HDTenEightyP/NetNews huggingface dataset:
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Noise in recording vocals
Date: 15 Apr 92 20:55:54 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <ADA.92Apr13161915@zip.larc.nasa.gov> ada@zip.larc.nasa.gov 
(Anthony Arviola) writes:
>I'm having trouble recording my vocals without a lot of noise.  The reverb
>that I use is really noisy.  So is my digital delay.  My voice is kind
>of dull (dogs howl) by itself and I am forced to overdub it at least once
>to get it sounding all right.  Is there any good, cheap, and quiet effects
>that I can use to mellow out my vocals.  I've got several songs waiting
>for me to find a solution.

I would suggest that (and you didn't say if you had) you heavily
compress your vocal.  When you are doing that patch a graphic, or
parametric in BEFORE the conpressor.  Use the EQ to "stress" the
important part of your voice (this is where the term _vocal.stressing_
comes from and describes this technique).

Feed the reverb with the compressed/stressed signal.  After you have
this printed to tape, double it down to another track through a delay
and the EQ/compressor set-up if you think it needs it.....

The Alesis Verbs are good buys.

-- 
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: mbl@media.mit.edu (Marc LoCascio)
Subject: Fender Princeton Reverb Amp info?
Organization: MIT Media Laboratory
Date: Fri, 17 Apr 1992 06:04:14 GMT

it seems like we may have just gone thru this here not long ago, but what
info can people give me on Fender Princeton Reverb amps?  i'm looking for a
small tube practice/recording amp, and the Princeton seems about the right
size.  my local used music store has three Princetons -- a new-ish one
(silver face, "Princeton Reverb," with "pull to boost" on the volume knob)
for $275, an older silver face ("Princeton Reverb Amp," no boost) for $275,
and an old black face for $350.  is there any circuit difference between 
these models?  are these decent prices?  they all have original Fender 
speakers and are in roughly the same shape.  the blackface actually has a
new-ish complement of Groove Tubes in it, so that should be worth some of the
price difference in itself.

there should be a Fender amp FAQ.  are there any other small-ish tube amps
(20-50 watts, one 10" or 12") that i should consider for practice and 
recording?

thanks!

Marc LoCascio	(mbl@media-lab.media.mit.edu)
Newsgroups: rec.music.makers
From: mxahmad@pbhyg.PacBell.COM (Mehdi Ahmadi)
Subject: Question about music contracting?
Organization: Pacific * Bell
Date: Fri, 10 Apr 1992 16:26:24 GMT



	Hello every one:

	I have a general question about producing a cd for a band. Presently 
	am considering producing a CD for a new age accustical band. They 
	want me to produe the cd for them and also manage them. I think
	they have a good future and their music is greate. I like to know
	the odds and end of how to do this. I like to know aobut what is 
	the fair contract between me and them. What percentages and what
	algorithm I should use for this purpose. Any feedback will be
	appriciated. 

	Thanks in advance.

	mehdi

	

	
Newsgroups: rec.music.makers
From: andre@rurutu.wri.com (Andre Kuzniarek)
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Organization: Wolfram Research, Inc.
Date: Thu, 16 Apr 1992 23:09:46 GMT

In article <1992Apr16.210605.17130@verdix.com> bill@verdix.com (William  
Spencer) writes:
> Interesting comment about "thereaupuetic value"[sp?] though.

I guess he means if you're going to raise plants on music. Of course, if  
you played Neil Young, they would wilt anyway.

AK
From: cwalker@canopus.tmc.edu (carleton walker `93)
Newsgroups: rec.music.makers
Subject: Re: Fusion sugesstions
Date: 14 Apr 92 01:05:37 GMT
Organization: Bucknell University, Lewisburg, Pa.

In article <12422@auspex-gw.auspex.com> johnf@Auspex.COM (John Fereira) writes:
>In article <1992Apr10.184306.19107@clpd.kodak.com> benham@anion.serum.kodak.com (Todd Benham (x37354)) writes:
>|Would any of you make suggestions on artist/albums of good fusion?
>Chick Corea and Return to Forever -  I'll second the recommendation for
>"Romantic Warrior".  IMHO it's one of the best fusion albums ever done.  I
>recently took the CD with me when I went out shopping for new speakers. Other`s
>by the group that are good fusion are "Where Have I Known You Before" and
>"No Mystery".

	I'll throw in Hymn of the Seventh Galaxy too.

>Miles Davis - "Bitches Brew", usually found on all fusion "must buy" lists.

	This is supposed to be the album that started it all.

>Mahavishnu Orchestra - "Visions of the Emerald Beyond", "Birds of Fire"!!

	Apocolypse also. It's more of a fusion of classical and jazz
then rock and jazz, though.

>Weather Report - "Tale Spinnin'", "Heavy Weather"

	Add "I Sing the Body Electric". It's their most progressive
and experimental (where progressize == wierd).


Carl Walker
--
Carl Walker				"Hectic days ahead of us,
Bucknell University			 Rotten ones behind,
Lewisburg, PA				 Keeping plastics in our pockets,
					 Children never mind." - K, S, & W
Xref: sparky rec.music.makers:5625 rec.music.synth:7940
From: mrk@gvgspd.GVG.TEK.COM (Michael R. Kesti)
Newsgroups: rec.music.makers,rec.music.synth
Subject: 1622 disassembly
Date: 14 Apr 92 00:20:27 GMT
Organization: Grass Valley Group, Grass Valley, CA

My Alesis 1622 mixer has developed an annoying noise source that I
believe is being generated by the "normals" on the insert jacks and
main 1/4" inputs.  If I remove a plug from these jacks, and leave
that channel unmuted, a fairly broadband noise with sufficient
amplitude to light 3 or 4 meter LEDs is often generated.  This noise
can be temporarily relieved by "exercising" the jack with several
rapid insertions and removals of the plug.  Sometimes the noise will
start up spontaneously, but will almost always start following the
removal of a plug.  The noise never occurs if there are plugs in the
jacks.

Has anyone else experienced this problem?

I recently got my hands on a can of Cramolin Red, and am planing to
open up the mixer chassis to gain access to these connectors and hit
them with the Cramolin.  If any other 1622 owners been inside their
mixers, and would like to offer any advice concerning same, I'd
appreciate hearing from them!  I'm especially curious as to whether
all the knobs need to be removed.  I hope not, but it's difficult
to tell from the front panel.

I did talk to Alesis about this, and even obtained a return authorization
number from them, but I don't want to spend the money and suffer the
downtime of shipping the mixer to them for something that I feel I
have a good chance of fixing myself in an hour or two.
Xref: sparky rec.music.makers:5636 rec.music.misc:14242
Newsgroups: rec.music.makers,rec.music.misc
Subject: Re: Fusion sugesstions
From: TZELGOV@vm.bgu.ac.il
Date: Mon, 13 Apr 1992 23:16:45 GMT

In article <1992Apr10.184306.19107@clpd.kodak.com>
benham@anion.serum.kodak.com (Todd Benham (x37354)) writes:

>
>Would any of you make suggestions on artist/albums of good fusion?
>I like Jeff Beck's Fusion stuff like Blow by blow and Al DiMeola's stuff.
>What else is out there?
>

    Well, although it's labeled "Progressive Rock", King Crimson has two albums
which are very Jazz-oriented: "Islands" and "Red". Many of the songs are
centered around wild sax and other brass solos by Mel Collins, that in addition
to Fripp's amazing guitar work.
    Also, what about "Blood, Sweat, & Tears" (although a bit old). How would
that be classified - Jazz-Pop/Jazz-Rock?
    Oh, and there's Bill Bruford's solo work. I have one album (a collection)
titled "Master Strokes", and most of it is Jazz, but somehow it has a "Rock
feel" (hard to explain why) to it...
From: din@grad1.cis.upenn.edu (Clarence Din)
Newsgroups: rec.music.makers
Subject: MIDI extensions for Think Pascal on Macs???
Date: 16 Apr 92 21:15:04 GMT
Organization: University of Pennsylvania

I'm not totally sure about this, but isn't there an extension
package to Think Pascal on the Mac which allows MIDI capability?
If so, can you give me details and pricing info?  Thanks!
---------------------------------------------------------------------------
Clarence K. Din                  
Programmer Analyst II, Language Analysis Center, University of Pennsylvania
din@grad1.cis.upenn.edu
---------------------------------------------------------------------------
Newsgroups: rec.music.makers
From: jerrymo@comm.mot.com (DX529 Jerry Morrow)
Subject: Yamaha FX500 Patches
Reply-To: jerrymo@ecs.comm.mot.com 
Organization: Motorola Land Mobile Products Sector
Date: Fri, 10 Apr 1992 17:56:53 GMT

Does anyone have some interesting effects from their FX500's
other than the factory defaults?  Our guitar plyaer never
seems to have enough time to fool around with it.  If you find
a particular effect sounds like a particular song or guitar
player's sound, include the name.  If you are truly a perfectionist,
list the guitar settings/guitar/amp/amp settings.  This would
be greatly appreciated!  

email the parameters to:
jerrymo@ecs.comm.mot.com
Jerry Morrow
From: blount@athena.mit.edu (Alan Blount)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 17 Apr 92 01:19:11 GMT
Article-I.D.: cyrano.BLOUNT.92Apr16211908
	<1992Apr16.160857.9491@spectra.com>
Organization: Massachusetts Institute of Technology


Neil's Last 4 Disks (Freedom, Weld, Arc, Ragged Glory) are DDD.

'Nuff said.

blount@amt.mit.edu
Newsgroups: rec.music.makers
From: leavitt@cheshire.oxy.edu (Thomas VanNess Leavitt)
Subject: Wanted:  Info on Kwai PH50
Organization: Occidental College, Los Angeles, CA  90041
Distribution: na
Date: Sat, 11 Apr 1992 22:11:41 GMT

I've been looking for an inexpensive keyboard, and Goodman Music in
L.A. is selling the Kwai PH50 for $199 (off the 600 list price)...
I've had one set aside, but before I go through with it, I want to
know what I'm getting, how good this price is, if I can get a used
keyboard, better, at this price, etc.

This is my first posting on this group, so I apologize if this has been
in the thread.  I am also posting this on rec.music.synth.

I'm an absolute beginner at this, I just want to fool around and make some
cool music with my buddy's A500.

Thom
From: ian@ohm.york.ac.uk (Ian Stephenson)
Newsgroups: rec.music.makers
Subject: Re: Fusion sugesstions - when is rock fusion ?
Date: 14 Apr 92 11:39:52 GMT
Organization: Electronics Department, University of York, UK

In article <1992Apr10.184306.19107@clpd.kodak.com> benham@anion.serum.kodak.com  
(Todd Benham (x37354)) writes:
> Would any of you make suggestions on artist/albums of good fusion?
> I like Jeff Beck's Fusion stuff like Blow by blow and Al DiMeola's stuff.
> What else is out there?
> 
> What about great guitar albums like Steve Vai's Passion and Warefare?
> There must be alot.  Appreciate any help. Email please (will summarize
> if much response).  Thanks.
> 
> Todd (benham@serum.kodak.com)

On the Rockier side of Fusion check out Stu Hamms solo stuff "Free Radio  
Albermuth", "Kings of Sleep", and "The Urge" (Any one  interested in helping me  
get hold of the latter ? It's still unavailable in the UK). "Kings..." in  
particular is a pretty good stepping stone between Rock and the more self  
indulgent forms of fusion.

Any Steve Morse/Dixie Dregs is also pretty good/along these lines. Aside:
	"Southern steel is only available on impret in the UK. I goes into
	the records shop - friend who works there goes "you gotta listen to
	this - we've only got one copy left". Puts on the tape. Half way
	through the firsst track some guy walks up to me and asks "whats this?"
	I tell him. He wanders of, comes back with the box for the tape we're
	listening to - and buys The only copy in the shop - ie the one that's
	in the tape machine! We had to rewind it, and hand it over, so I never
	got to hear any more :-(

Frank Gambale freaks me out completly, but thats a little more intense. I heard  
him play "'cause we ended as lovers" at the guitarist Jam in :London a few  
years back, and he was just awesome.

Picking up the thread that Vai et al aren't fusion, I think they are in the  
sense that fusion is a joining of rock, and jazz. Traditionaly this joining has  
been instigated in a jazz context. These bands are just the flip side of the  
coin - people playing jazz orientated rock, rather than rock orientated jazz. 

They are in a sense bridging the gap. I can play Stu Hamm to my rock friends,  
and they like it. They don't like Gambale.Incidently Satriani and Holdsworth  
both play on the title track of "Free readio albermuth", so the crossover is  
definatly there.

To a die hard Jazz fan, all fusion is probably rock, while to a real metal head  
all fusion is probably Jazz. There's a whole spectrum out there, so enjoy it.

Ian
Organization: Sophomore, Civil Engineering, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.makers,rec.music.misc
Date: Thu,  9 Apr 1992 23:00:16 -0400 
From: "Brian S. Engel" <be0l+@andrew.cmu.edu>
Subject: Re: Eric Clapton's "After Midnight"

After Midnight is on Eric Clapton's self titled first album and his
greatest hits, Timepieces.  Those are both the fast versions. 
Crossroads, the boxed set, as was mentioned earlier, has both the fast
and Michelob version.
Newsgroups: rec.music.makers
From: larryh@cabezon.uucp (Larry Huntley)
Subject: Re: Leslie speaker construction
Organization: Logic Modeling Corporation / Beaverton OR & Milpitas CA
Date: Tue, 14 Apr 92 16:01:01 GMT

In article <1992Apr14.043901.10012@descartes.waterloo.edu> elee@descartes.waterloo.edu (Salty Freckles) writes:
>Leslie speakers were originally designed for use with the Hammond B3 organs
>to simulate the sound of the pipe organs found in most old churches (this I
>think I read somewhere). From what I understand, there are two rotating
>speakers the bass, and the horn, which when spinning, emit pitches that
>raise and fall with the rotation. This is called the Doppler Effect. The
>result of these two speakers spinning at different speeds with respect to
>each other is a whirring, grinding sound when an organ is piped through.
>
>Gene Lee

    Gene has basically got it; I'd just like to clear up some of the points
    that may have some folks saying "Huh?"

    The speakers themselves don't actually rotate.  The speakers are fixed
    in a cabinet, low frequecy driver pointing down, high freguency driver
    pointing up.  There is a drum which spins below the lo-f and a horn
    that spins above the hi-f (in different directions) and projects the
    sound from the drivers in a horizontal plane around the axis of the
    drum & horn.

    The doppler effect is best described by having someone recall the effect
    of a car horn or train whistle as it approaches you, passes you, and
    recedes in the distance.  The pitch and intensity rises and then falls
    away as the car/train moves.  This is how the Leslie speaker imparts
    a vibrato (rapidly modulation, up and down, of pitch) to the sound
    of the instrument - as the drum and horn spin, the source of the sound
    is brought towards you and away from you and the pitch and intensity
    rises and falls accordingly.

    Most Leslies (except pretty old ones) have two speeds, a fast speed
    (called tremolo or vibrato) and a slow one (called chorale.)  The
    "grinding" organ sound is usually produced by a Hammond organ being
    played through a Leslie spinning slowly.  It's a great sound. 
-- 

    Larry Huntley / Logic Modeling Corporation / Beaverton  OR
    Fire and Chains and/Fire and Chains and/Fire and Chains and...
                      [Stop Continental Drift!]
From: dts@quad.sialis.com (David Sandberg)
Newsgroups: rec.music.makers
Subject: "Hot" licks? (was: Quiet fans for studios?)
Date: 16 Apr 92 17:51:34 GMT
Article-I.D.: quad.163
Organization: Quadric Systems

In <1992Apr15.190001.24557@intelhf.hf.intel.com> dcovell@pcocd2.intel.com (David Covell) wrote:
>I seem to get hot easily when playing music (anybody else notice this?)...

Definitely.  It's rather strange, too.

Although I use a lot of keyboards in my music, I'm at my best by
far as a guitarist.  Everything's normal when I'm recording
keyboard or vocal parts.  But when I record my guitar tracks, the
temperature in the room infallibly goes up around ten degrees
after an hour or so of work.  No kidding - I have verified the
change in room temperature with a thermometer.

I don't believe this is attributable to hot equipment (I record
guitar direct without an amp, and there's actually LESS equipment
running when I do my guitar tracks than for keys or vocal stuff).
And I don't jump around or anything when working on guitar tracks
either (I got all those ya-yas out back in my bar band days).

My guess is, the heat is a by-product of the physical energy
expended in forcefully playing an instrument (something I, for
example, can only approach on guitar).  Either that, or it's
residual heat from all of those 1000W par cans I sweated under
during the 80's.  B-)

-- 
                  _ david sandberg _ dts@quad.sialis.com _
          "Genius waits for no one." --- Writer (pounding on door)
      "But stupidity hammers on a deserted building." --- Crow, MST3K
From: jay@cmn11.Stanford.EDU (Jay Kadis)
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Organization: DSG, Stanford University
Date: Thu, 16 Apr 92 17:30:20 GMT

The bottom line with analog-vs-digital is very simple: if you like analog,  
use analog; if you like digital, use digital.  All the flaming in the  
world is not going to settle anything and I'm tired of all the uninformed  
banter.  Each technology has an important place in music recording. Let's  
discuss techniques for getting the best sound possible reproduced without  
all the emotional nonsense, ok?

Jay Kadis
jay@ccrma.stanford.edu
From: abby@ravel.udel.edu (Louis Abbruzzesi)
Newsgroups: rec.music.makers
Subject: Jimmy Page and VOX (was: Fender Pro Reverb Amp)
Date: 15 Apr 92 19:47:13 GMT
Organization: University of Delaware


   I wrote this about the Pro Reverb:
=>
=>    Anybody out there know anything about this amp.  Theres one for sale
=>nearby and it sounds pretty good.  Its obviously an old one with a silver
=>face and regular and vibrato channels, two 12s--- I was wondering what the 
=>going price is and how many watts it is.
=>
=>Thanks in advance
=>
=>Lou
=>
=>abby@brahms.udel.edu

Thanks to all of you who responded with info.  I ended up getting an old twin
reverb instead for about $100 dollars more($300).  The difference between the
two was big-- the twin was definitely worth the extra hundred. 

On a different note: while I was trying out some of the amps in the shop,
I played theough a VOX reissue tube amp(thats about all I know about it).
The salesman was telling me that VOX just bought Jimmy page two of these amps
(for obvious reasons) from the store and they were being shipped to Florida
where Jimmy and David Coverdale(Robert Plant clone) were recording a new
album.  I guess Jimmy decided if he couldn't have Robert he'd settle for 
a look/sound alike.  Has anyone heard any of this?  The salesman told me
that the shop was one of the few places carrying these amps and that's why
the order was placed here.  It was a great sounding amp, but VERY expensive.



Lou 

abby@brahms.udel.edu
From: jpmakela@cc.helsinki.fi (jP M{kel{)
Newsgroups: rec.music.makers
Subject: Re: Vintage?  A Scam?
Date: 15 Apr 92 18:18:29 GMT
Organization: University of Helsinki

In article <1992Apr14.134743.9076@ERA.COM>, feit@ERA.COM (Mark Feit) writes:
> It's really difficult to say that a '65 [fill in your favorite guitar
> here] is any better or worse than this year's model.  Guitars are much
> like people: no two come off the assembly line exactly alike, and each
> has its own personality.  Randomly-selected '65 and '92 [fill in your
> favorite guitar here] could be lousy and great (respectively) or vice
> versa.

	Couldn't agree more. Although the greatest vintage guitar 
	graze has faded (for awhile, at least), the '59 Strats
	(and 50's whatewer) are stil overappreciated and overpriced.
 
	There's only ONE thing that older guitars have that new ones
	don't. That's matured wood. Although any luthier or guitar
	factory dries the wood for guitars possibly over several 
	years, the stuff in a newly-assembled guitar has not yet
	matured in the way it will do as the years pass by. It's
	not only drying, it's also the wood's response to stress
	and vibration of the strings and climatical changes. By
	my experience, a more matured guitar will be louder when
	played acoustically compared to similar new one. The tone
	also changes a bit.

	(Also, the pickup magnets tend to change as they get older,
	but it's easier to 'age' magnets than the wood.)

	An easy way to make a new guitar to mature faster is to
	scrape the paint off and treat the body with tung oil. I
	don't recommend this to the necks (although I prefer necks
	with matt finish for touch), as non-painted wood reacts
	more to climatical changes: VERY important if you live in a
	country like Finland.
 
	Another point is that sometimes the instrument specs vary
	during the production years: Once I played a '59 Fender
	Precision Bass thad had a neck more comfortable I have
	found in any other P-type bass. 


> 
> Happy NATIONAL GUITAR MONTH.  Slap a collector (uh, investor).  :)
> 

	Make that INTERNATIONAL...

> 						- Mark
> 
>  ................................. .................................
> : Mark A. Feit, Software Engineer : Internet: feit@era.com          :
> : Engineering Research Associates : USENET: ...!uunet!era!feit      :
>  ................................. .................................
>  "Software development is 10% science, 25% ingenuity and 65% getting
> 	       the ingenuity to work with the science."
-- 
 jP M{kel{	({'s are a's w/ umlauts)	  jpmakela@cc.Helsinki.fi
-----------------------------------------------------------------------------
 "Mit{ turvallisuutta toi nyt sitten on
		jos on vaan kaks katuu joilla uskaltaa k{vell{...?"
							    (R.H. Lindholm)
Newsgroups: rec.music.makers
From: jvb@wyse.wyse.com (Jack Van Breen x2666 dept220)
Newsgroups: rec.music.makers
Subject: Re: Band practice and hearing
Date: 6 Apr 92 21:10:32 GMT
Organization: Wyse Technologies San Jose, Ca

In article <4208@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>In article <22165@prometheus.megatest.UUCP> djones@megatest.UUCP (Dave Jones) 
>writes:
>>From article <1992Mar27.032751.4777@en.ecn.purdue.edu>, 
>by defrain@en.ecn.purdue.edu (Paul D. DeFrain -- aka master guru):
>(text edited)
>
	[ buncha stuff about how drums may or may not cause bands to play
	loud :) ]

I once had the Extreme pleasure to do a record with a Wonderful drummer who
knew how to play quietly!!  and He Could Kick!!  The groove was incredible,
and yet his actual decible level was such that we could practice the vocals
WITHOUT any PA whatsoever!!  Now that's Control!!! (This 'band' was so
together dymaically, that I could take a solo with my un-miked acoustic
guitar and be heard:)

-- 
Jack Van Breen (standard disclaimer, these are my own ...)
Product Support, Wyse Technology, San Jose, CA
...!uunet!wyse!jvb
jvb@wyse.com