HDTenEightyP/NetNews huggingface dataset:
From: cmurray@esk.compserv.utas.edu.au (Christopher John Murray)
Subject: Re: Fuzzy way get a fuzz sound
Organization: University of Tasmania at Launceston
Date: Tue, 29 Sep 92 11:20:24 GMT

In article <1992Sep23.162633.3696@vax.muskingum.edu>, kimple@vax.muskingum.edu writes:
>Or, maybe...this is a bit abusive, but then again, it says something about
>me, I guess...hold your guitar up by the whammy bar, and support the neck by
>resting it on your other hand - don't grab it. Now, yank that whammy bar! Drop
>it, almost, yank it again. If done properly,you can get a real good helicopter
>sound.
>If someone tells me that someone else is doing this, I'll quit.
 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

     Man, it *Must* be morphic resonance!!   I do that too !!!

     Oh yeah. so does Steve Vai.  It sounds good on my guitar because
     the strings fret out at the 22nd (last) fret due to the low action
     when the bar is right up.

        Sorry to ruin your life.  Ever played slide with your heels?

                                                         Chris(Nash)
Newsgroups: alt.guitar
From: evh5150@camelot.bradley.edu (Andrew Eckhart)
Newsgroups: alt.guitar
Subject: Re: Why tubes? (was Re: Building effects units for gu
Date: 6 Oct 92 01:31:23 GMT
Distribution: na
Organization: Bradley University

In <TILL.92Sep30092630@acid-rain.lucid.com> till@acid-rain.lucid.com (Don Tillman) writes:

>   Date: 30 Sep 92 06:05:03 EDT
>   From: haley@husc9.harvard.edu (Elizabeth Haley)
>   Organization: Harvard University Science Center

>   In article <evh5150.717816112@camelot> evh5150@camelot.bradley.edu (Andrew Eckhart) writes:
>   >In <1992Sep29.061116.15936@husc3.harvard.edu> haley@husc10.harvard.edu (Elizabeth Haley) writes:
>   >
>   >>Quick explaination about the difference:
>   >>Tube amps tend to produce a preponderance of odd harmonics,
>   >>transisters tend to produce a preponderance of even harmonics.

>   >From what I've read, you've got that backwards.
>   Yup, you is right.. I just grabbed a book and checked... Tubes are
>   even, transisiters are odd, which makes some sort of sense, I think.

>What book is this?  What does it say specifically?

>A single common-emmiter bipolar transistor stage actually has more 2nd
>harmonic than 3rd, a push-pull tube output stage is almost entirely odd
>order distortion, and early transistor amps had a lot of even order
>distortion.  (I believe the source of this misconception is an incorrectly
>applied electrical engineering class example having to do with the Fourier
>analysis of the exponential transfer function of an idealized single
>bipolar transistor stage.)

Well here it is... and I quote from the book Guitar Gear, a Guitar Player
book, edited by John Brosh, Quill Publishing, copyright 1985 pages 194, and 207:

"When a transistor is clipped, the harmonic content has a harsher sound
than a tube would have. Transistor distortion has a lot of third-order
harmonics compared to the tube's strong second-order harmonic content."   
BUT..."The pleasing, smoother sound of tube distortion can be simulated with
some success by a properly designed FET circuit."

Similarly...(p. 207) "When the transistor amp clips, it produces more
odd-order harmonics (and in its worst case can sound hollow and dry),
whereas tube distortion produces even order harmonics. Therefore, in many
cases tube distortion sounds warmer."

And yes... I'm an EE.
--
___________________________________________________________________________
Goodbye,   |Stop lookin' out                   Andrew Eckhart              | 
Farewell,& |start lookin' in                   evh5150@camelot.bradley.edu | 
Don't do   |be your own best friend            La Grange Park, IL          |
anything   |stand up and say                   Winter Park, FL             | 
I wouldn't |Hey! This is mine!                 Corpus Christi, TX          | 
do...TWICE |(Van Halen "Mine all Mine")        pick one, that's home       | 
Newsgroups: alt.guitar
From: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Subject: Re: Experienced beginners & endurance problems
Reply-To: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Organization: none
Date: Tue, 29 Sep 1992 07:53:42 GMT

In article <1a6pgsINN1jg@usenet.INS.CWRU.Edu> bt979@cleveland.Freenet.Edu (Jeff Preston) writes:
>
>  This seems as if it may be related to the "experienced beginner" thread...
>I've been playing for 15 years, self-taught. Ironically, it seems the more
>gear I've been able to acquire, the less time I have to use and enjoy it, 
>and lately I'm lucky if I can do a 4-track demo of a tune in under 3 weeks.
>Needless to say, I'm not playing as much as I'd like to. But whether it's
>the infrequent playing, or the fact that I'm getting older (well, not *old*
>-- gee whiz, 29 ain't old, is it?), or both, my playing endurance is going
>down the crapper. At first I thought it was because of the extended chord
>shapes I've been using these last few years, and the fact that I've really
>been putting my left-hand pinky to the test with some of them... I never 
>really learned to do a whole lot with the pinky (a disadvantage to being
>self-taught and basically lazy when I was younger, I'd say). Now, even the
>simpler barre chords can cause me to have hand cramps after just 10 or 15 
>minutes of playing. Btw, I play a very low-actioned Ibanez electric, so 
>string height and gauge are not the problems here.
>  So, what I'm asking (and I apologize in advance if this is the "old-timer's
>question-of-the-week"... I don't read this group as thoroughly as I should,
>perhaps) is this: does anyone know of some specific exercises for the major
>muscles in the hand (specifically, the one which moves the thumb and the one
>which enables the pinky to move towards the thumb and the thumbward side of
>the hand) which build strength and endurance, or is this a question best
>posed to a guitar instructor?  Or a physician?  Or should I just start 
>eating muscle relaxants and Geritol?  ;)
>
>  Thanks much!
>
>  Jeff

Something which strenthens the hand and the pinky is this exercise that
Nathan East had in GP a few years ago.

------------------------[B
-1-4-3-4--2-4-3-4----[A[B---[B
------------------------
------------------------
------------------------
------------------------

Move this up and down the neck on all strings (especially the E and A). 

Mark
Newsgroups: alt.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: Ibanez pickups hum
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<TILL.92Sep28103928@acid-rain.lucid.com>
	<29SEP92.20406382.0052@UNBVM1.CSD.UNB.CA>
Date: 29 Sep 92 17:48:02

   From: META000 <META@UNB.CA>
   Organization: The University of New Brunswick
   Date: Tue, 29 Sep 1992 22:53:41 GMT

   YES, impedance IS a function of all those things, INCLUDING
   variations in resistance per-foot over thelength of the entire coil.
   Indeed, it is precisely the variation in
   resistance-per-unit-of-length which can produce less than optimal
   hum rejection IF you're simply counting turns of wire, and end up
   with two coils that have the same number of turns but different DC
   resistance.

   Personally, I have no idea how many turns I have on my pickups.  I
   just wind 'em until I have no more room left on the bobbin, measure
   the DC resistance, and match the DC resistance of the higher value
   coil to that ofthe lower value coil by taking off some windings.
   When the coils arematched for DC resistance (which, of course, is
   not the same thing as impedance, strictly speaking), the hum
   rejection is just about perfect.  When they're more than a few per
   cent off from each other, the hum is discernible, although not as
   bad as single coil pickups.

   It bears noting that my pickup coils could have identical numbers of
   windings, but unequal DC resistance, and have hum sensitivity as a
   result.

Sorry, this is just not correct.  The induced voltage from a magnetic field
(hum, noise, screaming high Bb, whatever) is determined by (among other
things) the number of turns of the coil but it is *not* determined by the
dc resistance of the coil.  Maxwell's equations have been proven pretty
accurate about this sort of thing for some time now.

The reason your experiment works as well as it does is because the measured
dc resistance tracks the number of turns tracks closely, likely within 10%,
and maybe even right on occasionally.  Since you said the resulting hum
rejection was not perfect, but "just about" perfect, it seems that your
experiment disproves your theory.  

Executive Summary: Matching the number of turns is accurate, matching the
dc resistance is close.  There are, of course, other effects.

  -- Don
Newsgroups: alt.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: Building your own (ONBOARD PREAMP!)
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Date: 6 Oct 92 10:46:09

   From: mikem@col.hp.com (Mike McTigue)
   Date: Mon, 5 Oct 1992 17:02:21 GMT
   Organization: HP Colorado Springs Division

   o High feedback is exactly what I want. I do not want this preamp
     to color the signal AT ALL. I have a tube amp to do that and it
     does that job very well. High feedback means it reproduces the input
     *exactly*. If I want something to color the sound, it goes in my
     effects.    

Aha, I see the problem!  I absolutely agree with you that it's not the
preamp's job to color the sound.  But unfortunately *everything* colors the
sound.  Heck, even doing nothing colors the sound (which is why we're
building preamps in the first place, so we don't lose the signal to the
cable).  The issue is which approach affects the sound in the least
objectionable manner.

The FET circuit I presented is a single mostly linear device.  The few
distortions it does have are considered very musical, and a small amount of
local feedback (12dB or so) is applied to linearize that down to
virtual inaudibility.
				  
The op-amp approach is a set of a dozen non-linear devices on a chip, with
non-musical distortions, and a ton of feedback to correct for that.  The
comprimise feedback topology is such that not all of the distortions can be
corrected for.  The op-amp itself is optimized for high gain instead of low
distortion, but the stability requirements are such that the gain available
for feedback correction is much less at high frequencies.  Not all the
distortion gets corrected, and new distortions are created in the process.
The most glaring examples of this problem are the cheezy specsmanship-
pissing-contest hifi amps of the late seventies (Technics, Pioneer, etc) --
amps with large amounts of feedback, low distortion specs, and lousy sound.

It should be clear why I prefer the FET appoach.

If you want technical references, I can dig them up, though I'd rather
spend the time playing guitar.  Then again, playing's too important for me,
just check out late 70's issues of the Journal of the Audio Engineering
Society and look for articles by Matti Otala, Peter Garde, and Marshall
Leach.

So these are gonna sound different.  I find the op-amp sound irritating,
although others may not mind, and still others may actually prefer it.  The
musician decides which they prefer and makes the most of it.
  
  -- Don
From: heiser@fretz.enet.dec.com (Michael A. Heiser)
Newsgroups: alt.guitar
Subject: Re: the ultimate chorus pedal [t.c. electronic]
Date: 28 Sep 92 18:44:56 GMT
Reply-To: heiser@fretz.enet.dec.com (Michael A. Heiser)
Organization: Digital Equipment Corporation - Phoenix, AZ


Larry Carlton and Eric Johnson also use the TC pedal and the TC 1210
rack unit.
--

    Mike
    
    "in this day & age...music performed by humans...hum?!" 
       - wilde silas tomkyn
Newsgroups: alt.guitar
From: pkor@phoenix (Pasi Korhonen)
Subject: Re: Help with an Old Lap Steel
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Fri, 2 Oct 1992 07:45:37 GMT


Phil Bearce (bearce@hpcc01.corp.hp.com) wrote:
: could comment on this thing.  First of all, it's a Rickenbacher Electro.
: Is that the same as the Rickenbacher we all know and love.  Is there a way
: of dating this bad boy.  I played it and it sounded pretty good.  The strings

	I've seen one thing that fits to the description. Yes it's the same
	old nowadays spelled Rickenbacker. There was one lap steel just
	like you wrote in a local guitar shop. i was told that it was from
	late 40's or something.

	From the Gruhn book, page 319 :

	Model S or postwar model NS (New Style)

	body stamped from sheet metal, height-adjustable horseshoe PU,
	2 knobs, black dots or open holes for fingerboard markers, 
	decal logo, shaded gray finish, some with slightly crinkled finish.
	doubleneck available

	Introduced : 1946
	White dot markers, smooth finish : 1948
	Discontinued : early 1950's

	
	Pasi 

--
 p a s i   k o r h o n e n             p k o r @ p h o e n i x . o u l u . f i


 saaristonkatu 3 A 6      90100 oulu     finland,europe     tel:358-81-377 811

Newsgroups: alt.guitar
From: gistim@uxa.ecn.bgu.edu (Tim Raebig)
Subject: eq's
Organization: Educational Computing Network
Distribution: usa
Date: Tue, 29 Sep 1992 16:18:18 GMT

Can someone suggest a good, relatively inexpensive rackmount eq unit?
I would prefer a MIDI controllable unit that is QUIET.  thanks

Newsgroups: alt.guitar
From: then@lk-hp-9.hut.fi (Tomi  H Engdahl)
Subject: Re: ADDA10.ZIP uploaded (guitar effects units etc.)
Organization: Helsinki University of Technology, Finland
Distribution: inet
Date: 29 Sep 92 14:53:04 GMT

In article <1a7844INN26h@news.aero.org> raffi@aero.org (Raffi Krikorian) writes:
>The sounds pretty good.  But would the software work with the
>sound blaster board?

I don't think it would be possible. Sound Blaster is not able to 
record and playback sounds at the same time.  So it is not possible
without external hardware.
Newsgroups: alt.guitar
Subject: Re: Experienced beginners & endurance problems
From: bigbro@netlink.cts.com (Kenneth Sullivan)
Date: Thu, 01 Oct 92 17:44:55 PDT
Organization: NetLink Online Communications, San Diego CA

bt979@cleveland.Freenet.Edu (Jeff Preston) writes:

> 
>   This seems as if it may be related to the "experienced beginner" thread...
> I've been playing for 15 years, self-taught. Ironically, it seems the more
> gear I've been able to acquire, the less time I have to use and enjoy it, 
> and lately I'm lucky if I can do a 4-track demo of a tune in under 3 weeks.
> Needless to say, I'm not playing as much as I'd like to. But whether it's
> the infrequent playing, or the fact that I'm getting older (well, not *old*
> -- gee whiz, 29 ain't old, is it?), or both, my playing endurance is going
> down the crapper. At first I thought it was because of the extended chord
> shapes I've been using these last few years, and the fact that I've really
> been putting my left-hand pinky to the test with some of them... I never 
> really learned to do a whole lot with the pinky (a disadvantage to being
> self-taught and basically lazy when I was younger, I'd say). Now, even the
> simpler barre chords can cause me to have hand cramps after just 10 or 15 
> minutes of playing. Btw, I play a very low-actioned Ibanez electric, so 
> string height and gauge are not the problems here.
>   So, what I'm asking (and I apologize in advance if this is the "old-timer's
> question-of-the-week"... I don't read this group as thoroughly as I should,
> perhaps) is this: does anyone know of some specific exercises for the major
> muscles in the hand (specifically, the one which moves the thumb and the one
> which enables the pinky to move towards the thumb and the thumbward side of
> the hand) which build strength and endurance, or is this a question best
> posed to a guitar instructor?  Or a physician?  Or should I just start 
> eating muscle relaxants and Geritol?  ;)
> 
>   Thanks much!
> 
>   Jeff
> 
> -- 
> | Jeff Preston - owner and moderator of | "We don't  get  many requests |
> | the  Allan Holdsworth discussion list |  for recent history."  -- Mr. |
> | *** To subscribe, send e-mail to: *** |  Atoz, from the '69 Star Trek |
> | <atavachron@morekypr.morehead-st.edu> |  episode _All Our Yesterdays_ |

I saw a hand strenghter thing in a mountain climbing store...it seemed to 
be good at strenghting the fingers...its called flex-grip or something, 
and its red.  Hope this helps

--                    
INTERNET:  bigbro@netlink.cts.com (Kenneth Sullivan)
UUCP:   ...!ryptyde!netlink!bigbro
NetLink Online Communications * Public Access in San Diego, CA (619) 453-1115
Newsgroups: alt.guitar
From: ses3@ellis.uchicago.edu (Steven Schwartz)
Subject: Tabquest:Hawkwind
Summary: Any out there?
Reply-To: ses3@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Thu, 1 Oct 1992 01:45:23 GMT

   I am trying desperately to find tab, chordinfo, etc. for the
English psychedelic/hardrock band Hawkwind, most especially the 
following songs:

	Needlegun
	Quark, Strangeness and Charm
	Urban Guerilla
	Silver Machine
	High Rise

Any help would be greatly appreciated.

-- 
Steven Schwartz  ses3@midway.uchicago.edu B5 f- w+ g- K+ m  r- p!
UCBU President:  No Power, No Authority, Lots of Scutwork.
"Never say never - especially in 'I'll never sleep with x'.  You're bound
to if you do that, unless, of course, you say it with that in mind." - D.P.
Newsgroups: alt.guitar
From: euanor@eua.ericsson.se (Patrik.Norman)
Subject: Help! Tension forces in the strings?
Organization: Ellemtel Telecom Systems Labs, Stockholm, Sweden
Date: Mon, 28 Sep 1992 14:42:45 GMT

Hi,
I'm very intrested about the tension forces in each sting,
or an total average, for a normally tuned steel string guitar.
Besides, I could use information about the difference in force
between different thickness...

Absolute best would be if anyone knew the matematical formula 
for a vibrating string, with the tension force as one parameter.

Thanks a lot,
            Patrik


Newsgroups: alt.guitar
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Subject: Re: Stratocaster a'la Warmoth?
Summary: Warmoth Necks
Organization: AT&T
Distribution: usa
Date: Tue, 29 Sep 1992 15:18:19 GMT

In article <1992Sep29.130416.1@tnclus.tele.nokia.fi>, ohtonen@tnclus.tele.nokia.fi writes:
> I got a catalog of Warmoth guitar products.
> 
> Has any of you or your friends made or played a guitar using Warmoth's stuff?
> I think Warmoth makes quality, but is that just a slogan?
> 
> 
> -Pasi
	One of my Strats has a Warmoth Compound Radius neck with 6125(i think)
	frets. The radius at the first fret is about 9-10 inches. The Radius
	at the 12th fret is about 12 inches. The neck plays very fast. It
	feels about like a new Strat Plus neck feels . The Rosewood slab
	was about twice as thick as any other I have seen.
	The neck is made from Hard Maple. Nothing fancy, but you can order
	birdseye. The neck comes raw, no nut, no finish, just frets. My
	neck had uneven frets from the factory. My luthier said he had 
	never seen one come that way(He could be blowin smoke, you cant
	trust anybody). But after we got that little problem cleared up
	I have been completely satisfied. Oh! I love the Jammin Turtle.

	Steve
	Doin That Blues ThAng!

Newsgroups: alt.guitar
From: mikem@col.hp.com (Mike McTigue)
Subject: Re: Building your own (ONBOARD PREAMP!)
Date: Mon, 5 Oct 1992 17:02:21 GMT
Organization: HP Colorado Springs Division


I'm the one who "designed" the LT1012 opamp circuit for a guitar
preamp. I refuse to get into a disscussion (flame war) on this 
subject. Below I will state the reasons why I believe it is pefectly
fine for THIS application.

o High feedback is exactly what I want. I do not want this preamp
  to color the signal AT ALL. I have a tube amp to do that and it
  does that job very well. High feedback means it reproduces the input
  *exactly*. If I want something to color the sound, it goes in my
  effects.    

o Yes you probably should bypass the 9v battery. Use a 10uf tantalum or
  so.

o Overdrive recovery is not an issue for this preamp. The signal is
  small and will never drive the output of the opamp anywhere near
  the rails.

o What gives transistor amps a bad reputation is that they a) do not
  color the sound the way people have come to like and b) they do
  not saturate the same way as amps people have come to like.

In summary, if you want a preamp that colors your sound then definately
look into various fet preamps. The extent to which they color your sound
will depend on how linear they are and what their transient response
looks like. If however, you are already very happy with your sound but
would like a preamp that simply buffers your signal so it can drive a
capacitive cable without attenuating the high end, use a high feedback
opamp circuit with enough slew rate.

Mike M
From: gjat@waikato.ac.nz
Newsgroups: alt.guitar
Subject: Chorus probs and Fuzzzzzz!
Date: 26 Sep 92 17:08:05 +1200
Organization: University of Waikato, Hamilton, New Zealand

Two Questions :

1) - Why does my Chorus (Its a Ibanez 'rock and play' unit (cheap I know but
I'm a student)) give a high pitch squeal before I get feedback.  And its not
just a single tone, it seems to squel up, and then jump down and squel down
(if you get my drift).  Is there anything I can do about this, do all Choruses
do this or is it just due to the 'rock and play' set up with Distortion and
Chorus built in to the one unit.

2) - Would it be a good idea to make a high impedance preamp for my guitar
and then feed the signal from that into my "custom" effects, or would the 
circuit posted earlier for the distortion effect have enough gain by itself
to drive the "line in" of my amp (also custom made and never yet had the
opportunity to wind the sucker right up!).  What sort of gain is necessary to
get from the guitar to a standard "non-guitar" amp.  I know this set up must
sound pretty crude, but its enough to annoy my parents and I think the
neighbours have moaned about it (and we live on a ten- acre block with the 
neighbours at least a good 200 metres away.) I usually use the "rock and
play's" line out to drive my amp (sometime thru a "sound bender" kit (a ring
modulator (I think)/four quad thingy that provide tremelo or a "robotic"
sound).  
	I'm currently working on a short delay and a "harmonizer"/freq doubler
to try and get that second guitar effect, but that would mean possibly having
a second distortion unit (like the one described by DAM) to try and get a less 
confused sound and some control of the volume of the "second" guitar sound
compared to the non delayed signal.  So the pre-amp might need to be used
to get a strong enough signal to be processed without picking up noise from
everything else.
	Anyway enough rave-ing, you get the idea.  Any suggestions on either
point would be a great help.  Oh, and please realise I can't email out of
this site, but I can "talk" but that depends on the site I'm talking to.

Thanks! And may all your riffs be full of feeling and awesome!

______________________________________________________________________________

GJAT@waikato.ac.nz  | You may mail me, but | Quote of day : "They couldn't 
Geoff.              | I can't mail back!!! |  hit an elephant at this dist..."
______________________________________________________________________________