HDTenEightyP/NetNews huggingface dataset:
From: whc2993@ritvax.isc.rit.edu
Newsgroups: alt.guitar
Subject: Re: Brian Setzers sound on Stray Cat Strut
Date: 14 Dec 92 23:03:11 GMT
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology

In article <1992Dec14.181328.16136@cbfsb.cb.att.com>, bky@cbnewsf.cb.att.com (william.a.stafford) writes:
>   I have been trying to learn Stray Cat Strut and I have become extremely
>frustrated because no amount of tweaking will get my Strat to sound like
>whatever Brian Setzer is playing on Stray Cat Strut.
>   Does anyone know what he plays on this song?
>   Does he use any effects?
>   Is it possible to get a Strat to produce this 'Setzer' sound?

I also was wondering how to get a rock-a-billy sound.  Currently I use my neck
pickup and a lot of reverb.  It sounds alright but I think what is missing is
the fact that Brian plays a hollowbody and uses a Bigsby tremelo.
				B.C.


********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
 and so is my apartment right now. 
********************************************************************************
Newsgroups: alt.guitar
From: gish@NCoast.ORG (Tyson Chihaya)
Subject: Re: Alternate tunings .... any ideas???
Organization: North Coast Public Access *NIX, Cleveland, OH
Date: Mon, 21 Dec 1992 01:19:23 GMT

littlefield@binah.cc.brandeis.edu writes:
: In article <7623@pharaoh.cyborg.bt.co.uk>, martin@pharaoh.cyborg.bt.co.uk (Martin Gorman) writes:
: >jhalvers@plains (Jon Halverson) writes:
: >
: >>Check out the guitar player issue w/ Sonic Youth on the cover. If you
: >>can't find it, mabey I could dig it up. They're pretty bizare. BTW Sonic
: >>Youth tours w/ 25 guitars, all tuned different, none standard. Ironically,
: >                ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
: >>the bassist never uses anything but standard.
: >
: >>                                                 Jon
: >>
: >That must be why they sound so crap and of out of tune
: 
: 
: 	hehehehe. That's true for most of the "alternative scene." These people
: who think that they're being creative and artsy are using that as a poor excuse
: for not learning how to play. (eg. Jane's Addiction and Pixies!! man... that's
: just noise).
: 
: --Kevin "I wanna be sedated"
: 
: Littlefield@binah.cc.brandeis.edu
: 
Please.  Sonic Youth, Janes Addiction and the Pixies not creative? And what
exactly do you listen to, if I may ask? (Which I am..)


-- 
Tyson Chihaya	|  capricorn sister taste of eucalyptus chartreuse regalia
gish@ncoast.org	|  purple pie petes dance electra burgundy baby blue eyed
                |  soul capricorn sister freddie mercury jezebel child
                |  motherlovebone breeds like rabbits gonna set you free
Newsgroups: alt.guitar
From: rseymour@reed.edu (Robert Seymour)
Subject: Re: aging strings - is there a way to recycle
Organization: Reed College, Portland, OR
Date: Sun, 20 Dec 1992 13:11:35 GMT
Reply-To: rseymour@reed.edu

In article <BzJGz6.HyG@usenet.ucs.indiana.edu> jtblair@silver.ucs.indiana.edu  
(John Blair) writes:
> In article <uh311ae.724717039@sunmanager> uh311ae@sunmanager.LRZ-Muenchen.DE  
(Henrik Klagges) writes:
> >Q: Strings age and need to be replaced. Ist there a way to squeeze more life
> >   out of them ? It seems such a waste to throw them away.
> >
> >Q: Do thinner strings age quicker than thicker ones ? It would be plausible
> >   given the higher tension.
> >
> >Cheers, Henrik
> 
> If you wash your hands before you play and clean your stings afterwards,  
yours
> strings last longers.  Dan Erlewin also has recommends using a "Blitz" cloth,
> which is a cloth impregnated with hopefully harmless brass cleaner.  You wipe
> it again afterwards.  (I'm trying it for the first time.  It certainly takes
> the tarnish off the strings, but it's also a bit of a mess, particularly
> when the cloth is fresh.
> 
> john

	I would be wary of using a brass cleaning compound on your guitar. Most  
are made of fairly powerful solvents which will eat away the finish on you  
guitar quite easily. It's best to spend a little more money on buying strings  
than to damage your instrument. While keeping the strings clean can prolong the  
life a small amount, metal fatigue is unavoidable. When you strings start to  
sound dull it's due to the metal, not thin coatings of dirt or oil on the  
outside. The only solution is new strings, as it is not possible to  
"un-fatigue" metal.

--
Robert Seymour				rseymour@reed.edu
Departments of Physics and Philosophy	(NeXTmail accepted)
Artificial Life Project			Reed College
Reed Solar Energy Project (SolTrain)	Portland, OR
Newsgroups: alt.guitar
From: ieeug504@Eagle.oscs.montana.edu
Subject: amplifier question
Reply-To: ieeug504@Eagle.oscs.montana.edu
Organization: MSU
Date: Fri, 18 Dec 1992 17:46:50 GMT

	I own a peavey classic chorus tube amp. (I know, big mistake!?)  I blew one of
its two speakers and instead of replacing it, I just played with one speaker
instead of the two for a couple of months.  Now the tubes don't just glow
anymore they burn and smoke.  I have replaced the tubes, but the they still do
the same thing.  I read that by running the wrong impedence in speakers can
damage the transformers.  Is this what happened to mine?  If so can I replace
the transformers?  Any help is appreciated.
      thanx,
      scott  (a.k.a. PTBAB)
Newsgroups: alt.guitar
Subject: Buzzing' Strings _HELP_
From: watson_mj@med.wcc.govt.nz
Date: 15 Dec 1992 02:45:46 GMT
Reply-To: watson_mj@med.wcc.govt.nz
Organization: Wellington City Council, Wgtn, NZ
NNTP-Posting-Host: blade.wcc.govt.nz

I was teaching a friend of mine one weekend how to play some simple riffs
and so I decided to lend him my classical guitar so he could practice.
I recently got it back the other day, he had broken 1 string the low E,
which I don't mind, but now when I strike the A string, it buzzes like
shit :( 
I never had any problems with string buzzing before I lent it to my friend

I not sure where the buzzin' is comin' from.

Any Suggestions...

Thanks in advance
Matt.

Newsgroups: alt.guitar
From: olavt@ulrik.uio.no (Olav Torvund)
Subject: Re: Alternate tunings .... any ideas???
Organization: University of Oslo, Norway
Date: Tue, 15 Dec 1992 15:43:46 GMT

The most commonly used alternate tunings are:

Dropped-D, whcich is only tunng your low E-string down to D.

Open D / Open-E: D-A-D-F#-A-D / E-H-E-G#-B-E (Same intervals, but
different pitches, fine for slide-playing). This tuning is often
refered to as "Vestapol". It's Ry Cooders favourite, and was used by
Blind Willie Johnson for all his slide playing (listen to his "Dark
was the night, cold was on the ground").

Open-G / Open-A: D-G-D-G-B-D / E-A-E-A-C#-E (Again same intervals but
different pitches.) Often refered to as "Spanish". Fine for
slide-playing, often used in classic blues playing. Keith Richards use
a special variant, where he has removed the lowest string, and play a
5-string guitar tuned G-D-G-B-D, often capoed. If my memory is
correct, he uses that for "Honky Tonk Women" and "Jumpin' Jack Flash",
and a lot other songs.

Minor tunigs: 

D or E-minor: D-A-D-F-A-D / E-B-E-G-B-E. Among the classic blues
players, listen to Skip James. His "Devil got my woman" and some other
songs are played in D or E minor tuning. I also think Bukka White use
it for some slide songs. Albert Collins plays all his songs in open
E-minor (often capoed).

G or A minor: D-G-D-G-Bb-D / E-A-E-A-C-E. Right now, I can only
remeber some John Renbourn playing in this tuning (G-minor).

Modal tunings:

D-A-D-G-A-D is nice for playing modal folk songs. The british
guitarist Bert Jansch and to some extent John Renbourn use it quite a
lot. It is also used (exclusively?) by the frensh guitarist Pierre
Besunan (?). The tuning is often credited to a british guitarist, but
I do not remeber his name right now.

D-A-D-E-A-D / E-A-D-E-A-D /E-A-D-E-A-E are tunigs frequently used by
the british guitarist Martin Charty.

D-G-D-G-C-D is another nice one for modal songs.

Lit me finalyt mention the drone-tuning D-A-D-D-A-D, which is fun to
play.

There are a lot more tunings, but I do not remeber all of them at the
moment.

Olav Torvund
University of Oslo
Norway
Olavt@jus.uio.no

Newsgroups: alt.guitar
From: dcovell@hfglobe.intel.com (David Covell)
Subject: Re: Mesa/Boogie Amp Prices
Organization: Intel Corporation
Distribution: usa
Date: Fri, 11 Dec 1992 16:12:14 GMT

darryl@berlioz.nsc.com (Darryl Williams) writes:

>I was wondering if anyone who has purchased either the Mesa/Boogie Mark IV
>or the Triaxis preamp could let me know how much I should expect to pay
>for these amps. I am thinking about purchasing one of these in the near
>future and would like to have an ideal as to what kind of price leverage
>I have. Please post to the net as I am sure others are interested.
>Also, I would like to hear any comments/opinions that anyone has regarding
>these amplifiers. Thanks.

I bought my MKIV about 1 year ago; at that time the list price was $1575.
Boogie is the only music product line I know of that has been able to
enforce price control on their dealers. In other words, you'll pay list price
or very close to it regardless of where you buy. The only way around this is
to buy it in conjunction with other items, which allows the dealer to make you
a package price. For example, if you buy the MKIV at, say $1650 and buy an
effects unit that normally sells for $400 at the same time the dealer
might ask only $1850 for the package, ostensibly charging only $200 for the
effects. Thus you save $200 on the MKIV. Since there's probably not a big
markup on MKIV's you'll probably not save nearly that much, but who knows?
I can't speak for the Triaxis, but the MKIV is a good amp if you're looking
for flexibility. It can emulate a lot of other amps, though if you're looking
for metal-type distortion you may prefer a Marshall. Its clean tones don't
sound as good as a fine vintage Fender but they come close enough for stage
work. The real plus is that you get three footswitchable modes plus footswitchable EQ, in effect giving you 6 available sounds (12 if you count the footswitch-
able effects loop). I dial mine in for three levels of overdrive: clean, bluesy
and Santana-like, and switch in the EQ when I need more top end.
From: brett@sr.hp.com (Brett K. Carver)
Newsgroups: alt.guitar
Subject: Flanger pedal help
Date: 16 Dec 1992 19:23:23 GMT
Organization: Hewlett Packard Santa Clara Site
NNTP-Posting-Host: hpsrbkc.sr.hp.com
X-Newsreader: TIN [version 1.1.2 PL7]

[ Article crossposted from rec.music.makers.guitar ]
[ Author was Brett K. Carver ]
[ Posted on 16 Dec 1992 19:22:18 GMT ]


I was given a used Boss BF-2 Flanger pedal.  It has four controls on it:

	Manual
	Depth
	Rate
	Res

Could someone with a manual please tell me what each one does.  I've got a 
general idea from playing around with it, but I'd like to know what the manual
actually says.

Also, what I really want is a chorus effect.  I know that chorus and flange
are similar.  Can someone suggest settings for the BF-2 that would get it as
close to a 'normal' chorus effect as possible?

Thanks.

							Brett Carver
							(707) 577-4344
							brett@sr.hp.com
Newsgroups: alt.guitar
From: pquince@blacks.jpl.nasa.gov (Peter Quince)
Subject: Re: Alternate tunings .... any ideas???
Organization: Image Analysis Systems Group, JPL
Date: Tue, 15 Dec 1992 20:41:55 GMT

jhalvers@plains (Jon Halverson) writes:

>In Orval's example of open-E tuning he gives E-H-E-G#-B-E.
>                                               ^

>  Where is the H on *my* guitar? Mabey I'm not looking hadr enough. :-).


oh, yeah, H is B-flat. pq
--


Newsgroups: alt.guitar
From: s1400070@nickel.laurentian.ca
Subject: GUITAR FOR SALE!!]
Organization: Laurentian University
Date: Tue, 15 Dec 1992 19:55:38 GMT

GUITAR FOR SALE:

     IBANEZ Roadstar II series electric guitar.  Burgandy body, white pick guard
natural wood neck.  Whammy bar.  Comes with EG 10 watt practice amplifier as 
well as felt lined hard touring case.  Barely taken out of case.  Must be
seen.  Asking $400.00 Cdn for the set. Just in time for Christmas.

                                              John Antonioni
                                              S1400070@nickel.laurentian.ca

                                              (705) 522-9837
From: tom@cpac.washington.edu (Tom)
Newsgroups: alt.guitar
Subject: Re: Flanger pedal help
Date: 17 Dec 92 01:53:49 GMT
Organization: Center for Process Analytical Chemistry, UW

In article <1gnvnbINNc45@hpscit.sc.hp.com> brett@sr.hp.com (Brett K. Carver) writes:

>I was given a used Boss BF-2 Flanger pedal.  It has four controls on it:

>	   Manual
>	   Depth
>	   Rate
>	   Res

>Could someone with a manual please tell me what each one does.  I've got a 
>general idea from playing around with it, but I'd like to know what the manual
>actually says.

>Also, what I really want is a chorus effect.  I know that chorus and flange
>are similar.  Can someone suggest settings for the BF-2 that would get it as
>close to a 'normal' chorus effect as possible?

Yeah, chorus is like a flanger but with a significantly longer delay,
longer in fact than a flanger will do.  I configured a digital delay
for a flanger sound by using a modulated delay time of < 1ms, which
causes the interesting phase cancellations in the high frequencies.  A
chorus adds a signal (or signals) which are delayed something on the
order of 20ms or so and modulated so as to be somewhat out of tune
with the original signal to simulate multiple instruments playing the
same part.  You can't get the effect with something sold as a flanger,
even if you crank the manual control fully one way or the other.  Flangers
are still cool, cool effects, though, and I like my crappy old MXR analog
flanger better than what my ART box does.


--
Tom
From: ms184@castor.geog.ucsb.edu (Mark Timothy Schmidt)
Newsgroups: alt.guitar
Subject: Re: SRV & Strings
Date: 18 Dec 92 04:20:18 GMT
Reply-To: ms184@castor.geog.ucsb.edu ()
Organization: U. C. Santa Barbara, Geography Department

In article <85116@ut-emx.uucp> paul@fiskville.mc.utexas.edu (Paul Grotevant) writes:
>Well, I can't remember what exactly SRV did to solve the tremolo problem,  
>but when you're using a stock strat tremolo (as he did), you could just  
>throw one or two more springs in the back and tighten them down.

That's what he did.  He used 5 springs in back instead of 3.

>One interesting problem that he did have because of his use of heavy  
>strings and his powerful playing style was that he had to play through  
>bass amps, as he had a tendency to blow out regular guitar amps! Wacky,  
>wild stuff.

This isn't true.  He primarily used Fender Super Reverbs and Vibroverbs,
plus Marshalls and Howard Dumbles.  The Fenders were guitar amps and
the Dumble's are generally for steel guitar.


Newsgroups: alt.guitar
From: barsz@bnr.ca (Peter Barszczewski)
Subject: Re: Alternate tunings, what's the point?
Organization: Bell-Northern Research Ltd.
	<1992Dec17.223241.14784@athena.mit.edu>
	<1gr6agINN93n@MINERVA.CIS.YALE.EDU>
Date: 18 Dec 92 11:32:38

shaffer-wendy@yale.edu (Wendy Shaffer) writes:

   juggle@athena.mit.edu (furious axe demon) writes:

   >> Forgive my ignorance, but other than playing slide guitar, is there
   >> any reason other than basic laziness why one might want to use an
   >> alternate tuning other than the standard EADGBe?

   > There are also a few effects that you can get using altered tunings
   > that you can't get in standard tuning.  One fairly popular trick is to
   > lower the low E string down to a D or sometimes even as far as a B.  This
   > gives you a nice low growling sound that's great for heavy music.
   > Another thing you can do is tune two strings in unison and get a sort
   > of twelve string like or "organic chorusing" effect.  Then you can do
   > just plain weird things like purposly tuning two strings to _almost_
   > unison and then cranking the distortion way up so that the frequencies
   > interfere and make a funny wobbling sound.  Some people find it useful
   > to tune so that they can play a lot of open strings that will ring out
   > for longer than fretted strings.

Or you can go one step further and use a combination of alternate tunings
and alternate string guages, a la Sonic Youth.  This has been mentioned
before, but they use weird tunings, string guages and distortion to get
interesting chorus effects and harmonics.  They are following another
artist who explores tunings, etc, but his/her name escapes me.

Regards,
--
Peter A. Barszczewski         |           .   .   .   .   .   .   .
(barsz@bnr.ca)                |        :    :    :    :    :    :    :
Bell-Northern Research, Ltd.  |     3     3     3     3     3     3     3
Montreal, Canada              |  D      D      D      D      D      D      D
Xref: sparky alt.guitar:10967 rec.music.makers.guitar:1000
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: Plug Day on alt.guitar (was: Re: Satch's Fan Club)
Date: 18 Dec 1992 20:01:18 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: bt979@cleveland.Freenet.Edu (Jeff Preston)
NNTP-Posting-Host: hela.ins.cwru.edu


In a previous article, heiser@fretz.enet.dec.com (Michael A. Heiser) says:

> Joe not only won best Rock Guitarist from Guitar Player magazine's
>    readers poll (Eric Johnson won best Overall), but he also has a new
>    50 minute video tape (with music videos and interviews) out.  For more
>    info, write to Joe's fan club @:

>        Satriani Fan Club
>        P.O. Box 884564
>        San Francisco, CA  94188

  And while you're at it, go out and buy the Sony reissue of Tony Williams'
_Believe It_ & _Million Dollar Legs_ on one CD, titled _The Collection_.
These were previously only available in Japan, and now you can get both of
'em on *one* CD at the "nice price."

  What's this got to do with Satriani, you ask?

  There's a guitar solo on this CD which changed Satriani's life forever,
and you need to hear it. Then write and tell him how it changed *your* life.
Hey, maybe he'll stop by your place and buy you a beer.

  Who's the fretman on this?  Well, if you have to ask...

  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: alt.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Date this Gibson
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 15 Dec 1992 23:40:39 GMT

Michael Naish (naish@gfx.engga.uwo.ca) wrote:

: 	Sorry, I included the serial number, 19921 in the summary but
: I neglected to place it the body of the posting.

        Where is the serial located ? See, in that era there was two numbers
        in Gibsons. Serial#, visible thru upper f-hole, printer on a white
        oval label, and so-called factory number, ink stamped in the back of
        the guitar, visible thru lower f-hole.

        Does the serial have any kind of prefix letter ? Gibsons of that time
        had prefix letter A in the serial, between 1947 and 1961.

        Information in Andre Duchossoir' book, Gibson Electrics, vol. 1
        states that some models had only factory number, not serial at all,
        and ES-330TD is one of them. So, is the number in the guitar in
        question here serial (upper f-hole, white oval label) or factory
        number ( lower f-hole, ink stamped) ? If it's factory number, does
        it have prefix letter T ? That's the prefix letter in 1958 factory
        numbers according to this book.

        Factory number code breaks down like this : P-xxx-yy, where P is the
        prefix letter telling the year, xxx is the batch number and yy is the
        number of the instrument in that batch.

        In the serial list of this book, there is a few examples
         ES-295                  serial A 18668  made in Jan 6th 1955
         ES-175N                 serial A 20991  made in July 1st 1955
         ES-5 Switchmaster       serial A 26820  made in Jan 6th 1958

        This tells that serials in 19xxx range were used in the first half
        of 1955, and in the beginning of 1958, serials were a lot higher
        than 19xxx.

        According to the Gruhn book, the last A-series number used in 1954
        was 18667, and last number used in 1955 was 21909, so this guitar
        we're talking about would be a '55, if the number is serial, not
        factory number.

        I hope this helps...

        Pasi

--
 p a s i   k o r h o n e n             p k o r @ p h o e n i x . o u l u . f i


 saaristonkatu 3 A 6      90100 oulu     finland,europe     tel:358-81-377 811
Xref: sparky alt.guitar:10947 rec.music.makers.guitar:995
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: Re: Stupid Marshall/Bassman tricks???
Summary: Bassman tricks
Date: 18 Dec 92 13:55:38 GMT
Followup-To: rec.musc.makers.guitar
Distribution: usa
Organization: AT&T

In article <mike.18@vm1.mcgill.ca>, mike@vm1.mcgill.ca (Mike Woo) writes:
> In article <1992Dec17.175025.12741@verity.com> dnj@barbeque.verity.com (Dave Johansen) writes:
> 
> >Last night while purchasing a Marshall Bluesbreaker (JTM 45)
> >the guy I bought it from had an interesting setup. He had the
> >cord going into input I, but had a short lead running from the 
> >second lead I into the upper input of II. This appearred to increase
> >gain/saturation/something which I found pretty cool.. well anyway
> >I also have a Bassman ('59 reissue) and I was curious if anyone
> >has tried this trick w/o adverse effect on the Bassman.. I use the
> >old turn up the second volume (normal) while plugged into the
> >bright for a slight gain effect.
> 
> >advTHANKSance
> 
> >-dnj
> 
>      I've read about this setup (I think it was in GP Magazine) and it's
> perfectly fine for a Bassman.  I believe it increases the gain for a
> crunchier sound.  I wonder if you could put a footswitch between the 
> the two inputs and get a pseudo-channel switching effect?  Anybody out
> there ever give that a try?  Just curious...
> 
>                                        Rockin' In The Free World,
>                                               Mike (Dr.) Woo
> a 

	This is a Fender trick that goes back to the 50's. Also remember
	input 1 on the bright has 6db more gain than input 2. You can also
	plug into the Bright 1 only and use the normal volume as a tone
	control. Try this setting with a Strat.
	1. Cord plugged into Bright 1
	2. Start with all tone controls (Presence Middle Treble Bass) on 6.
	3. Bright Volume on 5
	4. Normal volume on 6.5.

	Vary tone to taste. Use the "Normal" volume to fatten tone.
	

	There is also a buch of things you can do with tubes.
	1. Replace the solid state rectifier with a tube.
	2. Replace all the 12AX7 with varios combonations
	   of 12AY, 12AT tubes.
	3. Try the Sovtek 5881 in stead of 6L6's



	Steve
	Doin That Blues ThAng!
Xref: sparky alt.guitar:10951 rec.music.makers:11550
From: lewocz@acsu.buffalo.edu (John S. Lewocz)
Newsgroups: alt.guitar,rec.music.makers
Subject: Granma got run over by a reindeer
Date: 18 Dec 92 15:27:49 GMT
Organization: State University of New York at Buffalo/Comp Sci




Does anyone have the lyrics/chords to this one?

Thanks

--John
-- 
Newsgroups: alt.guitar