HDTenEightyP/NetNews huggingface dataset:
From: pickle@fantasie.cs.ucla.edu (Patrick Madden)
Subject: Re: Joe Satriani/Dallas show
Organization: UCLA, Computer Science Department
Distribution: usa
Date: Fri, 20 Nov 92 03:03:42 GMT

In article <1992Nov19.170247.26025@walter.cray.com> plumbojt@cray.com (John Plumbo) writes:
>The critics from the Dallas newspapers had nothing good to say about the
>Joe Satriani show on Wednesday night.  Can any Dallas *GUITARISTS* who
>attended the show comment?
>
>For example, the Dallas Morning News said his performance lacked soul. (???)

  I saw Joe on the Blue Dream tour in Albuquerque, and would have to say
it was one of the worst shows I've ever seen.  I should mention that I
*really* like his playing, I don't have any gripes about him from his CDs.
  The show, however....
    1) He didn't really seem too excited about playing.  His playing was
       accurate, but not inspired.  I guess this might be the "soul" thing.
    2) The lights were pointed right at the audience (so all I ever saw
       was a Joe-like shape lurking on stage).  Most of the time I
       kept my eyes closed so that I wouldn't get a headache.  Imagine
       being interrogated by the CIA: that's what it was like.
    3) The place was packed with "the wrong element" as James Watt might
       call them.  One of them (substantially larger than I, and obviously
       under the influence of a politeness-inhibiting drug) spent the
       entire evening screaming JOE SATRIANI in my right ear.
  The only good thing that evening was Stu Hamm's solo section, where
they turned off the spotlights, and the audience got quiet enough for
me to enjoy the music.

  Bottom line: Joe is a great player, but if the Dallas papers said the
show sucked, I can easily believe it.  After shelling out $20 apiece,
myself and 5 friends wandered out feeling disillusioned and depressed
(after weeks of anticipation and almost daily "Surfing" listening).

  Your mileage, of course, may vary.  (I hope it does).

Patrick
pickle@cs.ucla.edu
"Now I guess I'll have to tell 'em     That I've got no cerebellum
 Gonna get my PhD                      I'm a teenage lobotomy"
From: math1rb@jane.uh.edu (92F07486)
Newsgroups: alt.guitar
Subject: Amps....
Date: 19 Nov 1992 11:48 CST
Organization: University of Houston
Distribution: world
NNTP-Posting-Host: jane.uh.edu
News-Software: VAX/VMS VNEWS 1.41    

Early next year I'll be looking for a new amp. I live in an apartment so
a Marshall stack is out of the question... On the other hand I'd like an amp
that I can play at low and high volumes (when I go jam somewhere) that sounds
good clean. I've played a couple of fender amps before and I like the sound.
 I'd be looking for something with reverb, 2-channel, a headphone jack might
be a good thing for around $500. 
 I was wondering if anybody in a similiar situation has any advice and
or experience to share. 
 I play one of those korean strats that has the humbucker and 2-singles
so I can get a wide variety of tones already. I'm going through a minimal
stage right now, so I'll plug probably dry, straight into the amp.
    thanks,
      dave
************************************************************************
**                            **                                      **
**   David C. Meyers          **  "I'm looking California,            **
**                            **    and feeling Minnesota..."         **
**   MATH1RB@JETSON.UH.EDU    **                  - Cornell           **
**                            **                                      **
************************************************************************
From: v088ptfu@ubvmsb.cc.buffalo.edu
Newsgroups: alt.guitar
Subject: Amp Mods in NYC/LI area
Date: 23 Nov 92 17:08:00 GMT
Organization: Leavenworth Federal Penetentiary
News-Software: VAX/VMS VNEWS 1.41

I'm going home (Long Island) over the semester break at which time I'd like
to have my trouble-ridden Marshall head looked at, repaired and maybe even
modified. If I have the mod done, I'd be looking for extreme, balls to the
wall gain an maybe even a clean channel added as I do not have channel
switching on this master volume head.  Anyway, Im not familiar with any
techs who are adept at this kind of work, although I'm sure there are
millions of em in the city.  If anyone could recommend any, preferably in
the southern Nassau County area, who have a good reputation, I'd really 
appreciate it.

Thanks,
Jason
Newsgroups: alt.guitar
From: mblock@reed.edu (Matthew Steven Block)
Subject: Re: Too late to learn?
Organization: Reed College, Portland, Oregon
Date: Mon, 23 Nov 1992 12:08:49 GMT

	There is nothing you can do for yourself that is more rewarding than
taking lessons with a thoughtful and intelligent instructor.  Go for it.

	Now, the truth.  It takes a couple of centuries to discover on your
own what the masters have known for all time.  It's also a good deal more
rewarding.  There's a bit of a trade-off there, as you can see, and it becomes
a judgement call as to which way you want to go.  I decided that time was of
the essence (I figure I've only got about 80 more good playing years), and
went with the instructor method.  You are a different person, and this must
reflect in your decision.  I have many friends who have gone the other way.
	Finally, another little snibbet of opinion.  Actually, a pet peeve.
Many of said friends claim to be self-taught.  As a great man once said (I say
a great man because I can't remember who said it, nor can I remember the exact
quote... sigh) there are NO self-taught players.  Everyone learns by listening
to others, the radio, their favorite tapes... even Indian music (a personal
slight to JK).  So, either way you go, you WILL be taking lessons.  Hope that
helps you change your perspective a bit.

Enjoy!


-- 
------------------------------------Matt Block
 InterNet:
	mblock@reed.edu
 U.S.SnailNet:
From: math1rb@rosie.uh.edu (92F07486)
Newsgroups: alt.guitar
Subject: Re: String Guages [what to use?]
Date: 19 Nov 1992 08:06 CST
Organization: University of Houston
Distribution: world
NNTP-Posting-Host: rosie.uh.edu
News-Software: VAX/VMS VNEWS 1.41    

In article <BxyA79.Ez7@mentor.cc.purdue.edu>, stevenra@feserve.cc.purdue.edu (Alex Stevens) writes...
> 
>	One thing no one has seemed to touch on is how string diameter
>relates to distortion.  Personally, I play hard rock, and while I like
>screaming distortion, I only use 9's.  Anyway, to make it short:
> 
>	When you move from 9's to 10's you are increasing the diameter
>by 10%.  Therefore you increase tone/distortion by 10% also!
>Of course there is always a gain knob....

Well actually your increasing the area by (.10^2 -.09^2)/.10^2 which is
  19%. Actually I don't have a clue to where you say that distortion increases
  by 10%. 
Now my string theory is a bit fuzzy, but distortion is caused by a number of
differnet things. In relation to strings, I believe it has to do with
certain string harmonics being exited. If this is the case, then the opposiite
would be true because more force would be required to excite those harmonics.
 I've always found that the heavier strings yield less distortion, and a 
brighter and "heavier" tone. 
 On the other hand, heavier strings could cause more distortion my exiting
some lower harmonics, which may be at the lower end of the frequency response
of the amp and/or speaker which sometimes tend to "distort" the frequency.
 Like I said, I haven't brushed up on string theory lately, so corrections
are welcome, but flames aren't....

> 
> 
>Alex
>stevenra@feserve.cc.purdue.edu
> 
************************************************************************
**                            **                                      **
**   David C. Meyers          **  "I'm looking California,            **
**                            **    and feeling Minnesota..."         **
**   MATH1RB@JETSON.UH.EDU    **                  - Cornell           **
**                            **                                      **
************************************************************************


Newsgroups: alt.guitar
From: nasiatka@anhep3.anl.gov
Subject: re: GSP 21-Pro
Organization: Argonne National Laboratory, Argonne, Illinois
Date: Mon, 16 Nov 1992 16:35:57 GMT

In article <1992Nov12.225544.24350@paladin.american.edu> tm8025a@american.edu writes:

>Does any one know how much $$$ the following are:
>
>GSP 21-pro legend
>GSP 21-pro
>GSP RP-1
>
>All are by Digitech
>
>Also if you have had experience with any of the three your knowledge on how  
>they perform would be helpful.


I believe that the GSP 21 pro lists for around 7-800 
bucks, which means it can be had for around 5-600.

I've been toying with the idea of getting one myself,
and I'd be interested in any comments as well...

Jim Wylde (HMH)


Newsgroups: alt.guitar
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: What to do with a vocoder?
Keywords: vocoder
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Wed, 18 Nov 92 21:49:08 GMT

A vocoder:

                    ---------------  ----------
                    |             |  |        |
                    | n bandpass  |  |        |
                    | filters     |  |        |
  input (carrier) =>| covering the|=>| n VCAs |=> output
                    | audio range |  |        |
                    |             |  |        |
                    ---------------  ----------
                                         A
                                         |
                                   ---------------
                                   | n bandpass  |
               input (modulator) =>| filters     |
                                   | covering the|
                                   | audio range |
                                   |             |
                                   ---------------

The modulator's signal is broken down and analyzed using
multiple narrow band filters. The amount of signal present
in each filter band is used to superimpose the
characteristics of the modulator on the carrier. A vocoder
does not produce flange or chorus effects.

In typical usage, a microphone is used as a modulator to
make a keyboard (or other carrier signal) 'talk'.
Early vocoder usage includes Beethoven's 9th as done by 
Wendy Carlos for the _A Clockwork Orange_ soundtrack,
and Autobahn by Kraftwerk. Many groups, from ELO to Saga
have used this effect. There are other uses however ,
such as using a drum machine as the modulator etc..
Check out Craig Anderton's article on using a vocoder 
which appeared in Keyboard or Guitar Player 4-5 years back.
From: napier@cs.ucsd.edu (Jim Napier)
Newsgroups: alt.guitar
Subject: Improvisational focus (WAS: Re: Blues Soloing [help!])
Date: 16 Nov 92 21:12:29 GMT
Distribution: usa
Organization: AMES Dept., UC San Diego


This is a tangent to the discussion of blues playing that goes more into the
psychological side of improvisation. One of the followup posters said that the
thing to do was to get away from jamming to records and start playing with
other people. One problem I have always had is that as soon as I'm with others
or playing in front of people my mind goes blank. I'm so focused on where I
am that any creative improvisational ability is washed away and I find myself
repeating stiff phrases and groping for the right notes (or any notes that
sound like anything related to the song). I've never mastered the art of 
centering myself on the instrument while improvising with other musicians.
I have no problem when I play by myself or to albums and quite enjoy the freedom
of expression that improvisation provides. I guess for me the main problem is
that the freedom of thought necessary to improvise properly is at odds with
the fact that I'm completely aware that others are observing me. How do others
deal with such distractions? Is this just a case of plain old stage fright?

=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
Jim Napier
Systems Administration
Applied Mechanics & Engineering Sciences Dept.
UC San Diego
(619)534-5414
napier@ames.ucsd.edu

"Shut up before I have to tell you to shut up."
=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
Newsgroups: alt.guitar
From: erikm@microsoft.com (Erik Madsen)
Subject: Rosewood vs Maple
Date: 20 Nov 92 02:07:01 GMT
Organization: Microsoft Corporation

Hi -

I've just recently entered the world of Strats.  I guess a bad one or two
kept me away from them for years, but I've had some really great experiences
with them lately.  Right now I'd like to buy one of the Fender reissue
models, but something keeps cropping up: the difference between a maple
neck and a rosewood neck.  I've called several guitar stores around the
country, and it seems that 57 reissues seem a little easier to come by.
The 62 reissues seem a little harder to find.

Can any of you strat players tell me why you might prefer one neck to the
other?  Also, from what I've seen, the 62 models have a thinner neck than
the 57 ones.  Is this true?  Why do you prefer one to the other?
As far as the type of wood is concerned, is this something I shouldn't let
bother me too much at this point in the game?

Someone told me a few days ago that once I get into the Strat world there
won't be much hope for coming back to my Les Paul...

thanks!
Erik


Newsgroups: alt.guitar
From: seh003@acad.drake.edu
Subject: Re: Triads well?
Organization: Drake University, Des Moines, Iowa, USA
Date: Tue, 17 Nov 1992 22:36:33 GMT

In article <1992Nov17.185250.13975@EE.Surrey.Ac.UK>, css1rs@valar.ee.surrey.ac.uk (Russell Smithers) writes:
> Look are we all dead? I have just asked a question, would some kind soul
> at least respond to it so I know we are all alive? Please.

What was your original question?  This is a major subject, so be prepared for a
longish answer, but if you'll email it to me I'll do my best to give you an
overview.

Stephen

-- 
/-----------------------/      ... Beware, my friends, as you pass by
/    Stephen E. Hale    /          as you are now so once was I
/ SEH003@ACAD.DRAKE.EDU /          as I am now so you will be
/-----------------------/          prepare, my friends, to follow me ...  -D.M.

Newsgroups: alt.guitar
From: Daniel.Parmet@launchpad.unc.edu (Daniel Parmet)
Subject: Re: Joe Satriani/Dallas show
Organization: University of North Carolina Extended Bulletin Board Service
Distribution: usa
Date: Fri, 20 Nov 1992 20:03:04 GMT

In article <1992Nov20.030342.3038@cs.ucla.edu> pickle@fantasie.cs.ucla.edu 
(Patrick Madden) writes:
>
>  I saw Joe on the Blue Dream tour in Albuquerque, and would have to say
>it was one of the worst shows I've ever seen.  I should mention that I
>*really* like his playing, I don't have any gripes about him from his CDs.

I saw him on this tour, too.  I loved Surfing and Flying, so I went.  I
was also not impressed.

>    1) He didn't really seem too excited about playing.  His playing was
>       accurate, but not inspired.  I guess this might be the "soul" thing.

I felt that his playing was certainly good, but I went to see great playing.
After all, this is Satch.
 
>    3) The place was packed with "the wrong element" as James Watt might
>       call them.  One of them (substantially larger than I, and obviously
>       under the influence of a politeness-inhibiting drug) spent the
>       entire evening screaming JOE SATRIANI in my right ear.

There was some jerk in front of me yelling "Big Bad Moon" the whole time.
When he finally did the song, he broke a string near the beginning of the
first solo.

>  The only good thing that evening was Stu Hamm's solo section, where
>they turned off the spotlights, and the audience got quiet enough for
>me to enjoy the music.

That was definitely the highlight.

The biggest gripe that I had about the concert was that he had no rhythm
player on stage with him.  I guess Stu kind of did the rhythms on bass,
but, basically, a lot of the riffs sounded empty without the rhythm guitar
in the background.

Another question I have is why was I stupid enough to get ticket for Satch
on December 3, 1992 in Philly?

- Dan

--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
Newsgroups: alt.guitar,rec.music.makers.guitar
From: rost@tecrus.dec.com (My name is Brian Rost)
Subject: Re: QUESTION: Dave's Fuzz Box from Hell
Organization: Digital Equipment Corporation
Date: 23 NOV 92 16:33:27    


In article <1eoikkINNpbp@gap.caltech.edu>, deadhead@cco.caltech.edu (stephen thompson) writes...
>The fuzz that I get sounds a lot like overdrive only more pleasing to the
>ear...should this be the case.  Is that sort of what fuzz is supposed to
>sound like?

Yes, fuzz is just the old sixties term for overdrive and distortion.  Only us
old farts still call distortion units "fuzz boxes".

> 
> 
>P.S.  At some point I was picking up some kind of radio signal with the
>fuzz box.  How does this work?  (There were voices coming out of my amp.)
> 

The high impedance guitar pickups plus the cord form an antenna.  The diodes in
the fuzz box form a rectifier, thus you have the rudiments of an AM radio.  The
fuzz box generates enough gain so the signal becomes audible. Try adjusting the
knobs on your guitar while not playing and you should be able to tune in
different stations.


					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.					   *
	*						   *
	****************************************************
From: cc.swarthmore.edu (Brandon)
Newsgroups: alt.guitar
Subject: Re: String Guages [what to use?]
Date: 17 Nov 92 04:21:45 GMT
Organization: Only representing my own opinions...

In article <1992Nov13.165435.8933@col.hp.com>, mikem@col.hp.com (Mike
McTigue) writes:
> 
> 
> Correct me of I'm wrong but a Les Paul has a shorter scale length
> than a Strat. This should mean that the tension in all the strings
> is less to achieve the same pitch. A Strat is something like
> 25 1/4" and a Les Paul is 24 3/4" (anyone know exact numbers?).

    Sounds about right to me, too!

> Again the tradeoff is sound. The longer scale lengths a usually
> considered to give a warmer fuller sound at the expense of higher
> string tension and longer reach for difficult chords.
> 
I always thought that it was the _shorter_ scale lengths that imparted more
emphasis in the upper mid-range, thus a warmer, fuller sound.  Strats
always seemed to me to have a brighter, almost more "nasal"or thinner 
sound.  Perhaps this is why it is easier to get a Strat to cut through a
heavy mix...being more biting and cutting to the ear...hmm, just my
thoughts...what does everyone else think?  Later much!  -Brandon
From: balon@cup.hp.com (Tom Balon)
Newsgroups: alt.guitar
Subject: Effect Ordering and Effect Loops
Date: 16 Nov 92 23:21:42 GMT
Organization: Hewlett-Packard, Cupertino, CA


	I would like to query some of you who use effect loops and
	effects in general. (ie. most of us) Some people like their 
	effects in a definite order, others could care less. 

	Person A's effect chain might be:

	   guitar -> distortion -> outboard reverb -> guitar amp input 

	Person B's same effects might be ordered:

					 |----effect loop---|
	   guitar -> guitar amp input -> reverb -> distortion 

			     - OR -
					 |----effect loop---|
	   guitar -> guitar amp input -> distortion -> reverb 

	Do you folks find a significant difference in your sound as a
	result of the ordering of the effects you use ? Do you find
	the effects sound different in and out of the effects loop (if
	you have one) ? Just curious.

	Regards,
	 Tom
From: mab@icarus.lis.pitt.edu (Mike A. Banfield)
Newsgroups: alt.guitar
Subject: Looking for a Charvel telecaster copy
Date: 16 Nov 92 15:38:16 GMT
Reply-To: mab@icarus.lis.pitt.edu
Organization: University of Pittsburgh

a few years ago i played a couple of charvel telecaster copies in a guitar store.  does anyone know the name of that model? 

does anyone know an address or phone number of charvel?

thanks
mike b
mab@icarus.lis.pitt.edu
From: cudex@csv.warwick.ac.uk (Mr K R Smith)
Newsgroups: alt.guitar
Subject: Re: Using Acoustic Strings on an electric?
Date: 20 Nov 1992 12:02:40 -0000
Organization: Computing Services, University of Warwick, UK
NNTP-Posting-Host: violet.csv.warwick.ac.uk

In article <basinski-191192141544@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>In article <1efkpnINNgo6@violet.csv.warwick.ac.uk>, cudex@csv.warwick.ac.uk
>(Mr K R Smith) wrote:
>> The answer is "suck it and see" for a given make and style of string.
>
> I recall putting acoustic-type bronze (or something) from GHS on my
>late arch-top Epiphone, and they were nearly useless in terms of what
>the pickup picked up (and it had a perfectly serviceable humbucker
>mounted on the neck).
>----------------------------------------------------------------------------
>Mark Basinski      Internet: basinski@biosci.arizona.edu

I can't see why you had a problem Mark - but the simple answer is to just
fit an acoustic
bass E string from an old set to get a direct comparison. Obviously make
sure it's not a wound nylon one! (The core material
can't really be "more" magnetic on an "electric" string as it's mechanical
properties fix it as being "piano" wire, give or take a small amount of
variation in the steel alloy between makes. Nickel has weak ferromagnetic
properties - so nickel in the winding material could have some effect, but
copper and its alloys are diamagnetic. This means that although they
"reject" magnetic lines of force, the effect is extremely weak compared to
ferromagnetic materials).
Best of luck.
Kev
From: css1rs@valar.ee.surrey.ac.uk (Russell Smithers)
Newsgroups: alt.guitar
Subject: Triads (sorry)
Date: 17 Nov 92 19:17:14 GMT
Organization: University of Surrey, Guildford, Surrey, UK. GU2 5XH
X-Newsreader: Tin 1.1 PL4

Looks like I owe you all an apology, looks as if our new time out is only a
few days. I did ask though if people would mail me there replys, no one did.

Could some kind souls MAIL ME the info on what triads are, when I posted on
friday I could not get to read the replys until today, and hence by then all
the articles had timed out.

Please please, I know this question is always getting asked (FAQ yes please).
From: hanford@gauss.rutgers.edu (Bonzo)
Newsgroups: alt.guitar
Subject: sympathetic vibration
Summary: help!!!
Keywords: help
Date: 19 Nov 92 06:26:31 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

when I pick the high-E, B, or G strings my low E and A strings vibrate, thus 
creating a really annoying sound.  Can I do anything??????  

				Thanks in advance,
				 Bonzo (Hanford@gauss.rutgers.edu)   8-)
From: Daniel.Parmet@launchpad.unc.edu (Daniel Parmet)
Newsgroups: alt.guitar
Subject: Bridge Pickup Alignment
Date: 22 Nov 92 22:55:13 GMT
Organization: University of North Carolina Extended Bulletin Board Service

I am curious.  On a lot of guitars, why is the bridge pickup on a diagonal
and not strictly vertical like the other(s)?

Thanks,

   Dan

--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
Newsgroups: alt.guitar
From: mrayle@eng.clemson.edu (michael rayle)
Subject: Phil Keaggy's electric guitar instructional video.
Reply-To: mrayle@eng.clemson.edu
Organization: College of Engineering, Clemson Univ.
Distribution: usa
Date: Tue, 17 Nov 1992 19:57:10 GMT

Hello all  -
I have learned that there is an instructional video out that was put 
together by Phil Keaggy for the electric guitar.
I am very impressed with his acoustic guitar work (what he plays
in concert these days) and was curious if anybody out there has
seen this video and has any feedback.

Thanks,
.Mike..



Newsgroups: alt.guitar