HDTenEightyP/NetNews huggingface dataset:
From: Steve Wyrick <sjwyrick@lbl.gov>
Newsgroups: rec.music.makers
Subject: Re: sqeeky accoustic guitar strings
Date: 28 Jan 1993 21:54:30 GMT
Organization: Lawrence Berkeley Laboratory
Distribution: world
NNTP-Posting-Host: 131.243.210.26
X-UserAgent: Nuntius v1.1.1d17
X-XXMessage-ID: <A78D96DEBD01D21A@b75b-ehs9.lbl.gov>
X-XXDate: Thu, 28 Jan 93 13:57:50 GMT

Subject: sqeeky accoustic guitar strings
From: A Wilson, helper@castle.ed.ac.uk
Date: 28 Jan 93 12:04:27 GMT
In article <30911@castle.ed.ac.uk> A Wilson, helper@castle.ed.ac.uk
writes:
>I need to buy new strings for my accoustic guitar, the one I have at
>present make a squeeking noise when I slide from chord to chord.  
>
>Can someone give me advice on what type of strings to use to get around
>this problem?

I doubt there's any string you can buy that would eliminate the problem
that would sound good on your acoustic guitar (assuming you have a
typical guitar).  Flatwounds will eliminate the squeak but the tone is
typically quite different; I believe they're usually used on electrics. 
A friend of mine had some string lubricant, which came in a small spray
can and which he claimed eliminated squeak;  I never used it so I won't
vouch for it.  If you release finger pressure slightly as you slide, you
can get a fair way toward eliminating the squeak.

Steve Wyrick (sjwyrick@lbl.gov)                                   (Insert
witty quote here)
Newsgroups: rec.music.makers
From: roy@well.sf.ca.us (Roy Harvey)
Subject: PROPOSAL: rec.music.makers.lyrics
Organization: Whole Earth 'Lectronic Link
Date: Mon, 25 Jan 1993 17:10:21 GMT


I would like to recommend that a REC.MUSIC.MAKER.LYRICS group be started.
The purpose of this group would be to disseminate and discuss song lyrics.

  * Obscure, unintelligible, or otherwise confusing lyrics could be
    debated (you know how the net is!).

  * Groups like alt.guitar.tab, etc, are more focused on the correct
    guitar lines.  I'm sure vocalist out there would appreciate a
    dedicated group.

Please comment!  Or please let me know if such a conference already exists.
Xref: sparky rec.music.makers:12044 rec.music.synth:20213
From: mrk@gvgspd.gvg.tek.com (Michael R. Kesti)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Re: Problems with Tascam 424
Date: 21 Jan 93 19:59:33 GMT
Distribution: na
Organization: Grass Valley Group, Grass Valley, CA
NNTP-Posting-Host: gvgspd.gvg.tek.com

In article <1993Jan15.135728.5575@gdstech.grumman.com>
                              soh@gdstech.grumman.com (Scott O'Hare) writes:

>Hi - I'm posting this email message from a guy who lacks news access. 
>If you can help, please respond to him via email/ thanks - soh

I tried mailing to Scott's friend, but it bounced.  I figure this may
be of general interest anyway, so...

Travis Freeland <elvis@deakin.edu> wrote:

>What do you know of the problem of tracks fading in and out on a 424?
>ie. What is the problem?, How much will it cost to fix? etc.
>It seems to be a common problem as I know it has happenned to someone else
>but they didn't bother to fix it, they just chucked it out and bought 
>something else.

I will bet that this problem can be traced to the recorder's pinch roller,
and fixing it may be as simple as replacing it, or perhaps cleaning it.
What is very likely happening is that the worn or dirty pinch roller is
causing the tape to experience forces perpendicular to the direction of
tape travel, which in turn cause the recorded tracks to deviate from
exact alignment with the head.  This, in turn, causes the amplitude and
high frequency response of the playback of those tracks to decrease.
What is worse, a deck suffering in this way will produce useless recordings.

As you suggest, this is not an uncommon problem.  For this reason,
replacement pinch rollers should not be too difficult to obtain (ask the
dealer from whom the deck was purchased) nor difficult to replace.  If
you're at all handy, you should be able to figure out how to remove the
old one and install the new one.  If you're not comfortable doing it
yourself, any decent electronic repair facility should be able to do this,
and will likely charge you their minimum bench time, as it typically only
takes a matter of minutes.  They can probably spare you searching for the
roller itself too, and, while it's in the shop, you might wish to consider
a realignment of the heads and record/reproduce electronics.  Any deck
that has seen enough use to wear out its pinch roller is a good candidate
for this kind of routine maintenance.

-- 
============================================================================
Michael Kesti  Grass Valley Group, Inc. | "And like, one and one don't make
    mrk@gvgspd.GVG.TEK.COM              |  two, one and one make one."
    !tektronix!gvgpsa!gvgspd!mrk        |         - The Who, Bargain
From: ee154fbk@sdcc15.ucsd.edu (MC)
Newsgroups: rec.music.makers
Subject: WANTED:  Yamaha SPX90(mk1 or mkII)
Date: 23 Jan 93 00:41:15 GMT

Please email if you have one for sale.


	ee54fbk@sdcc15.ucsd.edu

Newsgroups: rec.music.makers
From: burris@highspl (David Burris)
Subject: Re: Can powering amps/PAs off/on damage them?
Organization: Dave's Home PC
Date: Thu, 28 Jan 93 04:43:58 GMT

From article <1993Jan25.204156.24014@cbnewsi.cb.att.com>, by acura@cbnewsi.cb.att.com (james.r.feeney):
> The amps we use in our band, as well as our PA equipment, do not have "standby"
> switches on them. Usually we power them off during breaks between sets,
> however I was recently told that that was bad for the amps and PA. Does
> anyone know about this? Why would powering them off/on four times a night
> be different than powering them off/on once a day? What (if any) damage could
> be caused by this? Inquiring minds want to know! 
> 

Each time the amp is powered on, the power supply has to charge the
filter capacitors. This causes current surges through the power
transformer and the diodes.

Also, the amp is operating for a few seconds in a somewhat
unpredictable bias mode that can also cause the transistors in the
amp to draw higher currents.

If the amp is designed well, most of the transistor circuits should
not be damaged. However, the power supply and the output stages of
power amps (as well as speakers) are somewhat more vulnerable. Even
short-term DC voltages produced across the speakers can shorten the
life by stressing the insulation or wire or by warping the voice
coil.

I wouldn't be paranoid about it, but I would not turn the amps on
and off that much. If they are class C amps they don't even draw
much current when idle. If they are class A they actually will run
hotter when setting idle.

-- 
================================================================
David Burris					Aurora,Il.
burris@highspl		           ..!linac!highspl!burris
================================================================
Newsgroups: rec.music.makers
From: seh003@acad.drake.edu
Subject: Re: Musical Notation Questions
Organization: Drake University, Des Moines, Iowa, USA
Date: Sun, 24 Jan 1993 20:28:23 GMT

In article <1993Jan24.191531.19068@zia.aoc.nrao.edu>, awkerr@zia.aoc.nrao.edu (Alan Kerr) writes:
> In article <C1BJ2p.9GA@undergrad.math.waterloo.edu> elee@cayley.uwaterloo.ca (Salty Freckles) writes:
>>In article <1993Jan22.222831.29921@zia.aoc.nrao.edu> awkerr@zia.aoc.nrao.edu (Alan Kerr) writes:
>>>NO, RIGHT!  an accidental on an 'A' affects *all* A's.  That's Music
>>>Theory Law (or whatever you want to call it).  If you want to be kind
>>>to the musician, you *should* mark all the other A's, but it is not
>>>needed.  personally, I've never liked this 'rule' and it *has* caused
>>>me to make errors while transcribing to a new key. :-(
>>
>>It's been a while since I've done anything related to Music Theory but from
>>what I remember, the accidental on a note only affects that same note in the
>>*current* measure. In the next measure, the accidental doesn't affect that
>>note anymore, so it has to be written in again for every measure. If the
>>accidental affected *all* notes like you say, it might as well be in the key 
>>signature.
> 
> woops! forgot to type that part.... yes, what I was talking about only
> affects the *current* measure.  But it soes affect all A's (at any
> pitch).  
> 
> Alan
> 
> 
> -- 
> Alan W. Kerr                               awkerr@aoc.nrao.edu
> National Radio Astronomy Observatory       awkerr@nrao.bitnet
> Socorro, NM, USA                           uunet!nrao.edu!awkerr

"Accidentals are usually interpreted as affecting only notes on the particular 
line or space on which they are written, not notes in other octaves."  

_Basic Materials in Music Theory_  7th Ed.  Harder and Steinke.  1991.

This should be proof enough, accidentals DO NOT affect the note in other
octaves.  Alan, if you have sources that say otherwise, I'd like to know. 
Perhaps there is a discrepancy between texts.  This above book is currently
used in Drake University's 1st semester music theory class (I just completed
the course last term).

Stephen

-- 
/-----------------------/      ... Beware, my friends, as you pass by
/    Stephen E. Hale    /          as you are now so once was I
/ SEH003@ACAD.DRAKE.EDU /          as I am now so you will be
/-----------------------/          prepare, my friends, to follow me ...
From: kjs@gvgdsd.GVG.TEK.COM (Kevin J. Shuholm)
Newsgroups: rec.music.makers
Subject: Re: Musical Notation Questions
Date: 27 Jan 93 23:06:58 GMT
Organization: Grass Valley Group, Grass Valley, CA
NNTP-Posting-Host: gvgdsd.gvg.tek.com

In article <1jn8b5INN3pc@west.West.Sun.COM> flloyd@l1-a.West.Sun.COM (Fred Lloyd [Phoenix SE]) writes:
>
>I'm teaching myself to read music, with the help of a couple of
>(paperback) books.  Recently, I've come to wonder about the following:
>
>
>1.  What does it mean when an accidental b or # is enclosed in
>     parenthesis?    As in: (#)    As far as I can tell it means
>     that the symbol wasn't really needed but was shown anyway
>     to remind you.
>
When an accidental is in the key signature, if the note has a natural sign
in a measure, sometimes the following measure will have the accidental marked in parenthesis to
remind you that it is no longer a natural.  
Sometimes, also, in a measure that has an accidental, it may be marked
the second time with parenthesis.  This is not really necessary, since
once an accidental is marked in a measure, it is good until the end of
the measure. 

To make more sense of this the RULE is:  An accidental is only good for
the measure in which it is marked.  Accidentals found in the key
signature are good for the entire piece unless you are told otherwise in
a particular measure.  
>
>2.  When you come upon an accidental on, say, A3, are the other
>     A's in the staff also affected?  How about the A4, A5, etc?
>
I forget the rule on this one, but typically the publisher will specify
all octaves it applies to to avoid any ambiguities.  If anybody knows
the actual ruling on this, please reply.  

>
>3.  What does it mean when some notes are printed in very small
>     type right next to the regular sized notes?  Does this mean
>     that they are played very lightly?
>
These are called "grace" notes.  The are played very quickly before the
note in larger print.  The note in larger print must fall exactley in
time as if the grace note did not exist.  For example,  a quarter note
falls on the 1st beat of a measure and has a grace note.  The grace note
would be played slightly before the 1st beat, and the quarter note would
land directly on the first beat.  


>

Kevin
Newsgroups: rec.music.makers,alt.guitar
From: acura@cbnewsi.cb.att.com (james.r.feeney)
Subject: Can powering amps/PAs off/on damage them?
Organization: AT&T
Date: Mon, 25 Jan 1993 20:41:56 GMT

The amps we use in our band, as well as our PA equipment, do not have "standby"
switches on them. Usually we power them off during breaks between sets,
however I was recently told that that was bad for the amps and PA. Does
anyone know about this? Why would powering them off/on four times a night
be different than powering them off/on once a day? What (if any) damage could
be caused by this? Inquiring minds want to know! 

Jim Feeney
From: daveh@Auspex.COM (David Higgen)
Newsgroups: rec.music.makers
Subject: Re: Gibson Widget MIDI Guitar Converter
Date: 22 Jan 93 06:00:33 GMT

In article <1993Jan21.040516.22754@panix.com>, kmorton@panix.com (Ken Morton) writes:

> 	I disagree.  The GR-1 is not lame.  In fact, if you don't use
> any external sound sources via MIDI, and just stick to the built in 
> generator, I'd say the GR-1 is amazing.  My friend swears by it, and I've
> spent alot of time with it - the thing works great.  You have to set it up
> properly of course, which isn't difficult.
> 
> 	The MIDI output is horrible though.  Night and day difference,
> night and day.
> 
> 				Ken

That's really odd. Given that to make the internal sounds work well 
(in terms of fast tracking) one would think it must be able to rapidly 
acquire the pitch, how long should it take to spit out a MIDI message once 
that info's there?

Just plain rotton programming? Or deliberate crippling, for some reason?

Or could there be some psychoacoustic tricks going on with the internal
sounds: ie get an audible transient out as soon as you know there's an
event & worry about exact pitch just a little later (but sufficiently
closely that the human ear doesn't catch on?)...

I haven't played with one so I can't judge personally...


			daveh
Newsgroups: rec.music.makers
From: rdippold@qualcom.qualcomm.com (Ron Dippold)
Subject: Re: Musical Notation Questions
Organization: Qualcomm, Inc., San Diego, CA
Date: Mon, 25 Jan 1993 05:41:02 GMT

jonb@Ingres.COM (Jon Berger) writes:
>Misunderstanding here: the question is whether an accidental affects
>another note in the same measure, but in a different octave.

Not in anything I've ever played, and I've played a lot.  In addition,
my music theory teacher gives a definite "no" on this one.  The
accidental persists throughout the measure only for that specific note.
-- 
A man should be greater than some of his parts.
Newsgroups: rec.music.makers
From: gcr@pacific.uucp ()
Subject: MUSENET Tape
Organization: Jet Propulsion Laboratory
Date: Tue, 26 Jan 1993 19:23:15 GMT

Has anybody out there listened to the MUSENET tape ? 
I'd be interested in hearing comments.

gcr@pacific.jpl.nasa.gov

.
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.makers
Subject: Re: Need keyboard advice
Date: 21 Jan 1993 18:10:26 GMT
Organization: Hewlett-Packard Company
Reply-To: marc@hpmonk.fc.hp.com
NNTP-Posting-Host: hptrane.fc.hp.com
X-Newsreader: TIN [version 1.1.2 PL6]

Tony Lin (tone@leland.Stanford.EDU) wrote:

:    Piano-like feel (touch sensitive keys)

There are at least two aspects to "piano-like feel".  The easy one is what you
call "touch sensitive" - officially called "velocity sensitive" - when you hit
a key harder, it plays louder.  I don't think anyone has made a keyboard in
costing over $50 for at least 5 years that *doesn't* have this feature.  It's
kind of like asking for black keys as well as white.

The hard (ie, expensive) part is the action - weighted keys instead of slabs of
plastic, with something to emulate the resistance curve of a real piano key.
You are not going to find this under $1000, at least not new.  Rarely do they
bother doing this on a keyboard with fewer than 76 keys, so the result is big
and heavy.  And often the keyboard has no built in sounds - you have to buy a
separate module (~$500, depending your specific requirements) to get the
sounds.  So if you really need anything approaching real "piano-like feel", you
may well have to add at least $500-$1000 to what you were willing to spend,
unless you can find something used.  Yamaha's Clavinova series was the original
popular line of "digital pianos" (weighted keyboards with built in piano
sounds, often built into stands), but there are at least 20 other lines to
choose from now.  I suspect a used low end Clavinova could be found for under
$1000.

Otherwise, I'd recommend trying to find a U-20, which has about as good a feel
as any non-weighted keyboard I know, and has about as good a piano sound as
you're likely to find.  You should be able to find one new for around your $800
range - the model has either been discontinued, or was at least at one time
apparently being closed out.

: I've looked at the
: "Keyboard" magazine, but it seems way above my level

If you can the Buyer's Guide issue, or any issue where they do a review of
"digital pianos", you may find useful information there.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
--
Amendment 2 Is Legalized Discrimination - Shame On You, Colorado
--
"Neither the State of Colorado ... nor any of its municipalities ... shall ...
 enforce any ... ordinance ... whereby homosexual, lesbian, or bisexual
 orientation ... shall ... be the basis of ... any ... claim of discrimination"
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
From: eac@icf.hrb.com (Eileen A. Christman)
Newsgroups: rec.music.makers
Subject: Re: Musical Notation Questions
Date: 22 Jan 93 17:49:49 EST
Organization: HRB Systems, Inc.

> 1.  What does it mean when an accidental b or # is enclosed in
>      parenthesis?    As in: (#)    As far as I can tell it means
>      that the symbol wasn't really needed but was shown anyway
>      to remind you.
It is there as a reminder.
> 
> 2.  When you come upon an accidental on, say, A3, are the other
>      A's in the staff also affected?  How about the A4, A5, etc?
Yes, unless the other A's are explicitly marked otherwise.
> 
> 3.  What does it mean when some notes are printed in very small
>      type right next to the regular sized notes?  Does this mean
>      that they are played very lightly?
These are generally grace notes.  Depending on the period when the music was
written, they are either played immediately before the beat where the large
note appears, or on the beat where the large note appears.  Generally, they are
played very quciky immediately before the beat where the large note appears,

-- 

							Eileen

Newsgroups: rec.music.makers
From: mvcjp@cbnewsf.cb.att.com (charles.j.pouliot)
Subject: Joe Perry Project Vinyl
Organization: AT&T
Distribution: usa
Date: Fri, 22 Jan 1993 13:02:28 GMT


	Hi - Someone was looking for the album "Once a rocker, always a 
		rocker" by the Joe Perry Project. Well, I came across it in
		my archives last night in mint condition. If you haven't found
		it yet, $4 bucks and it's yours. It's in mint condition - I
		didn't like it...:)
					- Charlie

					mvcjp@mvgpk.att.com



				
Newsgroups: rec.music.makers
From: jhalvers@plains (Jon Halverson)
Subject: Re: distortion
Date: Fri, 22 Jan 1993 20:12:27 GMT
Organization: North Dakota Higher Education Computing Network
X-Newsreader: Tin 1.1 PL4

ww1i+@andrew.cmu.edu (William Spaulding Wood) writes:
: I know a little about eqipment, I never really got into it all that
: much.  I have my Les Paul, and my Roland JC 120, and I spent a lot of
: time playing around to find those.  But distortion pedal seem to elude
: me.  I cannot seem to find one that sounds quite right.  I don't like
: the Metalica-like sound, nor the Nirvana-like grunge crapshit sound, nor
: the classic rock like sound, what else is there?  I'm thinking of
: something more like Fugazi, or Clash, or something.  Any ideas?
: 
:     ~wig, an amature, I suppose

  I'm pretty sure that Ian M. (Fugazi, but you knew that) uses Marshall
amps, and usually a Gibson SG. 

   Personally I try to stay away from distortion box's, using tube amp
dist instead. It sounds much better IMHO.

jh
Newsgroups: rec.music.makers,rec.music.classical
From: gds@ficus.cs.ucla.edu (Greg Skinner)
Subject: touring
Followup-To: poster
Reply-To: gds@cs.ucla.edu
Organization: in your face!
Date: Mon, 25 Jan 93 20:25:00 GMT

I was wondering how those of you who have full-time jobs who are
touring musicians arrange for leave, etc., particularly if you know
you'll be away for a few months at least.

Reply by email and I'll summarize.
Xref: sparky rec.music.makers:12053 rec.music.makers.guitar:1512 rec.music.synth:20221
From: barothwe@pobox.cca.cr.rockwell.com
Newsgroups: rec.music.makers,rec.music.makers.guitar,rec.music.makers.synth.guitar,rec.music.synth
Subject: WANTED: FX for Vocals AND Guitar
Date: 21 Jan 93 17:10:47 GMT
X-Received: by usenet.pa.dec.com; id AA12074; Thu, 21 Jan 93 09:11:21 -0800
X-Received: by inet-gw-2.pa.dec.com; id AA09418; Thu, 21 Jan 93 09:11:16 -0800
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X-To: rec.music.makers.usenet, rec.music.makers.guitar.usenet,
        rec.music.makers.synth.guitar.usenet, rec.music.synth.usenet
X-Mts: smtp


I am interested in buying something to use for vocals AND electric
guitar. Here are some explanations/critteria:

	1. I have a Tascam 4-track, so I need to do a lead vocal
		on one track only, but I really need the quality
		improvement I get from doubling the vocal, so
		pitch shifting is a desirable feature.

	2. I want to record my electric guitar direct to tape, but
		want a great tone and the potential for effects
		such as reverb, chorus, etc. I really like the Sans
		Amp for great variety in great tone, but it's only 
		for guitar and has no effects.

	3. If I have multi-effects available, I can record the vocal
		or guitar part to the track WITH the desired effects
		and then use an appropriate quality reverb in the
		same unit for tthe whole mix.

	4. MIDI capability would be great.

	5. Is having "distortion" as one of the effects all that is
		needed to get a good guitar tone?

Perhaps I'm asking for to much, especially since my budget is really
tight now. I have noticed units like the Art SGX LT, the Zoom 9000,
the Digitech DSP-256XL, the Alesis Quadraverb(GT)... any of these 
units a good choice?

Perhaps I should still get the Sans Amp for the basic great guitar
sound and a separate, simpler, and inexpensive clean effects unit?

What are your suggestions... and do you have anything like this for
sale?

Thanks. (Please reply directly to my email address shown in my sig)

===============================================================================
  Bruce Rothwell                            \ /~~~~~~\     Opinions expressed
  barothwe@floyd.cca.cr.rockwell.com         X        )    are mine, but they
  Rockwell Int'l - CCA                      / \______/     might be shared by 
  Cedar Rapids, IA 	                                        multitudes !!
===============================================================================

 
Newsgroups: rec.music.makers