HDTenEightyP/NetNews huggingface dataset:
From: dweber@lark.qualcomm.com (Dan Weber)
Subject: RE: Gibson Oddity
Organization: Qualcomm, Inc., San Diego, CA
Date: Thu, 19 Nov 1992 20:12:32 GMT

In article <19NOV92.12025841.0095@UNBVM1.CSD.UNB.CA>, META000 <META@UNB.CA> writes:
|> In article <1992Nov16.155003.1512@qualcomm.com> dweber@lark.qualcomm.com (Dan Weber) writes:
|> >          What it is; is a Arctic white Explorer with three P-90
|> >         pickups, two 3-way toggles, and one volume & one tone
|> >         control. The serial no. is 83394523 and it says MADE IN
|> >         USA beneath the serial on the headstock. Does any one know
|> >         anything about this? I just love this guitar! ( And I'm
|> >         a devout Strat player!
|> >
|> >
|> >
|> >         Dano
|> >
|> >
|> >         dweber@lark.qualcomm.com
|> >.
|> >.
|> This definitely sounds like something which deserves a photo and
|> write-up in GP!  Talk about one of a kinds. I'm truly envious.  Pray
|> tell, what do the toggle switches appear to do?  Is this basically
|> one of those 3-pickup SG circuits stuck on an Explorer body?  Does
|> it get what one might call an "Explorer sound", or something
|> altogether different?
|> 
|> Mark Hammer
|> 
     
    I am unfamiliar with the SG setup, but I spent my lunch hour finding
   out what the switches did because I still wasn't sure, and this is
   what I found:

   top sw down  &  bottom sw down ----- middle pickup
   top sw mid   &  bottom sw down ----- middle pickup
   top sw up    &  bottom sw down ----- middle pickup

   top sw down  &  bottom sw middle --- bridge & middle pickups
   top sw mid   &  bottom sw middle --- bridge, middle, & neck
   top sw up    &  bottom sw middle --- neck & middle pickups

   top sw down  &  bottom sw up ------- bridge pickup
   top sw mid   &  bottom sw up ------- neck & bridge pickups
   top sw up    &  bottom sw up ------- neck pick

    Pretty cool, huh! The nice thing about it is since the P-90's
   are single coils you get some strat type bright sounds with
   combinations not available with the standard strat 5-way switch.
   I did find out it was serialized in Nashville on Dec 4, 1984 from
   a fellow netter, I am still curious as to how many of this particular
   make and model were produced. Does anyone know how to find out? Also
   were there any other Gibson guitars with 3 P-90s as opposed to 3
   single coils?

   Still Stoked,

    Dano
From: watson_mj@med.wcc.govt.nz
Newsgroups: rec.music.makers.guitar
Subject: Re: Which Fender?
Date: 18 Nov 1992 19:16:27 GMT
Organization: Wellington City Council, Wgtn, NZ
Reply-To: watson_mj@med.wcc.govt.nz
NNTP-Posting-Host: blade.wcc.govt.nz

Thanks for all the advice I've recieved reguarding this topic...
I'll definately experiment with a whole range of guitars before I decide...

Sorry I can't thank you all individually but, I'm pretty busy at the moment
and the number of replies I got was pretty staggering...

Anyway thanks again for all of your advice/tips, I really appreciated your
opinins on this subject...

cheers,
Matt.

Ps: I also considering replacing my practice amp for something more 
substancial, and I'm ideally looking to buy a 'tube', I'm considering
a fender 'champ', what are you opinions of this particular amp, and or 
other amps (tube if possible) by other brands of a similar price...

Thx in advance...
Newsgroups: rec.music.makers.guitar
From: cdj@iti.org (Chris D. Jennings)
Subject: Will this amp die?
Organization: Industrial Technology Institute
Distribution: usa
Date: Mon, 16 Nov 1992 20:43:05 GMT


I have a Peavey Heritage amp with a solid state preamp and tube
power amp.  I've been using it an average of one night per week at
gig volume for about 7 years (after having bought it when it had
been used by someone else for about a year).  I've noticed during
the past year or so that the sound is not as clean as it used to be,
so I'm assuming that the power amp tubes are nearing the end of
their usefulness.  I like the sound I'm getting and hate to replace
the tubes, but I also don't want to have my amp die in the middle of
a gig.  Can anyone tell me: is this likely to happen if I continue
to run these tubes, or will there be some kind of warning signs
first (e.g. extreme degradation of the sound, microphonic squeal,
etc.)?  Also, if the tubes went out at a gig but I had a spare set
on hand, is replacing power tubes a simple job or is there biasing
that needs to be done?  Any advice will be greatly appreciated.

Thanks much.

- Chris

Newsgroups: rec.music.makers.guitar
From: jgllgher@unix1.tcd.ie (Dara Gallagher)
Subject: Replacing pickups.
Organization: Computer Science, Trinity College Dublin
Date: Mon, 16 Nov 1992 16:51:48 GMT

At the moment I'm overhaulding my cheapish Hohner strat copy
( I added shielding to the cavity and replaced the 5 position
switch as well as adjusting the trussrod, intonation and 
action ) and I've started thinking about replacing the 
single coil neck pickup that came with it with something
better. I love the sound of the neck pickup as it is, but
it can be noisy so I was thinking of getting something a
less noisy. The one thing that worries me is losing the
rounded, and at the same time bright, sound that I get at
the moment with the single coil.
	Could anyone recommend good single coil pickups?
Alternatively has anyone replaced the neck pickup on their
strat with a humbucker? If so could you describe the change
in the sound ? Are there any books on these sort of guitar
issues or books on guitar repair/electrics that anyone would
recommend ?

Thanks in advance.
Dara.

Newsgroups: rec.music.makers,rec.audio.pro,misc.forsale
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.makers,alt.emusic,rec.music.synth,rec.music.marketplace
Subject: Re: TASCAM MS-16 FOR SALE
Date: 18 Nov 92 17:34:30 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <0105009A.ik5as0@david.roth-music.com> david@roth-music.com (David A. Roth) writes:
>I think it's more like...When are digital machines going to have the
>warmth of good analog machines.  I'm not trying to stop a war on digital
>vs analog but digital has not become all things to all people.

Last I heard, some companies are developing boxes that will add the
"warm" analog tape distortion to a signal.  Whether these boxes will
succeed at capturing all the nuance of analog tape distortion remains
to be seen.  (I recall that rotating speaker simulators never quite
matched the real thing but have gotten progressively better over the
years.)  Right away I can see several different areas of analog
recording that need to be addressed.  You should be able to select
the amount of "tape saturation" which analog recording engineers have
used to their advantage.  Also, the bass compression would have to
be adjusted accordingly.  Ideally, the user could select from several
different analog tape formulations.

I would certainly use such a device on some tracks but not all.  The 
important thing is to have a choice in the matter.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
Newsgroups: rec.music.makers
From: awkerr@zia.aoc.nrao.edu (Alan Kerr)
Subject: Re: band-in-a-box ?
Organization: National Radio Astronomy Observatory, Socorro NM
Distribution: na
Date: Mon, 16 Nov 92 23:03:52 GMT

In article <BxoAv6.InL@fc.sde.hp.com> marc@hpmonk.fc.hp.com writes:
>Paul Zoccola (zoccola@oasys.dt.navy.mil) wrote:
>: 
>:     3. Is it worth it? I'm particularly interested in straight ahead
>:     jazz.
>
>I think it's worth it if you already have the hardware; the software is under
>$100, right?  It's like having every Jamey Aebersold album ever made or that
>ever will be made, but better, because you can also change key and tempo.
>
>The Roland Sound Canvas (SC-55) is probably a good sounding choice, but is kind
>of expensive ($500?) if you have no use for it otherwise.  It's kind of hard
>for many people to justify spending that kind of money on a little black box,
>though.

As my 'portable studio' (so far), I have an XT clone laptop with
Cakewalk, BIAB, and LMP running on it.  For a sound source, I'm using
the Yamaha TG100.  It's Yamaha's General Midi box, which means that
BIAB will call up the 'right' voices for each 'style'.  The nice thing
is that the TG100 can be gotten for $400 or less.  The TG100 has 28
'real' notes of polyphony (as apposed to roland's "we might grab two
notes for one").

Also, BIAB is very nice for jazz.  Deals with various 7th chords well.
And changing a tune from one style to another gives a *very* different
feel to the piece.  ...let's you jam in different styles for tunes you
already know.

Alan

-- 
Alan W. Kerr                               awkerr@aoc.nrao.edu
National Radio Astronomy Observatory       awkerr@nrao.bitnet
Socorro, NM, USA                           uunet!nrao.edu!awkerr
Newsgroups: rec.music.makers
From: acura@cbnewsi.cb.att.com (james.r.feeney)
Subject: Need words to "I Saw Mommy Kissin' Santa Claus"
Organization: AT&T
Distribution: usa
Date: Mon, 23 Nov 1992 12:44:34 GMT

The subject lines says it all.

Thanks

Jim Feeney
From: gompertz@sdd.hp.com (Ron Gompertz)
Newsgroups: rec.music.makers
Subject: YOUSSOU N'DOUR
Date: 19 Nov 1992 16:29:28 GMT
Organization: Hewlett-Packard, San Diego Division
Distribution: world
NNTP-Posting-Host: hpsdl90.sdd.hp.com
Keywords: polygroovemopolitian

 
11/19/92

          Quickie Review: Youssou N'Dour

I saw Youssou N'Dour last night at the Belly Up Tavern in San Diego. (The
Belly Up is San Diego's best venue for live music, by the way.)

I won't attempt to write a wide ranging review here. Suffice it to say that
Youssou and his 9 piece band deliver the rhythm and groove in world class
doses.

If you are already a fan of the rich, cross cultural music of Senegal,
you're probably checking your local paper to see if you can still catch
this tour in support of N'Dour's latest CD "Open Eyes." (The CD is
brilliant!)

If your only exposure to African influences is stuff like Talking Heads, or
Paul Simon's "Graceland," this is a rare opportunity to hear one of the
continent's greatest.

Don't miss this chance to see one of Africa's superstars and sample a
polyrhythmic feast that will resonate down your spine, through your feet,
and deep down into the planet below us.  

Ron Gompertz
gompertz@sdd.hp.com








Newsgroups: rec.music.makers
From: john@hpwin052.uksr.hp.com (John Radley)
Subject: Ensoniq ASR10 Info Wanted
Date: Wed, 18 Nov 1992 11:40:34 GMT
Organization: the HP UK Response Centre
X-Newsreader: TIN [version 1.1.4 PL6]

[ Article crossposted from rec.music.synth ]
[ Author was John Radley ]
[ Posted on Wed, 18 Nov 1992 11:37:15 GMT ]


I'm posting this for a friend.
Please send replies to his e-mail address.  

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Hi,

I'm shopping for a new sampler and was considering the Akai S1000 until I 
heard about the new Ensoniq ASR10. All I know about it are the basic specs,
what I really need to know is what is it like to use? Are there any obvious
features omitted in the software? How does it compare in features/ease of 
use with the Akai S1000. I have heard that the keyboards Ensoniq puts on 
their products are sometimes unreliable, has anyone had any problems with 
their Ensoniq?

P.S. - Please send any correspondance to: alexand@cs.rhbnc.ac.uk

Thanks,

Alex
Newsgroups: rec.music.makers
From: msjle@uxa.ecn.bgu.edu (Joi L. Ellis)
Subject: Re: Performance Contracts (rec.music.makers.biz ?)
Keywords: Generic, fill-in-the-blanks contract...
Organization: Educational Computing Network
Distribution: usa
Date: Sat, 21 Nov 1992 00:50:22 GMT


>Just wondering where you use this contract. A good portion of the bars
>around here hire bands on a verbal contract basis, and I'd think that
>after doing so for several years, they might not take to the idea of a
>contract. Do you do a lot of bar gigs, as opposed to say doing office
>parties or outdoor concerts?

It seems to me bars would be the first place to use a contract, 
irregardless of history.  My roommate arranges and plays gigs, and the
most frequent place he plays is the most likely to screw the band out of
half their agreed upon payment because "you didn't draw enough
customers" even if the bar didn't bother to advertise!  This is *really*
likely during the summer with the student crowd is practically
nonexistant.

I don't understand why he continues to play there summers...

-- 
Joi Ellis                      msjle@uxa.ecn.bgu.edu
Student Residential Programs   Western Illinois University

Xref: sparky rec.music.makers:11076 alt.emusic:401 rec.music.synth:18722 rec.music.marketplace:2349
From: archer@elysium.esd.sgi.com (Archer Sully)
Newsgroups: rec.music.makers,alt.emusic,rec.music.synth,rec.music.marketplace
Subject: Re: TASCAM MS-16 FOR SALE
Date: 20 Nov 92 23:38:28 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

In <Bxz0qD.EzB@watserv1.uwaterloo.ca> bmaraldo@watserv1.uwaterloo.ca (Commander Brett Maraldo) writes:

*Afterall, the last Bruce Springstein album was recorded
*in analogue (he specifically wanted that sound). 

Re: this sort of thing.  Check the interview with Robbie Robertson in 
the (August? September?) issue of Mix.  He was dead set on analogue, but
set up a head to head.  With a few EQ tricks the engineers were able
to make the digital decks sound enough like analog to satisfy him.

-- archer
From: chc30@DUTS.ccc.amdahl.com
Newsgroups: rec.music.makers
Subject: How much for R8 ROM cards/ftp for drum patterns ?
Date: 17 Nov 92 08:04:52 GMT
Reply-To: chc30@DUTS.ccc.amdahl.com ()
Distribution: usa
Organization: Amdahl Corporation, Sunnyvale CA

Does anyone know how much R8 ROM sound cards are these days ? Secondly is
there an ftp site with drum patterns similiar to one for synth patches ?
If you could email me with these answers I'd appreciate it since I won't
get a chance to look at this group for a fortnight or so and no doubt the
answers will have gone by then. Thanks.
--
chc30@amail.amdahl.com
From: ireland@iccgcc.decnet.ab.com
Newsgroups: rec.music.makers
Subject: A case for analog recording...
Date: 23 Nov 92 08:31:44 EST

Here's my damn 2 cents worth on the great controversy right now concerning
analog vs. digital multitracks. The best case I can think of right now 
for buying an analog reel-to-reel is that there are reel-to-reel format 
standards amongst the various manufacturers. So, you can record on an Otari
and playback on a Tascam (usually). With consumer digital (I'm not sure about
"pro-grade" stuff) the formats are incompatible. You can't play a tape recorded
on the Alesis back on the Tascam digital multitrack. So if Alesis (or, less
likely, Tascam) bites the financial weeny and goes out of business, you're
screwed eventually, since you were locked into a single format.

Until the various manufacturers agree a single format, I'd probably get an
analog deck right now.

As far as the sonic differences, I think only tech-heads and recording
engineers are the only ones who really fall into one camp or the other. The
average listener doesn't really give a piss what type of multitrack format it
was recorded on, as long as its reasonably clean.

One other thing - you notice I didn't misspell analog, like the British always
do ("analogue"). My God - WHO taught those people how to spell? Like theater,
they spell as "theatre". No wonder Hitler almost kicked their butts...



Newsgroups: rec.music.makers
From: day@elmer.orl.mmc.com (Jim Day)
Subject: Origin of "gig"	
Organization: Martin Marietta (Orlando, FL)
Date: Fri, 20 Nov 1992 22:08:45 GMT

We were out having lunch today and one of my friends asked "You guys have a gig
this weekend?"  Well as the conversation progressed and I told him we were not
playing this weekend (we had just spent 3 weeks in a row playing and wanted some
time off..especially right before Thanksgiving).

Anyway, one of the other people at the table says "I've heard that term "gig"
when you guys are talking about playing music...just what is it suppose to mean?
Where does the work come from?"....and guess what....I don't know....I just know
a lot of people in the music business seem to say it a lot...so thus...my
question....

Does anyone know the origin of the term "gig"?

JIM

+------------------------------+---------------------------------+	
| Jim Day                      | Office: 407/356-9603            |
| Martin Marietta,  MP1269     | FAX:    407/356-6808            |
| P.O. Box 628007              | Internet: day@elmer.orl.mmc.com |
| Orlando, FL  32862-8007      |                                 |
+------------------------------+---------------------------------+
From: David.T.Greenfield@dartmouth.edu (David T. Greenfield)
Newsgroups: rec.music.makers
Subject: small mixer/compressor still available?
Date: 18 Nov 92 15:03:03 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0b1@newshost.dartmouth.edu

I recently saw an article in this group from someone who was selling a
small (hand-sized) Fostex mixer/compressor.  Unfortunately, I misplaced
the article.  If it is still available please let me know (email
prefered).

Thanks.

David
david.t.greenfield@dartmouth.edu
Newsgroups: rec.music.makers
From: wills@nx02.mik.uky.edu (will s young)
Subject: Gemindheardt Platic Piccolos
Keywords: Any one have one?
Summary: Wanting to know Cons & Pros
Organization: University Of Kentucky, Dept. of Math Sciences
X-Path: nx02.mik.uky.edu!wills
Date: Fri, 20 Nov 1992 03:23:25 GMT

Hello,

	Basically been thinking of getting a piccolo or so and am a proud
owner of a Gemindheardt 2sp flute.  I've seen that Gemindheardt is now
making plastic body piccolos.  Does anyone know anything about these and how
good they are (The pros / cons) and just anything about the instrument.
From what I've heard, metal piccolos are more shrill and I know that
plastic would be a better material for giving it a better warmthness of
sound since I own a Aulos Baroque flute which in plastic.  I can't afford a
wooden one (unless used and in good shape and cheap!). :-) Anyhow, saw that
they make these now and was hopeing that someone could help me out there
with this question.  Thanks for anyone who replies in advance.

Sincerely,

Will
Young

--
wills@mik.uky.edu     : The ever willing and the ever wanting to learn musical
wsyoun00@graphsun.cc.uky.edu : instruments, flautist, and kayaker extrodinare.
From: dml@esl.com (Denis Lynch)
Newsgroups: rec.music.makers
Subject: Re: Yamaha Clavinova as a piano
Date: 20 Nov 92 00:48:30 GMT
Distribution: na

In article <dlhanson.10.722123613@nap.amoco.com> dlhanson@nap.amoco.com  
(David L. Hanson ) writes:
> We bought a Yamaha Clavinova, CLP-560 (if my memory is right),

> 
> the boys practice 1-1/2 to 2 hours every day
> 
> Is the difference in feel going
> to hinder their piano advancement?

All pianos feel different. I had the good fortune to take lessons from a grad  
student at a big college for a couple of years. We (illicitly) used the  
pianos around the music department for lessons when that was more convenient  
than one of our houses. Especially, Baldwins and Steinways feel *very*  
different - the Steinways are much stiffer, but still seemed more responsive.  
After only a little of this, I quickly learned to adjust. (The first few  
instrument switches were pretty hard, though!)

A Clavinova is definitely not a real piano. But I'd say it feels (and  
responds) more like a real piano than an upright does! (Even a pretty good  
upright.) Unless you're going to spend much more than $5K for a good grand,  
the Clavinova is probably the thing to have. The important thing is the  
amount of force used to play (in general), and the precise force-to-volume  
transfer function. (I've never encountered a non-acoustic piano that has the  
tone differentiation of a good grand.)

On the other hand, any of the "keyboard" instruments (like synthesizers or  
the Yamaha YP/YPP series) would totally ruin your kids' touch. They take much  
less force to play than a real piano, and have quite a different volume  
curve.

Maybe what you should do is find a way for the kids to get a chance to play  
some instruments other than their teacher's. With a bit more context, they  
might decide that they like the Clavinova *better*, rather than just noticing  
that it's different.

Enjoy all that music!

--Denis Lynch, ESL Inc.
Xref: sparky rec.music.makers:10990 rec.music.makers.guitar:180
Newsgroups: rec.music.makers,rec.music.makers.guitar
From: eoates@us.oracle.com
Subject: Re: 10" vs 12" speakers
Organization: Oracle Corporation, USA
Date: Tue, 17 Nov 1992 00:19:38 GMT
X-Disclaimer: This message was written by an unauthenticated user
              at Oracle Corporation.  The opinions expressed are those
              of the user and not necessarily those of Oracle.

In article <1992Nov12.124226.4027@vax.muskingum.edu>, kimple@vax.muskingum.edu writes:
> In article <BxKCIo.Lt5@hfglobe.intel.com>, dcovell@hfglobe.intel.com (David Covell) writes:
>> 
>> Has anyone done any serious comparison of 10's vs 12's driven by the same
>> amp? I'd expect less bass response from the 10's, but is there also a brighter
>> tone? I hear a lot of difference between the stock 10's in my Super Reverb
>> and the 12" EV in my MKIV and the 12" JBL K120's in my Twin, but I don't
<  lots of stuff deleted to save bandwidth >

Back in the good ol' days (1965), the lead player and I had a SuperReverb
(4x10") and a ProReverb (2x12"), respectively.  These amps have identical
amplification circuits excepts for the "mid" control on the Super.  The 4x10"
sounded better, IMHO: better midrange for an overall fuller sound.  THe Pro was
bassier; highs were about the same.  I have since compared the sound of my
ProReverb to a VibroluxReverb (2x10", but also a less powerful amp section),
and the 2x10"s did not cut it at all.  They sounded TOTALLY different than the
Super 4x10" setup.  

So, the short answer is, that 10s vs 12s?  IT depends...I would not blindly
replace 2x12 with 2x10 thinking you'll get that SuperReverb sound.
-- 
Ed Oates (my opinions, not Oracle's)
 
*** Holy ozone, Batman, what a sunburn! ***
Newsgroups: rec.music.makers
From: jay@ccrma.Stanford.EDU (Jay Kadis)
Subject: Re: Origin of "gig"
Organization: DSO, Stanford University
Date: Sat, 21 Nov 92 22:55:07 GMT

In article <lgs6akINNfdj@cronkite> alpope@skids.Eng.Sun.COM (Alan L. Pope)  
writes:
> In article 21001@iplmail.orl.mmc.com, day@elmer.orl.mmc.com (Jim Day) writes:
> >
> >Does anyone know the origin of the term "gig"?
> 

After reading Steinbeck's book Tortilla Flat, (the term "gig" refers to the  
spearing of frogs) it seems an appropriate description of playing the local  
club scene...

Jay
jay@ccrma.stanford.edu
Newsgroups: rec.music.makers
From: joslyn@kong.gsfc.nasa.gov (Cliff Joslyn)
Subject: Wanted: DECENT accordian books/music
Organization: Goddard Space Flight Center
Date: Sun, 22 Nov 92 01:27:37 GMT


I'm a piano player shifting somewhat to piano accordian, wanting to
play folk music, arrange some things myself, etc. All the instruction
books and music I can find are crap, either for kids or just polka.

I want basic instruction in technique (bass fingerings, bellows
technique, etc.) as well as decent music. I know that Homespun tapes
has a video for $50, but is there anything else?

Thanks...

O----------------------------------------------------------------------------->
| Cliff Joslyn, Cybernetician at Large, 327 Spring St #2 Portland ME 04102 USA
| Systems Science, SUNY Binghamton      NASA Goddard Space Flight Center
| cjoslyn@bingsuns.cc.binghamton.edu    joslyn@kong.gsfc.nasa.gov
V All the world is biscuit shaped. . .

Xref: sparky rec.music.makers:11041 rec.music.synth:18667