HDTenEightyP/NetNews huggingface dataset:
From: dkmiller@unixg.ubc.ca (Derek K. Miller)
Subject: Re: Speaking of Strats, Whuzza Deal on the Clapton?
Organization: University of British Columbia, Vancouver, B.C., Canada
Date: Fri, 11 Sep 1992 23:00:12 GMT

In article <BuFLJ7.BCI@watserv1.uwaterloo.ca> pwilson@watserv1.uwaterloo.ca (Pete Wilson) writes:
>In article <BuFC3y.AID@watdragon.uwaterloo.ca> rblander@watdragon.uwaterloo.ca (Robyn Landers) writes:
>>
>>	My comment is that I think it is ridiculous for Fender
>>to have equipped this guitar with junky non-sealed non-self-lubricating
>>non-high-precision wobbly 25 year old tuning pegs just for
>>the sake of "vintage authenticity" when they charge so much for the
>>guitar and include lots of non-vintage pickup and electronic tricks.   
>>There's no excuse for this on a guitar that expensive.
>>
>
>Then how about those ohhh sooo pricey Gibsons with the same
>repli-junk.  But then, Fender and Gibson are both in the business to
>make money, and if there is a significant market for a particular
>guitar, they'd be letting down their shareholders, their customers, and
>themselves not to cater to it.  
>   What surprises me about Fender is their made in Japan replicas.  It
>seems to me you have one mind-set that will buy replicas, and another
>mind-set that will buy Japanese, and I'm somewhat surprised that there
>would be a significant overlap.
>

The made-in-Japan replicas are not quite so; they're more "in the style"
of 50's and early 60's Fenders, and are, in my opinion, a much better deal.
If you're looking for a Fender with that tight neck radius (7.5" as
opposed to 9.5" or 12" or even 17" for Heavy Metal versions), the Jap-Strat
reissues are the way to go.

And there are those who are convinced that a Vintage-style guitar must
be completely authentic to sound right, right down to the scuzzy tuners
and the right colour cloth around the pickup windings, Fender will
provide - for a price. Personally, I'd rather get an American Standard,
but if the demand exists, someone will fill it.

      :=:=> Derek K. Miller                 dkmiller@unixg.ubc.ca
      Researcher, Alma Mater Society        thegrodd@tz.ucs.sfu.ca
      University of British Columbia, Canada

Organization: Senior, Math/Computer Science, Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Thu, 10 Sep 1992 11:51:36 -0400 
From: Vernon H Harmon <vh00+@andrew.cmu.edu>
Subject: Satriani lessons?

On the radio this morning I heard that it costs $1000 per hour for
lessons with Satch. I wouldn't think he'd *give* lessons. Does he? I'm
certainly not good enough, or wealthy enough, for them, but I thought
I'd bring it up in case it interested someone else.....

--Vernon.
From: bearce@hpcc01.corp.hp.com (Phil Bearce)
Date: Tue, 8 Sep 1992 17:25:48 GMT
Subject: REVEIW: Eel River Music Camp
Organization: the HP Corporate notes server
Newsgroups: alt.guitar


I had the good forturne this Labor Day weekend to attend the Eel River Music
Camp in Alderpoint, California, the home of Kicking Mule Records.  I had a
wonderful time camping and playing folk music all three days.  We camped in
Ed and Mary Alice's orchard just up the path from the house.  Their mail-order
catalog business is in an old red barn where they catalog hundreds of folk
and acoustic music and instructional materials.  Some of their recording
artists showed up to do workshops and there were plenty of informal little
jam sessions.  

The first night, after the workshops, they had a concert by all of the 
artists on staff on their little plywood stage/ampitheatre.  We heard some
texas blues, some celtic music, a demonstration of overhand guitar and just
some good old music.  Sunday there were more workshops on music and folk
arts like paper making, beading, sign language and oragami.  Then on Sunday
night there was a "Hoot" night where all could sign a sheet and get a chance
on stage.  (The start of your 15 minutes of fame?).  On Monday, more workshops
and the "Closing Circle" where everyone says their goodbyes.  

The camp was a very posititve and nurturing experience for me and I will be
going again next year.  The people were friendly and helpful and there were
no attitudes or egos to contend with.  I learned a lot of new songs too.


______________________|_______________________________________________________
   ___                | Phil Bearce at Hewlett Packard San Jose - Components
  (/__) /_   .  /)    | internet: phil@hpmsfpb.sj.hp.com
  /    /  )_(__(_ --  |        "Look out for that root."  -James Taylor
______________________|_______________________________________________________

Newsgroups: alt.guitar
From: edwards@andy.bgsu.edu (Bruce Edwards)
Subject: Re: Ronnie Earl & The Broadcasters
Organization: Bowling Green State University B.G., Oh.
Date: Fri, 11 Sep 1992 20:01:21 GMT

In article <1992Sep11.160833.6983@ferrari.nmc.ed.ray.com>, mongeau@NMC.ED.RAY.COM (Michael Mongeau) writes:
> I agree completely with you about Ronnie Earl - he is truly one of the
> greatest blues guitarists in the country (IMO), and very underated.  He 
> makes his home in Central Massachusetts, so I have an opportunity to see 
> him very often, of which I am truly thankful.

of which makes me damned jealous!

> cry from the previously reported $1000/lesson for Satriani).  He is also
> somewhat of a protege of B.B. King.   I've read articles where B.B. says
> that he thinks of Ronnie as a son.

Hmmmm, there certainly could be a connection with B.B. King, he has played
with a lot of folks including such diverse players as SRV and Robert Junior
Lockwood, but in terms of being a protege of BB's, I don't know. Duke
Robillard who used to be the guitarist for Roomful of Blues was probably
the earliest influence and after that probably Hubert Sumlin (Ronnie does
some nice work on Hubert's CD, 'Healing Feeling' which I highly recommend).
He also used to play with a friend of mine, Eddie Shaw, who still refers to
him as Ronnie Horvath (sp) his real name.

edwards@andy.bgsu.edu

-- 

edwards@andy.bgsu.edu

Newsgroups: alt.guitar,rec.music.makers
From: ssthapit@vax.clarku.edu
Subject: RE: Req: Changing the ZOOM 9002 remote controller
Organization: Clark University
Date: 8 SEP 92 17:01:08 GMT

box cannot be very
From: M23231@mwvm.mitre.org
Newsgroups: alt.guitar
Subject: Re: Recomendations for Classical Guitars (High End)
Date: 11 Sep 92 16:20:20 GMT
Organization: The MITRE Corporation, McLean VA 22102

In article <1992Sep10.232630.3902@cbnewse.cb.att.com>
chenl@cbnewse.cb.att.com (julian.l.chen) writes:
 
>
>(Mark Basinski) wrote :
>>  The most expensive of the really concert-quality classical guitars being
>>built in the US these days are definitely Gilbert and Humphrey. Be
>>prepared to wait a long time. While both of those makers build fine guitars,
>>I'm not really wild about either of them - I don't like the sound of
>>the Humphrey, and while the Gilbert is *really* loud and can get a very
>>wide range of sound, I find them a bit too dry, plus I got tired of waiting
>>for one - I got on John's list in 1986, and kept getting put off (if you're
>>Ben Verdery or David Russell, you can get a guitar in a month, if not maybe
>>never)...now John's son Bill does most of the building, and while I haven't
>>seen any of these guitars I haven't heard too much one way or the other if
>>they are as good?
>
>I totally agree with you. Both Humphrey guitar and Gilbert guitar are favored
>by famous guitarists. However, since Humphrey build much more guitars than
>Gilbert does, Humphurey guitars are not that difficult to get, check with
>the few classical guitar saloons in New York and Carlifornia, you should
>able to locate one for $5000 - $7000. Gilbert guitar is a different story,
>I am willing to pay $7000 for a Gilbert guitar in excellent condition and
>I have not able to find a seller yet. By the way, Gilbert build about
>150 guitars so far, only the serial number after 80 or so are desirable.
>Since that was about when Gilbert began to use his famous bridge system.
>
>[....]
>>  My favorite builder in Spain is Francisco Santiago Marin, in Granada. He
>>is the nephew of Antonio Marin Montero, and his guitars are similar in
>>sound and appearance (mostly spruce) but I like them better. I've no idea what
>>his prices are, but you can bet it'll be high with the recent plummenting of
>>the dollar...  :(
>
>Santiago Marin charges about $3000 for his guitar but you need to wait about
>1 - 2 years. However, I know Casa Luthier in Barcelona have a new one available
>for $4000.
>
>By the way, my favorite builder is Greg Smallman in Australia. More and more
>top guitarists are using his guitars now. His guitar has a very special
>tone that is not available from any other builders. I know not everyone like
>this sound but I just like it so much. His guitar is also very difficult
>to get since he only make 4 - 6 guitars a year. Few months ago I had a
>chance to buy one, but the seller asking $14000 and firm! Just wish I had
>that much money to burn...
>
Another maker you might want to consider at the high end is Tom Blackshear
in San Antonio, TX. His instruments are some of the finest I have ever played.
They are beautifully crafted and in sound are very much like the finest Spanish
instruments.
 
Jerry
Newsgroups: alt.guitar
Subject: Looking for an acoustic...
From: Matthew.Watson@comp.vuw.ac.nz (Matthew Watson)
Date: Mon, 7 Sep 1992 02:53:14 GMT
Organization: Dept. of Comp. Sci., Victoria Uni. of Wellington, New Zealand.



I'm after a 6 string acoustic guitar, medium price range... I would really 
appreciate any suggestions as to which brands I should consider, or anthing else
you might wish to tell me (i.e brands to avoid etc...) 


Thanx in Advance,
Matt.




Newsgroups: alt.guitar
From: bash@tware.com (Paul Bash)
Subject: Re: EFX: ART or DigiTech or ???
Organization: Techware Design, Boulder, Colorado
Date: Tue, 15 Sep 1992 04:41:26 GMT

In article <4ehGaoe00WB5QtT2oX@andrew.cmu.edu> na0s+@andrew.cmu.edu (Nicolas Alejandro Arauz) writes:
>I'm looking to buy a new multi-fx box.  At this point, it seems as if
>I've narrowed it down to the ART SGX T2, or the ART DR-X 2100, and the
>DigiTech RP-1.  I've seen two accounts so far of the DigiTech's LCD
>going out real fast, but that could be just coincedence (or design flaw
>-- could there be others?). 

If you saw them here, in alt.guitar, I'm pretty sure they were from the same
person. My RP-1 works just fine, thank you, and has since I removed it from
the box (a month ago).


-- 
Paul Bash                                                   Techware Design 
bash@tware.com                                              Boulder, CO  U.S.A.
Organization: University of Illinois at Chicago
Date: Monday, 14 Sep 1992 17:42:27 CDT
From: <U53519@uicvm.uic.edu>
Newsgroups: alt.guitar
Subject: Re: Re : WIDE NECKed classical guitars.
Distribution: usa

Another reason for the wide neck  --- left hand classical techniques involves
"slurs":  or hammering on and pulling off the strings.  A wider fingerboard
makes it possible to pull off a note on one string while (hopefully) not
killing the sound on the adjacent string.

-- Ray Sparrowe
From: paschjc@wkuvx1.bitnet
Newsgroups: alt.guitar
Subject: Re: help
Date: 10 Sep 92 22:15:31 GMT
Organization: Western Kentucky University, Bowling Green, KY

In article <92251.194237IO20643@MAINE.MAINE.EDU>, IO20643@MAINE.MAINE.EDU writes:
> 
>     Like I got this totally cool guitar and like I dont tknow how to
> play and I was just wonderin what I'm sposed to do.  I mean, like I
> dont even know how to tune it.  I was jus wondering could like any
> of you dudes out there, kinda help me a bit.  I'd appreciate it greatly.

>     I tried the same thing about four years ago. I had friends that
had been playing for years so they taught me alot. You should really
consider a local music store though they usually have books and a
teacher that will so you almost everything. It costs around 30 bucks a
month though. Just fool around  with it after you get it tuned, this
will get you acustomed to the sounds of notes. Later you'll be able to 
listen to a song and play it by just tinkering.
 Later
       another guitarist
From: David.T.Greenfield@dartmouth.edu (David T. Greenfield)
Newsgroups: alt.guitar
Subject: Re: CORAL Electric Sitar
Date: 14 Sep 92 20:10:57 GMT
 <92258.115158WAUGH@SLACVM.SLAC.STANFORD.EDU>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

In article <92258.115158WAUGH@SLACVM.SLAC.STANFORD.EDU>
WAUGH@SLACVM.SLAC.STANFORD.EDU writes:

> Listen to the Box Tops recording of "Cry Like
> Baby" for one of the earliest Coral electric sitar solos.

I thought it would be fun to list some songs that use electric sitar. 
I'm not sure if they are all Corals.

Monterey - The Animals
Turned Down Day - Cyrkle
Hooked On A Feeling - B.J. Thomas
Cherokee - Stephen Stills
Do It Again - Steely Dan
Cat's In The Cradle - Harry Chapin

Can you think of any others?

David
david.t.greenfield@dartmouth.edu
From: darkman@cats.ucsc.edu (Axeman)
Newsgroups: alt.guitar
Subject: Re: Favorite Guitars
Date: 14 Sep 1992 15:21:04 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: am.ucsc.edu


In article <1992Sep14.133509.15217@porthos.cc.bellcore.com> aeg@vixen.uucp (24104-gronczewski) writes:
>I was just wondering what other peoples
>favorite electirc and acoustic guitars are.  

My favorite electric has to be my Jackson Soloist XL.  It has a neck-thru
design, where there is no big neck bolt block to get in the way of upper-
fret access.  It has a tremelo system 'to die for,' and the action I can
get on it is just amazing.  Plus I kill the strings and the neck doesn't
warp.  I have a set of the lower three strings of a .009 set and the higher
3 strings of a .008 set.  All tuned down a whole-step.  My guitar just eats
this tuning up!  I couldn't be happier.

-jq


Newsgroups: alt.guitar
From: mayer@osiris.cso.uiuc.edu (James Mayer)
Subject: Feedback
Summary: Feedback Control
Organization: University of Illinois at Urbana
Distribution: usa
Date: Sun, 13 Sep 1992 14:55:47 GMT
Keywords: Feedback

Anyone have some advice on how to create, control, and utilize feedback.  I
don't mean wild uncontroled feedback, I mean tastefully added-in feedback
during leads and such.  I can seem to only acieve the wild uncontrolled kind
using intense volume.  I would love to be able to bring feedback in during a
lead to sustain a note, then move on out.  

	Your help is gratefully appreciated.

	_Jim.

Organization: Sophomore, H&SS general, Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Sun, 13 Sep 1992 20:52:19 -0400 
From: Paul Andrew Platosh <pp21+@andrew.cmu.edu>
Subject: Re: Feedback
	<92257.150312BDH113@psuvm.psu.edu>
Distribution: usa

>I don't know if you can still get these things, but I once played around
>with a pedal which, when depressed, created a sustained feedback note about
>two octaves higher than the original note.  You might be able to build some
>sort of frequency multiplier device along similar lines, let me know if you
>try it.

Its probably a DOD super distortion/feedback pedal.  You also have the
option of changing the tone of the feedback.  I haven't seen it for sale
recently... But its a great buy.
==Paul
Newsgroups: alt.guitar
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Subject: Re: PRS
Summary: PRS response
Organization: AT&T
Distribution: usa
Date: Mon, 14 Sep 1992 21:10:46 GMT

In article <e3hv02UP21LB01@JUTS.ccc.amdahl.com>, drf40@cd.amdahl.com (Daryl Fortney) writes:
> 
> 	Has anyone out there played a Paul Reed Smith guitar? I saw one, and it
> looks chief, and it had a real solid feel to it.  How are they? I am
> thinking about an upgrade from a jackson of mine that is a little too
> thrashy for me...
> 
> 	-df
	I had a PRS for a few years. PRS makes several diff models. They retail
	from about 1100 to 4000. I had a Custom, Tobacco Sunburst 10top, 
	Bird to fish abalone inlay, with the sweet switch.

	I sold mine because I found myself forever trying to remeber what 
	pickup position I was in. I got a new Flame Top transparent RED ES335

	They also make a bolt on Strat style. - I was not very impressed.
> 
> 	Oh, I kinda like the blues. Well not just the blues but a real deep
> rich tone. I know fenders have this tone, but I am kinda interested in
> the PRS i have seen, are they comparable, or better yet how do they
> compare?
> 
> -- 
> Daryl Fortney						drf40@cd.amdahl.com


	Steve
	Doin That Blues ThAng!
Newsgroups: alt.guitar
Reply-To: dea@hplb.hpl.hp.com (David Allport)


I've heard that the Electric Sitar used by Pat Metheny (among others)
was made by
a company called CORAL.  They made them in the 60's, stopped, but now
are making them
again.

Does anyone know where (U.S. or Europe) new ones are available now?

Thanks,

David Allport

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
(Usual disclaimers ...)

dea@hplb.hpl.hp.com
Hewlett Packard Laboratories,
Filton Road,
Stoke Gifford,
Bristol BS12 6QZ
U.K.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

Newsgroups: alt.guitar
From: walsh@rcf.rsmas.miami.edu
Subject: Re: Fuzzy way get a fuzz sound
Reply-To: walsh@rcf.rsmas.miami.edu
Organization: RSMAS
Date: Tue, 15 Sep 92 17:26:34 GMT

In article <1992Sep11.204027.24020@cc.umontreal.ca>, brunetm@JSP.UMontreal.CA (Brunet Martin) writes:
>
>Yello there,
>
>     it's been a long since I get here...so here I am.I'm writing to know something
>about old fuzz like the fuzzface fuzztone big muff....I don't which one is good enough
>or the one who got the fuzzy sound like the sound of Eric Clapton when he was with Cream.
>I know Jimi's fuzz was the fuzzface ,keith richard's fuzz was the fuzztone and Jerry
>Garcia's fuzz was Distortion + of MXR.What was the fuzz of Jorma (guitarist of Jefferson)
>does anybody know?What's the best 'sellers' fuzz?in the late 60's? and today?
>Finally, what is the best fuzz for you? (I know that's personnal choice but it's helpful 
>to know your opinions).
>                                          Thanks to all infoz!
>
>                                         ||||
>{electric country man}                  ){@@}(
>                                          \/ 
>                                          ^^

Guitar Player magazine has a several articles on distortion (fuzz) in the
September '92 issue. Cheers! Pat Walsh
From: pquince@blacks.jpl.nasa.gov (Peter Quince)
Newsgroups: alt.guitar
Subject: Soliciting Onions:  ES 335, 355
Date: 14 Sep 92 16:23:28 GMT
Organization: Image Analysis Systems Group, JPL

Greetings; I have a couple questions about the Gibson guitars
of the subject line; the ES 335 and 355.

My understanding is that the 355 has a stereo output and a 
control of some sort for this.  What does the control control,
and what if anything are other differences between the 335 and
the 355?  Are their sounds indistinguishable?  Are they both
semi-hollow bodies with big bricks of wood through the center?

Or, more directly, is the 355 just the same as a 335 with a 
couple hundred dollars of extra electonics that never gets used?

Second issue; these guitars are frequently associated with 
'previous generation' music.  (cf. recent posting describing
one or the other as good for '60's and '70's type music.)
While I don't believe that the guitar is incapable of playing
any music composed after 1979, I am wondering if there is some
subtle limitation to what these things can do.  This is sort of
a stupid question, but you can smarten it up by restating it 
'How would you characterize the tone, playability, and versatility 
of the 335/355 w/r/t say a Les Paul or a Strat?'

thanks for any good info.  pquince
From: vivien@ariel.its.unimelb.EDU.AU (Vivien Bonazzi)
Newsgroups: alt.guitar
Subject: gibson guitars
Date: 11 Sep 92 05:32:10 GMT
Organization: University of Melbourne



I was wondering if I could get some comments on the gibson ES 175 and 
ES775. A comparison of the two would be useful both to each other and        
and to other guitars. 
In addition,does anyone know where I could get more information on Tuck Andress
Thanks

Vivien
vivien@ariel.ucs.unimelb.edu.au
From: mwang@sedona.intel.com (Michael Wang)
Newsgroups: alt.guitar
Subject: Re: Building effects units for guitars
Date: 8 Sep 92 17:10:45 GMT
Organization: Intel Corporation
Originator: mwang@sedona


In article <1992Sep8.080946.15963@fel.tno.nl>, jsgn3@fel.tno.nl (Jos Groot) writes:
> 
> 
> I wondered whether readers have DSP algorithms (or pointers to them) to get
> well-known guitar effects, like flanging, phasing, chorus or distortion.
> 
> -- 
> Jos Groot (jos.groot@fel.tno.nl)
> Physics and Electronics Laboratory TNO-FEL 
> P.O.box 96864
> 2509 JG  The Hague, The Netherlands


I'm not up on my DSP algorithms, but I might be able to give you a start.

Chorusing is essentially taking the "straight" signal, delaying it by a
small amount (or several different small amounts) and mixing all the 
resulting signals back together.  Some chorus effects also allow the delay
times to be modulated back and forth, giving kind of a wavering effect to
the sound.

Phasing is, I believe, taking the straight signal, delaying it by a time
interval that is swept back and forth ( i.e. delay by 0, then delay by 1,
then delay by 2, then delay by 1, then back to delay by 0), and mixing the
two signals back together.  This gives the sound kind of a "sweeping" effect
as the delayed signal goes between adding and cancelling the original.

Distortion is changing the shape of the waveform itself.  Exactly how the
shape changes gives the different types of distorted sounds.  You might
start with simply clipping the peaks and squaring them off.  I'm not sure
what that would sound like, but that is "classical" distortion in electronic
circuit design.

Hope this helps.


Mike Wang
Newsgroups: alt.guitar
From: obry@flash.bellcore.com (Pascal Obry)
Subject: Re: HELP on Naming >>CHORDS<<
Organization: /u/obry/.organization
Date: 11 Sep 92 09:11:44


If you want to play and learn about the chords ... try GUITARE


	it's free ...

		you can get it from ftp.nevada.edu ...

Pascal.

--

-------------------------------------------------------------------------------
--  Pascal OBRY								     --
--  Room 2D-337				e_mail : obry@bellcore.com  	     --
--  Bellcore								     --
--  445 South Street			voice : 1 - 201 829 4039	     --
--  Post Office Box 1910						     --
--  Morristown, New Jersey 07962-1910					     --
-------------------------------------------------------------------------------

  `` inheritance is surely a good answer, but who knows the question ? ''

Newsgroups: alt.guitar
From: aeg@vixen.uucp (24104-gronczewski)
Subject: Favorite Guitars
Organization: Bellcore, Livingston, NJ
Date: Mon, 14 Sep 92 13:35:09 GMT

After reading this net for the last few months, It seems most of
the discussion centers around Fender (my personal favorite guitars)
and Gibson Guitars.  I was just wondering what other peoples
favorite electirc and acoustic guitars are.  The following list are
my personal favorites which I would like to own someday (if I can
ever justify owning all these gutiars to my wife)

1).  Fender American Std Strat - IMHO the best all round guitar.
     It is very popular with most bands in the New York/New Jersey
     area.  My favorite Sunburst, with rosewood neck.
2).  Gibson ES-335 Dot - Great for playing 60's and 70's music.
     My favorite color is Cherry Red.
3).  Ovation Legend - My favorite since I saw Glenn Campbell play
     one on the "Glenn Campbell Goodtime Hour" back in the Sixties.
     I own one it is Sunburst (Dk Brown, red, yellow) with OP-24 
     under the bridge pickup.
4).  Martin D-28/D-38 acoustic - Always a favorite of mine 

P.S. Glenn Campbell actually played a Ovation Balladeer on his
program.

I used to play a Fender Jaguar (Pre-CBS 63 model) when I was in a
band back in the sixties.  Played a lot of surfing music (Beach
Boys stuff)  Carl Wilson played one back then.  The on I had was 
Tobacco Sunburst (Yes I like Sunburst Guitars) Sold it when I got 
married.

Musically Yours, 
Adam G.
Newsgroups: alt.guitar