HDTenEightyP/NetNews huggingface dataset:
From: ferrand@niblick.ecn.purdue.edu (Brian K Ferrand)
Subject: Re: Tuning a Fender Strat + ???
Summary: tuning a non-lock trem
Organization: Purdue University Engineering Computer Network
Date: Tue, 14 Apr 1992 19:40:15 GMT

In article <1992Apr9.232451.21026@cam.compserv.utas.edu.au>, rthoff@esk (Rudolph van't Hoff) writes:
> 
> Hey Dude,
> 	The problem with your guitar is that:
> 			when you push the tremolo down,
> 			the guitar strings unwind around
> 			the machine heads, and when they 
> 			tension back up, they'll strech.  
> 			
> To avoid this I suggest that you either buy a locking nut and tremolo,
> or don't use the tremolo at all. If you just buy a locking nut($30AUS)
> then the strings will still go out of tune at the bridge. the bridge, for
> a cheap model would probably cost ($200AUS), or a more expensive one($400AUS)
> but it is most likely that the most expensive one would include the nut!

This is certainly a possibility, but adding a locking nut WILL change the
tone of the guitar. Adding mass to the headstock changes tone a little.
The fact that the strings can't vibrate *behind* the nut on a locking
system also affects tone. You can get some cool 'plinky' sounds on a 
guitar with a standard (nonlocking) nut by strumming the strings between
the nut and the tuning gears. Volume helps.

There is a way to wind your strings that will *almost* eliminate the 'detuning'
that occurs on a standard trem system when you use the bar in a not-so-
subtle fashion. This is much easier to demonstrate than it is to describe,
but I'll try.

Insert the string (say the D string) through the hole or slot in the tuning
post.
Remove most of the slack in the string (I can fit 3 or 4 fingers between
the string and the twelfth fret).
Wrap the free end of the string CLOCKwise one-half turn around the post.
The free end of the string should go UNder the rest of the string (the part
going toward the nut and bridge).
Pull the free end of the string straight Up, and the back around the post
counterclockwise.
Bring the string up to pitch.

The idea is to use the free end of the string as an 'anchor' to eliminate
slippage at the tuning post. Using fewer wraps around the tuning post
will help, as will lubricating the nut slots with some graphite (aka
pencil lead).

I'm sorry if that's confusing. If anyone knows what I mean, and a better
way to explain it, please post.



brian

Purdue is not responsible for the contents of this post, nor my guitar
playing. 
Newsgroups: alt.guitar
From: sergeb@cco.caltech.edu (Serge Justin Belongie)
Subject: Peter Gabriel "In Your Eyes" Tidbit
Organization: California Institute of Technology, Pasadena
Date: Fri, 17 Apr 1992 07:45:37 GMT

Except for "Solsbury Hill," I have not been able to figure out any
of Peter Gabriel's songs on guitar (I have an acoustic).  But I was
thinking, you know that part in "In Your Eyes," I think it's called
the pre-chorus, where he sings "but all my instincts..."; well, there's
some high picked notes that sound like guitar.  I think they are based
on an A chord and Asus: x x x 9 10 9, x x x 9 10 10 respectively.
If anyone knows the chords to any of his songs, please post!  I'm
sure there are other netters that would like to see some Gabriel Posted.

By the way, here is what I figure "Solsbury Hill" is:

  E / /  A*/ A  / A*A E

e---0-2--5-5-4----5-4-2--R 
B-4-------------5--------E
G------------------------P
D------------------------E
A------------------------A
E------------------------T

(A* = Asus4, and it sounds like the sus is hammered on from a normal A)

 
  E / /  A / E  A /

e---0-2--4-4-2--0-0------R 
B-4----------------------E
G------------------------P
D------------------------E
A------------------------A
E------------------------T

On the last A don`t play the high e.

This is pretty much how the whole song goes, except for the part
where he sings "Grab your things..." there is a D chord.

I welcome sugestions or corrections.

-Serge
D
where he sings RGrab your things...S there is a D chord.
From: ksand@apple.com (Kent Sandvik)
Newsgroups: alt.guitar
Subject: Re: The Pat Travers Band
Date: 8 Apr 92 19:17:11 GMT
Organization: MacDTS Mongols

In article <q+kjj1g.sbc@netcom.com>, sbc@netcom.com (Spencer Clark) writes:
> 
> In article <DRAKE.92Apr2094600@dragon.cpe.ulowell.edu>
drake@dragon.cpe.ulowell.edu (Frank Drake) writes:
> 
> >I really miss the "good ol' days" when Pat Thrall was in the band and
> >Tommy Aldridge was on drums. 
> 
> Yes!!!!  Abso-fuckin-lutely!!!!  Snortin' Whiskey was (and is) one of my 
> top 50 all-time favorite rockers.  That's the kind of stuff that makes you
> get speeding tickets.
> 
> >Does anyone know what Pat Thrall is up to these days? 
> 
> I wish I knew.  As I understand it, all the hot licks in the band were coming
> from him.

I think he plays in Asia, or whatever it's called today. Saw Pat Travers band
a couple of months ago here in San Jose. It was a tight concert! Didn't get
a good picture of his set though.

Cheers,
Kent
From: sdavis@laforge.ksc.nasa.gov (Steve Davis)
Newsgroups: alt.guitar
Subject: Re: 12 string songs
Date: 17 Apr 92 13:29:43 GMT
Article-I.D.: dale.1992Apr17.132943.10108
Organization: NASA

Roberto M. Dizon writes
> Other 12-string songs that sound great are Extreme's Hole Hearted (a great 
> workout on the hands and fingers, and very difficult to play clean),
> and the Eagles' Hotel California. Don Felder uses a capo at I think the 
> ninth fret of a 12-string for that song. It's so impossible to keep twelve
> strings in tune as it is, but with a capo that high it's gotta be hell!

  I think the capo is at the seventh fret on Hotel California; that lets you  
play in B-minor while fingering in E-minor.  Yes, it's hell to keep in tune!
From: gray@celia.UUCP (Steve Gray)
Newsgroups: alt.guitar
Subject: Re: Guitar Sound in NIN
Date: 7 Apr 92 21:00:49 GMT
Reply-To: celia!gray@usc.edu (Steve Gray)
Organization: Rhythm & Hues, Inc., Hollywood

I'm just taking a wild guess... but I would vote for some really nasty pedal
distortion effect run through a direct box straight to tape.  Or possibly
said really nasty distortion effect run through some kind of equally nasty
amp... maybe even a Marshall but it seems unlikely, unless the Marshall was
set a pretty clean sound and all the distortion was coming from the effect.

I base this on the fact that it sounds very digital to me... not like analog
(tube amp) distortion.
Newsgroups: alt.guitar
From: rthoff@pieman (Rudolph van't Hoff)
Subject: Re: Stairway...
Organization: University of Tasmania at Launceston
Date: Mon, 6 Apr 92 09:15:48 GMT


Anyone interested in Led Zepp. welcome to contact me at:

			rthoff@esk.compserv.utas.edu.au

or			35 Landale Street
			Invermay
			Tas  7248
			Australia

or			003-344-246

Thanks in advance,
		Rudolph.
From: frankc@faatcrl (Frank Coffman)
Newsgroups: alt.guitar
Subject: Re: scales
Keywords: scales
Date: 13 Apr 92 17:37:17 GMT

jasdzews@mace.cc.purdue.edu (Gary James Jasdzewski) writes:

>How do you know if you
>can use a diminished scale over major and minor chords, etc.

One good use of diminished chords / scales is to substitute them for
dominant 7th chords one half-step lower.  Take a I-IV-V7-I progression for
example; In the key of C, this would be C-F-G7-C.  Try substituting an
Ab diminished scale / chord for the G7.  This in essence is adding a
flatted ninth to the G7 chord.  Whole tone scales are also good
substitutes for V7 chords.  Keep the root the same; in the key of C
try playing a G whole tone scale over the G7 (this will give it the
flavor of a G augmented seventh).

These substitutions can be great or terrible, depending on the type of
song and the way you use them.  Your ear will tell you when they're
right.


*********************************************************************
* Frank Coffman     Computer Resource Management, Inc. (CRM)        *
*                   NAS Sim. Support Facility, FAA Technical Center *
*                   Atlantic City Airport, NJ 08405                 *
* UUCP:  ...!rutgers!faatcrl!frankc  Internet:frankc@faatcrl.UUCP   *
*********************************************************************
From: fkam_ltd@uhura.cc.rochester.edu (Kevin McFadden)
Newsgroups: alt.guitar
Subject: Re: Fretboard problems
Date: 12 Apr 92 19:38:49 GMT
Distribution: na
Organization: University of Rochester (Rochester, NY)

In article <1992Apr12.054436.19205@wam.umd.edu> ctso@wam.umd.edu (CT Shock) writes:
>fkam_ltd@uhura.cc.rochester.edu (Kevin McFadden) writes:
>: Hi, all.  My problem is this: I have a Washburn Festival series 6-string
>: acoustic and after I am done playing my fretboard fingers are covered
>: with black stuff looking like graphite.  It is probably just the finish
>: coming off but what can I do to stop this?
>: 
>	Buy new strings. Even though they call them 'steel' strings,
>they've actually got a lot of nickel and other stuff in them. When they
>rust, they rust black, not red. One way to minimize the problem is to keep
>a cotton rag in your case and wipe down the strings after every session.
>The oils from your fingers contribute significantly to the rust.
>

	This happens regardless of string age but I will give your suggestion
a try and see if it makes a difference.


>: I lied. Two Problems.  The action on this guitar is very nice, but the low
>: E string buzzes a lot more than I would like (every fret except the F has 
>: some significant amount of buzzing).  Could this be an intonation problem?
>: I did not notice this when I was trying it out in the store.
>: 
>Hmmm.... was it tuned to pitch when you played it in the store? Have you 
>changed the strings to a lighter gauge? For starters, intonation has to
>do with scale length, your problem is action. Every time you put a different
>brand 'o strings on the instrument (esp. different gauge or material) you
>change the tension on the neck when the guitar is at pitch. Lighter strings
>won't bend the neck as much, so you get fret buzz. The low E has the greatest
>travel when you pluck it, so guess which one the problem will show up in
>first? If the guitar is a recent purchase, choose the flavor of strings 
>you're going to play with, take them and the instrument back to the 
>dealer and have him/her set the action for you. They should do this for 
>free.
> ---------------------------------------------------------------------------

	The problem with the purchase is that it was over half a year ago
and I have only known of alt.guitar for two months so getting it done free
isn't an option.  Also I wouldn't trust the place( the house of guitars)
to polish it, the have a great selection, great prices, but horrible attitudes.
There is a place I trust so I'll go there when cash is expendable and get this
done. 

Thanks a lot!

Kevin
Newsgroups: alt.guitar
From: 6o25@sdf.lonestar.org (Stephen M. Jones)
Subject: Re: Les Paul
Organization: sdf Public Access UNIX, Dallas--unrestricted free shell access
Distribution: usa
Date: Thu, 9 Apr 1992 03:06:04 GMT

>> 	By the subject title you might think that I am continuing the
>> guitar thread, but I am not.  I am in fact wondering what Les Paul
>> did for the production/recording industry.  It is supposedly pretty 
>> revolutionary.
>> 
>> 
>> Kevin
>
>	How about multitrack recording .
>
>	Steve 
>	Doin That Blues ThAng!
>	Come on down to the Sippen E-Z
>



and don't forget he discovered Flanging.....Playing two of the same recordings
at once and manipulating the speed on one to cause delay/pitch shift etc/


-- 
6o25@sdf.lonestar.org                            ..!uunet!convex!egsner!sdf!6o25
From: skywalker@DINO.QCI.BIOCH.BCM.TMC.EDU (Timothy B. Reynolds)
Newsgroups: alt.guitar
Subject: Re: Fender and CBS
Date: 8 Apr 1992 15:27:31 GMT
Organization: X-Ray Crystallography / Howard Hughes Medical Institute

In article <52780@mimsy.umd.edu> larsb@mimsy.umd.edu (Lars Baekgaard) writes:
 >Could somebody please tell me when Fender and CBS were separated? I
 >know that their 'marriage' started in the mid-sixties and that people
 >in general relate this to a decreasing quality although it is hard to
 >date the beginning of the down-period. Also, I would like to know if
 >you guys think that the down-period is over and if it is: when did it
 >stop and had it anything to do with the separation from CBS?
 >
 >thanks - Lars

I don't get it, I purchased a 1975 Stratocaster (new) and have
been very happy with it for 16+ years. What made the early sixties
Strats SO much different ??? My Strat has a maple neck, plays very
well and has the "Strat" sound and pretty quick action.

I saw some of the "new" strats in the early eighties that looked
pretty cheap, the hardware looked like junk. I have compared my strat
with early sixties models and don't see much difference except the magnets
in the pickups looked a little crude, so whats the deal ?

The only modifications I have made are replacing the pickguard with 
a stock new one and putting a Duncan pickup in the lead position.

tim
 
Newsgroups: alt.guitar
From: dana@next02wor.wam.umd.edu (Carl Erickson)
Subject: Re: 12 string songs
Organization: Workstations at Maryland, University of Maryland, College Park
Date: Fri, 17 Apr 1992 16:32:07 GMT

In article <1992Apr16.174249.18219@fs7.ece.cmu.edu>  
dizon@plunger.ECE.CMU.EDU (Roberto M. Dizon) writes:
> 
> Eagles' Hotel California. Don Felder uses a capo at I think the 
> ninth fret of a 12-string for that song.

He uses a capo on the 7-th fret and the chords go like this

  Bm

E--7--9--7--7---7--10--7--9
B--7--7--9--7---8---7--7--7
G--7--9--8--9---7---7--7--9
D--9--8--7--9---9---7--9--8
A--9--9-----7--10---9--9--9
E--7---------------10--7


Forget what the chords are because I don't feel like figuring them out.   
This should be right but I am trying to remember it in a lab without a  
guitar.  The chorus uses the same chords in different orders.  Just listen  
to the tape and you can figure it out.

Carl

dana@wam.umd.edu
From: tm@cbnewsk.cb.att.com (thomas.s.muir)
Newsgroups: alt.guitar
Subject: TAB SOURCE
Date: 9 Apr 92 15:24:01 GMT
Distribution: usa
Organization: AT&T

For a good source of challenging and interesting TAB, pick up a few John
Renbourne albums.  They come with the TAB and most of the songs are quite
challenging.  His style is a cross between folk and classical.

Later,

-- 

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
T.Muir                                "Po te weet!"
                                                Kurt Vonnegut
Newsgroups: alt.guitar
From: rthoff@pieman (Rudolph van't Hoff)
Subject: Re: Stairway...
Keywords: stairway
Organization: University of Tasmania at Launceston
Date: Mon, 6 Apr 92 08:52:14 GMT

In reply to the request of a listing of the complete tab!

Well I have a complete listing, solo included, too long to type up here.
So if you send me a letter or perhaps mail a email letter to me, stating
where you live, etc. then I would be more than happy to mail the stuff!


"And it makes me wonder."
R.Plant


___________________________________________________________________________
|  R.van't Hoff        | rthoff@esk.compserv.utas.edu.au                  |
|                      |                                                  |
|  Uni of Tas.         | @ Home - 35 Landale Street,                      | 
|                      |          Invermay, TAS                           | 
|  Aus.                |          7248                                    |
|                      |          AUSTRALIA                               |
|                      |                                                  |
___________________________________________________________________________



Newsgroups: alt.guitar
From: gkessells@cc.curtin.edu.au
Subject: Unusual Stratocaster
Organization: Curtin University of Technology
Date: Wed, 8 Apr 1992 02:14:55 GMT

Ok, having seen all the recent posts about Fender Stratocaster Elites, and
having today seen my first real live Strat (not stratocaster).  I thought I'd
see if anyone could identify this beasty I have seen locally.  The head stock
just says 'Fender Stratocaster Made in USA' (this is all from memory).  The
head stock shape is the heavy, triangular 70's style.  The tremolo has unusual
saddles, cant remember exactly how, but they were different, and the trem arm
just pushes in.  There is only one pot and that has a knurled metal knob, and
the cable jack is on the edge of the body, ala Gibson.  I think it may also
have a humbucker in the bridge position.  Any ideas?

---------------------------------------------------------------------------
  Ian Gillan was Jesus Christ SuperStar                    Rob Alley
  Ritchie Blackmore IS GOD.                        (In a lecturers account)

 "I never heard any blues like I heard the guitarist from Deep Purple play.
  I had to stop, blink my eyes and go back and take a close look at that 
  cat.  He was playing some black blues that'd make some black guitarists
  stand up and take notice."   
     -   Bumps Blackwell on Ritchie Blackmore, Melody Maker Sept. 72.
 --------------------------------------------------------------------------
From: faulkner@acsu.buffalo.edu (Shane P. Faulkner)
Newsgroups: alt.guitar
Subject: TAB request: Gloria by U2
Date: 14 Apr 92 15:05:11 GMT
Distribution: alt.guitar
Organization: UB

The subject says it all... thanks in advance.

///////////////////////// The Gangster of Boats /////////////////////////
//////////////////  Rush - Marillion - Kim Mitchell  ////////////////////
/////////////////////////////////////////////////////////////////////////
/ Shane P. Faulkner         |  Boys and Girls together                  /
/ University At Buffalo     |  Mistake conceit for pride                /
/ V127L2QZ@UBVMS.BITNET     |  Ambition for illusion                    /
/ faulkner@acsu.buffalo.edu |  Dreams for self-delusion   - Neil Peart  /
/////////////////////////////////////////////////////////////////////////
From: css1rs@ee.surrey.ac.uk (Russell Smithers)
Newsgroups: alt.guitar
Subject: Naming guitars
Date: 8 Apr 92 17:50:16 GMT
Reply-To: css1rs@mcs.surrey.ac.uk
Organization: University of Surrey, Guildford, England

Emm, good idea I think I will name mine, after all it much nicer to say im
going to play with my sexy thing, thats if you called your guitar "sexy thing" 
Newsgroups: alt.guitar
From: elee@descartes.waterloo.edu (Salty Freckles)
Subject: Re: TAB: "Gloria" (U2) intro
Organization: University of Waterloo
Date: Thu, 16 Apr 1992 12:36:57 GMT

In article <167CAEB11.MHIRS00@ricevm1.rice.edu> MHIRS00@ricevm1.rice.edu (Hirsh, Marc Bennett) writes:
>
>BTW, could someone explain this "My dog has fleas" business to me? I've never
>taken lessons, but I imagine it has something to do with tuning a guitar.

I'm not sure, but I think it was originally meant to tune a banjo, or some
other 4-stringed instrument. Each word has a certain pitch it is sung in, which 
corresponds to a string. Nevertheless, it seems like a bad method, since
it relies on the tuner to remember the pitches that "My Dog Has Fleas" is
sung to; and unless you have perfect pitch....

Dunno 'bout the origin of the phrase "My dog has fleas" though...

>Marc Hirsh

Gene Lee
elee@descartes.waterloo.edu
Newsgroups: alt.guitar
From: pwilson@watserv1.waterloo.edu (Pete Wilson)
Subject: Re: High, Action?
Organization: University of Waterloo
Date: Thu, 9 Apr 1992 15:16:18 GMT

In article <1992Apr8.171553.29023@EE.Surrey.Ac.UK> css1rs@mcs.surrey.ac.uk writes:
>What does high action mean? I know this a very basic question but I don't
>know what it means.
>
>Thanks.

The action is the distance from the rest postion of the strings to the
fretboard.  It affects how easy it is to play the guitar.  Generally
speaking a higher action is harder to play, partly because it requires more
pressure exerted on the string, and partly because it makes it more
difficult to finger notes correctly.  You might think from this that the
best thing would be a low action, but with a low action you are much more
likely to have fret buzzes, and (people claim) the tone of the guitar can
suffer.  Generally if you mostly play rhythm you will want a higher action
than if you play a lot of lead.  Most good guitars allow you to adjust the
action somewhat to suit your preference.  Probably a better figure of merit
is how uniform the action is along the fret board.  Some Fender guitars
have a fairly high action but it is very uniform along the fret board
so that it is no harder to play on the fourteenth fret, say, than on
the third.  Cheap acoustic guitars can have actions that are sort of
playable for first position chords, but are hopelessly high for
anything beyond the fifth fret.  If you can't finger open chords
reasonably easy down to to at least the twelfth fret,  (barre chords
don't count in this respect as they effectively lower the action), you
should consider passing your guitar down to a younger sibling or
relative, and buying yourself something that will help, rather than
hinder the development of your guitar playing skills.

.pw

Newsgroups: alt.guitar
From: alib@IASTATE.EDU (Richard A Brown)
Subject: Rockman problems; Zoom comparison? (was Re: distortion boxes?)
Reply-To: alib@IASTATE.EDU (Richard A Brown)
Organization: Iowa State University
Date: Sat, 11 Apr 1992 02:21:52 GMT

In article <18715@ravel.udel.edu>, abby@ravel.udel.edu (Louis Abbruzzesi)
writes:
> This post reminded me of something I've wanted to ask for a long time. Has
> anyone had trouble with Mr. Sholz's contraptions.  I've owned two rockman 
> portable units and both of them have fallen apart(I have to bang on it
> to get it to work).  They work great for 4 tracking(and not bothering the
> bitch next door at the same time) but I don't think I'll ever invest in
> another Sholz product.  Has anyone else noticed shoddy construction?
> Lou
> abby@brahms.udel.edu

I've had the following problems/complaints with my Rockman:

1) 1 (of the two stereo) headphone channel cutting out.  I've opened it
up and the solder joints for the headphone jacks look ok.  I think
the jacks have prematurely worn out. I've had the unit for a number of
years, but it hasn't been used that heavily. I'm generally nice to my
equipment too, so I don't think this problem or numbers (2) or (5) below 
could be attributed to abuse.

2) The gain trimpot on the back of the unit appears to have broken; it
no longer affects the sound.  It used to be limited to 180 degrees of
travel (from the lowest gain to the highest gain setting), but now turns
all the way around.  

3) The sound seems to deteriorate after the unit has been on for more
than an hour.  This could be a flaky solder joint or op amp or something;
a close visual inspection of the circuit boards didn't find any obvious 
damage or manufacturing defects.

4) The unit is noticeably noisier using the "Rockadaptor" (don't you just
love these corny comic-book names for the accessories?) ac adaptor.  On the
few occassions I've recorded with it, I've used batteries.  Even with
batteries,
my ears still find it too noisy for recording anything but a rough demo.
I've also ran the auxiliary out to my combo amp, and I found that setup way too
noisy and prone to uncontrollabe feedback to be of any use for anything but
practicing by myself.

5) The slider switches have gotten harder to operate.  Anymore, it's become
a trick (somewhat akin to balancing a 3-pos. switch on an old strat between the
bridge and middle pickups for that out-of-phase sound) to get the "clean 2"
and "edge" settings.  I thought those switches were kinda clunky when
I first bought it.

I will probably ditch my Rockman for a Zoom9002/0 eventually. Can any Zoom
owners attest to the physical durability (or lack thereof) of their units?
--
Ali Brown
From: gerbil@yoyo.cc.monash.edu.au (John Patrick Sawyer)
Newsgroups: alt.guitar
Subject: stairway
Date: 8 Apr 92 11:31:59 GMT
Organization: Monash University General Access Unix

The full tab for stairway to heaven is in the complete Led Zepplin Tab
Version availiable from any good music shop
-- 
-----------------------------------------------------------------------
|John Sawyer 3rd Year Mechanical Engineering Student		      |		
|Monash University						      |	
|Let the Gerbils Live in Peace      				      |