HDTenEightyP/NetNews huggingface dataset:
From: robertt@vcd.hp.com (Bob Taylor)
Newsgroups: rec.music.makers
Subject: Re: Query for brass players
Date: 14 Sep 92 17:07:12 GMT
Organization: Hewlett-Packard VCD
X-Newsreader: Tin 1.1 PL5

Gabe M Wiener (gmw1@cunixa.cc.columbia.edu) wrote:
: Question for brass players:  How different is the technique for playing one
: brass instrument over another?  i.e. can a trumpeter easily play a trombone,
: or can a french horn player do anything productive with a tuba?  Is the
: embouchure <sp?> of one instrument significantly different from that of
: another?  Obviously the use of the valves will be different, but I'm curious
: about mouth positions

I'd call it a "it depends".  I'm a trombone player (or at least used
to be - it's been a while) - I had no problem with tuba, euphonium, etc.
(tuba took a little more support, but not too bad), but I had a heck
of a time with trumpet/french horn - the mouthpieces were so much
smaller that my "good" trombone embochure wouldn't work.  I could
scream really well, but my tone really sucked.  If I put a larger 
mouthpiece in the trumpet, I could play OK in lower registers (although
the trumpet has a lot more back pressure).

: 
: What about within the family?  Can a trumpet player play a bugle without
: trouble?  Or a piccolo trumpet?  Or the cornetti used in Baroque music?
: 
: Just curious.  I tell people quite often that playing the organ or
: harpsichord bears very little resemblance to playing the piano, so I'm
: interested to know the situation w/brass.  Thanks.

I'd say it's similar.  There's also an "implied" sylistic difference - a
trumpet player used to doing Maynard Ferguson imitations would sound
like a sick whale playing a tuba.

: 
: 
: --
: Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
: gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
: N2GPZ in ham radio circles        communication. The device is inherently of
: 72355,1226 on CI$                 no value to us." -Western Union memo, 1877

Bob Taylor
HP Vancouver
Newsgroups: rec.music.makers,alt.guitar
From: gateley@rice.edu (John Gateley)
Subject: Peavey Bandit 150 amp
Organization: Rice University
Date: Mon, 14 Sep 1992 05:07:06 GMT

I am looking to buy a Peavey Bandit 150 amp (?) from a friend of mine
and want to give him a fair price. It is about 6 years old, and plays
fine except the reverb is getting a little sensitive. How much is this
worth?

E-mail please, and many thanks to all...

j
--
gateley@rice.edu
Si pots llegir aquest, m'agradaria si contestessis.
From: boutin@verbosa.ncd.com (Paul Boutin)
Newsgroups: rec.music.makers
Subject: Rehearsal Space in SF - San Jose area
Date: 11 Sep 92 23:43:40 GMT
Distribution: ba
Organization: Network Computing Devices, Mt. View, CA, USA

I'm already looking through the BAM, but would appreciate and info anyone has 
on rehearsal space rental in the Bay Area, particularly on the Peninsula.

-- 
Paul Boutin    Network Computing Devices	I Believe You Axl
boutin@ncd.com 350 North Bernardo Avenue
415 691-2115   Mountain View, California 94043   

Xref: sparky rec.music.makers:9408 comp.music:4353
From: dmnhieu@riemann.math.purdue.edu (Duy-Minh NHIEU)
Newsgroups: rec.music.makers,comp.music
Subject: Measures of musical talents
Date: 8 Sep 92 01:53:33 GMT
Reply-To: dmnhieu@riemann.math.purdue.edu (Duy-Minh NHIEU)
Organization: Purdue University

Have anyone heard of Seashore's Measures of musical talents?  (It it a set of
LP's that tests one's ability on music) Or have you heard of anything like this?
If you know where I can buy a copy (preferable on CD), please let me know.

Any information on this subject is welcomed.
(The reference is in the Dover edition of Seashore's Psycology of music).
From: ai.torosian@mcc.com (Dan Torosian)
Newsgroups: rec.music.makers
Subject: Re: Earplugs?
Date: 13 Sep 1992 16:02:12 -0500
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

I use the foam ones for both performing and spectating.  I've never used
the custom-fit ones, so I can't compare.  I cut the foam plugs in half,
though (so you get two stubby cylinders from each one).  It still cuts
out plenty of high end (which is usually where the problem is), and if
I'm playing (sax), I can tilt them out a little when I really need to
hear better.  When I'm on stage but not playing (like during many guitar
solos, or when a singer is testing our pain threshhold with the
monitors), I can put them in all the way.  Sometimes, if it's just plain
too loud on stage, or if I'm standing right next to a cymbal, I'll leave
them all the way in all night.  I can hear myself OK, and the extra
fidelity I'd get by taking them out just isn't worth destroying my
hearing.  For club- or concert-going, I'd definitely recommend these
also.

-Dan
Newsgroups: rec.music.makers
From: dkmiller@unixg.ubc.ca (Derek K. Miller)
Subject: Re: Animal Logic
Organization: University of British Columbia, Vancouver, B.C., Canada
Date: Tue, 15 Sep 1992 19:07:53 GMT

In article <1992Sep14.224030.5278@amgen.com> Myles Wakeham <mylesw@amgen.com> writes:
>>I recently stumbled across the band Animal Logic with Stuart Copeland,
>Stanley
>>Clark, and Deborah Holland. I'm fairly familiar with Copeland and Clark
>from
>>their earlier bands and projects, but who is this marvelous Deborah
>Holland?
>>I was shocked when I read the liner notes to find out that she wrote all
>the
>>lyrics, and almost all the music! That's saying something considering the
>>musical company she's keeping.
>
>Well judging from their first album, I thought that her singing was good,
>but her lyrics were absolutely appalling.  In fact they were so bad that
>I couldn't stomach buying the second album.  There was the worse case
>of trite in lyrics that I have ever heard.  I am so surprised that both 
>Copeland and Clarke, both talented and seasoned musicians, would work 
>with her lyrics.
>
>Anybody got any other comments?
>

I would agree with Myles. I don't know what Copeland and Clarke see in her.
And I would also add that I can't stand her singing either, which seems
very affected to me. So what advantages does she have? Is she simply
incredibly prolific? The songs she writes are both lyrically banal and
musically cliche'd.

Copeland should go solo again.

      :=:=> Derek K. Miller                 dkmiller@unixg.ubc.ca


Newsgroups: rec.music.makers
From: plyall@lookout.it.uswc.uswest.com (Pete Lyall)
Subject: Animal Logic
Organization: U S WEST Information Technologies
Date: Fri, 4 Sep 1992 21:07:05 GMT

This may not be the right place to ask, but I figured someone here 
would know the answer....

I recently stumbled across the band Animal Logic with Stuart Copeland, Stanley
Clark, and Deborah Holland. I'm fairly familiar with Copeland and Clark from
their earlier bands and projects, but who is this marvelous Deborah Holland?
I was shocked when I read the liner notes to find out that she wrote all the
lyrics, and almost all the music! That's saying something considering the
musical company she's keeping.

In any case, I _love_ these guys, and would like to know more about both her,
and them as a whole.


Pete Lyall


-- 
Pete Lyall [USWest]        Compuserve: 76703,4230           Internet: plyall@uswest.com
---------------------------------------------------------------------------------------
"... So I picked up my pride from beneath the pay phone, and combed his breath 
right outta my hair. And sometimes, it's not so easy ..." J. Hendrix/My Friend
From: doney@oasys.dt.navy.mil (William Doney)
Newsgroups: rec.music.makers
Subject: anyone heard of a YAMAHA YQ-10 (?) sequencer?
Date: 9 Sep 92 15:18:44 GMT
Reply-To: doney@oasys.dt.navy.mil (William Doney)
Distribution: na
Organization: Carderock Division, NSWC, Bethesda, MD

cheers all!  anyone heard/own/seen a sequencer/drum machine unit made
by YAMAHA called the YQ-10 ?  buddy of mine was talking about one that
he picked up, but wasn't sure if YQ-10 was the correct unit ID.  it's
basically a mini sequencer (memory of 6k notes?) the size of a VHS video
tape.  also has rhythm patterns that are programmable, and the ability
to program chord changes over the drum patterns.  has MIDI IN/OUT and 
1/4" headphone jack.  he hasn't used it that much since he has a full
blown studio, but said it's very cool to throw in the case and take
on travel, etc.  wondering if anyone else has seen this thing....

thanks...

p.s.  heard rumors of a Spinal Tap broadcast on NBC in OCT....?

bill
=======================================
'been waiting for the bus all day' - ZZ
doney@oasys.dt.navy.mil
bethesda, MD   USA
=======================================
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: Re: Query for brass players
Date: 14 Sep 92 22:47:42 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <1992Sep12.025912.8370@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>Question for brass players:  How different is the technique for playing one
>brass instrument over another?  i.e. can a trumpeter easily play a trombone,
[other stuff deleted]

I had a brass player in our band tell me it was very hard to play trumpet
and 'bone, since the mouthpiece was so different.  I pointed out that the
guy in Oingo Boingo does so quite nicely (and well!), and he retorted that
he *must* have had a special mouthpiece for one or the other.

From responses to Mr Wiener's post, I assume he's full of hot air.

Is he?

Michael Breen
singing and philosophizing
(and supposing it's OK for brass and woodwind players to be full of hot air)
Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth
From: ochikubo@mamacass.etdesg.trw.com (Craig F. Ochikubo)
Subject: Re: Earplugs?
Organization: TRW Inc., Redondo Beach, CA
Date: Fri, 11 Sep 92 20:36:55 GMT

In article <BuFAHq.Boq@news.larc.nasa.gov> kludge@grissom.larc.nasa.gov (Scott Dorsey) writes:
>In article <1992Sep11.151201.21095@intelhf.hf.intel.com> dcovell@pcocd2.intel.com (David Covell) writes:
>>
>>As I get older and deeper in debt for recording gear I'm becoming more
>>concerned with preserving what's left of my hearing. The occasional concerts
>>and live gigs I do leave my ears ringing for days now, and sometimes they
>>start ringing spontaneously in a quiet room. I know this is a bad sign and
>>it's time to take action. 
>
>Definitely recommended are the E-A-R plugs, made by
>
>EAR Division
>Cabot Corporation
>7911 Zionsville rd.
>Indianapolis, IN. 46268
>
>These are the things issued out here to the folks who work out on the
>flight line, and they do an excellent job of reducing noise while still
>keeping the overall frequency response of your ears flat.  I don't know
>how much they cost; they buy them by the thousands and have drums of
>them at each entrance to the hangars.
>
>Whatever plugs you start using, do it now.  Hearing damage is progressive
>and insidious.
>--scott

these are the foam ones that I use, bought them at the drug store, came with
a tiny plastic carrying case, taoo.

ochikubo@desperado.etdesg.trw.com
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: Re: vocal mic advice
Date: 14 Sep 92 22:41:27 GMT
Distribution: na
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

I second (or by now it's about 'sixth') the advice on Shure SM-58 and
SM-57 mics.  I've seen them from about $125 (brand new) down to $30
(beat up but working).  I'm convinced if money disappeared tomorrow,
musicians would trade in these mics, with 58s being the $100 bill, and 57s
the $50 bill.

They go awful fast in the local used sections, though.

Michael Breen
singing and philosophizing
(and up to 5 58s and a 57...so far!)
Xref: sparky rec.music.makers:9534 rec.audio.pro:1702 rec.music.synth:14805
From: cms2839@ultb.isc.rit.edu (a.stranger)
Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth
Subject: Re: Earplugs?
Date: 13 Sep 92 00:59:46 GMT
Organization: Minimalist Music for Hyperactive Children (MMHC)
Originator: cms2839@ultb

In article <BuFAHq.Boq@news.larc.nasa.gov> kludge@grissom.larc.nasa.gov (Scott Dorsey) writes:
>
>Definitely recommended are the E-A-R plugs, made by
>
>These are the things issued out here to the folks who work out on the
>flight line, and they do an excellent job of reducing noise while still
>keeping the overall frequency response flat

				i found these to be quite un-flat , and
uncomfortable , as well . they can be downright painful if you are
knocked on the side of the head .

				currently , i use Macrosonic plugs ,
made by Etymotic Research , and available from most audiologists . they
use platic earmolds , which must be custom - fitted , and attenuation "
buttons " which snap onto the earmolds . 15 and 25 db buttons are
available ; 40 db buttons are also available , but they are not flat .
the cost was $45 for the earmolds , and $90 for the each type of buttons
.

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
Newsgroups: rec.music.makers
From: lawrence.lougheed@rose.com (lawrence lougheed)
Subject: Earplugs?
Organization: Rose Media Inc, Toronto, Ontario.
Date: Sun, 13 Sep 1992 08:45:51 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.70)


Date Entered: 09-13-92 03:39
dcovell@pcocd2.intel.com (David Covell) said:

DC>As I get older and deeper in debt for recording gear I'm becoming more
DC>concerned with preserving what's left of my hearing. The occasional concerts
DC>and live gigs I do leave my ears ringing for days now, and sometimes they
DC>start ringing spontaneously in a quiet room. I know this is a bad sign and
DC>it's time to take action.
DC>So, what's the story on earplugs these days? I see ads for various hi-tech
DC>plugs that alledgedly attenuate more flatly than do the old foam-wad types.
DC>Do they really work? I don't want to pay >$30 for some IUD-looking device
DC>that hurts and doesn't do any better than the cheap foam.

I hope it's not too late.  From what I have read and been told, hearing
loss caused by excessive volume is permanent.  However, I would
recommend that you have your ears tested by a medical person
(audiologist?) and get prescription for custom made ear plugs.  A mold
is made of your ears, and the factory makes one pair of plugs
specifically for you.  The plugs will cost around $200, which is a small
price to pay it it helps to reduce the exposure to loud sounds, and
further damage to your ears.

Lawrence Lougheed
Brantford, Ontario, Canada
lawrence.lougheed@rose.com
---
   RoseMail 2.00 : Usenet: Rose Media - Hamilton (416) 575-5363
Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth
From: dcovell@pcocd2.intel.com (David Covell)
Subject: Earplugs?
Organization: Development Tools Operation, Intel Corp., Hillsboro, OR
Date: Fri, 11 Sep 92 15:12:01 GMT


As I get older and deeper in debt for recording gear I'm becoming more
concerned with preserving what's left of my hearing. The occasional concerts
and live gigs I do leave my ears ringing for days now, and sometimes they
start ringing spontaneously in a quiet room. I know this is a bad sign and
it's time to take action. 
So, what's the story on earplugs these days? I see ads for various hi-tech
plugs that alledgedly attenuate more flatly than do the old foam-wad types.
Do they really work? I don't want to pay >$30 for some IUD-looking device
that hurts and doesn't do any better than the cheap foam.
------------------------------------------------------------------------------
DAVID COVELL (dcovell@pcocd2.intel.com)|Wrangler of acoustic, electric, and
INTEL FOLSOM (California)              |Midi guitars, basses, synths, CAD tools
DESIGN ENGINEERING, EPG GROUP          |and assorted other techno-beasties
Newsgroups: rec.music.makers,rec.music.misc
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: Video taping live bands
Organization: Wind River Systems, Inc.
Distribution: usa
Date: Fri, 4 Sep 1992 22:33:11 GMT

danb@zx.NoSubdomain.NoDomain (Daniel Benbenisty) writes:

>My question is, how does he break into this profession?
>How do you get club owners to allow as line feed off the
>mixer?  Is it customary to pay them?  How much?
>Does anybody have any experience, amusing stories, caveats, or
>suggestions that might help him? 

I have a friend who has been doing this in San Francisco for the last
5 or 6 years. He's gotten in on some great shows this way. But he often
works for free or for $50-$100. He can't really make decent money doing it, 
especially since it takes an extra person to run his 2nd camera. He never pays 
the second guy anything and they end up working very long hours and getting 
shit on by the club manangement, employees and the bands. The clubs aren't
always very helpful - his best bet is usually to get in via the band. Then 
it's often a pain to get an audio feed, power, or adequate lighting during 
the show so he can get good footage. I doubt your friend will get very decent
videos he can sell to anyone without more than one camera or some post 
production editing. And bands aren't always very keen on letting other folks
keep tapes of them - especially if there's any chance the video guy might
"bootleg" it and sell copies himself. The less professional the quality of
the tapes turns out the less likely he'll be able to get back in there to
do it again. Basically unless your friend has some pro video experience and 
the equipment and know-how to do a good shoot he's probably not going to 
get too far. But if he's willing to work his but off for free or very little 
$$$ and just looks at this as a way to see shows for free and to hang out
with bands then maybe it's worth it - especially for the video and audio
recordings that he'll end up with. Sell them to fans and you risk your
professional credibility though.  

>Also, since it's not too late for him to trade up/down in terms
>of equipment - any suggestions in this area?

More than one camera and some ability to mix live or edit later is good. And
if you have a live operator on both camera you'll probably find you need
some kind of communications system too.

 - malcolm@wrs.com
From: kfield@BBN.COM (Ken Field)
Newsgroups: rec.music.makers
Subject: Birdsongs of the Mesozoic west coast tour
Date: 11 Sep 92 15:13:19 GMT
Reply-To: kfield@BBN.COM (Ken Field)
Distribution: usa
Organization: Bolt Beranek and Newman Inc., Cambridge MA
NNTP-Posting-Host: bbn.com

(From the press release:)
Birdsongs of the Mesozoic will be returning to the West Coast and Hawaii
for only the *2nd time in 12 years* for shows in Seattle (1st Northwest
appearance *ever*!), San Francisco, Pahoa, Mililani, Honolulu, and Los
Angeles (Venice, CA).

Fri 18 Sep  Backstage	2208 NW Market, Seattle, WA	206-789-1184

Sun 20 Sep  DNA Lounge	375 11th St, San Francisco, CA	415-626-1409

Sat 26 Sep  Kalani Honua	Pahoa-Kamaili, HI	808-965-7828

Wed 30 Sep  Center III		Mililani, HI		808-223-7731

Thu  1 Oct  Academy of Arts	Honolulu, HI		808-532-8700

Sat  3 Oct  Beyond Baroque 681 Venice Blvd, Venice, CA	310-822-3006

The last two shows (at the Honolulu Academy of Arts and at Beyond
Baroque) are part of the 1992 New Music Across America Festival.

Birdsongs of the Mesozoic's latest recording "Pyroclastics" (Cuneiform
Records) is available at all Tower Records stores (you might have to
ask for it), or from Cuneiform, PO Box 8427, Silver Spring, MD  20907-8427.
Ken Field
BBN Systems & Technologies   |  internet:  kfield@bbn.com
Mail Stop 6/4B               |  telephone: 617-873-3842
10 Moulton Street            |  
Cambridge, MA  02138-1191    |  
USA                          |  
Newsgroups: rec.music.makers
From: EIVERSO@cms.cc.wayne.edu
Subject: Re: How to stablish a record lable?
Organization: Wayne State University, C&IT
Date: Fri, 11 Sep 1992 20:57:07 GMT

In article <19920911154211.7.TOROSIAN@GANESH.MCC.COM>
ai.torosian@mcc.com (Dan Torosian) writes:
 
>mxahmad@pbhyg.PacBell.COM (Mehdi Ahmadi) asks:
>
>        I like to know how one can stablish a record lable. I like to
>        know the legal steps one need to take and also need info on
>        registration. Any info is apptriciated.
>
>        Thanks in advance.
>
>The first thing one generally does is learn how to spell 'establish' and
>'label' :-).  Sorry, I couldn't resist.
 
No need to be sorry. He *did* say any info is "apptriciated" ;-)
>
>-Dan
 
--Eric
 
  ======================================     eiverso@cms.cc.wayne.edu
 |[  RP-1  [____]|[  1] -<>-<>- 0  0   ]|   WSU, Detroit, Michigan USA
  | 6     7     8     9     0          |
  | ====  ====  ====  ====  ====  ==== |         Just say techno!
  | 1     2     3     4     5          |
  | ====  ====  ====  ====  ====  ==== |     "So thick, it stands up
  |____________________________________|           to a straw!"
Xref: sparky rec.music.makers:9394 rec.music.industrial:10168
From: burd@hydra.unm.edu (Stephen Burd ASM)
Subject: Re: Lyrics to "Brown-Eyed Girl" - The Moral Majority Overdub
Date: Tue, 15 Sep 92 16:28:57 GMT
Organization: University of New Mexico, Albuquerque

I've noticed that one of the Van Morrison Greatest Hits CDs overdubs the
lyrics "makin' love in the green grass" with a rehash of the earlier
verse "laughin' and a runnin hey hey".  They even did a lousy job with
the overdub as you can hear a sudden increase in noise and a sudden loss
of stereo.  Unfortunately, this is the version that seems to get all of
the radio air play.

-- 
FROM:      Stephen D. Burd			AT&T:      (505)-277-6418
USNAIL:    Anderson School of Management        FAX:       (505)-277-7108
           University of New Mexico		INTERNET:  burd@hydra.unm.edu
           Albuquerque, NM  87131
Newsgroups: rec.music.makers
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: mike recommendations sought
Organization: NCAR, Boulder CO
Distribution: usa
Date: Fri, 11 Sep 1992 16:24:56 GMT

Some recommendations for relatively inexpensive mikes would be appreciated...

I'm not looking for the best mikes, but rather something that is fairly 
decent and has a good cost:performance ratio.  I'll be using them to record 
rock band rehearsals & possibly live shows (read "loud, live music").  
I'm thinking about either a stereo mike or two mikes in an XY pattern, 
direct to 2-track (my home cassette deck).

thanks, -Brian
Newsgroups: rec.music.makers