HDTenEightyP/NetNews huggingface dataset:
From: tom@cpac.washington.edu (Tom May)
Newsgroups: alt.guitar
Subject: Re: BOOKS NEEDED: tube primer
Date: 22 Jan 1993 04:26:08 GMT
Organization: The name of the band is Slip.
Distribution: usa
NNTP-Posting-Host: yang.cpac.washington.edu
In-reply-to: jhalvers@plains's message of Thu, 21 Jan 1993 20:04:34 GMT

In article <C17zrn.F56@ns1.nodak.edu> jhalvers@plains (Jon Halverson) writes:

      Me too, any suggestions out there? I'm already planning to get the Tube
   Amp III book.

The Tube Amp Book Volume 3 is mostly good for schematics.  It also has
a decent section about Marshall power tubes and a few amp mods.  But
if you really want to know how tubes work and how to understand or
build circuits with them, you will need an electronics textbook (you
probably already know this).  I've gone into the engineering library
at the university here and looked up variations on "Vacuum Tubes" and
"Electron Tubes" and "Amplifiers".  The books that cover tubes best
seem to be from the 50s and 60s.  I've been searching used bookstores
for similar books without much luck, although I found a way cool RCA
Receiving Tube Manual which has much tube info.  The circuits end up
looking a lot like transistor circuits (wow! cathode follower!).  Once
you understand the theory, the schematics in the Tube Amp Book give
good practical designs to study (something textbooks often seem to be
weak on).

I would dearly love to find the RCA Radiotron Handbook (which someone
else mentioned); I have seen it referred to as a bible for tube
applications.  My engineering library doesn't have it . . .
--
Tom, proto tube hacker
Newsgroups: alt.guitar
From: mathers@sibelius.trl.OZ.AU (Steven Mathers)
Subject: Re: Urban Legends
Reply-To: s.mathers@trl.oz.au
Organization: Telecom Research Labs, Melbourne, Australia
Date: Wed, 27 Jan 1993 23:52:28 GMT

In article <C1H9Ex.F7o@acsu.buffalo.edu>, v201lrxa@ubvmsb.cc.buffalo.edu (L'Angelo Misterioso) writes:
|> >Similarly, I was told once that when Eric Clapton was asked the same question
|> >after Jimi Hendrix died, his response was "I'm not, Phil Keaggy is."
|> > 
|> 	Along somewhat similar lines, I heard an interview with Eric on the
|> radio a few years back. When the 'Clapton is God' subject came up, he said
|> that when he saw that picture, he noticed a dog in the corner pissing on the
|> wall under the 'Clapton is God' graffitti. He figured it was appropriate :)
|> 
|> mike

On  'Live at Winterland' , Jimi introduces Sunshine of your Love -

'This is by the group Cream.  Its not that we think we can do it better
than them <chuckles to himself>, we just want to do it our own way...'

Actually this live recording has lots of interesting bits in it, as well
as Jimi at his height (listen to killing floor).

Can anyone recommend a better live performance by Jimi?
Xref: sparky alt.guitar:11581 rec.music.makers.guitar:1551
Organization: Stanford Linear Accelerator Center
Date: Friday, 22 Jan 1993 15:23:01 PST
From: <WAUGH@SLACVM.SLAC.STANFORD.EDU>
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: WANTED: Hardtail Stratocaster

Fender produced non-vibrato (hardtail) Strats for thirty years; from 1954-1984.
I want to buy one.  I know the Japanese make one but I really want an American-
made axe.  I am not particularly interested in pre-CBS instruments but will
consider anything, three bolt tilt-necks included.  I currently own an American
Standard and just want a Strat without a vibrato.

Brian
From: JOHNSON@zeus.ahabs.wisc.edu (Scott C. Johnson)
Newsgroups: alt.guitar
Subject: Re: Tube Amps
Date: 27 Jan 93 16:12:05 GMT
Followup-To: alt.guitar
Organization: University of Wisconsin - Madison

I have had many many amplifiers, most of them have been solid state and I
would never buy another.  As far as tube amps, I have had two Marshalls and
a Laney.  The Marshalls as expected were great.  The Laney I also liked
better than most solid state amps.  However, I have found that good tone
can be created using a tube preamp such as ADA or ART to name a couple, and
a good solid state power amp.  Now to my real reason for posting.  About
six months ago I purchased an Ampeg 1002 100w head.  This is the one
designed by Lee Jackson.  It has absolutely fabulous sound.  It's very
heavy and well constructed.  My only gripe, which is somewhat hypocritical
is that like with Marshalls a 100w head is enough to kill someone.  The
great thing about the Ampeg is that is has a power attenuator which allows
playing at comfortable volumes with good tube overdrive. If you have any
questions feel free to ask.  --> Scott
 

Scott C. Johnson
University of Wisconsin - Madison
JOHNSON@zeus.ahabs.wisc.edu
From: rthomas@terapin.com (Richard Thomas)
Newsgroups: alt.guitar
Subject: Re: Some Beginner Ques.
Date: 21 Jan 93 14:01:00 GMT
Organization: BBS

Must you quote the WHOLE MESSAGE?!? Geez...
Organization: Freshman, MCS general, Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Sat, 23 Jan 1993 18:39:43 -0500 
From: Julian Leonard Lanphar <lennylanphar+@CMU.EDU>
Subject: DOD distortion

Does there exist a DOD distortion out there that's good for crunch &
decent rhythm guitar sounds?  I currently have Hard Rock Distortion,
which is nice for solo stuff, but it totally sucks for rhythm.  


-Len
From: f92poda@fy.chalmers.se (P}l Dahle)
Newsgroups: alt.guitar
Subject: Marshall stack amp
Date: 26 Jan 93 19:39:56 GMT
Organization: Chalmers Univ. of Technology, G|teborg, Sweden

I have a Marshall stack amplifier that I was stupid to buy, because I haven't
used it that much. I used it with a japanese Fender Stratocaster and I never
got it to sound any good. I sold that guitar and bought a Washburn acoustic
instead. I have plugged it into that that amp, and it doesn't sound very well
either, so I just want to get rid of the amplifier. 

I would guess the amp was made between '83 and '85, it has two speakers and
outputs 12 W. Is this amp anything to own? Should I try to sell it. How much
is it worth?

Please let me know, anyone!

-------------------------------------------------------------------------------
Paul Dahle, Chalmers University of Technology, Gothenburg, SWEDEN

Email: f92poda@fy.chalmers.se		! "Make it cry, make it sing"
					! (Mark Knopfler)
Mail:  Paul Dahle			!
       Framgangen 214-22		!
       S-412 80  GOTEBORG		!
       SWEDEN				!
-------------------------------------------------------------------------------
From: Steve Wyrick <sjwyrick@lbl.gov>
Newsgroups: alt.guitar
Subject: Re: Harmonics
Date: 26 Jan 1993 20:23:40 GMT
Organization: Lawrence Berkeley Laboratory
Distribution: world
NNTP-Posting-Host: 131.243.210.26
X-UserAgent: Nuntius v1.1.1d17
X-XXMessage-ID: <A78ADE910501D21A@b75b-ehs9.lbl.gov>
X-XXDate: Tue, 26 Jan 93 12:26:57 GMT

In article <1jq01aINN8e0@darkstar.UCSC.EDU> Adam Schneider,
indigo@ucscb.UCSC.EDU writes:
>Tuning by harmonics is a zillion times easier than tuning normally,
because
>you're essentially dealing with sine waves, which make "beats" when
they're
>slightly off from each other.  The problem, of course, is that you can't
>match a harmonic on your G string to one on your B string, so I do a 7th
>fret harmonic on the G string and then I pluck the 10th fret on the high
E

I guess I gotta get into this too.  According to what I've read, tuning
by harmonics, although easier because you can hear the beats, is
inaccurate.  I may be on shaky ground here, but as I remember, the reason
has something to do with tempered tuning; ie the harmonics are always
slightly off from the fretted notes (except at fret 12?).  If you
concentrate, though, you can hear the beats from an out-of-tune 4th (or
3rd) interval, so that if you work at it, you can tune the guitar playing
only the open strings.  Most accurate way is using a tuner, though.
From: muzzle@cs.uq.oz.au (Murray Chapman)
Newsgroups: alt.guitar
Subject: Re: REQ: Pink Floyd "The wall"
Keywords: music
Date: 21 Jan 93 23:33:00 GMT
Reply-To: muzzle@cs.uq.oz.au

In <1993Jan20.144655.18960@ghost.dsi.unimi.it> corda@ghost.dsi.unimi.it (roberto corda) writes:


> Anybody have some "the wall" tablature?
> n
> 
Check out:

ftp.nevada.edu:/pub/guitar/Pink_Floyd

Murray
--
-- Murray Chapman                               Zheenl Punczna            --
-- muzzle@cs.uq.oz.au                           zhmmyr@pf.hd.bm.nh        --
-- University of Queensland                     Havirefvgl bs Dhrrafynaq  --
-- Brisbane, Australia                          Oevfonar, Nhfgenyvn       --
From: schebel8133@iscsvax.uni.edu
Newsgroups: alt.guitar
Subject: <None>
Date: 23 Jan 93 15:32:14 -0600
Organization: University of Northern Iowa

For those of us at the University of Northern Iowa, a note.

        Christopher Parkening is currently touring and will appear here
on the evening of Feb. 19, as part of the UNI Artists series.  Any questions
can be sent to me.
From: pquince@blacks.jpl.nasa.gov (Peter Quince)
Newsgroups: alt.guitar
Subject: Re: Harmonics
Date: 22 Jan 93 23:50:06 GMT
Organization: Image Analysis Systems Group, JPL
NNTP-Posting-Host: blacks.jpl.nasa.gov

poidoug@austin.ibm.com writes:

>I didn't know what harmonics were so I asked about them.

>According to my teacher.... [etc.]

>Does anyone out there have anything to add to this?

If you fret with your left hand on the 2nd fret and touch
the pad of your right index finger to the 14th fret and
reach back toward the bridge with your right thumb or your
right ring finger and tick the string, any string, all three
of these actions simultaneously, you will find that you 
get the octave harmonic of that string at that fret.  You
can play entire songs using just harmonics.

Because a string which is vibrating at a harmonic pitch
has nodes, places along the string which do not vibrate
much, you will find that electric guitar pickups will
respond differently according to where they are placed
in relation to such nodes.  For example, if you have a
neck pickup directly under the node of a string vibrating
at some harmonic frequency, you will not get much signal
out of the pickup because the node point is not doing much
inside that pickup's magnetic field.  This can have bearing
on trying to tune a strat using harmonics, for example.

This is what I have to add.  (This is also a test.)

pquince
--
From: fredh@cv.hp.com (Fred Handloser)
Newsgroups: alt.guitar
Subject: Re: MOSFET distortion
Date: 27 Jan 93 00:58:58 GMT
Organization: Hewlett-Packard Company, Corvallis, Oregon USA
X-Newsreader: Tin 1.1.3 PL5

Zapper (Zapper@qube.OCUnix.On.Ca) wrote:
: 
:   The only thing that held me back were those dang optoisolators he used so
: much that were so hard to find...

So where did you get those Clairex optoisolators (CLM6000) ?

  --------------------------------------------------------------------
  Fred Handloser
  Corvallis, Oregon
  fredh@cv.hp.com
From: deadhead@ugcs.caltech.edu (stephen thompson)
Newsgroups: alt.guitar
Subject: Re: Artificial harmonics
Date: 26 Jan 93 20:03:25 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: molest.ugcs.caltech.edu

termite@leland.Stanford.EDU (David Paik) writes:
>OK, did I confuse everyone?  Does anyone else out there do this?

I experimented with the method you described a while back, but I never
got the hang of moving both my hands around so much, so, consequently,
I gave it up.  Is it a technique you find worthy of development?

Stephen



--
----                            "There must be some way out of here,"
--------                         Said the Joker to the Thief.        
----------------                "There's too much confusion.         
-------------------------------- I can't get no relief."  --Bob Dylan
From: mjg12@po.cwru.edu (Michael Golebiewski)
Newsgroups: alt.guitar
Subject: Re: major acoustic mod
Date: Thu, 21 Jan 1993 21:11:23 GMT
Organization: Case Western Reserve University
NNTP-Posting-Host: b62010.student.cwru.edu

     I had an old guitar of the same make and the same thing started 
hapening. I spent some time trying to fix the bridge and never got anything 
to work out. You are best off with a new guitar and keeping your old one 
just for a sentimental show piece.
_______________________________________________________________________

PROGRAM (n) A magic spell cast over a computer alowing to turn 
            ones input into error messages.
        (v) To engage in a pastime similar to beating ones head
            against a wall with less oportunity for reward.

Michael Golebiewski
                                           
E-MAIL: mjg12@po.cwru.edu               mjg@adanet.wvnet.edu

MAIL:   Kusch 430a
        11904 Carlton Rd.
        Cleveland, Oh 44106

                             
Newsgroups: alt.guitar
From: jhalvers@plains (Jon Halverson)
Subject: Re: Transcriptions of Jazz Standards
Date: Thu, 21 Jan 1993 20:10:35 GMT
Organization: North Dakota Higher Education Computing Network
X-Newsreader: Tin 1.1 PL4


   Try the "Real Book"

jh
From: pquince@blacks.jpl.nasa.gov (Peter Quince)
Newsgroups: alt.guitar
Subject: Gibson Bridge-Widgets and a Call For More Anecdotes
Date: 28 Jan 93 20:19:55 GMT
Organization: Image Analysis Systems Group, JPL
NNTP-Posting-Host: blacks.jpl.nasa.gov

Hey hey--

Part I:  An obscure technical question:  On Gibson bridges, such as on
my nice ES-335 which I love, thankyou for asking, there are little triangular
wedges which the strings rest on.  These are on screws so you can adjust the
intonation.  The wedges can also be reversed so the bevel is towards or away 
from the head of the guitar.  What is the difference between these two states?  
For reference, off the rack my 335 has the top 4 string wedges one way and the 
low A and low E wedges the other way.  I forget which is which at the moment.  
In attempting to answer this question I will also talk to a guitar tech and 
experiment when I re-string.

Part II:  I am enjoying the Hendrix/Clapton/et al anecdotes.  I would like to
see more, sort of doing the thread thing.  Encouragement!  Encouragement!

thanks, gang.  pq
--
From: ck060@cleveland.Freenet.Edu (Eric L. Hinson)
Newsgroups: alt.guitar
Subject: Looking for 6 or 8 space rack (Anvil/SKB style)
Date: 24 Jan 1993 21:07:47 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: ck060@cleveland.Freenet.Edu (Eric L. Hinson)
NNTP-Posting-Host: slc10.ins.cwru.edu


Does someone out there have a 6 or 8 space rack they are looking to sell
any time soon?  I have a 4 space RSA (monster) case now and would like to
get something much lighter.  If you are looking to sell, please Email me.
Thanks in advance for your help with this matter.
--
Eric L. Hinson / KB4RZF       CALFN: ab069@swrl36.calstate.edu  __
ck060@cleveland.freenet.edu     NYX: ehinson@nyx.cs.du.edu     (_  _  ' _ 
St. Augustine, FL   U.S.A.  FIDONET: Eric Hinson via 1:3620/14 (__/(_/_(__/ 
Newsgroups: alt.guitar
From: jhalvers@plains (Jon Halverson)
Subject: Re: HELP:Twisting neck
Date: Mon, 25 Jan 1993 19:35:58 GMT
Organization: North Dakota Higher Education Computing Network
X-Newsreader: Tin 1.1 PL4

ali@cns.nyu.edu (Alan Macaluso) writes:
: Could it be the guitar?  I own a Guild Starfire that i had found in the basement of a friends house. it had been there, (in the case, strung, under a pile of rubble (some bricks, sheet rock, dust...) under a table) for about 15+ years.  it needed to cle
aned, restrung....that's it..  i works great.  the most wonderful thing about it was that she GAVE it to me.  her brother was in a band that many years ago, stashed it there, and forgot about it.    
: ---

   Lucky you!

     Well I brought it in to a local music (Margurites of Moorhead) and
the overall coment was "uh-oh, well you can just leave it hear and we'll
see if we can't at least make it playable." They also said it would be a
pain in the arss to get a replacement neck direct from the company. At
least the neck adjustment is only going to cost me $8. I'm crossing my
fingers!

jh
From: harmon@hepxvt.ps.uci.edu (matt harmon)
Subject: Re: Tube sound fuzz
Newsgroups: alt.guitar
Keywords: guitar fx
Date: 25 Jan 93 20:08:39 GMT

etlcrcy@bugs.ericsson.se (Chris Cleverley) writes:

>In article <harmon.727743330@skid.ps.uci.edu> harmon@hepxvt.ps.uci.edu (matt harmon) writes:
>>BTW, I built the Tube Sound Fuzz which appears in Electronic Prijects for
>>Musicians by Craig Anderton.  I really like the sound hovever I am
>>contemplating an improved design. . . 

>  I have built this too and am very interested in the modifications.  I have
>found this to be a very good unit and will use it in preference to my BOSS
>pedal anyday due to its warm, rich sound.  I have found no problem with the
>bass response ( I have two humbucker pick-ups ), but when switching from
>rhythm to lead the extra-gain is a real problem. . .
>Chris Cleverley                     \\\\ 


Well . .  I have thought of a few solutions to this problem.  Some are a little
hard to implement but the quickest fix would be to use a ganged pot for a comb-
ination intensity output level control and to use a DPDT switch for the lead/
rhythm control.  Then put an output dividing circuit on the other side of the
switch to cut output when you switch into lead.  I myself will look at some
basic circuit mods to add tone control and better output level control.

It's good to see interest in this, I'll most likely post my improved design in
a couple of weeks.

							Matt Harmon
From: Doug Poirier
Newsgroups: alt.guitar
Subject: Please post FAQ
Date: 25 Jan 93 18:46:25 GMT
Reply-To: poidoug@austin.ibm.com
Organization: IBM Austin
News-Software: IBM OS/2 PM RN (NR/2) v0.16g by O. Vishnepolsky and R. Rogers


Over the past few weeks quite a few people have asked questions like "Which
guitar should I buy?"  I would guess that questions like this are in a FAQ
somewhere.

Would someone please be kind enough to post it.

Thanks,

Doug P.
From: rasche@ee.rochester.edu (Shorts/Rasche)
Newsgroups: alt.guitar
Subject: Pickup Questions (guitar that is)
Date: 22 Jan 93 20:46:39 GMT
Distribution: na
Organization: Univ of Rochester, College of Engineering and Applied Science

Like a lot of us, I just like to plug in my guitar and start playing.  But
know I am curious about the pick-ups and how they are arranged.  

I have an american standard strat.  Are the 3 pick-ups the same and just their
positioning gives a different tone?  or what are their differences?  

I have a zillion other stupid questions about pick-ups and different qualities
of them - but I think I will stop here for now.

Thanks
s.rasche


-- 
=====-----=====-----=====-----=====-----=====-----=====-----=====-----=====-----
Scott A. Rasche/Shorts				University of Rochester
In Hoc Signo Vinces	 				gEEk
	'And in the very least you can stand up naked and Grin!'  XTC
Newsgroups: alt.guitar
From: termite@leland.Stanford.EDU (David Paik)
Subject: Re: Artificial harmonics
Organization: DSG, Stanford University, CA 94305, USA
Date: Tue, 26 Jan 93 05:29:22 GMT

I haven't read any responses on this thread yet where anyone does what I
sometimes do.

For harmonics ala Billy Gibbons (ZZTop) I usually choke up and use my thumb
like everyone else but when I want to hit definite harmonics and not just
random harmonics I do something different.

I hold the pick between my thumb and middle finger leaving my index finger
free.  I then put my index finger down where the harmonic will ring and pck
with my thumb and middle finger.  I usually only do the 2nd harmonic with
this technique because it gets too hard otherwise.

The trick is to play a line with your left hand and instead of picking
regularly you hit the 2nd harmonic.  Here's an example:

Left hand        Right hand index finger
2nd fret         14th fret
5th fret         17th fret
7th fret         19th fret

OK, did I confuse everyone?  Does anyone else out there do this?

Dave

Newsgroups: alt.guitar
From: fprince@cwis.unomaha.edu (Frank E. Prince)
Subject: Re: Artificial harmonics
Organization: University of Nebraska at Omaha
Distribution: usa
Date: Thu, 28 Jan 1993 05:31:06 GMT

schultz@stpaul.ncr.com  writes:
> In article <1993Jan26.052922.28334@leland.Stanford.EDU> termite@leland.Stanford.EDU (David Paik) writes:
> 
> >I haven't read any responses on this thread yet where anyone does what I
> >sometimes do.
> 
> >For harmonics ala Billy Gibbons (ZZTop) I usually choke up and use my thumb
> >like everyone else but when I want to hit definite harmonics and not just
> >random harmonics I do something different.
> 
> >I hold the pick between my thumb and middle finger leaving my index finger
> >free.  I then put my index finger down where the harmonic will ring and pck
> >with my thumb and middle finger.  I usually only do the 2nd harmonic with
> >this technique because it gets too hard otherwise.
> 
> >The trick is to play a line with your left hand and instead of picking
> >regularly you hit the 2nd harmonic.  Here's an example:
> 
> >Left hand        Right hand index finger
> >2nd fret         14th fret
> >5th fret         17th fret
> >7th fret         19th fret
> 
> >OK, did I confuse everyone?  Does anyone else out there do this?
> 
> >Dave
> 
> The late Lenny Breau, jazz guitarist from Canada hailed as a genius by the 
> likes of Atkins, others, used this particular technique, and was considered 
> the master.  I don't know which of his recordings survive/are available.
> 
> Others may wish to comment....you can get some interesting melodic effects 
> with this technique.  It takes patience at first holding the pick between 
> the thumb and middle finger.  I suggest just holding the pick this way and 
> practicing familiar melodies, then gradually adding the damping/touching of 
> the first finger.  Also, when you touch the first finger, make sure you are 
> above the fret, not behind it.
> 
> Any other comments?
> 
> Steve Schultz
> NCR NPD
> steve.schultz@stpaul.ncr.com
> Steve Schultz, Mktg Product Manager
> NCR NPD, St.Paul, MN
> eMail:  steve.schultz@stpaul.ncr.com

An interesting extension of this technique is to fret a note with the first
finger of the left hand and reach with the pinky to catch the 2nd octave 
harmonic while picking normally.(it can be a stretch depending on where you 
are on the neck).
	For instance, play C on the 5th fret, third(G) string. Now as you
pick it, touch directly above the 10th fret with the pinky. This should
sound a G harmonic 2 octaves above the original note. Then try the 9th fret
for 2 octaves and a third, 8th fret for 2 octaves and a 5th, and so on.
Also, if you are using heavy distortion and sustain, you can touch the 
harmonic point sometime after picking the string, and it will create a
"pseudo feedback effect" as the note modulates from the fundamental to
the harmonic. This is a great metal effect.
			Frank
				(always looking for something new!)