HDTenEightyP/NetNews huggingface dataset:
From: greenlaw@oasys.dt.navy.mil (Leila Thomas)
Newsgroups: rec.music.makers
Subject: Barbershop - Sweet Adelines
Date: 14 Apr 92 11:01:31 GMT
Reply-To: greenlaw@oasys.dt.navy.mil (Leila Thomas)
Distribution: na
Organization: David Taylor Research Center, Annapolis, MD

Is this the right group to talk about or read about Barbershop (Sweet
Adelines), if not what is the correct group?

Leila

*******************************************************************
"Beauty and the Beast, well thought of by people who think." ---
Roy Dotrice
********************************************************************
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 17 Apr 92 15:38:16 GMT
Organization: NCR E&M Columbia SC.

In article <BLOUNT.92Apr16211908@cyrano.mit.edu> blount@athena.mit.edu (Alan Blount) writes:
>
>Neil's Last 4 Disks (Freedom, Weld, Arc, Ragged Glory) are DDD.
>
>'Nuff said.

Neil did put in a disclaimer that he HAS to use digital because it would be too expensive
to "do a record twice".  Once for the inferior CD format and once for the superior
analog format... those great high quality cassettes... I don't think anybody is
making those wonderful LPs anymore.  

Oh how I do miss all those clicks and pops!

Elliott New
Newsgroups: rec.music.makers,rec.music.bluenote
From: jaz@icd.ab.com (Jack A. Zucker)
Subject: Re: RMP scale
Organization: Allen-Bradley Company, Inc.
Date: Thu, 9 Apr 1992 13:24:05 GMT

In article <22260@prometheus.megatest.UUCP>, djones@megatest.UUCP (Dave Jones) writes:
|> Remember our discussion of the "real minor pentatonic scale"?
|> Or did we decide to call it the minor-6 pentatonic? Probably that's
|> better. Or maybe the "Tyner Scale". Anyway, it goes like this:
|> 
|> 	I II bIII V VI
|> 
|> (It is the fifth mode of the traditional Japanese "in sen" scale.)
|> 

This really is a cool scale (as Mike Brecker,Robin Ford, Larry
Carlton, etc will attest to). I hear Brecker use it constantly in sequences 
during really fast playing over altered dominant chords.

Spelled out (in G) it would be [G A Bb D E].

Some applications: (In no particular order)

	1) Gmi7
	2) Bbmaj7#11 	
	3) F#7b9#9#5
	4) Em7b5
	5) C7
	6) A7sus (b9)
	7) Many others (Remember to spell out the modes and the chord scales)

Guys, there is almost no limit to "synthetic" scales. "Synthetic"
Pentatonics sound good because of the notes they omit. This causes
an "open" sound which sounds ethereal because it seemingly fits
over many chords. Use your imagination. 

		*THERE ARE NO EXCUSES FOR RUTS*
	
-Jaz

-- 

                       (Chasin' the Trane)

| Jack A Zucker                              {uunet}!jaz@icd.ab.com |
| Allen-Bradley Company, Inc.                    or  ICCGCC::ZUCKER |
| 747 Alpha Drive                                                   |
| Highland Hts., OH 44143 Phone(216) 646-4668   FAX: (216) 646-4484 | 

Xref: sparky rec.music.makers:5477 ba.music:660 rec.music.bluenote:3203
From: sanders@netcom.com (Robert Sanders)
Newsgroups: rec.music.makers,ba.music,rec.music.bluenote
Subject: WANTED: Musicians (esp. Keyboards)
Date: 7 Apr 92 19:59:40 GMT
Article-I.D.: netcom.0=qj5!f.sanders
Distribution: ba
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

Rev 3.0

"The Good Life" (aka Junior T and the Somebodies, aka Sleepy Trane,
aka West Coast Blues Com.) is looking for serious hobbyists to join
us in ongoing project.  We especially need good keyboardist, one
who loves blues, r&b, blues, r&r, blues, and can handle anything 
else (c&w, folk, jazz), 'cuz you never know and we love it all (mostly).
Also interested in trying out horns (must solo, do own charts).

We aim to  gig once-twice a month, practice/jam once a week in Santa Clara
when we don't gig.  We've been at it together for over four years and
plan on going forty more.

Call Ron "Junior T" Tomasello at 408-254-1647 or mail me here and I'll
send you a representative song list.

thanks,

jeff

-- 
#                                               |Iowa State Motto:           #
# Internet: sanders@netcom.COM                  | Our Liberties We Prize and #
# UUCP:     {apple,claris,amdahl}!netcom!sanders| Our Rights We Will Maintain#
# Disclaimer:  caveat lector . . .              |                            #
#----------------------------------------------------------------------------#
Newsgroups: rec.music.makers
From: pete@wlbr.imsd.contel.com (Pete Lyall)
Subject: Re: Fender Pro Reverb Amp
Organization: Contel Federal Systems
Date: Mon, 13 Apr 92 20:18:19 GMT

Pro Reverbs  - I remember them (sorta) well.... the best band in the
area used to use them when I was growing up (60's.. actually I'm 
STILL growing up ;^}) ...

I believe they were two channel (one tremelo, one normal), open
back (ala TWIN), and had 88 watts peak/40 watts RMS. They sounded
great, and I'm surprised we don't see more of them in the used
columns.

Everybody used to yank out the original speakers (Jensen?), and 
put in JBL D120's.

Pete

-- 
Pete Lyall [GTE]   Compuserve: 76703,4230   Internet: pete@wlbr.imsd.contel.com
                UUCP: {hacgate,jplgodo,voder}!wlbr!pete 
"... So I picked up my pride from beneath the pay phone, and combed his breath 
right outta my hair. And sometimes, it's not so easy ..." J. Hendrix/My Friend
Xref: sparky rec.music.makers:5671 dc.forsale:855
From: denio@beno.CSS.GOV (Dennis O'Neill)
Newsgroups: rec.music.makers,dc.forsale
Subject: guitar et al. for sale
Date: 15 Apr 92 12:24:22 GMT
Followup-To: denio@seismo.css.gov
Distribution: na

Apologies if I didn't limit distribution of this message appropriately.
This is aimed at the Washington DC/Virginia/Maryland area.

I have the following items for sale.  



o Gibson ES350T, approx. 1982, with two EMG pickups installed, original pickups
  will be included.  Sunburst finish. One small scratch in neck near 12th 
  fret, ding in binding, otherwise in excellent condition. $600.

o Peavey 1516 bass cabinet.  Rarely used, has never been out of my house 
  since I got it.  Cover included.  $100.

o Peavey Microbass bass amplifier.  Lightly used at home.  $50.

o ElectroVoice EVM 15L speaker, never used.  $50.



If you're interested in any of the above, contact me as follows:
phone:  703-476-5197 days, 703-536-6045 nighttime (days are better)
email:  denio@seismo.css.gov

Dennis O'Neill
--
Dennis O'Neill (denio@seismo.css.gov)
From: phil@mpd.tandem.com
Newsgroups: rec.music.makers
Subject: Alesis 800 Number?
Date: 17 Apr 92 16:06:33 GMT
Distribution: usa
Organization: Tandem Computers, MicroProducts Division

Recently posted, but I lost it.  What is the 800 number for
Alesis customer service?  Thanks.

Phil Webster       (phil@mpd.tandem.com)  (512)244-8138
Tandem Computers   14231 Tandem Blvd.     Austin, TX  78728
Xref: sparky rec.music.makers:5553 rec.music.bluenote:3294
From: jaz@icd.ab.com (Jack A. Zucker)
Newsgroups: rec.music.makers,rec.music.bluenote
Subject: BB King and Arsenio
Date: 10 Apr 92 19:36:39 GMT
Organization: Allen-Bradley Company, Inc.

Did anyone catch BB, Cosby, and Arsenio last night ? Arsenio was playing
bass and he could actually keep time and play a few good notes (just barely).
I would rank him as a very advanced beginner. He sounded like he could
have been a decent player with a lot of practice. :-)

-Jaz
-- 

                       (Chasin' the Trane)

| Jack A Zucker                              {uunet}!jaz@icd.ab.com |
| Allen-Bradley Company, Inc.                    or  ICCGCC::ZUCKER |
| 747 Alpha Drive                                                   |
| Highland Hts., OH 44143 Phone(216) 646-4668   FAX: (216) 646-4484 | 
From: repp@hpspkla.spk.hp.com (Jimm Repp)
Date: Mon, 13 Apr 1992 18:42:41 GMT
Subject: Re: Where to look for lyrics?
Organization: Hewlett Packard Company, Spokane, Wa.
Newsgroups: rec.music.makers

In rec.music.makers, gaf@uucs1.UUCP (Guy Finney) writes:


>   I've found that, for me, a lyric sometimes suggests a tune to go with it.
>   Unfortunately I'm not much for writing lyrics, and actually I'm not
>   interested in developing lyrical chops right now.  I remain open to the
>   possibility that it will interest me someday, but for where I am now the
>   music is what I enjoy more.

>   But if I'm not writing them, where do I look for lyrics?  Okay, sure,
>   poetry books.  But I've scanned dozens of them and found that rhyming
>   seems to be out of vogue.  Lots of oh-so-serious introspective stuff,
>   but nothing ever rhymes, or has an implied meter to it.  I suspect that
>   someone really good could fit a tune around almost anything, but I'm not
>   there yet.

Guy,

I could roughly echo this question from the lyricist's perspective.  My
musical efforts are too amateurish to suit my lyrics.  I would guess that
the Phoenix area is home to some wannabe lyricist that would like to trade
lyrics for original tunes, chord phrases, or whatever musical arrangements
to write words for.  Now if only you could run across such a person.....

Jimm
From: jonathan@mantis.co.uk (Jonathan Egre')
Newsgroups: rec.music.makers
Subject: Re: Percussion Q's
Date: 7 Apr 92 12:04:35 GMT
Distribution: world,public
Organization: Mantis Consultants, Cambridge. UK.

In article <1992Apr3.144044.2880@vax.muskingum.edu> ti_hunt@vax.muskingum.edu
writes:

>How many drummers feel that sampled drum sounds and drum machines gives us l
>jobs in the industry today?

Ironically, I thought that there was a global shortage of drummers, and that
in many cases drum machines are being used because no drummer is available.

Jonathan [one of the world surplus of guitarists]

--
Jonathan Egre' / jonathan@mantis.co.uk / jonathan_e@cix.compulink.co.uk
Newsgroups: rec.music.makers,talk.bizarre
From: dschmidt@athena.mit.edu (Dan Schmidt)
Subject: Re: Question about music contracting?
Followup-To: talk.bizarre
Organization: the act or process of organizing or of being organized
Date: Mon, 13 Apr 1992 16:52:42 GMT

This generally only happens at relativistic speeds, so I wouldn't
worry about it unless you're playing a gig in a spaceship or
something.

Hope this helps,

Dan
Newsgroups: rec.music.makers
From: dschmidt@athena.mit.edu (Dan Schmidt)
Newsgroups: rec.music.makers
Subject: Re: Need opinions on Tascam 488
Date: 7 Apr 92 22:43:00 GMT
Organization: the act or process of organizing or of being organized

[Mail bounced, and this might be of interest to others]

Our band bought a 488 a couple of months ago, and just finished a demo
tape with it.

I think it's great.  Having eight tracks is incredibly handy.  I
haven't used other multi-tracks, so I don't have anything to compare
it to, but our drummer has, and he also thinks it's real good.

Minor annoyances:

You can only record onto four tracks at a time.  (You can have ten
inputs, though; you just have to mix them down to four tracks at
record time).

Only two inputs have trim controls (to control the level of the signal
coming in before the mixer deals with it).

At least on ours, the cue system seems to bleed a bit.  We could
easily hear our click track in the cue even when we had it turned off.
In the actual mix it went away, though, so it's not a big deal.

It would be really nice to have more than one headphone output, but I
don't think that this is standard in any multi-track anyway...

The channel separation is great and the noise is very low, at least
for our needs; I don't know exactly what the specs are.  In my
opinion, if you're going to be using enough tracks that you would have
to bounce stuff on a 4-track, it's worth spending twice as much money
and getting the 488.  Having the extra tracks is so handy you'll
wonder how it's possible to get by with four.
From: ohumukin@spectra.com (Kawika Ohumukini)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 17 Apr 92 16:54:39 GMT
Article-I.D.: spectra.1992Apr17.165439.28224
Organization: Spectragraphics Corporation

In article <1992Apr16.175626.25007@alliant.com> muller@alliant.com (Jim Muller) writes:

>Digital does not sample the frequencies; rather, it samples the time
>domain.  Points "in between" do not have to be recreated, calculated, or
>guessed.  The voltage that ultimately drives speakers (through an amp)
>is continuous rather than discrete, so some "in beween" values must be
>created somehow.  There are good and bad ways to do this as well as to
>quantize the original continuous signal both in time and amplitude.  If
>the original signal was sampled at a high enough frequency, it is easy
>enough to reproduce the original within a frequency band significantly
>wider than human hearing.  Currently used sampling rates, even for CD's,
>are sufficient for this.

A purist you are not.  As a guitarist/keyboardist/drummer neither am I.
But I was making purist statement.  A continuous voltage is more than
just electrons moving at a particular rate.  That signal is a
product of all the harmonics present at their respective voltage levels
(see wave analysis 101).  For an electronic device to "create somehow"
the harmonics, which ultimately produce some voltage level at an instant
in time, is non-purist.  Your statement simply says it's good enough,
which my 120 piece CD collection clearly demonstrates, but it's not true 
to imply they are the same, harmonically.  Yes, the basic frequencies
are heard but, it's the frequencies you do not explicitly hear that 
makes the difference. 

>Of course there can be many different diginal signals that are equivalent
>in analog form (more or less), since the starting phase is arbitrary.
                 ^^^^^^^^^^^^
That's wasn't what I was saying.

>What matters is whether wehn converted back to analog, one can hear any
>difference.  In general, one cannot.  As for interfacing analog and digital,
                          ^^^
Change that to "you".

[some stuff telling everybody what they don't have to do]
>
>This says nothing the previous point doesn't say.  Of course the quality
>of the playback equipment is important, but this is not a condemnation of
>digital, nor a reason to limit technology to the lowest common denominator.

This was another point altogether.  I was simply distinguishing the fact
that harmonic reproduction has many factors and that digital only complicates
this fact.


Kawika
Newsgroups: rec.music.makers,alt.guitar
From: irmurray@watmath.waterloo.edu (Ian Murray)
Subject: G&L guitars and basses
Organization: University of Waterloo
Distribution: na
Date: Mon, 6 Apr 1992 18:16:32 GMT

Hey...

I'm seeking some information/opinions regarding G&L guitars/basses
(versatility, playability, current/future value, etc.). The models
of interest:

G&L ASAT guitar (Tele-style)
G&L L5000 bass (five-string)

Thanks in advance,
Ian.
-- 
-------------------------------------------------------------------------------
Ian Murray                    | Overweight gypsies lack
Dept. of Applied Math., U.W.  | colour denomination   
irmurray@watmath.waterloo.edu | and goggles.             -- the Tribe of Scribe
From: johnr@tvnews.tv.tek.com (John Reynolds)
Newsgroups: rec.music.makers
Subject: Re: Leslie speaker construction
Date: 14 Apr 92 20:43:19 GMT
Organization: Tektronix TV Measurement Systems, Beaverton, OR

In article <1992Apr14.160101.3031@cabezon.uucp> larryh@cabezon.uucp (Larry Huntley) writes:
>
>
>    The speakers themselves don't actually rotate.  The speakers are fixed
>    in a cabinet, low frequecy driver pointing down, high freguency driver
>    pointing up.  There is a drum which spins below the lo-f and a horn
>    that spins above the hi-f (in different directions) and projects the
>    sound from the drivers in a horizontal plane around the axis of the
>    drum & horn.
>

Just to add some more Leslie trivia:

     On some (all?) Leslies, there appear to be two horns on the high
     frequency rotor.  However, close examination will reveal that only 
     one of them actually emits sound; the other one is just there for 
     mechanical balance.

And to the original poster:

	Good luck with your construction project.  I've seen a couple
	DIY Leslies seemed to work out pretty well.  And I've never
	heard any digital efx box come close to duplicating the 3D sound 
	you get from a Leslie.

John Reynolds
Tektronix TV Division
Beaverton, OR
Xref: sparky rec.music.makers:5644 alt.guitar:2363 rec.music.synth:7991
From: barnhill@kuhub.cc.ukans.edu
Newsgroups: rec.music.makers,alt.guitar,rec.music.synth
Subject: Re: Fender Pro Reverb Amp
Date: 14 Apr 92 12:39:54 CDT
Organization: University of Kansas Academic Computing Services

In article <1992Apr13.183703.4665@icd.ab.com>, jaz@icd.ab.com (Jack A. Zucker) writes:
> In article <1992Apr13.163312.27357@hplabsz.hpl.hp.com>, enorwood@hplabsz.hpl.hp.com (Earl Norwood) writes:

Various stuff about Fender Amps (still have the '68 I bought new, no,
you can't have it at any price...well, almost any price...

> 
> I agree. I hear about vintage synths. I guess the sand for the silicon
> was better quality years ago... :-)
> 
> -Jaz

How can you joke?  We know that sand, especially pre-CBS sand, has a quality
which is almost impossible to find these days; there was a mellowing to it
which can't be reproduced, even if you sample the sand, and then filter the
hell out of it.  I mean, I've tried everything, even including some kitty
litter, but nothing has that same dark tone that I got used to with my
vintage WidgetMaster II MultiVerbrolux Synth.  When the blooser rail came
untorqued and blew out the bearings I knew I'd never find that same tonal
quality in a synth again, and it's been true.

Ok.  I'll go back to watching Kanza trounce Dennis Conner (NOT this time)
in the Cup and shut up -- and no, I'm not interested in selling my old Les
Paul either...

db

Dave Barnhill
Supervisor, Technology Center
Computing Services
University of Kansas
Barnhill@kuhub.cc.ukans.edu
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Leslie speaker construction
Date: 16 Apr 92 16:24:13 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Apr15.174751.7029@ncrcae.ColumbiaSC.NCR.COM> elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
 
>Someone told me there was a rack mount device that only did Leslie effect...
>even did the spin up and spin down.  Seems like it was made in England?  Or
>was it the original Hammond organ company?  

>Anyone heard of this thing?

I did a show with Booker T. Jones a few years ago.  He had one.  It
sounded OK to me.  Sorry to say that I don't remember the name of the
unit.

Leslie story: 

I also did a show with Stephen Stills and the keyboard player,  I think it 
was Mike Finnigan, had a "hot rodded" Leslie tone cabinet.  The thing
had a 200 watt amp for the low end and I don't know what for the high
end.  It had JBL drivers for low and high end.....

Because of the small size of the stage we were all crammed in there.
I had to sit next to this smoken Leslie.....I was mixing monitors for
the show.   I also had to keep the headphones on almost all of the
time due to the high stage volume, 'specially when he was wangin on
the Hammond......

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
From: gwatts@hpcvia.CV.HP.COM (gary_watts)
Date: Wed, 8 Apr 92 07:22:39 PST
Subject: Re: Channel switching and MIDI gear
Organization: Hewlett-Packard Co., Corvallis, Oregon
Newsgroups: rec.music.makers

The only on/off midi switcher I am aware of for less than the Rockman 
Octopus is made by Lake Butler
Sound.  They came out with a series of mini modules.  There 4 models
that make one full rack space across when hooked together.  One 
of these is a polarity switcher.  The price is $149.00 retail.
I used the Octopus for some years until getting the Rocktron Patchmate
last year.  The Octopus works great.  The Patchmate is a newer version
of the smaller Bradshaw switcher.  It replaces the 12 switch version at
a greatly reduced cost ($749.00) and it works with standard MIDI 
pedals instead of the Bradshaw pedal that is quite large and bulky.
The patchmate has programable HUSH for each patch and 9 stereo loops.
You can also name each program and it's only one rack space high.

One option you may want to look at is the new GK programmable preamp.
It has the ability to send multiple midi messages on 4 channels and has
two switchable jacks.  You could sell your Peavey preamp and get the GK
lessening the amount of extra goodies you'd have to lug around. It would
also allow you expandability for more midi devices.

In terms of pedal boards, most of the pedalboards ART,Rockman,ADA,Rolls,
all do the same thing: they send one MIDI program change. The ART X-11
is the sturdiest and least expensive ($129.00). The ART X-15 does have one
feature you might like.  It has a switchable plug on the back that you 
can press along with the midi number you want.  This still means you are
pressing 2 swtiches but eliminates an extra switchbox.  The continuous
data controllers allow you to vary the parameter you choose on the effects 
device (like reverb mix,chorus depth, delay feedback etc) . Avoid the
least expensive Rolls pedal ($99.00).  They are octal units and after the
first eight programs, the display on the pedal is a different number than
the effects processor.  THe higher the number the worse the error since
the pedal is counting in 8's and the processor is counting in 10'si.  A
very poor feature.  The Rockman and ADA pedals are just over priced at
$239.00 and $200.00 respectively.  

THe Lake Butler Midi Mitigator RFC-1 is my personal choice for expanding
your setup in the future, as it will send different midi messages on all
16 midi channels.  It has a full midi implementation, not just program
changes so you can use it as a cheap bass pedal unit or control lights
and synth modules remotely.  Imagine changing light scenes when you 
change programs with your guitar.  These are $499.00 so it might be p
out of your range.  

The first group of pedals I mentioned can control more than 1 device by
the use of program mapping but this process gets complicated by the time
you have three devices.  Program mapping is done inside each midi device,
the Digitech in this case, and lets you set the midi program number to be
different than the memory number you see on the display.  With, say, only
the Octopus and the Digitech this should not be bad.   With more it is
a nightmare to remenber which is which.

Good Luck
Gary Watts
(503)750-3130
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 15 Apr 92 19:08:55 GMT
Article-I.D.: bbx.315
Organization: BASIS International, Albuquerque NM

In article <1992Apr14.131537.6357@ncrcae.ColumbiaSC.NCR.COM> elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>Did anyone see the guest editorial in Guitar Player (May, 1992)?
>Neil Young spoke his mind about digital music (CDs).  It was
>very uninformed...   Here are some highlights....	
>
>[deleted]

Yup.  It's sad to see a famous artist go down in flames like that.  Ironically,
I would never consider his recordings to be up to digital standards.  I
wonder why he's making such excuses.

-- 
Scott Amspoker                       | 
Basis International, Albuquerque, NM |    I'm Scott's *good* twin.
                                     | 
scott@bbx.basis.com                  |
Newsgroups: rec.music.makers
From: dce@smsc.sony.com (David Elliott)
Subject: Lyrics to "For Your Love"?
Organization: Sony Microsystems Corp, San Jose, CA
Date: Mon, 13 Apr 92 23:50:12 GMT

Can someone send me the lyrics to the Yardbirds' "For Your Love"?  I
don't have the recording, and due to my current boycott of the record
industry, I won't be able to buy a copy for a couple more months.

Newsgroups: rec.music.makers