HDTenEightyP/NetNews huggingface dataset:
From: scs@lokkur.dexter.mi.us (Steve Simmons)
Subject: Re: Singing and playing simultaneously
Keywords: bane, my, existence
Organization: Inland Sea
Date: Sun, 27 Sep 92 21:42:06 GMT

In article <92268.154328LPR100@psuvm.psu.edu> LPR100@psuvm.psu.edu writes:

>In article <1992Sep24.175542.19094@pony.Ingres.COM>, jonb@Ingres.COM (Jon
>Berger) says:

>>I'm always amazed at people who can do this.  I can't even play and talk
>>at the same time; it was years before I could even so much as say "One
>>more time" or something on that level while playing.  I can sing and play
>
>It's my opinion that it's harder to talk and play than sing and play...
>at least sing most music. In general, even if the vocal line is different
>than the bass line, at least there's a common tempo to hold on to.
>It takes some practice to get the rhythm right, and the fingering has to
>be almost automatic for me to keep my voice in tune. I think the key word
>is Practice....play the same part over and over, at half speed if it's
>tough.

Odd . . . I've *always* been able to play and sing at the same time.
Most songs I learn both simultaneously, and this winds up making it
hard to separate them -- I find it more difficult to *just* play or
*just* sing something that I usually do both on.  There's some sort of
cues being passed back and forth there, but darned if I know what they
are.  This doesn't happen with instrumentals or a capella stuff.

For the record, I didn't learn to sing until my late teens.  Learning
guitar and learning to sing came at the same time.

On the other hand, I cannot talk and play at the same time -- even
instrumental pieces.
-- 
 "When Dexter's on the Internet, can Hell be far behind?"
		-- Steve Simmons, scs@lokkur.dexter.mi.us
Xref: sparky rec.music.makers:9936 alt.guitar:8491
From: frankc@faatcrl.UUCP (Frank Coffman)
Newsgroups: rec.music.makers,alt.guitar
Subject: Re: String damping device
Date: 28 Sep 92 13:44:30 GMT
Followup-To: rec.music.makers
Organization: FAA Technical Center, Atlantic City NJ

I've had good luck using a wristband to damp open strings.


-- 
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* Frank Coffman     Computer Resource Management, Inc. (CRM)        *
*                   NAS Sim. Support Facility, FAA Technical Center *
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* UUCP:  ...!rutgers!faatcrl!frankc  Internet:frankc@faatcrl.UUCP   *
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From: balon@cup.hp.com (Tom Balon)
Newsgroups: rec.music.makers
Subject: Re: Guitar Amp Tube Recommendations Wanted
Date: 2 Oct 92 19:43:55 GMT
Article-I.D.: cup.BvIEt8.BKD
Organization: Hewlett-Packard, Cupertino, CA

In article <rfries.104@fries_Robert@ub.ub.com> rfries@fries_Robert@ub.ub.com (Robert Fries) writes:
>In article <122130094@hpfcso.FC.HP.COM> khe@hpfcso.FC.HP.COM (Keith Erskine) writes:
>
>>Any recommendations for guitar amp tubes? I know Mesa Boogie makes 
>>tubes, but I'm wondering about other sources.  Are the Mesa Boogie
>>tubes really as good as the ads claim they are?  I need 6L6's for a 
>>vintage Fender Twin Reverb.  Someone said I shouldn't have to 
>>replace the 12AX7 tubes in the preamp stages, is this true?  
>>I haven't replaced the tubes in this amp 12 years!!!!
>
>>Keith Erskine
>
>
>Russian military SOVTEK tubes are available for reasonable prices.
>Ads claim Clapton uses them in his Soldano amps. I bought a pair for my
>Music Man, they work fine for me. I bought them for about $15 each, 
>I've seen ads for tested and matched ones from someplace in New York for a 
>little more money, but there is some debate about the merits of such
>testing. And these tubes come in a neat little Russian cardboard box,
>with pictures of rocket ships, very fifties looking. Could be collector's 
>items someday.
>
>Groove Tubes(TM) also sells 6L6's. They're tested, matched, and calibrated 
>for gain characteristics. These cost quite a bit more, and I'm sure we could 
>start up a lively discussion on the validity of Aspen Pittman's screening 
>processes.
>
>I've heard from many sources to avoid Chinese-made 6L6's, on the grounds
>of poor quality and reliability.
>
>-Robert


	Most of the 6L6 made today come from China. 6L6's sold by Mesa,
	Groove, Ruby etc. are all Chineese. There are however, different
	factories that produce tubes in China. Perhaps you've seen different
	looking 6L6's ( straight bottle, Coke Bottle etc. ). If there were
	a better source for 6L6's these companies would be using it. Companies
	like Groove are supposed to weed out any bad ones before you shell
	out the money for them.

	Part of the reason the 5881 is getting so much press is its rugged
	construction quality and smooth sound. It's a great choice for 6l6
	users. You can also look for what's called *new* old stock. These
	are US and British made tubes with companies labels Sylvania, RCA
	and GE, they usually cost much more. 

	>>> AD MODE ON <<<
	Those of you interested in 5881's, I sell the Sovtek 5881 tube 
	marketed by Ruby Tubes. I run TAS (Tube Amp Service) in Santa
	Clara Ca. I carry the complete line of tubes from RUBY. I also
	do repair and mods for tube amps.
	>>> AD MODE OFF <<<

	Regards,
	 Tom
From: iiitih@cybaswan.UUCP (Ivan Izikowitz)
Newsgroups: rec.music.makers
Subject: AKG Miniature Microphone Questions?
Keywords: Phantom Power, C408
Date: 1 Oct 92 12:59:23 GMT

Hello Music Makers

I have been interested in getting a few of the AKG miniature microphones
for micing the toms on my drum kit. I have had a look at the catalogue and
found it rather confusing when describing the system itself. The 
book described a Phantom Power unit (I think it was a B9) and some sort
of controller which accepted two mics with a panning facility.

My questions are:

	Is it necessary to have one phantom unit for every microphone?
	Is there a cheaper way of doing the powering?
	Is the other "stereo" component necessary?

And any other useful information which may influence my decision to 
purchase these goodies.

Please reply via e-mail and if there is enough interest I will post a summary.

Thanks for your time.

-----------------------------------------------+------------------------------
Ivan Izikowitz,                                | Phone (+44) 792 295213
Project Manager                                | Fax (+44) 792 295811
Institute for Industrial Information Techology,|             
Innovation Centre, University of Wales, +------+ JANET: iiitih@uk.ac.swan.pyr
Swansea SA2 8PP                         | UUCP: ..!ukc!cybaswan.UUCP!iiit-ih
----------------------------------------+-------------------------------------
            My views are not necessarily those of my employers!
From: sumrn@dssv01.crd.ge.com (Robert N. Sum)
Newsgroups: rec.music.makers
Subject: Re: Singing and playing simultaneously
Date: 28 Sep 92 14:13:46 GMT
Reply-To: sumrn@crd.ge.com
Organization: GE R&D, DICE Program

Originally a saxophonist and flautist, I've been mostly playing guitar and
singing this past year.  As near as I can tell, singing and playing at the same
time is *merely* a matter of practice until you can alternately put the singing
or the playing on automatic for awhile.  When I'm doing well, my concentration
often shifts from one to the other--kind of like checking up on them to make
sure they're doing ok.  My experience is that my singing goes bye-bye when I
have to think too much about the instrument (guitar, flute) and vice versa.

  Bob

==
  sumrn@crd.ge.com

  Robert Sum
  G.E. Corp. R. & D.
  P.O. Box 8, Rm. KW-C277
  Schenectady, NY 12301

  Tel. (518) 387-7696

Please note that the "Standard Disclaimer" applies here.
Newsgroups: rec.music.makers
From: marck@nwu.edu (Jater & Co.)
Subject: Re: Making your voice sounds like it really does
Followup-To: rec.music.makers
Organization: NU ACNS
Date: Wed, 30 Sep 1992 14:18:31 GMT

In article <6279@m1.cs.man.ac.uk>, ross-c@scs.leeds.ac.uk (R Clement)
wrote:
> 
> I just spotted a good (?) method in a book about the voice in general. When
> you talk or sing, cup your hands over your ears so that the backs of your ears
> are pressed flatter and your hands only let sound in at the front. (um, a
> bit hard to describe) This makes an amazing difference to perceived voice
> quality and sounds much more like it does on tape. 

wow, really?  i've been sitting here at work experimenting with this, and i
can't seem to make it work.  i'm not perceiving much of a difference at
all, either way.  maybe i'm doing it wrong.  someone else, please mention
if you get this method to work.
 
> Does anyone know any better/more accurate ways?

it occurs to me after reading up a lot on microphone technology, that we
will *never* have the ability to hear our own voices the way others hear
them plainly with their ears.  R. Clement described previously the problem
when simply speaking/singing -- the mix of internal vibrations and external
sounds.  but even when we sing into any kind of microphone and that signal
is put down on recording tape, that signal, when transferred through the
cables and electronics, is altered to some extent, and then altered again
when it is transferred during playback to our ears.

so, in truth, we can never hear our voice the way others hear it.  and at
this moment, i can't figure out a way that we can.

mlb

*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+* marck@nwu.edu +*+*+*+*+*+*+*+*+*+*+*+*+*+
m l bailey                           || Zorg: "I don't see the connection
flagrant poseur                      ||        between demolition and 
northwestern university              ||        writing."
looking for wide open spaces         || Betty: "I'm not surprised."
high above the kitchen               ||
Xref: sparky rec.music.makers:10006 alt.guitar:8568
From: jmgst26+@pitt.edu (Joseph M Goodwin)
Newsgroups: rec.music.makers,alt.guitar
Subject: SansAmp:  Opinions and comments
Date: 2 Oct 92 20:46:03 GMT
Followup-To: rec.music.makers
Distribution: na
Organization: University of Pittsburgh
Originator: jmgst26@pmax1.cis.pitt.edu

I've read nothing but good things about the SansAmp, and I was wondering
if anyone has anything to say about it?  I'm considering buying one, 
and would like to hear how people like it.

Mike

Newsgroups: rec.music.makers,alt.guitar,alt.guitar.bass
From: rost@rgb.dec.com (My name is Brian Rost)
Subject: Re: Hughes and Kettner Red Box??
Organization: Digital Equipment Corporation
Date:  5 OCT 92 14:49:54    


In article <168779597.ADCBB@VM.CC.LATECH.EDU>, ADCBB@VM.CC.LATECH.EDU (C. Brian Batey) writes...
>I've seen adds in Musician's Friend, etc. for a cabinet emulating direct
>box called a "Red Box".  Opinions??  About 90% of my performing is on bass
>doing church band/orchestra gigs and requires a good bit of direct work.
>Is this thing suitable for bass, and how about acoustic/electric guitar
>rather than electric??
> 

The Red Box is a direct box which connects to the speaker outs of your
amplifier.  So you still need an amp, and if it's a tube amp you still need a
*speaker* as the Red Box does not load your amplifier.

For bass or acoustic guitar, a garden variety direct box is a better idea (and
cheaper).  

					Brian Rost @rgb.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: latta@scam.berkeley.edu (Craig R. Latta)
Newsgroups: rec.music.makers
Subject: Re: MUSENET update
Date: 1 Oct 92 18:33:53
Organization: Experimental Computing Facility (XCF)
Distribution: world
NNTP-Posting-Host: xcf.berkeley.edu
In-reply-to: latta@xcf.berkeley.edu's message of 1 Oct 1992 22:48:55 GMT



	Clarification: when ordering MUSENET CDs, please make checks,
etc. payable to Craig Latta.

	This is very exciting! I was visited not once, not twice, but
*three* times in the last 18 hours by Express Mail carriers... :)
This is going to be a cool compilation.


	Stay tuned,

-C


--
-----------------------------------------------------------------------------
Craig R. Latta           Experimental Computing Facility                (XCF)
Composer, Software and   ParcPlace Systems, Inc.        (latta@parcplace.com)
    Recording Engineer   NetJam, Berkeley                (netjam-request@xcf)
latta@xcf.Berkeley.EDU   Smallmusic OO music project (smallmusic-request@xcf)
(standard  disclaimer)   proof NL parsing project         (proof-request@xcf)
-----------------------------------------------------------------------------
Xref: sparky rec.music.makers:9860 alt.guitar:8389 alt.guitar.bass:1446
From: jsturges@iastate.edu (Jason L Sturges)
Newsgroups: rec.music.makers,alt.guitar,alt.guitar.bass
Subject: Re: Musicians Friend ['los Music Center] Mail order horror stories
Summary: Mail order Horror stories.
Keywords: 'los music center, screwed, mail order horror stories
Date: 27 Sep 92 18:19:43 GMT
Organization: Iowa State University, Ames, IA

> I would also like to commend and recommend Musicians Friend to anyone
> interested in mail order.  Does anyone have horror stories to refute this,
> or can anyone second the recommendation?  I know once is an awful small
> statistical sample.

 Although I haven't dealt  too much with  Musicians Friend, I find  them to  be
friendly but a little overpriced.  I would like to talk about 'los Music Center
and a general comment about mail order places.  

 I wanted to hold a bass at 'los Music Center so  I could  take a  look at  it.
(Sounded like a hideously good  deal when I heard  about it,  basically what  I
wanted except it had a  "custom job"  to it).  I wanted  to see the custom  job
before I bought it.  They made threats so I sent them $100 to temporarily  hold
the bass in the idea that they would send me a picture fast, and I would  reply
fast yes or no,  and if I said no, I  would get the  money back.  That was  the
verbal agreement.  I  send the  hundred dollars  out and  then had to wait  ONE
MONTH before they sent anything at all.  It turned out to be  a bad custom  job
and I wrote them and said I didn't want it and  to send the  money back.   It's
now been over a month, they haven't sent the money, and I'm getting mad.   They
sent me a bill saying "Sorry, no refunds."   But this certainly isn't the terms
of the verbal contract...

 I admit I was a bit nieve and shouldn't  have jumped on  this deal the  way  I
did.  So learn from my  mistakes.  No bass is worth  getting into this kind  of
situation.  Don't act on impulse on what  sounds good, or  without knowing  the
terms  of the company  you're working with.   Try to  stick with  one  company.
No  matter what  be careful of  all verbal contracts,  because they're hard  to
prove, and you can get the bad end of a deal. 

							-- Jason Sturges
Newsgroups: rec.music.makers
From: friedman@col.hp.com (John Friedman)
Subject: Re: Where to get 1/4" Phono Cables Cheaply?
Date: Thu, 1 Oct 1992 20:28:21 GMT
Organization: HP Colorado Springs Division

grego@bit.UUCP (Greg Sanguinetti) writes:
> Radio Shack sells some nice gold plated all
> metal plugs with spring strain reliefs that seem to be of good
> quality and not badly priced.

I've had NUMEROUS of these puppies fail on me, as well as fail on friends
of mine.  I've pretty much switched over to Neutrik's 1/4" phone plugs
(~$2 and WELL WORTH IT!!!) for any cables that get plugged in and out often.
I still seem to use random brand phono plugs and jacks, however.  I don't
find myself plugging and unplugging phone connectors that often though.

John Friedman
friedman@col.hp.com
From: daver@felix.filenet.com (Dave Richards)
Newsgroups: rec.music.makers
Subject: Re: Earplugs? (light meters)
Date: 29 Sep 92 21:37:31 GMT
Reply-To: daver@fritz.filenet.com (Dave Richards)
Distribution: usa
Organization: Costa Mesa, CA

In article <1992Sep23.224217.22778@csi.com> mark@csi.com (Mark Kaplan) writes:
>I found that the biggest problems with this system from a musicians standpoint
>is that it can be very difficult to determine whether or not the band is
>getting too loud.  The lights work just like a VU meter on a cassette deck, in
>that they continually hit the red, at least momentarily, and then bounce back
>down. 

The normal function of a VU meter does not NECESSARILY include excursions into
the red area.  That is user-dependent.  You can get perfectly good recordings
without the needle EVER crossing that threshold.  The red area is a warning
that you are approaching the limits of the equipment to provide good repro-
duction.  (The actual limit depends on whether you're using normal vs high-
bias tape, etc.)  

>  That is why they have the rule that it has to stay in the red for 3
>seconds before the stage power is cut.  The problem is that while you are
>playing a song, it is very difficult to count "one-one thousand", 
>"two-one thousand", "three-one thousand" while watching the lights, to see
>if you are in danger.

Is there any logical reason that one couldn't simply adjust the level so that
the red light never comes on at all?  Would the audience need a hearing-aid
to hear the band in that case?  I'm not a club performer, but I am a hater of
overly-loud music, so my perceptions may be distorted.

Dave

PS: It is true that a VU meter requires some interpretation to read.  There
has been a push lately by the AES (Audio Engineering Society) in the profes-
sional recording arena to change from the VU to the "Peak" meter.  This is
a metering system that indicates the highest level encountered in the last
n seconds instead of the instantaneous level indicated by the VU meter.  DR
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Singing and playing simultaneously
Date: 28 Sep 92 16:42:15 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <2040@gvgspd.GVG.TEK.COM> mrk@gvgspd.GVG.TEK.COM 
(Michael R. Kesti) writes:
>In article <5295@gold.gvg.tek.com>
>chrisc@gold.gvg.tek.com (Chris Christensen) writes:

>>Pull out the practice pad and play patterns while watching T.V., while
>>talking to your SO,  etc.

>While I disagree with watching TV, which is far too passive to be of any
>use in developing this skill, I agree that, as others have said, the key
>here is to practice.  Nothing else will help.

I'm so sorry Michael,  you see I was addressing Drumers........:-)

>I've been singing and playing guitar for so long that I had forgotten that
>it is supposed to be difficult.  Recently, though, I had occasion to learn
>about it again.  I play some keyboards, but mostly guitar, in my band, and
>and we recently set out to learn a song for which I having trouble memorizing
>the lyrics.  There's a small, but I felt important, piano lick in this tune,
>and, because I am not nearly as proficient on keys, I found that I had a
>great deal of difficulty dividing my mental processing time between the piano
>part and remembering those lyrics.  The answer?  I went home and used my
>sequencer and multitrack to provide the other band member's parts, and played
>this song about 50 times in a row.  Now I can do it at will.

You call what you do   _singing_......... :-)

>Practice, practice, practice.

When I was "learning" to play I practiced 1-2 hours a day and 2-4
hours on saturday and sunday........I don't know how my parents or
neighbors put up with it.......

>>I can sing, talk and play at the same time.  It's just like the
>>cordination required to get hands and feet to do different things.

>I know Chris, and, while he is a bit funny looking, there's no external
>evidence of his having dual vocal tracts, as would be required to be able
>to sing and talk simultaneously.  Will you demonstrate this for me when we
>next see each other, Chris?  And maybe let me have a look down your throat?
>I'm sure it would be very interesting.

Sure Mike  I will demonstrate for you. (note to myself:  Never be
loose in the script if software engineers will be reading....) 

This brings up an old memory.  I had this girl friend,  she was French,
born in the south o France.  She could chew gum and make out like a wild
woman.  We would come up for air now and again,  and she would still have
that gum....... Just one of those life experiences that I will never forget!

>Hey, Chris:  8-)

Mike!!!! |-)

-- 
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: kimple@vax.muskingum.edu
Newsgroups: rec.music.makers
Subject: Speaker question
Date: 29 Sep 92 06:47:15 GMT
Article-I.D.: vax.1992Sep29.124716.3739
Organization: Muskingum College

Okay,here's a quick question for ya...

I have a small 2-10 speaker cabinet that I'd like to use for my bass...
maybe even as it's primary speaker cabinet, because I want to get a small
but powerful package instead of this monster I've been lugging around.
Anyways, I was thinking of loading it with a pair of 10" "subwoofers," 
the same speakers that are being used in the car/truck speaker boxes
(y'know, the grey fuzzy ones?). they seem to push a good deal of sound
out in the car/truck, so I thought they might work well with my bass.

Any comments? 

jd
Xref: sparky rec.music.makers:10054 alt.guitar:8617 alt.guitar.bass:1531
From: bottom@hawk1.enet.dec.com
Newsgroups: rec.music.makers,alt.guitar,alt.guitar.bass
Subject: Re: Hughes and Kettner Red Box??
Date: 5 Oct 92 17:24:27 GMT
Article-I.D.: sousa.1873
Reply-To: hedron::daveb
Followup-To: rec.music.makers
Organization: ASO IM operations


I have a red box I use for my performing rig. It's pretty nice. the red box
features XLR (balanced) out and your choice of inputs, a line level input and
a speaker level through (ie: amp --> red box ---> speakers). The sound is 
great, much better than miking with a SM57, and you get no stage rumble or
bleed through from any other instruments. Takes a 9V battery but so far it's
been gentle on the battery use. I loaned it to a keyboard player at a gig
last week and his rig sounded very very good through it. Tony (mumble) who
runs sound for Peter Frampton also uses them when he's working locally (like
with us) and loves them compared to using mikes.

--
/dave

+---------------------------------------------------------------------------+
| ESP, Steinberger, Fender, Kitty Hawk, Rivera, Rocktron, Alesis, Tascam,   |
|          Metaltronix, EMG, Semour Duncan, D'Addario rock on!              |
|	         Midi rack pukes do it with 16 channels 		    |
|               	The Sea refuses no river...                         |
+---------------------------------------------------------------------------+
From: blombardi@x102a.ess.harris.com (lombardi bob 44139)
Newsgroups: rec.music.makers
Subject: Rec.s wanted: PC MIDI SW
Date: 2 Oct 92 20:31:58 GMT
Reply-To: blombardi@x102a.ess.harris.com (lombardi bob 44139)
Distribution: usa
Organization: Harris GASD


This is probably an FAQ, but here goes....

I am interested in programs that run a MIDI interface.  I have the 
Soundblaster MIDI kit, and the Voyetra program that came with it 
plays through my piano quite nicely.  I have also seen Cakewalk.
Neither seems to be exactly what I'm looking for.

I would like to be able to compose music in standard notation on a
piece of staff paper on screen on the computer, and then listen to it
through the piano.  This implies some sort of graphical or windows 
interface.  The idea is to help teach myself piano.  It helps me to 
hear how a piece is supposed to sound as a starting point, and being
able to write music on a staff could be real helpful in understanding
how rhythms sound.

The computer is a 386DX-25 MHz with 2 Meg RAM running either DOS5 or
Windoze 3.1.  The piano responds to the Soundblaster MIDI just fine.
I just want regular notation, not the blocks on screen that are in  
Cakewalk.

Anyone know of such a program?  Email preferred.
 
Bob Lombardi WB4EHS     >>>>>>> Internet: blombardi@x102a.ess.harris.com
M/S 102-4844, Harris Corp GASD, P.O. Box 94000, Melbourne, FL 32902   
'Love is the meaning of life, Life is the meaning of love', 
from 'Love Life' by the Rutles, 1968.
Xref: sparky rec.music.makers:10062 alt.guitar:8642