HDTenEightyP/NetNews huggingface dataset:
From: M21208@mwvm.mitre.org
Subject: SoCal Guitar Shops?
Organization: The MITRE Corporation, McLean VA 22102
Date: Wed, 23 Dec 1992 10:13:46 GMT

A friend from England is coming to the LA/San Diego area soon and has asked if
I could get the names and addresses of some good guitar shops in the area.
He's looking for a Fender Telecaster (USA model), a Gibson Les Paul Standard,
and a Gibson 335 (the older the better.)  Any suggestions?
 
Thanks---
 
Scott Dunham
 
Xref: sparky rec.music.makers.guitar:1098 alt.guitar:11077
From: bill@verdix.com (William Spencer)
Subject: Re: Replacement speaker for amp
Organization: Verdix Corp
Date: Tue, 22 Dec 1992 22:50:10 GMT

MIZUTANT@fred.wharton.upenn.edu (Taka Mizutani) writes:
>Hi,
>I have a MESA/Boogie Studio .22+ combo amp with a 12" Black Shadow speaker.
>The amp has a real "dark", kind of laid back sound.

I don't know which speaker this really is. The standard is a Mesa Vintage
which has some good bite but without the painful piercing trable quality
of most speakers including more modern Celestions. An E-V 12L type has a
smoother sound without much bite. The Black Shadow version of that reportably
has a bit more edge.

>I got this amp to replace my Marshall JCM800, which was way too loud to
>play with at home (floor vibrates, walls shake). I liked the relatively
>bright, clear sound of the Marshall, and it complemented the sound of my
>modified American Standard Strat nicely. However, when I changed amps, the
>tone I got just became too dark.

I would think a bright sound would be horrible for Strat unless you play rather
clean, but to each his own.

>Also, what type of Celestion 12" should I use? Since my amp is only 22
>watts, can I use the reissue "Greenbacks", which I believe are rated at 25
>watts?

I would suggest at least 50W handling if you want to crank it without regrets.
Also, the Greenback may be even further from the sound you like (or no 
different than what you have now). Look at the
speakers in the JCM800.

You might also consider leaving the speaker in and using a seperate cabinet
since a little combo box will always have wimpy bass.

Bill s
Organization: Stanford Linear Accelerator Center
Date: Wednesday, 30 Dec 1992 08:03:39 PST
From: <WAUGH@SLACVM.SLAC.STANFORD.EDU>
Newsgroups: rec.music.makers.guitar
Subject: Re: Voice box query

In article <1992Dec30.151326.5708@cbnewsh.cb.att.com>, spock@cbnewsh.cb.att.com
(Steve Horvath) says:
>
>Also, if anyone knows some history (of the talk box).  It comes to mind that
>Chet Atkins invented it using a small speaker or something?  Or was it
>Les Paul, I'm not sure if Chet was that technical (in electronics). What
>was the first recording (using the talk box)?   Any comments appreciated. Thx.

I think it was Alvino Ray, a steel player popular in the forties and fifties.
I don't remember the name of the first tune he recorded with it but I do
recall another netter posting some of Alvino's lyrics used with the talk box:
"I'm just a leetle geetar.  Why does everybody pick on me?"

Yr wlcm.

Brian
Newsgroups: rec.music.makers.guitar
From: chris@labtam.labtam.oz.au (Chris Taylor)
Subject: Re: Note frequencies needed
Organization: Labtam Australia Pty. Ltd., Melbourne, Australia
Date: Mon, 21 Dec 1992 03:29:38 GMT
Keywords: Frequencies


In reply for the request for string frequencies and harmonics :

Off the top of my head...

With standard tuning the low A string (5th string) vibrates at exactly 
110Hz.

To work out the others, each note (fret) changes the frequency by
the twelveth root of two 
         ___
i.e  12 / 2   =  2 ^ (1/12) = approx  1.059463094.......
      \/

So A# on 1st fret of 5th string is approx 110*1.059 = 116.54Hz.

Beware of inaccuracies due to rounding errors.
Use "A" at 110Hz, 220Hz, 440Hz as exact referance points to work from.


Also each string vibrates with harmonics 2,3,4,5, etc times the 
fundamental. (i.e For open A - 110Hz,220Hz,330Hz,...)
The amplitude of the harmonics give the characteric sound to an instrument
 - otherwise "A" on a guitar would basically sound the same as "A" on a piano.
(Actually there are other effects like attack,delay and envelope that
 also influence an instruments' characteristic sound.)
From: daveh@Auspex.COM (David Higgen)
Newsgroups: rec.music.makers.guitar
Subject: Re: Need MXR information
Date: 30 Dec 92 22:31:12 GMT
Distribution: usa

In article <1992Dec27.054950.12385@cbnewsd.cb.att.com>, gregory@cbnewsd.cb.att.com (gregory.a.youngdahl) writes:
> Hi all,
> 
> 	I have an MXR Flanger/Doubler model 126 (an AC powered rack mount
> unit), and it appears that the power transformer has developed a problem.
> On the back of the unit there is an address for MXR that is in Rochester,
> New York, but a call to directory assistance in the area had no listing
> for them.
> 
> 	Does anyone know where they are now located, or if they are still
> in business?

I'd be interested in that info too: I have an old MXR Phase 100 which
has died on me; I'd like to get the schematic & try to resurrect it...

Thanks!	




			daveh
From: ah335@cleveland.Freenet.Edu (Richard Banks)
Newsgroups: rec.music.makers.guitar
Subject: Digitech GSP 21 Effects loop problem....solved!
Date: 29 Dec 1992 06:11:16 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: ah335@cleveland.Freenet.Edu (Richard Banks)
NNTP-Posting-Host: slc10.ins.cwru.edu


Last week I posted a message about my GSP 21.

The unit was acting like the effects loop was on when nothing was plug
in the effects loop jacks.  

I called the Digitech technical service line and they told me what to do.
I had to clean out my sockets.  When dust collected in there static
electricity built up and was shorting the socket.
The Digitech guy told me to use non-residual tuner cleaner, to spray this
in the sockets and work the plug around a little bit until they come clean.
I didn't have any tuner cleaner so I just use isopropyl alcohol, which
won't hurt any because its 30 % water anyway.  I wiped around in there
with a cotton swab and everything was fine.  The "Effects Loop: Not Used"
message displayed on the LCD.  

By the way for those with the GSP 21 and RP-1, I asked them if it was
normal to get some distortion when not using the distortion effect, but
with compression turned all the way up, and they said, yes, this is normal.

You are overloading the circuit and the signal clips. So either turn down
your compression or your input level or both.
From: solnorda@dmpe.csiro.au (The Soul Doctor)
Newsgroups: rec.music.makers.guitar
Subject: A specific chord
Date: 22 Dec 1992 19:13:07 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

Hi everyone (says he, assuming this will get through).

Simple question (for anyone who knows the answer).  What's this chord:

x x 0 2 4 x

(ie the notes are D A Eb)

Please reply via email, as I am sending this through one of those "post
to the net via email" services.  For that matter, please at least tell
me that this post has made it to rec.music.makers.guitar, which is where
I'm trying to get it !

thanks in advance,

Chris  (solnorda@dmpe.csiro.au)
Newsgroups: rec.music.makers.guitar
From: morrowjp@rtsg.mot.com (Jerry P Morrow)
Subject: ** BASS/Keyboard/backing vox available for Chicago area band **
Followup-To: morrowjp@adobe.rtsg.mot.com 
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: il
Date: Mon, 21 Dec 1992 18:45:48 GMT

Hi,

subject says it all, for now

send me some email describing your situation

Jerry     morrowjp@adobe.rtsg.mot.com

Newsgroups: rec.music.makers.guitar
From: fdvlba@zia.aoc.nrao.edu (Fort Davis VLBA site)
Subject: Re: strat plus tone pickup select strangeness
Organization: National Radio Astronomy Observatory, Socorro NM
Date: Wed, 30 Dec 92 16:15:59 GMT


On the Strat Plus, the middle knob is tone for the neck pickup... it is active 
only when the neck p/u is selected (i.e. positions 1 and 2).  The third knob 
is the tbx control.  Center position detent is flat, with bass and treble
boost available going from 1 to 10, respectively.  The tbx control is active 
only for the middle and bridge pickups, so the only position where both tones
are active is position 2.  

The Wilkinson roller nut requires frequent maintenance as spooge and gook get
in and corrode the surfaces causing binding.... your g string problem is 
evidence of this (bet it's dive goes sharp, pull goes flat, sure sign of nut
binding).  Clean with WD40 or silicone.  I used carb cleaner (xylene) since
I had let mine get out of hand.  Remove the nut for this, as the wood can
absorb the solvents.

Anyone like their tremsetter?  I hated mine and chunked it first thing.
__
Steve Cowell, tube amp freak
From: larryh@fawlty.lmc.com (Larry Huntley)
Newsgroups: rec.music.makers.guitar
Subject: Re: guitar
Keywords: open g
Date: 30 Dec 92 18:45:52 GMT
Article-I.D.: cabezon.1992Dec30.184552.18638
Organization: Logic Modeling Corporation  Beaverton, OR

In article <Dec.29.13.30.49.1992.19861@presto.ig.com> arb@presto.ig.com (Dan Arbios) writes:
>
>Regarding the question about how to play a g-chord.
>
>Try puting your pinkie on the high e-string ,third fret, and your ring
>finger on the low e-string third fret.  When I started out, I learned
>Zep's "Rain Song," as most guitarists do, and this formation was the
>only one that allows you to play this song correctly asa beginner.
>There are obviously other chord formations, bu th but this was the
>best for a beginner.  In the long run, you benefit more by practicing
>this one over and over, and you can produce a multitude of great
>sounding chords out of this position..jam away...
>

    This is arguably the most useful fingering for an open G major.  Note
    that it requires far less hand motion to go from this to a C major
    than the usual "twisted" Mel Bay chord book fingering.  It also leaves
    the first finger available for interesting/stupid tricks and ornaments.

    4th finger:  1st string, 3rd fret (G)
    3rd finger:  6th string, 3rd fret (G)
    2nd finger:  5th string, 2nd fret (B)

    - Larry Huntley
-- 
         (larryh@lmc.com)         | I'm going to the love-in to sit
     Logic Modeling Corporation   |    and play my bongos in the dirt.
          Beaverton,  OR          |        - "Flower Punk", Frank Zappa
From: HENKLE@VAXA.CIS.UWOSH.EDU (Doug Henkle, Univ of Wis Oshkosh)
Newsgroups: rec.music.makers.guitar
Subject: Harvey Reid Concert Schedule
Date: 28 Dec 1992 00:40:05 -0600
Organization: CS Dept, University of Texas at Austin
NNTP-Posting-Host: cs.utexas.edu

Message crossposted to:
     rec.music.info
     rec.music.folk
     rec.music.makers.guitar
----------------------------

     From Harvey Reid's "#2 - Fall 1992" newsletter received a couple of
weeks ago, here is his known future "Schedule of Appearances".  Harvey is
a Folk Singer/Songwriter and fine instrumentalist on the 6- and 12-string
guitar, dobro, autoharp and banjo.

Thu Dec 31  First Night Keene (Keene NH 603-357-3906) approx 9pm solo
              concert

Fri Jan 8-  The Press Room (Portsmouth NH 603-431-5186) 9pm solo club
Sat Jan 9     concerts

Fri Jan 22  Caltech Folk Music Society (Pasadena CA 818-794-7591) 8pm
              double-bill concert with guitarist Chris Proctor

Sat Jan 23  The Fret House (Covina CA 818-339-7020) 8pm solo concert

Sun Jan 31  Black Bart Playhouse (Murphys CA 209-728-2852) 8pm solo
              concert + autoharp workshop

Thu Feb 4   Brewery Arts Center (Carson City NV 702-883-1976) 7:30pm solo
              concert

Fri Feb 5   The Palms (Davis CA 916-756-9901) 8pm solo concert

Sun Feb 7   Freight & Salvage (Berkeley CA 510-548-7603) 8pm solo concert

Fri Feb 12- Winter Festival of Acoustic Music (Dallas TX) unconfirmed
Sat Feb 13

Sat Feb 27  Colonial Inn (Concord MA 508-369-9200) 8:30pm solo concert

Sat Feb 27  Roaring Brook Nature Center (Canton CT 203-693-0263) 7:30pm
              solo concert

Sat Mar 13  Saturday Night at Marblehead (Marblehead MA 508-462-0052)
              8:30pm solo concert

Sat Mar 20  Unitarian Universalist Church (Portsmouth HN 603-431-7807) 8pm
              5th Annual trio St. Patrick's "Relief" Concert with Cormac
              McCarthy + special guest

Thu Jul 8-  Winnipeg Folk Festival (Winnipeg Manitoba 204-231-0096) to be
Sun Jul 11    announced solo concert + workshops

     To get on his mailing list, or for an album price list, write to:

     Harvey Reid             (603) 431-7807 (phone/fax)
     Woodpecker Records
     P.O. Box 1134
     Portsmouth, NH 03802

     He plans on issuing a new album "Circles" sometime in Spring '93. 
All of his previous albums are listed in the discography I submitted to
the Music Archives, "ftp.uwp.edu (131.210.1.4)", in the file:

     /pub/music/discog/r/reid.harvey


                            Doug Henkle (an appreciative fan)
                            henkle@vaxa.cis.uwosh.edu
Newsgroups: rec.music.makers.guitar
From: billq@ms.uky.edu (Billy Quinn)
Subject: Re: ==> +30db GAIN Circuit for Your Guitar: $25 <==
    <BzM7Gq.FEG@dcs.glasgow.ac.uk>
Date: Wed, 23 Dec 1992 09:28:52 GMT
Organization: University Of Kentucky, Dept. of Math Sciences

dam@dcs.glasgow.ac.uk (David Morning) writes:


>Gawd! Posted individually too, rather than using the cross-post option.

>barothwe@floyd.cca.cr.rockwell.com writes:


>>I wanted to make anyone who is interested aware...

>>	A local service tech has come up with a really slick circuit
>>that will add 30 db of gain to your signal!

>>		o  +30db of PURE GAIN
>>		o  DOES NOT change your tone

>30dB gain, a 9volt battery, no change in tone? Hmmmmm....
>Lemme see, some pick -ups give out over 0.5 volts. 30dB gain is 
>around 30ish. So the output from this is....15 volts..from a 9volt battery?

>No change in tone? 
>Nah, don't think so, this sounds like advertising hype.

gain (A) = Vout/Vin
gain dB  = 20*LOG(A) 

I have a circuit that has a gain of 4500 (73.06 dB) that is powered by
a 9 volt battery.


-- 
*-----------------------------------------------------------------------*
*	Bill Quinn			billq@ms.uky.edu		*
*-----------------------------------------------------------------------*
Xref: sparky rec.music.makers.guitar:1053 alt.guitar:11026
Organization: Penn State University
Date: Tue, 22 Dec 1992 20:37:21 EST
From: <SRJ102@psuvm.psu.edu>
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Yet another Strat question

    Hi all,
             In an '84 Squire Japanese strat, what kind of wood would the body
          be made of?

                Would it be worth replacing the body with an alder body from
            Warmoth, or replacing the bridge with a vintage Fender bridge?  Or
         is that just redundant?
           Were the workmanship/materials better in '84 than now?
         (would it be a better idea to get a Wayne's World strat?)  :)

       Thanks once again in advance,

                                    Scott
Xref: sparky rec.music.makers.guitar:1033 pa.forsale:1233
From: hsu22@wharton.upenn.edu
Newsgroups: rec.music.makers.guitar,pa.forsale,upenn.forsale
Subject: MARSHALL AND CARVIN COMBOS FOR SALE! LIKE NEW!
Date: 21 Dec 92 21:29:03 GMT
Followup-To: rec.music.makers.guitar
Organization: University of Pennsylvania

Two great amps for sale.  
Marshall 4502.  Hi Gain Dual Reverb, 2 x 12 Celestions.  You can look in any
recent mag and see this one advertised.  Unreal distortion, terrific crunch,
pleasant clean sounds, individual reverb for each channel.  Direct and 
recording compensated outputs, effects loop, etc.  6months old, exc.cond.
Nothing wrong with this amp--I just want to move to a head and closed-back
cabinet of the same.

Carvin SX100.  Here's an exerpt directly from the catalog:
Warm crystal clear response from 100w FET amp
1 12 inch"British Series" speaker
Ultra smooth Lead Ch--from Tube Simulator 
Active 3 band tone controls per channel
Studio quality built in reverb system, efx loop....
Foot switch controls channel, reverb and efx loop

"The reason I find the Carvin SX so attractive is because you can get clean 
sounds - clean enough to serve as a recording amp in the studio - as well as
some of the sweetest distortion sounds I've ever heard from a solid state amp. 
It's no small feat to please me in that respect; remember I've spent alot 
of my adult life designing fuzzes to get the sound I want, since conventioal
fuzzes sound too rough for my tastes.  Carvin's distortion circuit though is 
exceptional.  A lot of folks claim to give a tube sound; frankly, the Carvin
sounds better than a lot of the tube circuits I've used - it's almost like
the SX produces an idealized tube sound rather than a real tube sound."
--Craig Anderton, writing for Music and Sound Output [he also writes for 
guitar player, I believe

This amp has BALLS.  Bass like crazy.  This belongs to a friend of mine, who
bought it a couple months ago but decided he couldn't afford it.  Swift, huh?

Anyway, we're asking $650 for the Marshall (new at Sam Ash $800) and $325 for
the Carvin, includes footswitch (new about $400).
Both are like new, terrific sounds.  We
will negotiate somewhat, so make an offer if you're interested.  
reply to 
Calvin Hsu
hsu22@wilma.wharton.upenn.edu
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers.guitar
Subject: Re: SoCal Guitar Shops?
Date: 23 Dec 1992 17:52:39 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <168C6498A.M21208@mwvm.mitre.org> M21208@mwvm.mitre.org writes:
>A friend from England is coming to the LA/San Diego area soon and has asked if
>I could get the names and addresses of some good guitar shops in the area.
>He's looking for a Fender Telecaster (USA model), a Gibson Les Paul Standard,
>and a Gibson 335 (the older the better.)  Any suggestions?
> 
>Thanks---
> 
>Scott Dunham

This will take your friend some research.
What I'd do is tell him to go to the big shops (like, blech, Guitar Center,
both here in SD and in LA), and price shop.  That will give him a high-end
reality check on USA pricing.  Then he should work his way down through
progressively smaller shops (you can usually judge by the size of their
Yellow Pages ad), makeing some calls and seeing who's got what and is
willing to haggle.

OK, so that is very non-specific, and he probably could have figured that
out.

Here in SD, I still mourn the loss of Jim's House of Guitars.  I knew Jim
well and did business with him for over ten years.  Obviously not enough
business, though.  He is and incredible music resource, and is very easy
to deal with.  Now Texans have got him.

I would tell him to go to Moze (near SDSU), and Blue Guitar (in Pacific
Beach), but to watch out for Guitar Trader and Guitar Center.  Sure, he
should look there, but just watch out.  Moze has the most impressive
attitude I've seen outside of Jim's.  I'm sure other have different
opinions of all these places.

In LA, I know there are about 10 guitar stores within walking distance
of Guitar Center, so he could do some serious comparison shopping in
a single afternoon, taking deals back and forth between shops that appear
ready to make a deal.  I've never bought anything at an LA git store, so
I can't recommend any particular place.

Good luck to him; I hope he gets that dream axe!
Now, how to get it back on the plane?

Michael Breen
singing and philosophizing
(and flying to Colorado, sans axe. today!)
Newsgroups: rec.music.makers.guitar,alt.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: misunderstanding about Bassman
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Date: 27 Dec 92 18:53:26

   Date: Wed, 23 Dec 1992 16:39:30 GMT
   From: META000 <META@UNB.CA>
   Organization: The University of New Brunswick

[...]
   Don, Dave, RG, help me out here.

Mark, you're working way too hard at this.  :-)

   What it means kids is that the "slaved" second channel, while having
   the same gain as the first, is seeing a somewhat lower level signal
   than the first channel, 

Only 1dB less; completely ignorable in the grand scheme of things.
			   
			   so whileit won't result in nearly as much
   distortion in its OWN pre-amp stage, when the net effects of Channel
   A and the slaved Channel B are added together at the mixer stage,
   the total will be sufficient to more easily overdrive the mixer,
   albeit without as much high end as Channel A alone.  

You basically get up to 5dB more gain when you slave the two channels, all
else being equal.  (6dB from the two channels adding with a 1dB loss as
mentioned above.)
							
							I suppose
   thatif you want a smoother sound, you simply turn down the brighter of
   the two channels and turn up the muter one.  If you want an even
   mellower overdive sound than that (Moody Blues or Cream-era Clapton
   anyone?), you can defeat the bright capacitor on the bright channel.
   Fortunately, the Bassman creates most of its distortion (at least
   the non-speaker, non-transformer type) BEFORE the tone controls,
   rather than after them, so cutting out the harsh high end can be
   easily done.

Note that this discussion only applies to the tweed Bassmen and similiar
amps (ie., certain Marshalls).  By the by, Fender guitar amps with tremelo
("vibrato") and reverb typically combine their two channels OUT OF PHASE so
not only will this experiment not work, but you can do all sorts of neat
stuff with the signals cancelling, especially if you play with the tone
controls.  The tremelo effect can do some unexpected things in this
situation too.

  -- Don
From: mpaul@unlinfo.unl.edu (marxhausen paul)
Newsgroups: rec.music.makers.guitar
Subject: insurance is cheap...
Date: 4 Jan 1993 03:52:01 GMT
Organization: University of Nebraska--Lincoln	
Distribution: global
NNTP-Posting-Host: unlinfo.unl.edu

Just a word to the wise...check out insuring your guitars with your insurance
agent.  A while back, while helping a friend try to find a serious classical
guitar, I came to realize that my two acoustic guitars would cost me
easily a kilobuck to replace today if they were stolen or busted, money
I don't have.  So I checked with my State Farm agent and got them both
insured for $1200 each, my violin for $1000, and my old solid-body for
$650, and the yearly cost is only $30 for full, _no-deductables_ replacement
coverage.  I never thought about the fact that my homeowners insurance had
a $250 deductable; this new policy pays the whole tab.  Check it out.

A caution, though: I got by cheap because I'm not out there playing every
weekend anymore, just _very_ occasional concerts.  The rate goes up quite
a bit if you're playing professionally; but then, your risk of loss/damage
goes up astronomically too.  


--
paul marxhausen .... ....... ............. ............ ............ .......... 
 .. . .  . . . university of nebraska - lincoln .  . . .. . .  .. . . . . . . .
 .     .    .  .   .     .   .  .    .   .  .   .    .   .  grace .   .    .  . 
   .         .       .      .        .        .      .        .   happens .     
Newsgroups: rec.music.makers.guitar
From: META000 <META@UNB.CA>
Subject: RE: Wanted: source for cheap power tubes
Organization: The University of New Brunswick
Date: Wed, 23 Dec 1992 15:35:38 GMT

In article <1992Dec22.184558.5117@utagraph.uta.edu> goldstn@cse.uta.edu (David Goldstein) writes:
>I'm looking for phone #'s and addresses for companies that might sell
>cheap power tubes.  I have an ampeg amp that a friend blew the power
>tubes a few years ago, and then moved away!
>Thanks!
>
>David
>--
>David Goldstein,Faculty Associate, ARRI,7300 Jack Newell Blv S.,Ft Worth, TX
>76112  817-794-5921, fax 817-794-5952 :)  LOOKING FOR A TENURE-TRACK POSITION
>AI, parallel/distr processing, and software engineering. Distributed,Real-time,
>Knowledge-Based Systems. poet, musician, good all-around guy :)
>.
>.
New Sensor, a company run by Mike Matthews (who had Electro-Harmonix
until they went kaplooey) stocks a wide array of guitar amp tubes
from numerous sources, and also does precision matching for peanuts.
The tubes are comparatively cheap and available, but the catch is
the order can't be less than $50.  You'll find an ad for them in
virtually every issue of Radio Electronics or Popular Electronics
magazine.

Mark Hammer

Newsgroups: rec.music.makers.guitar,alt.guitar