HDTenEightyP/NetNews huggingface dataset:
From: lance@pagoda.CFNR.ColoState.EDU (Lance Burk)
Subject: Self-Tuning Guitar 
Date: Thu, 16 Apr 1992 01:25:35 GMT
Distribution: na
Organization: College of Natural Resources, CSU, Ft. Collins, CO.

There is a new technology coming out Called the self-tuning guitar.
It was developed in Fort Collins, Colorado, by three men out of 
their garage.  The original prototye is being used by the lead 
guitarist for a band out of Fort Collins, Colorado, called Forth
Estate. They just came out with a new cd entitled "Finesse and 
Fury", Exellent by the way, which is the first ever recording to 
feature this new technology.  Currently, the great Jimmy Page,is the 
only other person to endorse this guitar. It is really somthing to 
see it being played, it has 100,000 different alternate tunings avail-
able instantly at the touch of a button. Deffinately, something worth
checking into.
                    Later
Newsgroups: alt.guitar
From: rocky@socrates.umd.edu (Rocky Giannini (o))
Subject: Re: Paganini Caprice #24 - who's played it?
Organization: University of Maryland University College
Distribution: alt
Date: Mon, 13 Apr 1992 00:17:58 GMT

csp55@seq1.keele.ac.uk (THE VAMPIRE) writes:

>From article <ohakuni.702929367@polaris>, by ohakuni@polaris.utu.fi (Olli Hakuni):
>> Hi,
>> somebody mentioned that some heavy metal guitarists have played Paganini's
>> Caprice #24. 
>  
>   Part of it , of one of the 24 caprices , ( a bit modified ) is played by

>Steve Vai on Crossroads at the end solo .... 


>Vamp. 


I've read on this newsgroup before that the caprice played in the duel
between Vai and the Karate Guitar Player was 24.  I have a recording of the
24 Caprices, and the one that was used in the duel was the beginning of the
5th, not the 24th.

Michael Fath does one of the Caprices (I think it's the 24th) on his
"Flick of the Wrist" album.

-Rocky

-- 
==-==-==-==-==-==-==-==-==-==-==-==-==-==-==-==-==-==-==-==-==-==  
== Rocky Giannini         |  Internet: rocky@socrates.umd.edu  ==
== University of Maryland |  Bitnet  : rocky@uc780             ==
== University College     |                                    ==
Newsgroups: alt.guitar
From: ua1cs110@troi.cc.rochester.edu (Geoff Inget)
Subject: Re: Wanted Dead or Alive
Organization: University of Rochester (Rochester, NY)
Date: Thu, 16 Apr 92 08:30:15 GMT

Here is how I think Richie plays it, at least it's the way I do!

-----13---|---12---|---10---|---8---|---5---|---3---|-3---1-----
----------|--------|--------|-------|-------|-------|-----------
---14--14-|-12--12-|-10--10-|-9---9-|-6---6-|-4---4-|-4---2-----
-0--------|0-------|0-------|0------|0------|0------|-0---------
----------|--------|--------|-------|-------|-------|-----------
----------|--------|--------|-------|-------|-------|-----------

Geoff Inget
ua1cs110@troi.cc.rochester.edu
-
Newsgroups: alt.guitar
From: goodrich@lynx.larc.nasa.gov (Mike Goodrich)
Subject: Re: chords!
Organization: NASA Langley Research Center, Hampton, VA  USA
Date: Thu, 9 Apr 1992 17:01:04 GMT

In article <1992Apr8.115312.22560@monu6.cc.monash.edu.au>, gerbil@yoyo.cc.monash.edu.au (John Patrick Sawyer) writes:
|> 
|> To the person asking about guitar chord syntax 
|> 
|> 
|> 
|> Asus4 means you play the tonic the 4th anf the fifth
|> 
|> 	so Asus4 looks like
|> 
|> -----|-----|-------|e
|> -----|-----|---o---|b
|> -----|--o--|-------|g
|> -----|--o--|-------|d
|> -----|-----|-------|a
|> -----|-----|-------|e
|> 
|> A/C# means that you play an A chord with a C# bass
|> A/D  means you play an A chord with a D bass and so on
|> 
|> some other common ones are
|> -----|-----|-----|
|> -----|--o--|-----|
|> --o--|-----|-----|     Amaj7 a seventh chord but the seventh is raised a
|> -----|--o--|-----|     semi tone
|> -----|-----|-----|
|> _----|-----|-----|
|> 


Pardon me for nitpicking, but in the interest of consistent terminology,
etc., the Amaj7 does not have a "raised" 7th. It contains a "natural" 7th
whereas A7 has a flatted 7th.


|> A9 an A chord with a seventh and a ninth
|> 4th Fret
|>   |----|---o-|
|>   |----|---0-|
|>   |----|--o--|
|>   |--o-|-----|
|>   |----|--o--|
|>  x|----|-----|


Similarly, the A9 has a "flatted" 7th or b7.


...mike
From: glarson@shark.micro.umn.edu (Greg Larson)
Newsgroups: alt.guitar
Subject: Re: Rockman problems; Zoom comparison? (was Re: distortion boxes?)
Date: 13 Apr 92 20:28:46 GMT
Article-I.D.: news2.1992Apr13.202846.3500
Organization: University of Minnesota CIS

In article <DJM.92Apr13113134@frob.eng.umd.edu> djm@eng.umd.edu (David J. MacKenzie) writes:
>> I will probably ditch my Rockman for a Zoom9002/0 eventually. Can any Zoom
>> owners attest to the physical durability (or lack thereof) of their units?
>
>I've had a 9002 for about a year and a half now, using it mostly for
>home recording so it didn't suffer much abuse.  I haven't had any
>reliability or breakdown problems.  It does seem rather noisy
>electrically, but that might just be the wiring in my home -- my
>Peavey Backstage amp hums pretty badly at home too, but not in other
>places I've used it.

Sometimes the headphone circuit is a lot noisier than the line out
would be if you're planning to record from it.

>My main complaint with the 9002 is the battery life.  It has a builtin
>rechargable battery that seems to have a life of about 20 minutes.
>The manual recommends only leaving the AC adapter plugged in for 3
>hours or less (if I remember right), but I sometimes ignore that --
>the battery life is just too short, and I can't afford to have it
>flake out on me at unpredictable times.

With any NiCad battery, you should COMPLETELY discharge it if you're
having short lifetime problems.  Discharge it beyond the point where
you no longer get a clean output signal (leave it on overnight).

>Also, forget about using the Zoom as a Rockman, i.e. just plugging in
>a pair of headphones.  The builtin amplifier is way too weak to get a
>decent level.  I plug it into my home stereo system's aux input and
>run headphones from that to practice, or into my Tascam 488 to record.
>It works fine in those contexts.

Try using a high impedance headphone.  Try the little ones that go right
in your ears.  The louder the output, the shorter your battery life.
Higher impedance headphones draw less power.

>I really like the Zoom.  For the money, it's a great effects box.
>--
>David J. MacKenzie <djm@eng.umd.edu> <djm@ai.mit.edu>
From: toby@cs.man.ac.uk (Toby Howard)
Newsgroups: alt.guitar
Subject: Guitar Craft
Date: 9 Apr 92 11:16:51 GMT
Distribution: alt
Organization: Department of Computer Science, University of Manchester

Hi

Is anyone here interested in Robert Fripp's Guitar Craft? I've enjoyed
playing around with the 'New Standard Tuning' (low->high CGDAEG). In fact,
are there any Crafties out there?

Toby

PS Mail me if you're interested to join 'Discipline', the King Crimson
mailing list
--

-----------------------------------------------------------------------
Toby Howard    Department of Computer Science, University of Manchester
Lecturer               Oxford Road, Manchester, M13 9PL, United Kingdom
                                                   Tel: +44 61-275-6274
toby@cs.man.ac.uk                                  Fax: +44 61-275-6236
-----------------------------------------------------------------------
From: u8706672@cs.uow.edu.au (John C. Quintal)
Newsgroups: alt.guitar
Subject: Re: Reggae guitar?
Keywords: reggae
Date: 10 Apr 92 06:18:21 GMT
Organization: Dept of Computer Science, Wollongong University, Australia

jgllgher@unix1.tcd.ie (Macdara Gallagher) writes:

>ralf@cs.uq.oz.au (Ralf Muhlberger) writes:
>> >and have bought a few albums which I love. I was wondering if a thread
>> >on playing reggae/ska could be started ( especially in relation to
>> >guitar ).
>> What sort of albums do you love?

>Toots and the Maytals, Jimmy Cliff, Burning Spear, Peter Tosh, Desmond
>Decker and of course Bob Marley.

>> A lot of songs from The Police are very much reggae influenced, and their
>> lead guitarist Andy Summers (spl ?) often gets a nice reggae style chop 
>> into his guitar playing in all the work he does. I've a little booklet at 

>I have a friend who is into The Police and I like the stuff I've heard.

>> home which describes his style which I may bring in some time in the next 
>> week and copy some text and tab out of if you're interested. 

>Yes please!

>> Ralf

>Dara.


	G'day from downunder,

	No one has mentioned Ska in all of this! I happen to be in a Ska and
Reggae band down here in Wollongong (Where's Romskul is the name of the band
if you just allow me the pleasure of a plug - remember that! WHERE'S ROMSKUL)

	Anyhow, our sound is heavily influenced by the likes of The Specials,
Madness, Bad Manners etc as well as the reggae bands mentioned above.

	As far as Ska guitar style is concerned, the predominant things are:
	1) Rythm, the same or similar rythms to reggae but usually quicker
(although not always) and more upbeat.
	2) The SOUND! The sound of the guitar is commonly referred to as
"Skanky" this is a bit onomatopeadic (sp?) for the short, sharp chops on
the top strings. (This can be detrimental to the E string especially if you're
really getting into it!)

	Classic Ska songs include: _Message to You (Rudy)_ The Specials,
_Done too much much too young_ The Specials, _Embarassment_ Madness,
 _One Step Beyond_ Madness and _Gangsters_ The Specials.

----------------------------------------------------------
				"There's nothing like a good .sig file.
				And this is nothing like a good .sig file"
John C. Quintal
u8706672@wraith.cs.uow.edu.au
From: bogstad@imhfhp16.epfl.ch (BOGSTAD Mark IMHEF DME EPFL)
Newsgroups: alt.guitar
Subject: Sweatty fingers
Date: 8 Apr 92 08:09:37 GMT
Article-I.D.: imhfhp16.1992Apr8.100937
Organization: Ecole Polytechnique Federale de Lausanne

Dear Guitarists

I play on a acoustic folk guitar and my strings suffer from sweat from my left hand.
On the fretboard this black substance (rust?) attaches to the strings and after a lot
of playing I would have to buy a new set because the strings just sound awfull. Someone
suggested to use talcum powder, but everthing seems to get so white..... . I'am fed up
with buying a new set every month and changing the strings each time.

Any suggestions.  

Happy playing to all the readers of this great news group...
								:)

Mark Bogstad
email: bogstad@dme.epfl.ch
From: v562f9vy@ubvmsd.cc.buffalo.edu (Wolverine)
Newsgroups: alt.guitar
Subject: Top 50 Guitar Albums Poll
Date: 7 Apr 92 09:38:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41

I am going to put together a list of the top 50 guitar albums of
all time, and I need your input.  I want to know exactly what 50
albums you would say had the most impact on the style of music
that you play.  If you think 50 is too much, I will take a list
of any size, but please do not exceed 50.  I will publish the
results after I receive a reasonable amount of entries (50
or so).  Thanks in advance for your co-operation.


                                  Wolverine


P.S.  my e-mail is <v562f9vy@ubvms.bitnet>
Please mail to me instead of posting.  You may do both, but please
send me a copy.
From: exubrst@exu.ericsson.se (Brad Steele)
Newsgroups: alt.guitar
Subject: Re: TO TAB OR NOT TO TAB......
Date: 13 Apr 92 11:01:12 GMT
Reply-To: exubrst@exu.ericsson.se
Organization: Ericsson Network Systems, Inc.

As far as I see it, tab is just a method of instrument-specific
notation used by the writer (or transcriber) to describe in more
detail than simple staves exactly how the music should be
played.  Would you attempt to play music without notation on
tempo?  Piano even has instrument specific notation that would
make the music impossible to play correctly without (I'm speaking
of the notation for sustain).

---
Brad Steele

     "The opinions expressed in this article are
      not necessarily shared by my subconscious."
From: mohawk@ccwf.cc.utexas.edu (Mohawk Dave)
Newsgroups: alt.guitar
Subject: Microphones for 4-track recording:
Date: 13 Apr 92 02:21:22 GMT
Organization: The University of Texas at Austin, Austin TX


I'm trying to find the best possible microphone for 4-track recording of
various intstruments, including percussion, electric drums and bass, whataver.
I don't need anything professional.  Everyone has been pointing me at either
the Shure SM57 or the Prologue 16L;  And what about impedance?  I'll need
to stick this mike into a Fostex X-26 4-track.  Please reply with your
opinions concerning what would be a good purchase; thanks.

Xref: sparky alt.guitar:2355 rec.music.makers:5639
From: frankc@faatcrl (Frank Coffman)
Newsgroups: alt.guitar,rec.music.makers
Subject: Re: Roland GR-1 vs. GM-70 vs. ???
Date: 14 Apr 92 15:31:51 GMT
Followup-To: alt.guitar

jerry@wrs.com (Jerry Fiddler) writes:


>The real questions in my mind are "Will the GR-1 or the GR-50 track
>significantly better than my GM-70?" and "How do they sound, as compared with
>a good rack-mount synth?".  Related, I guess, is the question about when
>the GR-1 will actually ship.
 
 I haven't played the GR-1 yet, but I've played GR-50's and have a
 friend with a GM-70.  From what I've learned about the Roland guitar
 synths, I dont think you'll notice much difference in the quality of
 tracking (ghost notes, etc.) between systems, but the GR-50 and the
 GR-1 (not really that different, I suspect) will have a little less
 delay when you use the internal sound source.  This is because these
 units sample the frequency, play the appropriate tone from the sound
 source, and THEN create the MIDI data in that order.  This differs
 from your setup in that you are creating MIDI data and then sending
 it to another sound source, adding to the lag time.  A GR-50 (GR-1)
 would perform the same way if you were using an external sound
 source.

 As far as sounds, the GR-50 is the same basic sound source as the
 D-110, D10 and D20 (LA).  I expect you'd be happier with the sounds
 of a U-220 with your rig.  I don't know about the GR-1.


*********************************************************************
* Frank Coffman     Computer Resource Management, Inc. (CRM)        *
*                   NAS Sim. Support Facility, FAA Technical Center *
*                   Atlantic City Airport, NJ 08405                 *
* UUCP:  ...!rutgers!faatcrl!frankc  Internet:frankc@faatcrl.UUCP   *
*********************************************************************
From: yy@cbnews.cb.att.com (alan.j.lapenn)
Newsgroups: alt.guitar
Subject: Re: note-reading with alternative tunings
Summary: Tunings, books
Date: 8 Apr 92 13:44:20 GMT
Distribution: usa
Organization: AT&T

In article <15141.9204081244@thor.cf.ac.uk>, scogpw@uk.ac.cf.thor (Gordon Walker) writes:
> In article <1992Apr6.233336.3878@ecl.psu.edu> mpv@ecl.psu.edu (Mike Rivkind) writes:
> |Just curious, has anyone out there in netland learned to note-read (directly)
> |using an alternative tuning?  Any advice on how to go about it?  I've never
> |seen a book teach it, but then again I'm not very accomplished.
> |
> 
> I haven't come across any books either.
> 
> Gordon

	Actually I have a ouple of different books that have info in them.
	One provides chording in various tunings. The others have tab and
	staff in open tunings.

	Note I bought these in the early sixties so I don't know if they are
	still available.

	If your interested let me know and I'll look up the Pub. Info .

-- 
Alan LaPenn      att!mvuxd!yy          .signature not found!
From: mjo@b24a.ingr.com (M.Jesus.O at Beat)
Subject: Re: Reggae guitar?
Keywords: reggae
Organization: Intergraph
Date: Wed, 8 Apr 1992 17:37:53 GMT

In article <jgllgher.702568725@unix1.tcd.ie>, jgllgher@unix1.tcd.ie (Macdara Gallagher) writes:
> 
> 	In a recent discussion about the 'blues' pentonic scale, someone
> in the course of listing the musical styles that they play mentioned that
> they played reggae. I've recently become interested in reggae/ska music
> and have bought a few albums which I love. I was wondering if a thread
> on playing reggae/ska could be started ( especially in relation to
> guitar ).

ok, here we go:

I've always like Donald Kinsey's playing on Peter Tosh's "Mama Africa"
record. He also plays some tasty stuff on the Wailers "Rastaman Vibration".
Kinsey's an American - I think he's from Indiana! I haven't heard any of
the stuff by the Kinsey Report yet, though. Tosh himself plays some good
stuff on a live tape I have of the Wailers doing "Stir It Up". The original
guitar solo, the long wah-wah in the middle of the song, was actually played
by a white boy from Birmingham, Alabama. Can't remember his name now, Wayne
Something - same guy who played on the Stones' "Black & Blue" record. 

The Stones' have done some interesting reggae-ish stuff - check "Cherry oh
Baby". Stay away from the Police though if you're looking for any regatta de
blanc. Try some early Clash - "White man in Hammersmith Palais" or "Guns of
Brixton". 

I think to play reggae guitar, you really have to understand what the other
instruments are doing. Listen to records that catch your attention. Break 
down the drum beats (one of the basic reggae beats is one-two-THREE-four,
with the third beat emphasized). Listen to what the rhythm guitar is doing,
it's often more subtle and dynamic that just one-TWO-three-FOUR. Listen to
the bass, where the melody often comes in. Learning Kinsey's parts from
Tosh's cover of "Johnny B. Goode" is a good place to start. Or the very
beautiful solo on the Wailers' "Waiting in Vain" (ok, this is Kinsey also.)
Or Bob Marley's "Redemption Song".

Then, once you've broken it all down, put it back together & then get into
the groove. Find some musicians who want to play the dread beat, rather 
than just flailing on "Roxanne" over and over...

Good Luck!
M.
Newsgroups: alt.guitar,rec.music.makers
From: gphelan@isis.cs.du.edu (Greg Phelan)
Subject: David Bowie Request
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Tue, 14 Apr 92 20:56:39 GMT


Does anyone have tabs/chords to David Bowies "Space Oddity" or "Ziggy
Stardust"?,or any David Bowie Music at all would be helpful,and
appreciated.I would be very thankful for any help.

Greg

Newsgroups: alt.guitar,rec.music.makers
From: cdj@hela.iti.org (Chris D. Jennings)
Subject: Preamp/amp level matching - Help!
Followup-To: alt.guitar
Summary: What's best way to connect these? 
Organization: Industrial Technology Institute
Distribution: usa
Date: Mon, 13 Apr 1992 20:02:54 GMT


I have a Peavey Heritage guitar amp and am considering purchasing a
Crate TDP tube preamp to use through the Peavey.  Please help me
understand the various connection options and the advantages and
disadvantages of each.  The ins & outs that could be used are:

PEAVEY                              CRATE

Input jacks : 1 high gain, 1 low    Input impedance: 230K ohms

                                    Maximum input signal level
                                     accepted: 5V peak-to-peak

Additional info.: the Crate input jack accepts "any low level to
line level signal source."  The Crate also has a Speaker Comp.
Switch for "connecting to an external power amp or mixer."  A
Line/Inst Switch on the Crate "changes the level of the effects loop
to be acceptable to different external effects devices."  No numbers
are given for the above.

I would greatly appreciate any advice on the best/worst ways to
connect these two with my Strat.  If possible, I'd like to be able
to footswitch between the Crate and the Peavey's own preamp.


Thanks in advance,
Chris

Newsgroups: alt.guitar
From: ebersman@uunet.uu.net (Paul Ebersman)
Subject: Re: Kasha system ( was Acoustic theory )
Organization: UUNET Communications Services
Distribution: usa
Date: Fri, 10 Apr 1992 18:21:42 GMT

>Dr. Kasha does not make any guitars. He is a professor in Chemistry
>and he has been very interesting in scientific guitar making methods.
>He has associated with a few guitar makers to build his Kasha system
>guitars. The most famous guitar maker that makes Kasha system guitars
>is Richard Schneider. The Kasha system was first introduced around 1975
>without too much success. Gibson build a series of Kasha system guitars
>for a very short period of time. I have never played a Kasha system
>guitar so I can not comment on the merit of Dr. Kasha. However, from
>quite a few reviews and reports I read about Kasha system, and the
>fact that none of the top classical guitarists ever played a Kasha
>guitar in concert mark a big question mark on whether Kashs system
>works or not. And quite a few makers that are making Kasha guitars
>said that Kasha system worked better on steel string guitars.
>By the way, while the Kasha steel string guitars looked quite
>interesting, its classical version looked very ugly.

True. Richard Schneider used to make classicals at some obscene price.
He also allowed the customer to play the unfinished instrument to make
comments on the instrument. From what I have heard, the instruments were
indeed louder, but harsh. There was another builder in CO who was
playing with steel string versions, Max someone (I hate getting senile
B^)

Gibson made the Mark series for a while, but they did a huge hype to the
dealers and then built all the jigs with the bracing reversed (treble
braces on bass side...) so they sounded lousy and by the time they fixed
it and tried to remarket, noone would touch them. I did play one Mark
guitar with the bracing done right and it sounded better for the large
body size than the Hummingbird, but it still wasn't Martin or Taylor
quality.

I also think that the Kasha method is interesting to play with, but not
too scientific. None of the guitars I saw convinced me that it was any
more worth pursuing than any other "seat-of-the-pants" method of
bracing.
-- 
                 Paul A. Ebersman @ UUNET Technologies, Inc.
                   uunet!ebersman or ebersman@uunet.uu.net
       The difference between theory and practice in practice is greater
           than the difference between theory and practice in theory.
From: cwalker@vega.tmc.edu (carleton walker `93)
Newsgroups: alt.guitar
Subject: Re: 'Everthing About You'
Date: 8 Apr 92 21:15:16 GMT
Organization: Bucknell University, Lewisburg, Pa.

In article <MdslBzG00UhW435Ix6@andrew.cmu.edu> jt3c+@andrew.cmu.edu (John Tampubolon) writes:
>I think the chords are basically D, A, and G. Also, don't forget to tune
>down half a step. 
>I'm sure it's not as simple as that, so just listen to the cd to get
>everything else right.
>(I think there's also a C chord somewhere in there)

	You might want to try D - B - A on the verse (with the C
thrown in).

	I        	  I  hate the rain and sunny weather...
	D, D, D, C, B, A, A, A, A, B, A

	On the chorus and bridge it's just...

	And 	I	hate	everything	about you
		G		A

Hope it helps, and sorry for the non-standard format.



Carl Walker
--
Carl Walker				"Hectic days ahead of us,
Bucknell University			 Rotten ones behind,
Lewisburg, PA				 Keeping plastics in our pockets,
					 Children never mind." - K, S, & W
Newsgroups: alt.guitar