HDTenEightyP/NetNews huggingface dataset:
From: META000 <META@UNB.CA>
Subject: RE: fender lace sensor question
Organization: The University of New Brunswick
Date: Wed, 19 Aug 1992 21:47:03 GMT

In article <6dPp02a.1eFr01@JUTS.ccc.amdahl.com> dhi00@ccc.amdahl.com (Dario H. Impini ) writes:
>anybody know whats in a fender lace sensor?  ad hype says its a
>revolutionary new way of "reading" the strings but i want to
>know whats really in there.  is it hall effect sensors, active
>pickups, or just coils like everybody else?
>
>d
>.
>.
i was looking at one of the demonstration cutaways that fender provides
to music stores the other day, and it appears that the lace consists of
your basic single coil, but instead of having regular pole pieces like
strat or tele pickups, it has two "trough" magnets that start in the
middle of the coil (where pole pieces usually are), wraP AROUND UNDER
THE COIL AND COME OUT ON EITHER SIDE.  JUST IMAGINE YOU HAD TWO SHORT
PIECES OF MAGNETIC EAVESTROUGHING, AND JOINED THEM SIDE BY SIDE BY
WRAPPING WIRE AROUND THE TWO SIDES THAT ARE TOUCHING, AND THAT"S WHAT IT
LOOKS LIKE (or what it appeared to be from the limited view afforded by
the demonstration display).  "Trough"-type magnets have been used by
other pickups previously.  i had a mid-50's epiphone with a pickup that
used that magnet structure.  where the lace appears to differ is that
the two magnets are of opposite polarity (at least I think they are).
i've never played one, but i understand they are hum-rejecting, so i
assume that the two magnets have opposite polar orientations.  now, how
**One** coil can create hum-rejection with two magnets is beyond me.  i
suppose there may be some benefits to having the poles both inside and
outside of the coil, and that's where the magic may lie.  from what i
know of pickups, though, two pole-pieces, spread a half inch apart is
likely to result in less high end (as one finds in traditional fender
pickups), and a more "vocal" sound, with bite, but very little of what I
like to call "shimmer" (that stuff in the over 6khz range).  that's as
much as i know about 'em.

Newsgroups: alt.guitar
From: ryanr@beethoven.CS.ColoState.EDU (richard ryan)
Subject: Re: TAB Jesu, Joy of Man's Desiring
Date: Mon, 17 Aug 1992 07:32:46 GMT
	<9208101308.AA18071@bessel.umd.edu> <v_8mtnj.kent@netcom.com>
	<RYANR.92Aug16022324@beethoven.CS.ColoState.EDU>
Organization: Computer Science Department, Colorado State University

>>>>> On Sun, 16 Aug 1992 07:23:24 GMT, ryanr@beethoven.CS.ColoState.EDU (richard ryan) said:
richard> Nntp-Posting-Host: beethoven.cs.colostate.edu

>>>>> On Sun, 16 Aug 92 02:31:42 GMT, kent@netcom.com (Kent Crispin) said:

I forgot something in a previous letter.  Here it is.

richard> In places where necessary, classical guitar notation actually tells
richard> you precisely which finger to place on which string on what fret and,
richard> of course, when to do it.  The parts that aren't notated this way are
                                 ^ and what finger with which
					to pick the string.

That's all,
Richard.
Xref: sparky alt.guitar:7355 rec.music.makers:9108 alt.guitar.tab:1811
From: umande91@ccu.umanitoba.ca (Benjamin Robert Anderson)
Newsgroups: alt.guitar,rec.music.makers,alt.guitar.tab
Subject: How would you play this?
Date: 21 Aug 92 21:55:18 GMT
Organization: University of Manitoba, Winnipeg, Manitoba, Canada


   I am having a problem playing something like this:

   |--13--10-------10|
   |----------10-----|
   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??

                                                 Thanks.
Newsgroups: alt.guitar
From: deadhead@plague.ugcs.caltech.edu (stephen thompson)
Subject: Re: My thumb can't do the Hendrix
Organization: California Institute of Technology, Pasadena
Distribution: alt
Date: Thu, 20 Aug 1992 05:34:58 GMT

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?  My thumb
>just doesn't bend far enough.  Do I need to get an electric guitar?  Or
>will this get better with practice?

It will get better with practice, or at lease it did for me.  An electric
guitar wouldn't hurt.  It's not so much a question of the size of one's
hand, but the flexibility, dexterity, and strength.  It doesn't take much
thumb to fret the string, but it does take a lot of the other three things.
And, hey, use every appendage you got to fret them strings.

--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,alt.guitar.tab
From: jriitala@polaris.utu.fi (Jari Riitala)
Subject: Re: //Theory Query (FollowUP)
Reply-To: jriitala@polaris.utu.fi
Organization: University of Turku
Date: Thu, 20 Aug 92 13:49:07 GMT

fvr@broom.bae.bellcore.com (Frank Ricciardi) writes:

>In article <1992Aug19.192220.158@news.uwyo.edu>, hirschfb@news.uwyo.edu says:
>|>
>|> ..what I'm really looking for is a way to change from song to song 
>|> while playing. Say, I'm playing a song in C or whatever, and my next
>|> song is in F, what progression of chords would be needed

>	Keep in mind that the 5th chord in any key played as a 4 part seventh
>resolves to the root. i.e. play a C#7 and then switch to an F. You'll hear the
>resolution. C#7 prepares your ears for an F, and actuall leaves you 
>dissappointed if the F doesn't come. (This technique is also used) 

C#7 is in fact the 5th to F# instead of F so it would much better lead
there.  A C7 would take you to F.

Often it is even more efficient to insert a 2nd-based minor seventh
(or a variation of such) before the 5th of the target key. So our
little example would go

	C - Gm7 - C7 - F

Sometimes though you might find the transition from the original root
to the ii7 (or V7) of the new key awkward, depending how your ear
reacts. Such an animal _might_ be eg. (off the top of my head, no
instruments at hand)

	C - Abm7 - Db7 - Gb

in which case you might want to try a longer transition.

On the other hand, the key changes in commercial music (within a song,
that is) have no rigid rules. besides the "standard" way you can use
anything that sound good to you. Many songs change keys without *any*
transitional chords!

Try different approaches and listen!
-- 
------------------------------------------------------------------------------
!       Jari Riitala	    !  	  Kuusiharjunkatu 34        !                !
! 	    	 	    !	  SF-20660 LITTOINEN        !    100 100 1   !
!      jriitala@utu.fi      !	  FINLAND                   !                !
!   JRIITALA@KONTU.UTU.FI   !  	  home: +358 21 442 371     !  - Neil Peart  !
!     riitala@hcc.utu.fi    !     work: +358 21 633 8772    !                !
------------------------------------------------------------------------------

Newsgroups: alt.guitar
From: larryh@cabezon.uucp (Larry Huntley)
Subject: Re: Ty Tabor's Guitar Sound
Organization: Logic Modeling Inc of Beaverton Oregon
Date: Fri, 14 Aug 1992 23:11:38 GMT

In article <1992Aug14.044900.16165@uniwa.uwa.edu.au> root@tartarus.uwa.edu.au (System PRIVILEGED Account) writes:
>As I am a HUGE fan of Kings X..I would like to know how to get that
>massive guitar sound that Ty Tabor gets....
>
>Any ideas?????

	Part of the answer is that he's got the low E tuned down a whole
	step to D on most of the tunes.  This is where a lot of the power
	comes from.  I suspect Doug Pinnock tunes his basses (4 and 8
	string both) this way as well.  Plenty of volume and 12" and 15"
	speakers help.  I have no idea where the "woody" quality of his
	tone comes from.

	The night I saw them, Tabor played three different axes; they all
	sounded pretty much the same - his signature sound.  All had
	Strat-like three-pickup arrangements, but I was so damn far back
	that I couldn't identify the make of the instruments and had no
	hope of seeing any effects boxes, if there were any.  Pinnock had
	a rack of stuff; it seems likely that Tabor did too.  Tabor was
	using six Yamaha cabinets; Pinnock used 5 Ampeg SVTs.  I don't
	know what the amplification was.  The tone and sound was very
        good live.

	I like these guys a lot.  They are good musicians and their songs
	are harmonically and rhythmically interesting.
	(Funky Christian Metal?)

	- Larry Huntley
-- 
         (larryh@lmc.com)         | You played golf; you watched football;
     Logic Modeling Corporation   |   you drank beer -- we EVOLVED!
          Beaverton,  OR          |         - Rhonda,  "Thing-Fish"
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: Need Opinions On Aria Pro II Guitars
Date: 13 Aug 92 00:15:50 GMT
Followup-To: alt.guitar
Organization: Univ. of Arizona

Well, since my beloved '62 strat was stolen last fall and I can't afford
to replace it, I've been messing with a friends' aria pro II copy strat, 
and for a real cheapo guitar it's OK. Has a fairly good strat sound (but
the tuners and hardware is pretty junky, but whaddya expect?)
							I recall walking into Guitar Resurrection in Austin about 12 or 
13 years ago and finding Eric Johnson trying out an Aria Pro II strat/copy
(they'd just come out) and it sounded mighty fine, and while I don't think
he bought it, he liked it at the time...
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: alt.guitar
From: vucinic@apol3ppe1.cern.ch (Dejan Vucinic )
Subject: Re: Playing with fingernails
Organization: CERN European Lab for Particle Physics
Date: Thu, 13 Aug 1992 21:57:26 GMT

ryanr@beethoven.CS.ColoState.EDU (richard ryan) writes:

>Have you got a fingerstyle technique for a smooth single note tremolo?
>The p-a-m-i works fine for tremolo with a bass on the bottom but
>that's a different effect altogether.  When trying this with all four
>fingers on the same string, the notes produced by the thumb really
>sound different from the rest and stand out too much.

p-a-m-i I've never used, but a-m-i produces smooth sound. Listen to 
a good classical guitarist playing 'Alhambra' (sorry, don't know the
exact name in english...) to hear what I'm talking about. By changing
the angle of fingers with respect to strings you can make different
sounds (doesn't mean anything on electrical guitar).
However, p-a-m-i should also sound smooth but you mustn't
hold your hand as for 'normal' playing, don't bend the fingers and
hold the thumb parallel to other fingers (your hand should be much
higher above strings) so that you pick the string with the front
of thumb, not the side. This is also a good way to learn any tremolo
technique (at least worked for me :) because you can learn much faster
how to miss the other strings...

>Also, how about a fingerstyle technique for tremolo on adjacent double
>stopped strings?  Although the p-i free stroke technique and the i-m
>rest stroke technique (alternately drag each finger over the two
>strings) produce beautiful effects, it is not the same as as a tremolo
>where both strings are picked almost simultaneously which I find is
>probably a more useful effect simply because it has a sound that's
>more plain.

Same as above, with lot more practice... You can even hear a three
string tremolo, I've heard Lagoya (excuse me if misspelled) playing
a variation on the 'Old Spanish Song' with three string tremolo on a
concert some time ago.

Of course, there are many sounds that are easier to play with a pick
(nobody would use a pick otherwise), but I think that the variety of
sounds you can make by fingerpicking is worth learning to play with
your fingers - you won't forget to use the pick :) 


.------------------------------------------------.
| e- \          /  V    |Have a Nice Decay!      |
|     \        /        |                        |
|      \  Z0  /         |                        |
|      /~~~~~~\         |Dejan Vucinic           |
|     /\       \        |                        |
| e+ /  \       \  _    |                        |
|   /    \Y      \ V    |vucinic@cernapo.cern.ch |
`------------------------------------------------'
Newsgroups: alt.guitar
From: zelek@remus.rutgers.edu (Grey Wolf)
Newsgroups: alt.guitar
Subject: Re: Why few people have Perfect Pitch
Date: 22 Aug 92 08:20:54 GMT
Organization: Rutgers University


   Well, I can tune my guitar by ear without any problems.  I've tuned friends'
guitars for them even when some of them are far better players than I am,
to save them time.  However, if someone were to play any given note, and
I had to name that note or have my head blown off, well, you better
make sure I have that life insurance paid up. :)  Mainly I think this is
due to the fact that the two instructors I've had weren't very good, and
that not only affected me in that way, but rather diminshed my drive.
  Though the biggest drag is the fact that I was one month from being 
20 when I first bought a guitar.  People who go places generally don't
start beyond mid-teens, but that's another thread in itself. 

Chris [zelek@aramis.rutgers.edu]
From: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Newsgroups: alt.guitar
Subject: Re: Need Opinions On Aria Pro II Guitars
Date: 14 Aug 92 04:04:20 GMT
Article-I.D.: usage.1992Aug14.040420.18658
Reply-To: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Organization: none

In article <168412369.TDOPER35@ysub.ysu.edu> TDOPER35@ysub.ysu.edu (Dogger) writes:
>I need opinions on aria pro II electric guitars. Especially the SL series which
>are strat copies. thanks alot.
> 
>                              DOGGER


I bought an Aria ProII which was a strat copy. It was the most basic model as well.
I bought it to make it a fretless guitar so I can't comment on fret work.
Otherwise it has a very nice neck that hasn't warped at all. What I don't like
are the single coil pickups in it. They are a bit thin and lack response
and should probably be replaced as soon as possible. All the machinery in it though
is fine. It was definately worth the $165(Aus) that I paid for it but I would
personally go for an Ibanez Roadstar Series because they are similiar prices and
I think a roadstar is better (though the pickups are also a bit lame on them too!)

Mark
Newsgroups: alt.guitar
From: whc2993@ritvax.isc.rit.edu
Subject: Perfect Pitch
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Fri, 21 Aug 1992 13:32:19 GMT

	I've been curious about this also.  Ever since I started buying guitar
magazines I've noticed a certain add for a way to learn perfect pitch.  The
package is about $100 but it offers money back if not satisfied.  The add is
often two full pages and I wonder if it is legitimate.
							B.C.

	p.s. lets keep up the heavy blues flow in rec.music.bluenote


********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************
From: exubrst@exu.ericsson.se (Brad Steele)
Newsgroups: alt.guitar
Subject: Re: 12-string tuning
Date: 13 Aug 92 14:27:56 GMT
Reply-To: exubrst@exu.ericsson.se
Organization: Ericsson Network Systems, Inc.

Just to get the ball rolling...how IS the first chord of
'A Hard Day's Night' played?
---
Brad
From: exuptr@exu.ericsson.se (Patrick Taylor)
Newsgroups: alt.guitar
Subject: Re: 3 pickup Tele
Date: 14 Aug 92 18:23:11 GMT
Organization: Ericsson Network Systems, Inc.

In article <1992Aug10.185307.28268@leland.Stanford.EDU> termite@leland.Stanford.EDU (David Paik) writes:
>Newsgroups: alt.guitar
>Path: exucom.exu.ericsson.se!ericom!sunic!mcsun!uunet!stanford.edu!leland.Stanford.EDU!termite
>From: termite@leland.Stanford.EDU (David Paik)
>Subject: 3 pickup Tele
>Message-ID: <1992Aug10.185307.28268@leland.Stanford.EDU>
>Sender: news@leland.Stanford.EDU (Mr News)
>Organization: DSG, Stanford University, CA 94305, USA
>Date: Mon, 10 Aug 92 18:53:07 GMT
>Lines: 10

>Has anyone out there had much experience putting in a middle pickup
>into a Fender Telecaster?  I would like to get a Strat-out-of-phase
>sound from it but be able to retain the current sounds I can get out
>of it.  Is this gonna come close?

>Also, regarding pickup placement, has anyone seen Tele pickguards that
>come ready for just such a modification?

>ThAnks
>-Dave

Depends entirely on how it's wired.  I'd put in 3 on-off-on toggles to
allow any combo of pickups and phase.  This way you can have the origional
sound by shutting off the middle pickup.

Of course, putting a(nother) hole in the wood will affect the axe some, 
I'd try to make the hole small as possible.
 ----------------------------------------------------------------------------
    "This must be Thursday.  I never could get the hang of Thursdays"
                                                       - D Adams
  - Patrick Taylor
    Ericsson Network Systems
    exuptr@exu.ericsson.se                       "Don't let the .se fool you"
    alternately, exuptr@ZGNews.Lonestar.Org
Newsgroups: alt.guitar
From: META000 <META@UNB.CA>
Subject: RE: New Effect
Organization: The University of New Brunswick
Date: Wed, 12 Aug 1992 21:14:24 GMT

In article <1992Aug11.081625.14500@EE.Surrey.Ac.UK> css1rs@gondor.mcs.surrey.ac.uk (Russell Smithers) writes:
>I expect you can allready do this but, what about an effect's
>peddle that does the doppler (spelling?) effect? The change in pitch
>you get when an abulance goes past.
>
>Opionions?
>.
>.
these exist already.  they're called flangers.  the effect you describe
is one best achieved via foot-pedal voltage control of the delay rate.
regrettably, most low cost "stomp boxes" use and only provide use of an
on board sweeping oscillator (just like chorus boxes).

Newsgroups: alt.guitar
From: denio@scubed.com (Dennis C. O'Neill)
Subject: Re: little acoustic guitar...
Organization: S-CUBED, A Division of Maxwell Labs; San Diego CA
Date: Mon, 17 Aug 1992 13:18:46 GMT

> In article <1992Aug14.135438.10584@hubcap.clemson.edu> , hubcap@hubcap.clemson.edu (System Janitor) writes:
> Are there any decent quality acoustic guitars that are little enough to
> classify as carry on luggage on an airline? ...
>
> Any hints?
> 
> -Mike

The Mandolin Bros. catalog lists two acoustic travel guitars:  the Vagabond,
two models of steel strings at $332 and $449 with gig bag (MB price), and the
Outbound, at $235, plus $45 for a softshell or $90 for a hardshell case.
The Vagabond is 32" long, while the Outbound is 36" long.  I played a
Vagabond at Elderly Instruments once, it was a good instrument for its
purpose and price.




In article <1992Aug14.151752.15812@news.cs.brandeis.edu> littlefield@binah.cc.brandeis.edu writes:
> 	how 'bout a Chiquita? Haven't played one myself, by I've heard that
> they're the perfect travel guitar. ...

The Chiquita is an electric guitar.


-- 
Dennis O'Neill (denio@seismo.css.gov)
Newsgroups: alt.guitar,alt.music.progressive,bit.listserv.allmusic,rec.music.bluenote,rec.music.misc
From: ajw@cbnews.cb.att.com (andrew.j.whitman)
Subject: Re: Coltrane Prestige query
Organization: AT&T
Date: Mon, 17 Aug 1992 19:53:10 GMT

In article <1992Aug17.091530.7554@nestroy.wu-wien.ac.at> lell@dec2.wu-wien.ac.at (Christoph Lell ) writes:
>
>Could someone please enlighten me on the contents, price, no. of CDS,
>quality, timeframe of the set: Complete Prestige Recordings of John Coltrane.

Contents:  Mostly blowing sessions on standards and blues, usually with
Red Garland on piano, Paul Chambers on bass, Art Taylor or Philly Joe
Jones on drums, and occasionally Donald Byrd on trumpet.

Price:  I've seen it for slightly more than U.S. $200 in Columbus.

Number of CDs:  15 or 16, I can't remember which.  They're packed, too -
60 - 70 minutes per CD.  

Timeframe of the set:  late fifties, the classic "sheets of sound" era,
but before the innovations of the Tyner/Garrrison/Jones band. 
But great straightahead post-bop - about as good as it gets, in my
opinion.  

>I've seen this thing here in Vienna, but it cost aboout 380 US $. But:
>I will be in the States in September. 
>
>Also this is the first place I've seen mention a Sonny Rollins set. What's
>the deal with this thing.

Coltrane and Rollins recorded one song together at Prestige studios
in '57 - later released as the title track and the first side of the
Rollins album called "Tenor Madness."  As far as I know, that was 
their sole collaboration while Coltrane was recording for Prestige.

I've always been amazed that Coltrane recorded some twenty-five or
thirty albums during his two-year stint with Prestige, a period
that also overlapped his tenure with Miles' band on Columbia. 
Not bad for a guy who also found the time to practice three or
four hours per day.

>Christoph
>-- 
>Christoph Lell                         lell@wu-wien.ac.at, lell@awiwuw11.bitnet
>Wirtschaftsuniversitaet Wien         |   
>Augasse 2-6, A-1090 Wien, Austria    |     
>Tel. (43) (222) 31 336 x4449 or x4443|             

Andy Whitman
AT&T Bell Laboratories, Columbus, Ohio
att!cblpn!ajw  or
ajw@cblpn.att.com
Newsgroups: alt.guitar
From: peugh@wam.umd.edu (General Napolean)
Subject: Re: Return of More Chord Questions II revisited
Organization: University of Maryland, College Park
Date: Fri, 14 Aug 1992 05:11:55 GMT


  Sorry i couldn't do this indivudually, but a BIG THANKS to all those who 
answered my chord questions(there are quite a few of you)!
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: My thumb can't do the Hendrix
Date: 20 Aug 92 18:36:21 GMT
Followup-To: alt.guitar
Distribution: alt
Organization: Univ. of Arizona

It is certainly easier to use the left hand thumb to fret on a smaller
neck,
but it is true that Jimi had very big hands, so don't feel too bad if you 
can't do it like the tab shows
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Organization: Junior, English, Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Fri, 21 Aug 1992 11:51:03 -0400 
From: John Marshall Daniel <jd3v+@andrew.cmu.edu>
Subject: CRD: Puff the Magic Dragon

Somebody requested the chords for this 'cuz he wants to come up with a
hardcore version. Should be pretty easy/interesting but I think the song
is even funnier when you play it all slow and groovy like in 7th grade
music class.  You'll have to get the lyrics from somebody else but
here's the chords as well as I can remember, don't have my guitar at
hand right now.

PUFF THE MAGIC DRAGON
    by some mellow old folkster

  G             Bm      C           G
Puff the magic dragon lived by the sea

      C                G     C
and frolicked in the autumn mist 

      Em          Am   G
in a land called Honnalee (?)

(chords repeat throughout)
Little Jackie Paper loved that rascal Puff...etc.


As a note of additional hilarity I faintly remember from my childhood
(circa 1975) a TV special about a kid and a dragon (not "Pete's Dragon")
based on the song.

Rip it up,
jd