HDTenEightyP/NetNews huggingface dataset:
From: harper@godot.think.com (Jim Harper)
Newsgroups: alt.guitar
Subject: wireless recommendations
Date: 17 Aug 92 16:48:43
Organization: Thinking Machines Corporation, Cambridge MA, USA
Distribution: alt
NNTP-Posting-Host: godot.think.com

I'm interested in a wireless just wondered if anyone has had good
or bad experiences with certain brands,models ect...
The most important feature to me besides having no cord is that
I want the tone to stay the same.

Thanks in Advance !!!
Jim
Xref: sparky alt.guitar:7226 alt.music.progressive:2027 bit.listserv.allmusic:9434 rec.music.bluenote:6326 rec.music.misc:21817
From: poole@castor.cs.uga.edu (Bryan Poole)
Newsgroups: alt.guitar,alt.music.progressive,bit.listserv.allmusic,rec.music.bluenote,rec.music.misc
Subject: Re: Coltrane Prestige query
Date: 18 Aug 92 00:32:55 GMT
Organization: University of Georgia, Athens

I've seen it here in Athens for something like $300. It's 16 CD's if I
remember correctly. Pretty amazing collection for the money. I have
yet (and it may be a long yet) to hear the CD's. I never heard of such
a large box set. But John deserves to be the first. :)

=-=--=-==-=====--=--=-===-=-=-=
= Bryan Poole = Boots Anyone? -
-   poole@castor.cs.uga.edu   =
=-=-=-=-=--===--=---=-=---=--==
Newsgroups: alt.guitar
From: smill@polari.online.com
Subject: Re: Bill Nelson
Keywords: Guitarist-Composers
Organization: Seattle Online Public Access Unix (206) 328-4944
Distribution: usa
Date: Wed, 12 Aug 1992 05:57:40 GMT

In article <1992Aug9.174121.27251@wam.umd.edu> reh@wam.umd.edu (Huddleston) writes:
>
>hi, folks --
>
>I haven't heard anything from Bill Nelson since _Empire of the Senses_ and
>_Diary of a Thinking Heart_.  Anybody know about anything more recent than 
>that? 
>
>
>-- 
>These opinions are the result of American public school, years of television,
>really strange parents, countless conversations, and eclectic reading habits.
> 
>Richard Huddleston, reh@wam.umd.edu   Boycott Microsoft: NeXTSTEP is better.

	He's released at least 8 LP/EP's.including a 4LP box set, and
several 12inch singles since then... too many to list now, take another
look at your fave record/cd store.
-- 
Steven M. Miller		"The history of music evolution is
smill@polari.online.com		 not the history of nice guys"
smill@online.com			-- Anthony Braxton
smill%polari@online.com
From: d1hej@dtek.chalmers.se (Henrik Jonsson)
Newsgroups: alt.guitar
Subject: Re: SLASH FLAMES
Date: 13 Aug 92 17:56:21 GMT
Organization: Chalmers University of Technology, Gothenburg Sweden

reh@wam.umd.edu (Huddleston) writes:

<Loads of stuff deleted...>

>Well, I disagree, obviously.  Nothing personal; Slash is much, much
>richer than I am now, but I know lots of folks that can play circles
>around him.  I think it's ironic.  Edward Van Halen is an example of
>someone who is also much, much richer than I am now -- but I don't
>know anybody (personally) who can play circles around him.  I don't
>think that's so ironic.

I can play circles around Mr. B.B King but I don't say that I'm
a better guitarplayer than him...

> 
>I like to think that there are certain things a guitarist should be
>able to play, whether or not they are inspired to play those things
>during a performance.  This is purely personal opinion, and I do
>completely understand that a personal opinion is a finite thing of
>limited scope.

If I enter my local live-rock club and see a perfectly-rocking-
never-heard-such-a-great-groove-kick-a**-rock-n-roll band
blasting the ceiling of the place I sure don't put on my
best face of jealousy and tell my friends that 'the dude on the guitar
can't play Midnight w. Joe Satriani' (which I can...I am the Greatest!!:))

Now I wonder... Is it your oppinion that every guitarist should know
how to play every mode of every scale in the book or am I just missing
your point? (After all I'm from Sweden (.se) and I dont claim to be a
perfect english-speaker... But there are some standard english phrases
that everybody should know, aren't there?? If a person doen't know all
english grammar, is he/she still allowed to speak his mind or should only
people that are able to pronounce 'certain things' be allowed to speak??
It's just a simple reflection on your oppinion stated above applied on
another area of 'the freedom of expression'..

Ooops!! Got carried away there for a moment...

That's MY oppinion  (is it one or two 'p':s in oppinion? :-) )

/Henrik Jonsson


--
-----------------------------------------------------------------------------
/   d1hej@dtek.chalmers.se     /        " If I Ever Have My Way             /
/      Henrik Jonsson          /    I'll Bring The Princess Back One Day"   /
-----------------------------------------------------------------------------
Newsgroups: alt.guitar
From: META000 <META@UNB.CA>
Subject: RE: building guitar effects box
Organization: The University of New Brunswick
Date: Wed, 12 Aug 1992 21:10:54 GMT

In article <1992Aug11.031918.28173@athena.mit.edu> parasite@athena.mit.edu (Vince) writes:
>
>Hello.
>
>I'm building my own effects box and have some questions
>concerning just what certain effects do.  Delay and reverb
>are pretty straight forward, but I'm not sure about much else.
>Specifically what is it that common effects such as
>
>compression
>overdrive
>distortion
>phaser
>flanger
>chorus
>
>do to the waveform?  Any help is appreciated.  Answers
>accepted via either email or by posting to the newsgroup.
>
>Thanks.
>
>Parasite
>
i could write you a 10-page letter (which i'm famous for), but instead i
will strongly recommend that you get craig anderton's book called
"guitar gadgets".  it explains in illuminating detail the workings of
virtually every conceivable floor box in creation, and provides many
heuristics for using them (including a sound sheet with demos).  if you
like that, get yourself a catalog from paia electronics in edmond
oklahoma, and the other craig anderton book "electronic projects for
musicians".  paia carries parts kits for virtually all of craig's
projects.  there are other books and other designs, but i found craig's
approach to be sensible, informative, and give you a real feel for how
to build these things and improve existing ones.  in the past, i have
found many public libraries that carried one or both of these books.
best of luck.

Newsgroups: alt.guitar,rec.music.makers,alt.guitar.tab
From: breeze@well.sf.ca.us (Jeff Baust)
Subject: Re: How would you play this?
Organization: Whole Earth 'Lectronic Link
Date: Sun, 23 Aug 1992 01:00:27 GMT

In article <1992Aug22.215416.25703@nevada.edu> jamesb@nevada.edu (James Bender) writes:
>In article <1992Aug21.215518.25799@ccu.umanitoba.ca> umande91@ccu.umanitoba.ca (Benjamin Robert Anderson) writes:
>>
>>   I am having a problem playing something like this:
>>   on the top two strings. I get the 10th fret of the B string still ringing.
>>I am trying to build up the speed on this but can't due to too much noise. Can
>>someone explain to me what kind of left hand fingering I should use and how to
>>actually play this properly??
>
>	Well, I would do it like this...
>
>	3rd 1st 1st 1st
>>   |--13--10-------10|
>>   |----------10-----|
>
>	The technice I would use for the 1st finger is to kind roll your
>finger tip up to the second srting, off the first string. If yo do it just
>right, the fleshy part of yo finger will deaden the note. To play the
>last note on the first string, just roll your finger back down, deadening
>the note on the second string with the finger tip.
>
>*******************************************************************************
>* From: James B     * "Life is a diamond you turn into dust."                 *
>* jamesb@nevada.edu *                                       -- N. Peart       *
>*******************************************************************************




two possiblilities....

1). play it on the B/G strings (B string 18th/15th frets and G string 14th
    fret) using a fingering of 4th/2nd on the B, then 1st on the G

2). play it as diagramed, except get the A on the G string, 14th fret,
    with the 4th finger.  Good string crossing problem.

Newsgroups: alt.guitar,alt.guitar.tab
From: reh@wam.umd.edu (Huddleston)
Subject: Re: //Theory Query (FollowUP)
Organization: University of Maryland, College Park
Date: Thu, 20 Aug 1992 20:35:20 GMT


>[...how do I do a smooth transition between two songs in different keys?...]

The theory for this has a lot to do with what specific effect you're trying
to achieve.  Since you said you wanted a "smooth" transition, I'd guess you'd
want the listener to be none the wiser.  This means you have to guide the
listener's ear through the modulation (since you don't want a break in the
playing, I'd say you could fairly consider this a modulation problem).

In the example you gave in your last posting, you had song#1 in C and song#2
in F.  In cases like this, you're lucky, because F is the subdominant of C
(it is the chord built on the fourth scale position of C) and C is the dominant
of F (it's the chord built on the fifth scale position of F).  Depending
on exactly which two songs you're playing, you could do something as simple
as just starting song#2 in a case where the two keys are so closely related.

In other cases, you look for chords the two keys have in common, and hinge
your modulation there; that's one way to proceed.  Another way is to modulate
while you're still playing song#1 (move it to the new key), and then just
work out some nifty way to start playing song#2.

The theory to solving problems like this isn't nearly so rough as the
arranging aspects.  You want the two songs to sound like they belong 
together (since you said "smoothly"), and that really depends on the two
particular songs.

Tempo changes or song style ( reggae to bebop, for example ) changes are
some of the more interesting arranging parts of your problem.

-- 
Richard Huddleston  reh@wam.umd.edu    | "It is the greatest possible victory
These are my personal opinions.        |  to be, to continue to be, and to
                                       |  have been in a universe that seems
NeXTSTEP is better: Boycott Microsoft  |  indifferent to us."  Norbert Wiener
From: hatori@tansei.cc.u-tokyo.ac.jp (Shisei FUJIWARA)
Newsgroups: alt.guitar
Subject: Re: Ibanez GB-10
Date: 22 Aug 92 16:54:25 GMT
Organization: Computer Centre, University of Tokyo


Hi,
    Whatever happened to the Ibanez GB-10 (George Benson Model) guitar?
    Are they still being produced?  What is the market price for used 
    ones?

    Thanks.
From: larryh@cabezon.uucp (Larry Huntley)
Newsgroups: alt.guitar
Subject: Re: My thumb can't do the Hendrix
Date: 20 Aug 92 16:11:17 GMT
Distribution: alt
Organization: Logic Modeling Inc of Beaverton Oregon

In article <DAVE.92Aug20131129@pipi.iis.u-tokyo.ac.jp> dave@pipi.iis.u-tokyo.ac.jp (David Wuertele) writes:
>I've been trying to do the stuff tabbed in the _Jimi_Hendrix_Concerts_
>book.  I only have a cheapo acoustic.  

>Is it supposed to be hard at first
>to curl your thumb around the neck to fret the 6th string, while doing all
>sorts of other things all over the neck with your other fingers?

	At first, this and almost everything else is hard.  You're 
	opening up entirely new neural pathways.  Hang in there.

>My thumb just doesn't bend far enough.  

	Unless you have *very* small hands, your thumb CAN do this.

>Do I need to get an electric guitar?  Or will this get better with
> practice?

	All things get better with practice.  If you can afford an
	electric and intend on playing electric, by all means shop
	around for one.  Don't get one simply to get over this hump.
	The world's finest classical guitars have wide, flat necks
	and relatively high action, but people with average-sized
	hands make beautiful music on them...


	Happy Playing

	- Larry Huntley

-- 
         (larryh@lmc.com)         | You played golf; you watched football;
     Logic Modeling Corporation   |   you drank beer -- we EVOLVED!
          Beaverton,  OR          |         - Rhonda,  "Thing-Fish"
Newsgroups: alt.guitar
From: rost@rgb.dec.com (My name is Brian Rost)
Subject: Re: Fender Performer
Organization: Digital Equipment Corporation
Date: 13 AUG 92 10:17:42    


In article <4482@news.duke.edu>, denker@acpub.duke.edu (Patrick Denker) writes...
>I'm primarily an acoustic guitarist so I would appreciate
>any comments on the quality of the Fender Performer whose case has
>quietly gathered dust in my closet for 4 years.  I play almost 
>exclusively rhythm guitar in a bluesy acoustic rock band.  I think it
>sounds a bit weak, but I wonder what others who have played this
>model think.

Congatulations, you have one of the rarest Fender guitars of all time (not
necessarily *valubale*, just rare).  

The Performer was made in Japan right after CBS sold the company.  I've seen
exactly one guitar and one bass, pictures of a few more.  I never saw it in any
catalogs (unlike the Katana model which came out at the same time).  Having
never had the chance to try one out, I can't comment on the "quality" other
than it was obviously intended as the "high end" of the early Japanese built
guitars but never got promoted and disappeared.

For those who have never seen one, it's sort of a modified Strat shape, 24
frets, two pickups, a shrunken headstock (the Fender "knob" has been removed)
and hardware similar to the defunct Elite series.  They were available briefly
around 1985.

					Brian Rost @rgb.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************
From: jamesb@nevada.edu (James Bender)
Subject: ** New at ftp.nevada.edu(131.216.1.11) for 8/18 **
Originator: jamesb@redrock.nevada.edu
Organization: University of Nevada System Computing Services
Date: Tue, 18 Aug 1992 22:48:48 GMT

	Animals
		House Of the Rising Sun c
	Beatles
		Piggies c
	Jimmy Buffet
		Changes In Latitudes, Changes In Atitudes c
	Leonard Cohen
		Bird On A Wire c
	Cure 
		Killing An Arab t
	Roy Orbison
		Pretty Women t
	REM
		Radio Free Europe t
	Joe Satriani
		Satch Boogie t
	James Taylor
		Long Ago And Far Away c

	I will be a little indisposed Wed., and Thurs, so there will be
no updates till Friday. There is a harware upgrade going on, so you _may_
have trouble getting into the archive, especially on Thurs, between 8:00
and 10:00 AM Nevada time. Please DO NOT send mail to ron@nevada.edu, or
root@nevada.edu asking why, or informing that the archive is down.

	The upgrades may also cause mail you send to me to be bounced. If
this happens, just wait till Friday, them send it. I answerd ALL the mail 
I had today, so everybody _should_ be happy for now. :)

	C-ya Friday

*******************************************************************************
* From: James B     * "Life is a diamond you turn into dust."                 *
* jamesb@nevada.edu *                                       -- N. Peart       *
*******************************************************************************


Newsgroups: alt.guitar
From: deadhead@grate.ugcs.caltech.edu (stephen thompson)
Subject: Re: Why few people have Perfect Pitch
Organization: California Institute of Technology, Pasadena
Date: Thu, 20 Aug 1992 18:57:09 GMT

serge@marvin.dgbt.doc.ca (Serge Ah Hee) writes:
>I was discussing this with a friend of mine. We were wondering why so few peopl
>have perfect pitch. Can it be learned?

I wasn't sure a while back, but now I'm convinced that everyone can learn
perfect pitch.  To start off with, everyone has a sense of relative pitch,
that is, they can tell the difference between two notes when played at the
same time.  I've recently decided that perfect pitch is simply an off-shoot
of relative pitch, where one note is played aloud and the other played in
one's head from memory of what the note should sound like.  I put this to
the test last week when I restrung my guitar.  (Keep in mind, I've never
been able to do this before without a guitar tuner or other instrument to
compare.)  I simply put the stings on, tuned my D string to what I remembered
a D sounding like, and then went at the other strings from there.  When
satisfactorily finished I decided to whip out my electronic guitar tuner,
and, of course, I was right on.

As far as why so few people have perfect pitch, perhaps if it can be learned,
no one bothers to go to the effort of learning it.  I certainly would never
sit down and simply memorize tones.  I do however tune my guitar a lot and
therefore the notes E,A,D,G,and B are much more familiar than any others.

Anybody else have any comments?  I'm interested in this concept as well.

Later...

--stephen



--
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% deadhead@through.ugcs.caltech.edu   | |   /USA/91126/170-25/stephenthompson %
%     " I'll let you be in my dreams if I can be in yours. " -- Bob Dylan     %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Newsgroups: alt.guitar
From: fullerto@tuna.cis.ohio-state.edu (timothy dwight fullerton)
Subject: Re: NEED Guitar Help : CHORD PLAYING !
Organization: The Ohio State University, Department of Computer and Information Science
Date: Tue, 18 Aug 1992 07:33:45 GMT

In article <1992Aug17.222508.17493@magnus.acs.ohio-state.edu> mvats@magnus.acs.ohio-state.edu (Mudit P Vats) writes:
>Ok, this is the situation : I've pretty much got the tablature scene down, and
>now I would really like broaden my horizons and learn playing chords.
>Basically I know how to play chords <there is nothing to it!>, it is the 
>strumming I am having problems with.
>
>For example, the REM song 'The One I Love' goes like this :
>
>		Em		  D            Em7
>		This one goes out to the one I love,
>
>		Em                D                 Em7
>		This one goes out to the one I left behind.
>
>So, how should I strum ??  Currently, I've been strumming to the lyrics, SO
>basically I would strum on each sylable <sp?>.  Is this correct ?  OR, should
>I just strum at a constant rate and just change chords when I need to ?
>
>This may be VERY trivial to some, BUT I really want to know the CORRECT way of
>playing......
>
>thanks!
>
>
>-- 
>::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> e-mail : mvats@magnus.acs.ohio-state.edu    Mudit P. Vats   CIS Eng  <OSU>
>::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


	This form of entabulation of harmony allows for the improvisation
of the harmonies. Therefore, whatever you can think of that sounds good
is OK. If you want to play the song the same way as the composers, then you
will have to go to the recording and pick it out from there (and frequently,
the real chords along with it).

	As far as the example that you put forth, I am not acquainted enough
with it to give you an absolute answer regarding how it is played, but in
the back of my mind I hear a steady strum in eighth notes...?

		good luck...

			Tim Fullerton
			fullerto@cis.ohio-state.edu
Newsgroups: alt.guitar
From: spb0457@zeus.tamu.edu (SubGenius)
Subject: Re: Django (was Re: Steve Morse, Steve Vai, Satriani, Robert Johnson)
News-Software: VAX/VMS VNEWS 1.41    
Organization: Texas A&M University, Academic Computing Services
Date: Thu, 13 Aug 1992 22:21:00 GMT

>Can you recommend any recordings? I haven't heard him, but from what
>I've read, Django is a forefather of modern guitar.

+------------------------------------SubG------------------------------------+
There's a CD that got released by the Official Record Company of Denmark in
1990, part of their quite good "Le Jazz" series.  It goes under the misnomer
of "The Complete Django Reinhardt," when it certainly is not.  It does, however
have all twenty-four of the know recordings Django cut with Le quintette
du hot club de france, and is certainly on of the best Django collections I've
seen.

Joe Bob SubG gives it two snaps up.







Yours etc.,





SubGenius

Newsgroups: alt.guitar,alt.guitar.tab,comp.sys.mac.app
From: M23231@mwvm.mitre.org
Subject: Re: Looking for Music Notation Program
Organization: The MITRE Corporation, McLean VA 22102
Date: Fri, 21 Aug 1992 15:56:11 GMT

In article <1992Aug19.191316.23781@netnews.alf.dec.com>
harry@netnews.alf.dec.com (Harry Katz) writes:
 
>
>I am looking for a program for creating standard music
>notation and/or tablature in PostScript format.  The
>target machine is a Mac IIcx.  What I am looking for
>is something in the public domain or something not
>too expensive.  I do not need any fancy bells and
>whistles.
>
>Thanks.
************
What you need is the Deluxe Music Construction Set.
This is available thru any mailorder house. It's
far and away better than anything else in its price range (about $50, I think)
and, in fact, better than some that sell for 4-5 times as much. I love it.
Newsgroups: alt.guitar
From: cdl0915@ritvax.isc.rit.edu (Christian Dylan Losinger)
Subject: fender amp question
Reply-To: cdl0915@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Fri, 21 Aug 1992 17:02:43 GMT


	I'm looking to buy (in a month or so) a new amp. I went amp shopping
yesterday and found that I really liked the sound of a Fender Pro 185. I got a
price of $699 for it. Then I went to another store to see if they could beat
that price. The second store didn't have any (the Great Great House of Guitars
didn't have something, ha!) but they told me to play around with a Fender Power
Chorus, which I did. The amps sounded identical to me (with the exception of
the stereo chorus). I also played around with a Peavey Power Chorus which I
didn't like. I currently have a Peavey Bandit 112, and like it a lot, if that
gives you an idea of what kind of sounds I dig.
	Most of the stuff I'll be playing will be grungy fast stuff but I also
really want an amp with a sweet clean sound that makes the ends of notes mean
something too.

	My first question is : is the addition of the chorus the only
difference between these two amps, and is spending $100 extra worth it for the
Power Chorus?

	My second question is : what other amps are out there, in the $700 and
down price range, 2x10 or 2x12, are there. (I really want to hear what people
like, but if there's something you really don't like, tell me also.)


	-c
        --------------------------------------------------------------
        	c  h  r  i  s   l  o  s  i  n  g  e  r   r  i  t 
Newsgroups: alt.guitar
From: mau@uhunix.uhcc.Hawaii.Edu (Darin Au)
Subject: Re: Steve Vai
Organization: University of Hawaii
Date: Thu, 13 Aug 1992 21:49:15 GMT

In article <15733@star.cs.vu.nl> mwelie@cs.vu.nl (Welie van M) writes:
>Does anybody know what Steve Vai is doing currently. In GFTPM I read
>that he's writing a filmscenario which will be recorded after the
>new album and tour. Does this mean that we can expect a new Steve Vai
>album soon ?  
>
>

I heard that the new album is due sometime in October.  Also, for some reason
I'm thinking that Terry Bozzio is gonna be on the album.  

Any confirmations on this or am I just screwed?

--darin

Newsgroups: alt.guitar