HDTenEightyP/NetNews huggingface dataset:
From: avi@Warren.MENTORG.COM (Avi Ziv)
Newsgroups: rec.music.makers
Subject: Music books with rhythmic exercises
Date: 21 Jan 1993 14:59:12 -0500
Organization: Mentor Graphics -- IC Group, Warren, NJ, USA
NNTP-Posting-Host: galapagos.warren.mentorg.com

I am interested in developing and improving my reading and technical ability
in the area of complex rhythmic music (I play sax). The problem is that I 
have a hard time finding method books that guide you progressively through
this difficult aspect of music. What I mean by rhythmically complex music
is music that 

1. changes meters occasionally (or often) during the piece
2. changes note value during the piece
3. uses various grouping  of notes (rates). A simple example: an 8th note
   triplet. A more complex figure: an 8th note quintuplet (?) meaning
   5 8th notes that you fit in 1 quarter note. and it can get much more
   complex of course. 
5. accents in odd places
6. Figures that match the meter in large cycles. For instance: you play in
   4/4. Now consider the quarter notes as triplets. Next, play phrases that 
   use one triplet plus the first two notes of the next triplet. This converges
   every 4 bars. This way phrases begin in different locations 
4. combinations of all of the above

I have seen books for drummers that deal with complex rhythmic patterns
but not so much for wind instruments. 


Any suggestions?


Avi Ziv
From: mills+@cs.cmu.edu (Michael Mills)
Newsgroups: rec.music.makers
Subject: music stuff for sale
Date: 26 Jan 93 20:02:38 GMT
Article-I.D.: cs.C1H90n.8Cx.2
Organization: School of Computer Science, Carnegie Mellon



sound city - 50 plus, built by dallas arbiter in the late 60's,
	     50 watt head, like a beefy 4-input non-master marshall, 
	     3x7025,1x12AT7 preamp, 2xEL34 power, brand new philips
	     power tubes, well maintained, ec, $250 obo

t.c. electronics - SCF (stereo chorus+flanger),
		   bought earlier this year for $260, in box, with documents, 
		   hardly used, $200 firm

chandler - rack tube driver, like the pedal but with 3-band eq, contour and
	   bias controls and a footswitchable boost, $100

ada - digitizer, programmable digital delay, 16 presets, up to 1024ms,
      does modulation stuff also, includes the fs?? pedalboard with
      bypass (the higher model with 4 direct access rather than incr), $200

gibson - skylark amp, mid-60s student amp with tremolo, 1x8, needs two tubes
	 (a 6X4 and an el84), all original, $100



-- 
        m.d.mills		interviewer: what kind of guitars do you play?
 dept.of.computer.science       stevie ray vaughan: they're wood.
carnegie.mellon.university
   pittsburgh.pa.15213
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Newsgroups: rec.music.makers
Subject: Royalties from Japan (was: Re: Releasing an Album/License-Copyright...)
Date: 27 Jan 93 11:20:17 GMT
Reply-To: preston@morekypr.morehead-st.edu (Jeff Preston)
Organization: Case Western Reserve University, Cleveland, OH (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


In a previous article, burke@seachg.uucp (Michael Burke) says:

>>What about radio airplay?
>	The performing rights organization will collect fees based on
>	standard rates.
>>What about retail sales?
>	Royalities are payable to the publishers and writers. 
>>What about BMI, ASCAP, SESAC?
>	Notification of the release of the material should be provided to
>	the appropriate organization. 

  Perhaps you (or someone else who reads this newsgroup) could point me
to some sources for information regarding Japanese record companies and
their apparent negligence in paying royalties to foreign artists. Can (or
*will*) BMI, ASCAP, et al make attempts to collect royalty payments from
Japanese firms?  Does anyone know the story on this?

  Jeff

-- 
| Jeff Preston - owner and moderator of | "We don't  get  many requests |
| the  Allan Holdsworth discussion list |  for recent history."  -- Mr. |
| *** To subscribe, send e-mail to: *** |  Atoz, from the '69 Star Trek |
| <atavachron@morekypr.morehead-st.edu> |  episode _All Our Yesterdays_ |
Newsgroups: rec.music.makers,rec.music.makers.guitar,rec.music.makers.synth.guitar,rec.music.synth,rec.music.christian
From: burke@seachg.uucp (Michael Burke)
Subject: Re: Releasing an Album/License-Copyright Issues
Reply-To: burke@seachg.UUCP (Michael Burke)
Organization: Sea Change Corporation, Mississauga, Ontario, Canada
Date: Tue, 26 Jan 93 18:48:57 GMT

In article <9301221956.AA08740@floyd.cca.cr.rockwell.com> barothwe@pobox.cca.cr.rockwell.com writes:
>
>If one were to want to release a compilation album of multiple 
>artists, whereby the artists are donating their performance for 
>the project, what needs to be done to satisfy:
>
>	- The copyright owner of each song (usually a publisher?)
	No need to do anything - although all standard royalties are
	payable and due through the standard procedures. See below.
>	- The record company the artist may have a contract with
	You will need to get permission from the record company to use any
	material by a signed artist. 
>
>What about radio airplay?
	The performing rights organization will collect fees based on
	standard rates.
>What about retail sales?
	Royalities are payable to the publishers and writers. 
>What about BMI, ASCAP, SESAC?
	Notification of the release of the material should be provided to
	the appropriate organization. 
>


-- 
---
Michael Burke

Sea Change Corporation
6695 Millcreek Drive, Unit 8 
Mississauga, Ontario, Canada L5N 5R8
Tel: 416-542-9484  Fax: 416-542-9479
UUCP: ...!uunet!uunet.ca!seachg!burke
Organization: Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.makers
Date: Thu, 21 Jan 1993 20:38:56 -0500 
From: William Spaulding Wood <ww1i+@andrew.cmu.edu>
Subject: distortion

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
From: flloyd@l1-a.West.Sun.COM (Fred Lloyd [Phoenix SE])
Newsgroups: rec.music.makers
Subject: Musical Notation Questions
Date: 21 Jan 1993 22:33:09 GMT
Organization: Sun Microsystems, Phoenix, AZ
NNTP-Posting-Host: l1-a.west.sun.com


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.


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?


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?


Thanks for any help,


-fred


-- 
[ Fred Lloyd, AA7BQ                             Fred.Lloyd@West.Sun.COM ]
[ Sun Microsystems,           Southwest Area Solaris Transition Manager ]
[ Phoenix, AZ                                            (602) 275-4242 ]
Newsgroups: rec.music.makers
From: dpelton@nyx.cs.du.edu (Dennis Pelton)
Subject: Re: distortion
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Fri, 22 Jan 93 22:09:08 GMT

In article <UfLp0k600iV1M8Q3M2@andrew.cmu.edu> William Spaulding Wood <ww1i+@andrew.cmu.edu> writes:
>I know a little about eqipment, 
>But distortion pedal seem to elude
>me.  I cannot seem to find one that sounds quite right.
>Any ideas?

Try a SansAmp.  There are *lots* of different kinds of distortion
in there.  Be sure you can take it back if you don't like it, it's
not for everyone.

Try Jeff at LaSalle Music.  203-289-3500.  Tell him you saw it on
the net that I recommended him.

Dennis Pelton
dpelton@nyx.cs.du.edu
Newsgroups: rec.music.makers
From: pbecker@gravity.gmu.edu (peter becker)
Subject: Price Reduced on Marshall Amp
Summary: 40-watt Valvestate combo, $350
Organization: George Mason University, Fairfax, VA
Distribution: usa
Date: Thu, 28 Jan 1993 17:25:22 GMT

FOR SALE:

Marshall 40-watt Valvestate combo amp, model 8040.

Tube preamp, solid-state Valvestate power amp, one 12 inch
Celestion speaker, channel switching, reverb, effects loop,
line out, independent 3-band eq per channel, independent
volume control per channel.  In original factory box, with
warranty card and manual, and footswitch for channel switching.
Sounds great, and doesn't break your back to carry it around!

In perfect condition, hardly used.

** Price was: $400 plus shipping **

** Price reduced to: $350, plus I'll pay UPS shipping, insurance,
and COD charges **

Pete Becker

pbecker@gravity.gmu.edu

-or-

pbecker@ossegm.gmu.edu

1-703-993-3619
From: nichael@bbn.com (Nichael Cramer)
Newsgroups: rec.music.makers
Subject: Re: digeridoo
Date: 21 Jan 93 10:55:29
Organization: BBN, Interzone Office
	<NICHAEL.93Jan20175801@kariba.bbn.com> <malcolm.727584385@wrs.com>
Reply-To: ncramer@bbn.com
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: malcolm@wrs.com's message of 21 Jan 93 02:46:25 GMT

nichael@bbn.com (Nichael Cramer) writes:
>Lark in the Morning (sorry, don't have their address, but surely
>someone reading this does) carries some digeridoos.  More importantly,
>they carry instruction books.  Totally unsolicited advice: Try getting
>one or two of the books and and spend five bucks for a length of PVC
>and try it out first.

From: malcolm@wrs.com (Malcolm Humes)
>Ok, I'm ready to make my own, but need more info. I hear you can
>fashion a mouthpiece out of wax for a PVC tube? How? 

From: farrell@rhea.trl.oz.au (Peter Farrell)
>Do you have any suggestions for appropriate dimensions of pvc?

The following is lifted from the liner notes to the tape "Didgeridoo:
How to Play" by Alastair Black.  Lark in the Morning sells this and I
highly recommned it.

  Initially an instrument between 1m and 1.3m in length may be easier
  to play.  The internal hole, at the blowing end, should be
  approximately 3cm in diameter, ideally flaring out to a trumpet end of
  up to 10cm in diameter, although between 5 and 8 cm is fine.
  
[Obviously here Black is describing a wooden (or bamboo) instrument;
finding PVC to meet these spec could be something of a problem. ;) ]
  
  [...] forty mil PVC low pressure pipe makes a reasonable leaner's
  Didgeridoo.  The mouthepiece may be softened with beeswax.

  [...] Beeswax makes an excellent mouthpiece, allowing the size hole
  required for a paricular platyer.  It is easily applied by placing it
  in a container and heating gently.  Put the container on a insulated
  pad on the floor.  Dip the blowing end of the instrument into the
  melted wax, rotationg the instument so that the wax adheres to the
  full circumference of the mouthpiece.  Then withdraw the Didgeridoo,
  allowing the wax to coll and congeal.  Repeat this process, building
  the beeswax up layer by layer.
  
Good luck (to you _and_ your spouses/roommates/neighbors --I have a
feeling they may need it too during the next few weeks.  ;)

Cheers
Nichael
Newsgroups: rec.music.makers.percussion
From: poole@hpspkpy.spk.hp.com (Gary-Poole)
Subject: Re: Buddy Rich
Keywords: Buddy Rich, Max Roach
Reply-To: poole@hpspkpy.spk.hp.com (Gary-Poole)
Organization: Hewlett-Packard Laboratories
Date: Wed, 27 Jan 1993 20:41:23 GMT

Back in high school, I loved listening to Buddy's "different drummer" album.  I
also have another BR album that came out after "diff drummer", but I can't
remember the name (it has the song 'domino' on it).
I saw BR in Spokane around 1977-78.  Word was that he had just returned from a
tour in Japan, and just before the tour, he got mad at his band and fired the
whole bunch!  He hired all new players for the Japan gigs.  On his return, he
hired back his band, which was the one I saw in Spokane.
After they played the first tune, some people entered and took their seats in 
the front row.  Buddy said "About time you got here, where the hell have you
been".

Gary Poole                          
Hewlett-Packard SMTC Board Test Engineering.
_______________________________________________________________________________

   Phone : 1-509-921-3901                     Mail : Hewlett Packard
   Telnet: 1-921-3901                                P.O. Box 2500  
   HP-UX : poole@hpspkla.spk.hp.com                  Spokane, WA. 99220-2500
_______________________________________________________________________________
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Newsgroups: rec.music.makers.percussion
Subject: Re: usernet notation WE NEED IT
Keywords: pada-dada-dadam
Date: 26 Jan 93 20:03:08 GMT
Organization: NCAR, Boulder CO

> = uslave@mcl.ucsb.edu (Sir Prize!!!) writes:
------------------------------------------------------------------------
>Here's sort of the notation I've always used:
>
>4/4   d = 120  (or whatever)
>
>	  |1 + 2 + 3 + 4 + |
>---------|----------------|
>crash    |x . . . . . . . |
>hi-hat   |. . x x x 0 x x |  0 = open
>1 tom    |. . . . . . . . |
>2 tom    |. O . . . . . . |
>snare    |. . O . .o. O . |  o = ghost stroke
>3 tom    |. . . . . . . . |
>bass     |O . . . O O . . |
>
>....or something like that.  Don't really have to have a formal music staff
>or anything, and you can add in any special percussion you want to when you
>need to, and it's pretty straightforward and wasy to read.

I'll second the motion for something like this (for the ascii environment).
It's more compact, natural, easily edited, and generally less awkward.
You could add 32nd notes, if necessary (presumably infrequent).

try it:

	  | 1 + 2 + 3 + 4 + |
 -------- |-----------------|
 crash    | .   X   .   .   |  f,F  = hi-hat w/ pedal
 hi-hat   | .   f   .   f   |  o,x  = hi-hat open, closed
 ride     | xxxx. xxxxxxx   |  CAPS = accent
 snare    | .   X   .   X   |  r    = roll (add side comments if necessary)
 1 tom    | .   .   .   .x  |  .    = null, lines up the major beats
 2 tom    | .   .   .   . x |  b    = bell of ride
 bass     | x x .  xx xx.  x|  

-Brian
From: cvafy006@vmsb.is.csupomona.edu (Daniel Rouse, Jr.)
Newsgroups: rec.music.makers.percussion
Subject: Short song USENET notation
Date: 23 Jan 93 07:00:41 GMT
Organization: California State Polytechnic University, Pomona
Nntp-Posting-User: cvafy006

Did somebody ask about usenet notation?  How about this?

Notes and rests:

O = whole note                  -_- = whole rest

 O = half note                  _-_ = half rest
|
|

 * = quarter note                \ = quarter rest
|                                \ 
|

 * = eighth note                ._ = eighth rest
|                                /
|/                              /

 * = sixteenth note             .__ = sixteenth rest
|                               ._/
|/                               /
|/                              /

 * = thirty second note        .___ = thirty second rest
|                              .__/
|/                             ._/
|/                              /
|/                             /

 * = sixtyfourth note          .____ = sixtyfourth rest
|                              .___/
|/                             .__/
|/                             ._/
|/                              /
|/                             /

Beaming:

------ = eights

====== = sixteeths

______ = thirty seconds
======

====== = sixty fourths
======

And use a half screenful for each staff.  Although thse characters are large,
they DO look like music and are readily recognizable.


















                >     ^  >        >  O
Example:        __________  __________                        >
                |  |  |  |  |  |  |  |     >        >   ==========
----------------|--|--|--|--|--|--|--|-----==========---|--|--|--|-->-----------
HiHat      ||  X  X  X| X  X  X  X| X  |   |  |  |  |   |  |  |  |  ___====    |
Tom1------------------|-----------|--------|--|--|--|--*--*--*--*---|--|--|--^--
Snare      ||        *           *     |  *  *  *  *                |  |  |  | |
Tom2-----------------------------v---------------------------------*--*--*---|--
Floor Tom  ||                          |                                    *  |
--------------------------------------------------------------------------------
Bass       ||  *.       *  *      /    |   *           _-_                  *  |
--------------|--------|--|-------/-------|--------------------------------|----
              |        |/ |               |                                |
              v           >


So two measures fit one one half a screenful. While I know that this would be
quite painful for long songs, this does make a good graphic notation for short
rhythms and fills.  How about it?  What do you think?

--            
Signed,                


Daniel Rouse, Jr.
Sophomore, Computer Engineering 
California State Polytechnic University, Pomona (Cal Poly, Pomona)
Email: cvafy006@vmsb.is.csupomona.edu

And now...the moment we've been waiting for.  GamePro magazine and EGM
magazine proudly present:  The Arcade Champion!
From: rmascaro@uniwa.uwa.edu.au (Robert Mascaro)
Newsgroups: rec.music.makers.percussion
Subject: Bernard Purdie
Date: 22 Jan 1993 09:02:05 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

I am a recent convert to the Steely Dan era and would like to know how
Bernard Purdie (also Jeff Porcaro used to do this) achieves the shuffle
in Babylon Sisters, using ghost notes. I read, so if you can write it
out or explain it mail me.
Regards,
Rob.
fax no. +61-9-3801012
Newsgroups: rec.music.makers.percussion
From: s0730076@let.rug.nl (W.J. van de Vis)
Subject: Re: Drummer's ear? READ THIS!!!!
Organization: Faculteit der Letteren, Rijksuniversiteit Groningen, NL
Date: Fri, 22 Jan 1993 12:13:27 GMT

In article <1jkmkbINNe80@geraldo.cc.utexas.edu> hughes@ccwf.cc.utexas.edu (paul) writes:
>From: hughes@ccwf.cc.utexas.edu (paul)
>Subject: Re: Drummer's ear? READ THIS!!!!
>Date: 20 Jan 1993 23:18:34 GMT
>
>I've been playing drums for about 10 years now, and I always noticed that after
>a practice, my ears would ring from the poor cymbals I had (or so I thought).
>Granted, they are poor cymbals, but about 2 years ago I started wearing a nice
>headset, like the ones construction workers who operate jackhammers and such
>use, when I was practicing with or without anyone else.  At first it was hard
>to get used to feeling weird and looking weird, but it goes away.  I now use
>them every time I play drums, unless I have my girlfriend there (I make her
>wear them).  I have noticed now that I've lost the ability to withstand mid
>ranged frequencies for any period of time, although I can hear them... they
>just f*&%ing hurt too much.  I expect half of this has been the result of a
>few ear infections in my left ear, but the rest is solely my fault for not
>paying attention to my ears when I was playing.
>
>Anyone out there who thinks losing your hearing is a glorious sign of being a
>true rock'n'roll star is full of it.  The attitude that hearing doesn't matter
>doesn't usually change until you realize that you would like to hear your
>grandchildren speaking to you when you get old and arthritic in your fingers
>and knees and you can't play drums anymore and all you can do for happiness is
>play with your kids' kids.  _THEN_ you'll be sorry... mwuahahahahaaa.
>
>Sorry, I uh, kinda get carried away sometimes... ;)
>
>The Panther!
>-- 
>[)---->  "What proof can they exhibit that may show it's not too late?
>[)---->   It's time to feed the dragon, but our lives' are on the plate."
>hughes@ccwf.cc.utexas.edu [-=-] Not subject to laws, physical or otherwise.

But when you practise with your band, such big headsets really kill high 
frequencies, so you won't be able to hear the sologuitar anymore. And then 
the noise is even worse, so some protection IS necessary. Do you play in a 
band?  
Newsgroups: rec.music.makers.percussion
From: sbulmahn@ncsa.uiuc.edu (Scott Bulmahn)
Subject: Re: usernet notation WE NEED IT
Reply-To: sbulmahn@ncsa.uiuc.edu (Scott Bulmahn)
Organization: National Center for Supercomputing Applications
Date: Tue, 26 Jan 1993 21:05:23 GMT
Keywords: pada-dada-dadam

I like the notation that brian suggested :
-----------------------------------------------------
 >Here's sort of the notation I've always used:
>
>4/4   d = 120  (or whatever)
>
>	  |1 + 2 + 3 + 4 + |
>---------|----------------|
>crash    |x . . . . . . . |
>hi-hat   |. . x x x 0 x x |  0 = open
>1 tom    |. . . . . . . . |
>2 tom    |. O . . . . . . |
>snare    |. . O . .o. O . |  o = ghost stroke
>3 tom    |. . . . . . . . |
>bass     |O . . . O O . . |
---------------------------------------------------------------

We really do need a notation like this, so that we can start exchanging some
musical ideas.  This could be really hard for fills and stuff, but is a very
good starting point for normal beats.

Any votes on which notation to adopt as a standard?
This one works for me.

Scott Bulmahn


Newsgroups: rec.music.makers.percussion
From: 911945m@axe.acadiau.ca (MICHAEL MURRAY MACDONALD)
Subject: Re:  The Hi-hat From Hell!!!
Organization: Acadia University
Date: Wed, 27 Jan 1993 15:52:45 GMT

I've had two cheaper splash cymbals of mine 'buckle'.  Only suggestion is to 
get better cymbals!  About the stand, I bought a Procussion Hi-hat from a 
local music store for $65.  (He has a hard time moving the drum line).  It 
must weigh about 25 pounds.  It's mega heavy duty with adjustable 
everything.  I also have a boom stand from the same company.  It's great 
too!  I'm not sure if these guys are still in business but it might be worth 
your while to check them out!
Newsgroups: rec.music.makers.percussion
From: s0730076@let.rug.nl (W.J. van de Vis)
Subject: MIKE! (about notation)
Summary: How did you do that?
Organization: Faculteit der Letteren, Rijksuniversiteit Groningen, NL
Date: Mon, 25 Jan 1993 10:37:40 GMT


Mike, you responded to my first notation-article. In yours I noticed that 
you used almost the same set-up, you know, the lines etc. Now, did you just 
type it all in again or is there some way of copying the basic system. (I 
really don't know) 
This would save a lot of time, that's why I'm asking. Oh yeah,  does anybody 
know why I seem to be unable to use REPLY?

doei,

ill
Newsgroups: rec.music.makers.percussion
From: hamm@haggis.physics.mun.ca (Craig Hamm)
Subject: Re: usernet notation WE NEED IT
Keywords: pada-dada-dadam
Reply-To: hamm@haggis.physics.mun.ca (Craig Hamm)
Organization: Memorial University of Newfoundland
Date: Fri, 22 Jan 1993 19:56:40 GMT

--
  Craig Hamm, Memorial University,|   
  Newfoundland, Ocean Acoustics   |
  Canada                          |
  ________________________________|


	I think this is an excellent idea!!   Can somebody post all the YES
	and King Crimson stuff ?   (ha ha ha ha).

	Really, it is a good idea.

Newsgroups: rec.music.makers.percussion