HDTenEightyP/NetNews huggingface dataset:
From: kjs@gvgspd.GVG.TEK.COM (Kevin J. Shuholm)
Newsgroups: rec.music.makers
Subject: Re: Hotel California solo: who's playing?
Date: 25 Aug 92 21:00:14 GMT
Organization: Grass Valley Group, Grass Valley  CA

In article <9c_n54-.jimlynch@netcom.com> jimlynch@netcom.com (Jim Lynch) writes:
>In article <1987@gvgspd.GVG.TEK.COM> kjs@gvgspd.GVG.TEK.COM (Kevin J. Shuholm) writes:
>>In article <tomc.713014985@rlxdev> tomc@modcomp.uucp (Tom Cianflone) writes:
>>>on the solo at the end of the Eagles' Hotel California? I
>>>always thought it must be two guitarists trading licks, and I
>>>definitely recognize some of Joe Walsh's tounge in cheek guitar licks
>
>I'm not positive about this, but I think Jay Graydon did dome of the solo
>work.

I haven't heard of this guitarist before (apologies if my ignorance is
showing :-) ).   Could you tell us a little bit more about who this
person is/was?  Thanks.



Kevin
Newsgroups: rec.music.makers
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: Re: REC.MUSIC.DEMO
Organization: NCAR, Boulder CO
Date: Tue, 25 Aug 1992 18:21:59 GMT

> = ireland@iccgcc.decnet.ab.com writes:
>
>Yeah, sounds like a good idea to me. REC.MUSIC.DEMO - I like that. It's
>be nice to be able to exchange promotional ideas, too.
>

Good idea.  Demo tapes don't exist in a vacuum, they're just one part of
promotion in general.  How about rec.music.promo ?
-Brian
Newsgroups: rec.music.makers
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: Re: SynthAxe Drumitar?
Organization: NCAR, Boulder CO
Date: Mon, 31 Aug 1992 16:33:58 GMT

> = jason@hpfcbig.SDE.HP.COM (Jason Goldman) says:
>The "Drumitar" is a SyntheAxe guitar-like synthesizer controller.  I don't
>know offhand which synthesizer he's using (which is where the drum sounds
>are).  It is amazing that he can use the SynthAxe to trigger drums and still
>make it sound like a drum kit, I would have expected his phrasing to change
>(not suffer, but change from a standard kit sound).

Being a drummer & having heard this only on disc (not live), 
I noticed two things:
o it sounded very much like an acoustic kit (phrasing & tone)
o the "drum" parts are just plain good, whatever the instrument

But having said that, I still have to wonder, what's the point of 
inventing a new synthesizer and developing a new technique with the 
goal of sounding just like some acoustic instrument?
If you want to sound just like you're playing an acoustic X,
why don't you just play an acoustic X?  Especially if you're playing
something resembling jazz, which generally utilizes the nuances of the 
acoustic instrument, nuances that are so subtle & varied that they
couldn't possibly show up in digial samples.  Is this just an image thing?

-Brian
Newsgroups: rec.music.makers
From: merk@unislc.uucp (John Merk)
Subject: RE: Show tips & tricks
Organization: Unisys Corporation SLC
Date: Thu, 3 Sep 1992 19:53:34 GMT

> In article <1992Sep3.012739.13969@news.weeg.uiowa.edu> smills@news.weeg.uiowa.edu (MuffinHead) writes:
> >dcampbel@timshel.austin.ibm.com (David L. Campbell) writes:
> >
> [other good advice left out for brevity]
> >>   9.  Be friendly with club owners even if they are slime.
> >
> >   Wrong. If they're complete assholes that try to stiff you, treat them
> >the way they've treated you. You don't need to play there again.
> >
> >Muff
> 
> [ Michael Breen comments: ]
> Sadly, there aren't enough good venues, even in a large town like San Diego,
> the we pro players can get away with this.  I had a group that wanted to play
> 'the best rooms in town'.  We actually got into two out of three of the top
> places for 'local' acts to play.  And it took some 'brown-nosing' to do it.
> It was worth it in the long run, as we didn't really pay-to-play, or anything
> as insulting as that.  We did get ripped off a couple times, and, man can
> promoters be losers.  We did have to smile at some slime.
> 

You never know who the bonehead's relatives may be.  Local club owners
tend to stick together, also.  It's best to keep a "professional" attitude
even if you're dealing with slime, IMHO.

John

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
John C. Merk                                 E-mail: merk@unislc.slc.unisys.com
Unisys Corporation                          
322 N. 2200 W.                                             Voice: (801)594-6756
Salt Lake City, UT 84121                                     FAX: (801)594-6708
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Newsgroups: rec.music.makers
From: leylandr@woods.ulowell.edu
Subject: *** Finding Travelling Musicians ***
Organization: University of Lowell
Date: Sun, 23 Aug 1992 23:49:11 GMT

Can anyone offer suggestions regarding publications, organizations, etc. that
would be useful in contacting travelling musicians in need of players?

I'm in New England, but am intersted in work in all parts of the U.S. and
Canada.

Thanks for any help you can lend,

Bob Leyland
Newsgroups: rec.music.makers,rec.music.synth,rec.audio.pro
From: mvcjp@cbnewsf.cb.att.com (charles.j.pouliot)
Subject: Going Out of the Business Sale!
Followup-To: poster
Organization: AT&T
Distribution: usa
Date: Thu, 27 Aug 1992 14:51:27 GMT


	          Musical Instruments And Equipment For Sale

		    ** "Retiring From The Business" Sale **

Company     Description                                           Asking Price
------------------------------------------------------------------------------
Oberheim    OB-8 (Factory Midi-equipped) Synthesizer                  $500
            Ultra Mint condition, Original Box and Manuals
            Used on Van Halen's "Jump" and Rush's "Subdivisions"

Gibson      1968 (I'm told) Tobacco Sunburst Les Paul Custom          $750
            Kahler Tremelo, DiMarzio X2N, Grover Imperial tuners
            Serial Number 102511  Very Good condition for its age
            Beautiful Guitar (how many tobacco customs are there?)
            Plays like a dream - sounds killer (but I use a Strat now)

Yamaha      BB300 Bass - Red Finish rosewood fingerboard              $150
            long scale - "precision-type" Pickup - gig bag - bought
            for recording and don't use anymore - plays very well

Marshall    JCM 900 - 1960 Stereo 4x12 Cabinet w/cover - Mint         $450
            New "unplug-able" wheels

Peavey      (2) 1510HT 3-way Sound reinforcement cabinets - Mint      $600 pr
            Sound incredible, compact, loud, clean (no pole mounts)

Peavey      CDS-2 Stereo Compressor - Simple and effective            $100

Peavey      4x12 Speaker Cabinet Wired Stereo like the Marshall 1960  $150
            w/wheels - Mint - Heil Speakers

Furman      Tx4 Tunable Active Crossover 3-way Stereo 5-way mono      $125
            Lots of features w/manual

Tapco       4400 Rack mount Stereo Spring Reverb w/ EQ for each chan  $100 
            Old, but mint and sounds good for surround sound delay

Crown       (2) DC300A Stereo Power Amplifiers - rated at 155w rms    $300 ea
            Very good condition (Series II vintage) buy both and 
            I'll throw in a rack.

JBL         (4) Bullet tweeters - great condition - lots of "spit"    $100 set
            Not in a cabinet

Sabine      RT-1600 Rack mount guitar tuner - mint - just don't use   $100
From: chrisp@centralsparc.Berkeley.EDU (Chris Puscasiu)
Newsgroups: rec.music.makers
Subject: FOR SALE: TASCAM 238 $950
Date: 3 Sep 1992 21:21:24 GMT
Organization: University of California at Berkeley
NNTP-Posting-Host: centralsparc.berkeley.edu

TASCAM 238 8-track tape recorder $950

Fine condition, about 3 1/2 years old

E-mail or call (510) 486-8666

  
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: *** Finding Travelling Musicians ***
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Mon, 31 Aug 1992 19:24:59 GMT

>Can anyone offer suggestions regarding publications, organizations, etc.
that
>would be useful in contacting travelling musicians in need of players?

Check out MUSO-BBS (818) 884-6799.  They have a Musicians Wanted 
section and Musicians Available section, along with a Talent Registry.
Its based in Los Angeles, so you tend to get quite a large number of
pro-players.

Myles
From: faulkner@acsu.buffalo.edu (Shane P. Faulkner)
Newsgroups: rec.music.makers
Subject: MOOG Taurus variable settings
Date: 3 Sep 92 22:45:45 GMT
Organization: UB

Just in case there are any other owners of these relics of the '70s, here are
a couple useful settings for the user variable preset ...

1. Taurus sound: lets you use the awesome Taurus sound in a wider range of
   octaves.
   B-mix-A: 5
   Osc B Freq: 2.8*
   Attack: 0
   Sustain level: 8.4
   Decay: 3.5
   Cut-off: 4
   Emphasis: 0
   Contour Amount: 5.4
   Contour Attack: 4
   Contour Decay: 10
* The Osc B freq lever will have to be tweaked _just_right_ to achieve the
  proper phase difference for the Taurus sound.  It will also depend on what
  you have the beat knob set to.  I have mine at exactly 9 o'clock.

2. Here is a sound found on a lot of early Rush songs including Xanadu, 
   Cygnus X-1, and La Villa Strangiato.
   B-mix-A: 10
   Osc B Freq: 0
   Attack: 1.2
   Sustain Level: 10
   Decay: 4
   Cutt-off: 0
   Emphasis: 4.6
   Contour Amount: 10
   Contour Attack: 5.6
   Contour Decay: .6

I hope someone found this usefull.  I'd love to get replies from other Taurus
owners.  If anyone has a copy of an owners manual (if one existed), I'd 
really appreciate hearing from you.

//////////////////  Rush - Marillion - Kim Mitchell  ////////////////////
/ Shane P. Faulkner         |  Boys and Girls together                  /
/ University At Buffalo     |  Mistake conceit for pride                /
/ V127L2QZ@UBVMS.BITNET     |  Ambition for illusion                    /
/ faulkner@acsu.buffalo.edu |  Dreams for self-delusion   - Neil Peart  /
/////////////////////////////////////////////////////////////////////////
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: Re: RE: `The Annotated "American Pie"'
Date: 26 Aug 1992 18:35:50 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <122130081@hpfcso.FC.HP.COM> mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>In rec.music.makers, bw@hpcvxgmr.cv.hp.com (Bill Wilhelmi) writes:
>
>> It makes me wonder if McLean wrote the song without fully realizing what
>> he was writing.
>
>Then there is the legendary story of Kurt Vonnegut taking a class incognito and
>being assigned to write a paper on one of his previously published stories -
>and not getting a very good grade - the teacher's comment was supposedly
>something like "you missed the point entirely".

I hadn't heard that story, but in "Back to School" Rodney Dangerfield
(rich guy goes to college) hires Vonnegut to ghost-write his book report...
about a Vonnegut book.  The teacher gave about the same response, something
like "you obviously don't understand Vonnegut at all..."

Michael Breen
singing and philosophizing
(and a Vonnegut fan too)
Newsgroups: rec.music.makers
From: stahl@iex.UUCP (Kevin Stahl)
Subject: Carvin XT100 Tube Amp Recommendations Needed
Organization: IEX Corporation
Date: Tue, 1 Sep 1992 22:53:51 GMT


I have been considering and upgrade from my Fender M-80 Solid State amp to a 
tube amp but I'm recently married and short on disposable income. ;-)  Most
amps I've looked at have been in the $800-$1400 range and that's just too
much moolah.  Yesterday I received a flyer from Carvin and inside they had
an amp called the XT100.  It comes in 50W 1x12 combo, 100W 1x12 combo and 
100W 2x12 combo versions.  Some of the features which look attractive to me
are:

1) Built-in 5 band EQ on either(both?) channels.
2) A switch to set the RMS output to 100%-50%-25% so one can drive the amp
   at high levels but lower volume.
3) Effects loops with variable impedence to match your effects units.

What really looks attractive is the price, $439 for the 50W model (which is
what I am looking at, I primarily use my amp now for practice and impromptu
jam sessions - the M-80's 95W is overkill) is closer to what I can afford.
The downside is that I don't live in LA and can't test drive one here in
Dallas (to my knowledge, anyway) so I am a little leery about order one of
these beasts.

ANYWAY... I am looking for comments/recommendations regarding:

1) Carvin amps (and the XT100 specifically)
   How does it sound?
   What are the pros and cons of the amp?

2) Some other tube amps with comparable features and prices.
   (Don't bother recommending Mark IV's, Riveras or JCM900's... I can't swing 
    that much money).

Thanks in advance.
From: hagstrop@oberon.mathcs.carleton.edu (Paul Hagstrom)
Newsgroups: rec.music.makers
Subject: "Pressing" CDs..
Date: 1 Sep 92 16:25:17 GMT
NNTP-Posting-Host: bbn.com

I've got a suspicion that CDs aren't too terribly expensive to "press" (or  
whatever the terminology would be for such technology), and I was curious to  
see what information I could squeeze out of people on this group.. Are they?  I  
know some pretty small-time groups who have been able to put out CDs..

Is it more expensive to do a full-length CD as opposed to an EP-length CD?   
Much? 

--
schmotsignature.
Paul Hagstrom
(hagstrop@carleton.edu)
From: mayer@osiris.cso.uiuc.edu (James Mayer)
Newsgroups: rec.music.makers
Subject: Musicians Wanted, DC Metro Area
Summary: Musicians Wanted, DC Metro Area
Keywords: musicians,wanted,dc metro
Date: 1 Sep 92 18:13:59 GMT
Article-I.D.: news.BtwvzD.MxM
Organization: University of Illinois at Urbana

Need a highly competant Bass and Keys player willing to contribute to the
"stew" of Father Bruce's nearly all original kitchen.

       -jim. Mail or (703) 241-2887
From: jimbo@socrates.umd.edu (Jim Bogard)
Newsgroups: rec.music.makers
Subject: Show tips & tricks
Date: 31 Aug 92 17:23:00 GMT
Organization: University of Maryland University College

Well, the band is finally rolling... after a few preliminary jobs, we
have 5 in the month of Sept and expect more.  What I would like to hear from
you are 'gig tips'...  Those little things you have picked up over the 
years that make everything go smoothly and contribute to a better show.
A few of mine:

1.  Looking to the back of the place (I'm told) gives people the impression
    you are looking directly at them. (think that one came from here, actually)
2.  Changing lyrics, especially to reflect something about wherever it is
    you are.. We were playing a fraternity, and doing 'Tush' by ZZ Top.. The
    singer changed 'take me downtown' to 'take me down to Sigma Nu, I'm just
    looking for some tush' and they went bananas.  I've heard this from 
    others, as well. (Hi, Leon!)
3.  Always have a squeeze bottle of drinkables close by.
4.  Songs that seem to provoke a lot of crowd reaction... for us, 
    doing college stuff, The Ramones or Violent Femmes have the desired
    result.

Let's hear it!

J-.

-- 
----
Jim Bogard  (jimbo@socrates.umd.edu)
                                            "Implement now, tweak later."
Tech at large
Newsgroups: rec.music.makers
From: AS.TLK@forsythe.stanford.edu (Timothy Kaufman)
Subject: Re: Re: acoustic pianos versus digital pianos/keyboards
Organization: Stanford University, California, USA
Distribution: usa
Date: Thu, 27 Aug 1992 15:07:47 GMT

mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
>
>>If you are going to perform for a live audience, I doubt that your $1000 piano
>>will do.  If all you intend to do is sit at home and play for fun, you don't
>>need a performance-grade piano.
>
>But I rarely worry about live audiences in my home.  The person who does not
>plan to play the instrument he buys anywhere but at home can consider all
>three of these points as "If you need to have a good sounding instrument
>outside the home, get a portable digital; if all you care about is playing at
>home, get the best acoustic you feel like paying for".


You've summed up my sentiments exactly, Marc.  If logistics are not a
factor, I'll take the real beast every time.  But I have to settle for
something I can schlep around, not to mention control all the other myriad
keyboard sounds.

The Yamaha Electric Grand was a potentially interesting solution
in its day, although it's still a monster (I think it broke down into two
pieces, each about as heavy as a Rhodes).  Still a different sound from an
acoustic, but real strings!  I suppose it would go out of tune all the
time if it were constantly being moved.  Anybody use one?


>-------------------------------------------------------------------------------
>Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest

Is that with or without the beard?  I'll say this, nobody ever mistook my
*playing* for Bill Evans.


-Timmer
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Need a power amp recommendation
Date: 2 Sep 92 16:46:06 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Sep1.143232.24991@ucunix.san.uc.edu> schwab@ucunix.san.uc.edu
(Paul Schwab) writes:

>My band is looking for a new power amp to replace our 10 year old
>Kustom.  We need something stereo in the range of 250 - 400 watts per
>side.  I really haven't kept up on this stuff recently, so I 
>would appeciate any recommendations.  

I would recommend the Peavey CS 800,  and do so over the CS 400 due to
the fact that 1. the CS 800 is usually only $100 or so more than the
CS 400 and 2.  More power is almost always better than less.  

The Peavey's DDT can and will save speakers.  I would have save my
tweeters if I had Peaveys on my high end......(I do on the mids and
lows...)

While we are talking about the Peavey DDT,  I have heard people say
that they don't like the way it sounds when it works!

To them   I say get more power and more speakers.  If you are running
into the DDT then you are two small for the job!

>The only thing I've heard is that Carver amps draw an awful 
>high current, and often blow fuses in power strips. Anyone else
>have problems with Carvers? (I've heard them, and thought they
>sounded really clean)

I have no real information on the Carvers.  I an heavily biased
towards amps with straight linear power supplies.....

If you have a problem with a 55 lb CS 800 then don't buy it :-)

-- 
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.
Newsgroups: rec.music.makers
From: mvcjp@cbnewsf.cb.att.com (charles.j.pouliot)
Subject: Repost (I forgot the Phone #) Going out of Business Sale!
Followup-To: poster
Organization: AT&T
Distribution: usa
Date: Thu, 27 Aug 1992 15:49:58 GMT

	          Musical Instruments And Equipment For Sale

Company     Description                                           Asking Price
------------------------------------------------------------------------------
Oberheim    OB-8 (Factory Midi-equipped) Synthesizer                  $500
            Ultra Mint condition, Original Box and Manuals
            Used on Van Halen's "Jump" and Rush's "Subdivisions"

Gibson      1968 (I'm told) Tobacco Sunburst Les Paul Custom          $750
            Kahler Tremelo, DiMarzio X2N, Grover Imperial tuners
            Serial Number 102511  Very Good condition for its age
            Beautiful Guitar (how many tobacco customs are there?)
            Plays like a dream - sounds killer (but I use a Strat now)

Yamaha      BB300 Bass - Red Finish rosewood fingerboard              $150
            long scale - "precision-type" Pickup - gig bag - bought
            for recording and don't use anymore - plays very well

Marshall    JCM 900 - 1960 Stereo 4x12 Cabinet w/cover - Mint         $450
            New "unplug-able" wheels

Peavey      (2) 1510HT 3-way Sound reinforcement cabinets - Mint      $600 pr
            Sound incredible, compact, loud, clean (no pole mounts)

Peavey      CDS-2 Stereo Compressor - Simple and effective            $100

Peavey      4x12 Speaker Cabinet Wired Stereo like the Marshall 1960  $150
            w/wheels - Mint - Heil Speakers

Furman      Tx4 Tunable Active Crossover 3-way Stereo 5-way mono      $125
            Lots of features w/manual

Tapco       4400 Rack mount Stereo Spring Reverb w/ EQ for each chan  $100 
            Old, but mint and sounds good for surround sound delay

Crown       (2) DC300A Stereo Power Amplifiers - rated at 155w rms    $300 ea
            Very good condition (Series II vintage) buy both and 
            I'll throw in a rack.

JBL         (4) Bullet tweeters - great condition - lots of "spit"    $100 set
            Not in a cabinet

Sabine      RT-1600 Rack mount guitar tuner - mint - just don't use   $100


This was reposted because like a moron I forgot to leave a phone number! 
	Some prices are firm (you can probably guess which) and I won't pass
		up a FAIR offer - shipping costs are negotiable.

			Call Charlie at 508-373-7655 leave message 
			  or direct email to mvgpk!mvcjp

From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Tue, 1 Sep 1992 17:17:35 GMT
Subject: Re: Re: acoustic pianos versus digital pianos/keyboards
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.makers

In rec.music.makers, AS.TLK@forsythe.stanford.edu (Timothy Kaufman) writes:

> The Yamaha Electric Grand was a potentially interesting solution
> in its day, although it's still a monster (I think it broke down into two
> pieces, each about as heavy as a Rhodes).  Still a different sound from an
> acoustic, but real strings!  I suppose it would go out of tune all the
> time if it were constantly being moved.  Anybody use one?

Yes, a friend of mine used to use one for gigs before he got his KX-88 and
Kurzweil sound module.  I played on it a few times, and I agree, if you are not
picky about sounding exactly like a real piano, it was a nice instrument.  It
did indeed have to be tuned regularly, although not necessarily "all the time".
Also, his model did not have 88 keys, which I found annoying.

> >Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
> 
> Is that with or without the beard?  I'll say this, nobody ever mistook my
> *playing* for Bill Evans.

With beard.  I have a few Bill licks, but they don't dominate my playing the
way my Monk, Hancock, and Pullen influences do.

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@hpmonk.fc.hp.com
Newsgroups: rec.music.makers
From: lindaj@solbourne.com (Linda Weygant)
Subject: Rehearsal Space?
Organization: Solbourne Computer, Inc., Longmont, CO
Distribution: na
Date: Fri, 4 Sep 1992 14:22:56 GMT

In reply to the person who was asking about rehearsal space in a college town:

Ideal:  Rent a house with a bunch of other musicians and use the garage. 
Some sound-proofing required.  I can give info on that if requested.  

If a house is not possible, one idea I've used in Boulder (University of 
Colorado)  is to rent a storage locker...yes, a U Stor It or other similar place Most of these warehouse type areas are open at all hours and there are **no
neighbors to disturb**  Most of these storage lockers (at least the ones that 
I've rented) do carry electricity, so that's not a problem.  Rent for the 
storage locker is very cheap and when split between three, four, five, or more
band members becomes very affordable.  An added bonus---just lock the door 
behind you---no hauling equipment back and forth between rehearsal space and 
home.
lindaj@Solbourne.com