-0461
################################################################################
Newsgroups: rec.music.makers
From: wes@ice.stx.com (John Shepherd)
Subject: Re: All Original Killer Hooks
Keywords: songwriters
Reply-To: wes@ice.stx.com
Organization: Hughes STX, Lanham, MD
Date: Fri, 8 Jan 1993 23:22:40 GMT


In article <1ikug6INNg6n@hpsdlss3.sdd.hp.com>, gompertz@sdd.hp.com (Ron Gompertz) writes:
> I know a lot of you are song writers. Since I've yet to find a suitable
> forum for tune smiths on the net I'll post these all original killer
> hook ideas here.
> 
> You are free to use any or all of them. I won't even ask for a co-writer
> credit.
> 
> Have fun!
> 

Hey!!!  I don't like that kind of sarcasm, buddy. I'll have you know that 
the early to mid seventies were when some of the finest lyrics were written.

> 
> Mr. Big Shot. Who do you think you are?
          ^^^^
Geez! Don't you know anything! That's supposed to be "Mr. Big Stuff."
                                                              ^^^^^
Get a life!

   
                                                                             \
==============================================================================>
         ______                 ____________________                         /
           /  __   _  _  _  _  /__   _  _  ___  __   _  _  ___  __   __  
       ___/  /_/ _/--/ _/\_/  ___/ _/--/ _/_- _/-' _/--/ _/_- _/-<,_/__>

         wes@ice.stx.com     (John Shepherd)    Hughes STX, Lanham, MD
Xref: sparky rec.music.makers:11667 rec.music.makers.percussion:376
From: fox@remarque.berkeley.edu (David A. Fox)
Newsgroups: rec.music.makers,rec.music.makers.percussion
Subject: Drummer/Percussionsist needed; San Francisco
Date: 4 Jan 1993 06:30:46 GMT
Organization: Financial Engineering Associates
Distribution: ba
NNTP-Posting-Host: remarque.berkeley.edu
Originator: fox@remarque.berkeley.edu

Fellow Traveler needs an imaginative drummer/percussionist.

We're currently a three piece semi-acoustic group.  We do almost
exclusively original ``pop'' material that is sometimes dark/moody,
sort of bluesy, but still rock and roll: We think it sounds something
like a cross between Roy Orbison, REM, and the Ventures.  We've been
playing around town some as a trio, and may do some recording soon.

We need somebody that can play small and large, quiet and loud venues;
probably everything from hand percussion to full kit. Of course, it's 
best if you can sing, too ;-) 

We all live and rehearse in San Francisco.

You can get in touch with us by calling Bill Magill (415) 826-2408, or 
by sending me email. 

-- 
--
David A. Fox 						(510) 548-6200
Financial Engineering Associates			Berkeley
well!dollar!david
Newsgroups: rec.music.makers,comp.sys.atari.st,rec.music.synth
From: pinelr@rebecca.its.rpi.edu (Rob Pinelli)
Subject: Re: C-Lab/Emagic Notator V3.1 Falcon incompatible...
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Mon, 11 Jan 1993 22:35:38 GMT

In article <C0pKJ8.ACq@dscomsa.desy.de> tjl@zeus02.desy.de (Tim Llewellyn) writes:
>Hi
>
>i have heard in musicians press in UK etc that C-Lab Notator (current
>version v3.15) is
>NOT falcon compatible. The review I read stated that it hung just before
>the main screen
>appears.
>
>Does the change from C-lab -> Emagic mean Notator will no lonmger be
>supported???
>

  To answer the second question first, I received a communique' from Emagic
when the product shifted companies saying that they would indeed continue to 
support Notator on the Atari platform.

  As for the first one, it's no secret that notator (any version) did not work
properly with 16MHz accelerator boards on ST's so it doesn't surprise me in the
least that it won't work on the Falcon.  It seems logical, however, to expect
Emagic to modify the code so it will work on a Falcon, it can't be too big
of a mod.  Still, this is all speculation, and we could end up screwed.  I would
be really pissed if my $500 notation program were suddenly unsupported. 

-- 
  |||   | Rob Pinelli    |5\ "The future is not set.  There is no fate but what 
 / | \  | pinelr@rpi.edu |18\ we make for ourselves..."   -Terminator 2
Atari ST| 203 North Hall |276\ "I don't patronize bunny rabbits!"   "What's 
 Mega 2 | Troy, NY 12180 |7080\ your damage?"  "It'll be very!"  -Heathers
Newsgroups: rec.music.makers,rec.music.synth
From: gord@jericho.uucp (Gord Wait)
Subject: Re: Opinions of Cakewalk for Windows?
Keywords: cakewalk,sequencers
Organization: S-MOS Systems, Inc. (Vancouver Design Center)
Distribution: na
Date: Mon, 4 Jan 1993 20:51:00 GMT

In article <1992Dec30.223957.13375@pony.Ingres.COM> bonobo@Ingres.COM (David Victor) writes:
>
>1) Is there any provision yet for "loop" recording (a la any drum
>machine ever made!! ;-)

>
>-David Victor

Check out "Power Chords" for windows. I have a demo copy I am trying out
with a gravis ultrasound board (supports midi as well). The overall
program seems to be aimed at simple songwriting as opposed to a
taperecorder style multitrack sequencer. It includes a rythm pattern
editor that allows looping and seems great for tossing together quick
drum patterns. The demo version won't let you save anything. I am
considering Power Chords just for drum pattern editing, then export
the drum patterns via midi out feature, for use in a sequencing
program like wincake or master tracks pro for windows. 

My 5 year old daughter just loves messing with the rythm editor, which
gives you an idea of how simple that part is to use. 

My setup is (at the moment) and internal gravis ultrasound board (with
newest windows drivers); a Yamaha RX5 drum machine on midi channel 10,
and a yamaha DX7 keyboard on midi as well. I use the windows midi
mapper to route all the general midi drum notes out to the RX5, (via a
keymap), channel 1 midi goes to my DX7, and the rest go to the
ultrasound on board 32 voice polyphonic synth. Lots of fun.. I'm even
beggining to follow what the windows midi mapper is supposed to do!!

Gord Wait

-- 
Gord Wait 	SMOS Systems Vancouver Design Centre
uunet!jericho!gord
gord%jericho@uunet.uu.net

Xref: sparky rec.music.makers:11801 rec.music.makers.guitar:1221
From: rost@tecrus.dec.com (My name is Brian Rost)
Newsgroups: rec.music.makers,rec.music.makers.guitar
Subject: Re: Recording Off an 8ohm Spkr Output
Date: 8 Jan 93 20:09:21 GMT
Organization: Digital Equipment Corporation


In article <9301022319.AA12858@floyd.cca.cr.rockwell.com>, barothwe@floyd.cca.cr.rockwell.com writes...
> 
>Does anyone know of a good, CHEAP way to record the sound of
>a tube guitar amp off it's speaker output. I'm assuming the 
>speaker would still need to remain connected so as not to
>harm the amplifier, right?

I have an old schematic for a totally passive mixer for recording from speaker
outputs.  A one-channel version would do what you want to do.  It doesn't of
course "emulate" the speaker and requires the speaker to remain connected.

>I'd be interested in building something myself... does
>anyone have a circuit that does what a Red Box does?

One thing it does is roll off the highs and lows just like a real speaker does.
The old Peavey EDI direct boxes also did this.  Beyond that, who knows,
probably some notching to emulate the phase cancellations of multiple speakers.

Do you need direct recording?  A mike in front of the amp will work just fine,
you know...8^)  8^)  After *years* of trying all sorts of direct rigs, I just
stuck my EV mike in front of the cab and got this killer sound, no EQ, no
compression, no $300 mystery boxes.  It worked for Jimi  8^), 8^)

					Brian Rost @tecrus.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************
Newsgroups: rec.music.makers,rec.music.synth,rec.music.makers.synth
From: davet@cbnewsj.cb.att.com (Dave Tutelman)
Subject: Re: Resistance Summing/Mixer Circuit
Organization: AT&T Bell Labs - Lincroft, NJ
Distribution: na
Date: Wed, 6 Jan 1993 11:50:27 GMT

In article <1993Jan4.144341.29984@erenj.com> srfergu@rufus.erenj.com (Scott Ferguson) writes:
>In article <9301022307.AA12846@floyd.cca.cr.rockwell.com>, barothwe@floyd.cca.cr.rockwell.com writes:
>|> 
>|> I am interested in building a SIMPLE resistance summing or mixer circuit.
>
>
>                      100K (or a pot)
>            1 -------/\/\/\/---------|
>                                     |
>                      100K (or a pot)|
>            2 -------/\/\/\/---------|
>                                     |
>                      100K (or a pot)|
>            3 -------/\/\/\/---------|        100K
>                                     |-------/\/\/\/------o Output
>                      100K (or a pot)|
>            4 -------/\/\/\/---------|
>                                     |
>                        .            |
>                        .            |
>                        .            |
>                        .            |
>                                     |
>                      100K (or a pot)|
>            n -------/\/\/\/---------|
>
>Connect hot lines (middle point on the 1/4" plug) to the numbered inputs,
>and connect all the grounds on inputs and on the output together.

This is very close to the circuit I was going to post.  The only difference
I'd make is that the single series output resistor is unnecessary.
However, it might be a good idea to have resistor of 50K-100K between
the output and ground, if there's a chance that the input of the amp
is not resistive/linear.
Also...

>is 100K too much resistance, anyone?

Yes, I think so.  I'd go with something more like 10K.  You don't want
the series resistance to be more than the input impedance of the
amplifier you're driving (usually 20K-100K); you just want enough to cause
a reasonable "sharing" among your sources, and to swamp nonlinearities
in the source output impedances.  You'll get enough insertion loss
from the n-1 other input impedances, without asking for even more from the
output device.

And ... Oh, yeah!  Nice ASCII drawing, Scott.

Dave
Xref: sparky rec.music.makers:11751 rec.music.makers.guitar:1186 alt.guitar:11183 nj.wanted:1026 misc.forsale:34840
From: sis1@cbnewsm.cb.att.com (steven.i.schwebel)
Newsgroups: rec.music.makers,rec.music.makers.guitar,alt.guitar,nj.wanted,misc.forsale
Subject: FOR SALE - Synth, guitar amps, and keyboard stand
Keywords: sale Poly-800 amps
Date: 7 Jan 93 21:54:04 GMT
Followup-To: poster
Distribution: ne
Organization: AT&T



After-Christmas sale!

	* KORG POLY-800 MIDI SYNTH w/soft padded case and manual.

		Nice, fat, classic sounds, full-sized keys.
		Simple sequencer/recorder built in, good cond - $170


	* ULTIMATE Keyboard stand for single instrument, with carrying case.

		Very sturdy, standing height (not adjustable) - $30


	* PEAVEY BACKSTAGE-60 GUITAR AMPLIFIER

		60 Watts, 2 switchable channels, overdrive, reverb.
		12" speaker. In perfect condition, with foot-switch - $180


	* POLYTONE 102-D GUITAR AMPLIFIER

		Joe Pass, George Benson, and many others used these amps 
		for their great, warm jazz tones.
		100 Watts, single channel, overdrive, reverb.
		One 12" and two 8" speakers. In fair condition - $140

Would prefer to sell locally (north/central NJ) since I haven't any boxes 
for shipping.

Steve Schwebel
att!luna!sis
(908) 580-4169
Newsgroups: rec.music.makers,rec.music.makers.guitar,alt.guitar,rec.music.synth,rec.music.makers.synth
From: kkretsch@unix1.tcd.ie (kevin patrick kretsch)
Subject: Re: Concrete questions on music reading
Keywords: music, reading
Organization: Trinity College, Dublin
Date: Mon, 11 Jan 1993 12:06:54 GMT

In <C0oM19.D3z@cs.vu.nl> mwelie@cs.vu.nl (Welie van M) writes:
>I was much into solo techniques.After a year a was bored with
>playing electric and with my teacher. 
>            A friend of mine had switched to classical music
>and he played really nice things. So I thought that classical
>guitar would probably be a good place to start learning 
>to read music. I got a new teacher and started playing classical

>So if you really want to learn start playing a lot of sheet
>music.

O.K., that's fine, well done.
I'm kinda jealous actually because I tried to teach myself to read 
music and failed and haven't tried again since. I can't say I applied 
myself very well so I only have myself to blame but I do intend to try
again during the summer when I have a break from college.
      What I want to know is this; Can the average Joe Soap
realistically expect to be able to teach him/herself to read music at
an appreciably good level?    
i.e. Should I try myself again or would it be quicker, easier and waste
less time if I go to a teacher?
      Now I know that classical guitar music is very instructive in the
technical side of music, e.g. voicing , counterpoint and cool stuff like
that. But what I would also like to know is do I have to learn classical
stuff to understand and use these techniques properly, in other words
do I have to study classical music if I want to become a good musician
and perhaps teach guitar sometime in the future??

Thanks in advance for all help/advice!

Kev! 
--
________________________________________________________________________________
kkretsch@unix1.tcd.ie
also  dept.of pure and applied physics
I write this for me not my college or anyone else.   
Newsgroups: rec.music.makers,rec.music.compose,rec.music.synth
From: mikek@neptune.iex.com (Mike Keilhofer)
Subject: Looking for a lead singer
Originator: mikek@neptune.iex.com
Organization: iex
Distribution: dfw
Date: Tue, 12 Jan 1993 16:39:09 GMT



I recently moved her from Ft. Lauderdale Fl. and now live in Carrollton
(Texas). While in Ft. Lauderdale I had one of the top Rock bands. Since
moving to Carrollton I've decided to primarily record my originals. I have
an 8 track studio in my home and am looking for a lead vocalist. I have been playing and recording Rock&Roll music for over 20 years.

I'm looking for someone that has a mature attitude, considers themself
a lead singer, would like to participate in projects recording originals,
and will take it seriously. I am only interested in quality.

If interested call or Email me.

Michael
Phone after 6:30 PM (214) 307-8463
Email: [uunet!]iex!mikek or mikek@iex.com
From: danb@zx.qsp.UUCP (Daniel Benbenisty)
Newsgroups: rec.music.makers
Subject: Re: Mandolin info requested on instrument style and price negotiatin
Date: 9 Jan 93 00:37:51 GMT
Organization: Quality Software Products, LA, CA

In article <weoTwB2w165w@midiline.la.ca.us> gpr@midiline.la.ca.us (Gary Richardi
) writes:
>danb@zx.qsp.UUCP (Daniel Benbenisty) writes:
>
>> Wow, a mando thread!
>
>I've been thinking about getting a mandolin ever since hearing
>Winwood's "Back in the High Life" a few years ago. I'm comfortable
>with the guitar, although not as accomplished with it as I'd like to
>be after playing the darn thing for 25+ years. However, I know next
>to nothing about the mandolin. How is it strung & tuned? Would it be

From lowest to highest, its GDAE (i.e. in fifths).

>difficult to adapt my knowledge and feel for the guitar to the
>mando? Can I use the Tommy Tedesco approach ("Tune everything like a
>guitar") ?

Tuning in fifths is appropriate (don't you think?) since the frets are
small enough to allow an un-holy amount of reach along a single string.

>Any local LA "listeners" know where I can find one? I
>frequent the many local music stores but have yet to run across one.
>Someone did say to check out McCabe's in Santa Monica.
>

I bought mine at McCabe's.  Their cheapest ones are about $300.
I have zero experience with mandolins, so I just tried out three
of the ~$300 ones, and picked the one that seemed to be the best.
McCabe's is a cool place to check out in general.

>Thanks...
>---- Gary ----
>gary_richardi@vnet.ibm.com

Another thing I'd like to know from the mandowizards out there is:
how does the appearance of A-style differ from that of the F-style
(i.e. I have a mandolin - how do I tell what kind I have?)?


>>>===Pan-Handle-Dan===>        danb@qsp.com
Daniel Benbenisty               Guitarist for EARWURM
From: mrk@gvgspd.gvg.tek.com (Michael R. Kesti)
Newsgroups: rec.music.makers
Subject: Re: 8 track suggestions, please
Date: 10 Jan 93 16:45:21 GMT
Organization: Grass Valley Group, Grass Valley, CA
NNTP-Posting-Host: gvgspd.gvg.tek.com

In article <1iig26INNg6n@hpsdlss3.sdd.hp.com>
                              gompertz@sdd.hp.com (Ron Gompertz) writes:

>   This raises a question I've been wondering about: At what point 
>does cassette based multi-track recording become inadequate.

This depends entirely on your requirements and the other components in
your studio.

>   Here's my concern: The more tracks on the cassette, the less magnetic
>material per track. This means that tape irregularites like drop outs tend
>to become more irritating and prominent. Clearly, speeding up the tape
>will help, but at some point I think you really need to go to a wider
>tape like reel-to-reel.

I don't seem to suffer too greatly from dropouts when using my Tascam 238,
but you're right, the primary limitation in these machines is the small
amount of tape area per unit time.  This impacts objective issues, such
as the limits of frequency response and signal to noise ratio, as well as
the more subjective issue of "how it sounds".  I find, however, that the
238 is truely amazing, and that Tascam has done a very good job of making
the most of the format.  These machines (the 238, 488, and 688) provide
usable eight track recording for those on low equipment purchase and
operations budgets.

>    Another concern of mine would be cross talk between the tracks.

Again, the 238 amazes me.  Tascam claims a 70 dB crosstalk spec, but it
"feels" more like 80 dB to me.  For example, I often use a sync track,
and have never heard sync tone in the adjacent track (something about
which I was initially very concerned).

-- 
============================================================================
Michael Kesti  Grass Valley Group, Inc. | "And like, one and one don't make
    mrk@gvgspd.GVG.TEK.COM              |  two, one and one make one."
    !tektronix!gvgpsa!gvgspd!mrk        |         - The Who, Bargain
Xref: sparky rec.music.makers:11759 misc.wanted:10633
From: ama@marley.East.Sun.COM ()
Newsgroups: rec.music.makers,misc.wanted
Subject: Where to get sound deading material CHEAP/FREE!
Date: 8 Jan 1993 16:03:24 GMT
Organization: Sun Microsystems Inc. - BDC
Distribution: world
Reply-To: ama@marley.East.Sun.COM ()
NNTP-Posting-Host: marley.east.sun.com


The band I belong to is moving our practice area from my basement, which
is quite full of junk, and as a result, very acoustically dead, to the
basement of our guitarists new home, which is unfinished concrete, HUGE,
EMPTY, and VERY LIVELY.  I've offered to use move of the junk in my basement 
to his basement to be used as sound deadening material :^)  be he didn't go 
for that suggestion.

So, we are looking for some cheap/free sound deadening material that we can
hang on his concrete walls to make the room a little more amenable to
loud music.  We would like to get some of that foam egg crate material
if possible, but it can get pretty expensive.  We've thought of hanging
old rugs from the rafters too, but I doubt that he would go for that.

Has anyone out there done anything similar with other cheap materials?
Would hanging strips of styrofoam insulation on the walls do anything?
Does anyone know where foam egg create material can be gotten cheaply?
Maybe someone knows a manufacturer that has some rejects he would sell?
Any other ideas?

Please respond via email if possible.  Thanks.

--
--------------------------------------------------------------
Al Amaral				Al.Amaral@East.Sun.COM
Newsgroups: rec.music.makers
From: com@spacsun.rice.edu (Chris Miller)
Subject: Re: Tascam 424/Basic 4 track tips
Keywords: Tascam, 4 track
Reply-To: com@spacsun.rice.edu (Chris Miller)
Organization: Dept. of Space Physics, Rice University, Houston TX
Date: Mon, 11 Jan 1993 21:33:02 GMT

soh@gdstech.grumman.com (Scott O'Hare) had said:
------------------------------------------------
You really shouldn't record with effects, since (1) it takes away your
mixdown options, and (2) you are pretty much constrained to recording mono,
and your effects most likely produce stereo. So put a nice general purpose 
reverb (and maybe a delay) in the monitor mix, so you can hear it while you 
record, and still record dry.  This will also help you set up for the mix-
down.

I say:
------
Scott, I have a question.  I was under the impression that if you add
effects during mixdown, then your only option is how much effect you
want to give each channel.  So if you wanted a delay effect on channel
1 and flanger on  channel 2 you are stuck.  You'd have to set up what
ever effect you want and then just decide how much of that one effect
(or group of effects) you want printed to each channel on the mixdown.  
Have I missed something?

-- 
Christopher Owen Miller | Until I see, I won't believe, show it to me,
com@spacsun.rice.edu    | I want to see your halo.    --alt.rct
Newsgroups: rec.music.makers