HDTenEightyP/NetNews huggingface dataset:
From: tom@cpac.washington.edu (Tom May)
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Re: Adding master volumes
Date: 24 Jan 93 10:01:27 GMT
Organization: The name of the band is Slip.
	<TILL.93Jan23184145@acid-rain.lucid.com>
NNTP-Posting-Host: bailey.cpac.washington.edu
In-reply-to: till@acid-rain.lucid.com's message of 23 Jan 93 18:41:45

In article <TILL.93Jan23184145@acid-rain.lucid.com> till@acid-rain.lucid.com (Don Tillman) writes:

      From: META <META@UNB.CA>
      Organization: The University of New Brunswick
      Date: Sat, 23 Jan 1993 17:27:45 GMT

      While we're at it, can you add a presence control to one of those
      single-tube class A amps or is it exclusively the domain of
      push-pull phase-splitter amps?  One tends to see them only in the
      latter, but I don't know if that's a function of design limitations
      or design choices.

   Sure, any amp that uses feedback around the power amp can have a presence
   control added.  Selecting values for the parts might take some trial and
   error though.

Feedback reduces gain and distortion.  If you add a presence control
by adding a feedback loop, you will reduce the overall gain.

Since I have also seen the feedback loop only in phase-splitter
push-pull circuits (granted, I've only been looking at tube circuits
for a month and haven't seen everything), and since the feedback goes
to the input of the phase-splitter more or less, I have assumed its
primary purpose is to reduce asymmetry in the phase-splitter, and then
somebody figured out that they could throw an active tone control into
the loop and call it presence.  But, since the feedback comes from the
output side of the transformer, maybe the feedback is really to reduce
distortion in the whole phase-splitter / power tube / transformer /
speaker system.  But if the transformer and speaker are contributing
to distortion, why don't the single-tube class A amps use feedback, too?
Anybody know?

--
Tom
Newsgroups: rec.music.makers.guitar
From: mada@electrum.kth.se (Marcus Davidsson)
Subject: REQ:Fender Super Reverb
Organization: The Royal Institute of Technology, Stockholm, Sweden
Distribution: rec
Date: Tue, 26 Jan 1993 13:51:17 GMT

Hejsan!
Does anybody know how to squesee the best out of an Super Reverb amp?
Which tubes, modifications, speakers, etc.

Thanks.

Marcus Davidsson
mada@it.kth.se
From: pw14@prism.gatech.EDU (WALKER,PETER G)
Newsgroups: rec.music.makers.guitar
Subject: Re: Gibson guitar take 2
Date: 28 Jan 93 22:48:40 GMT
Organization: Georgia Institute of Technology


Sorry. I guess I have given everyone the wrong idea. I am not 
selling this guitar but rather trying to buy it. The body
of the text is from the offer someone has sent to me.
Since I do not have an electric guitar I do not know
much about the styles and prices etc. I was wanting
to know if the guitar is any good or not and if what the 
guy was saying is correct or whether he is bullshitting.

Once again sorry for the disinformation.
Peter

-- 
WALKER,PETER G
Georgia Institute of Technology, Atlanta Georgia, 30332
uucp:	  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!pw14
Internet: pw14@prism.gatech.edu
From: mike@vm1.mcgill.ca (Mike Woo)
Newsgroups: rec.music.makers.guitar
Subject: Re: REQ:Robben Ford
Date: 28 Jan 93 21:41:57 GMT
Distribution: rec
Organization: Computing Centre, McGill University

In article <MADA.93Jan28155156@cesium.electrum.kth.se> mada@electrum.kth.se (Marcus Davidsson) writes:
>Hej!

>I'm wondering what sort of guitar Robben Ford is using on the "Talk to your
>daughter" album. Is it hard to get, how much does it cost? From wich year?

>Thanks.

>Marcus Davidsson
>mada@it.kth.se

   It's a Fender Esprit which was discontinued some years ago because it 
wasn't very popular, but it's been reissued as the Fender "Robben Ford"
Signature Model.  I have no idea of the cost, although I'd guess in the
$1200-1500 range.

Mike (The Dr.) Woo  
Xref: sparky rec.music.makers.guitar:1585 alt.guitar:11615 rec.music.makers:12105
From: mike@vm1.mcgill.ca (Mike Woo)
Newsgroups: rec.music.makers.guitar,alt.guitar,rec.music.makers
Subject: New Amp from Mesa!
Date: 25 Jan 93 17:24:42 GMT
Organization: Computing Centre, McGill University


Greetings Tube Amp Fanatics (aren't we all?)  :-)

     Just heard some interesting news from a friend of mine who just came
back from the NAMM convention in L.A. (he manages a local music store 
here in Montreal).  Randall Smith and the boys demoed their newest monster 
amp - a 2x12 DUAL RECTIFIER Combo!  To my knowledge this is their first 
venture into 2x12 combos and according to my buddy (whose opinion I trust) 
this thing sounds amazing!  I suspect it's a combo version of their Dual 
Rectifier Solo Head with the usual Mesa surprises thrown in.  It should be
available by the end of 1st quarter '93.  I for one cannot wait to try it
out!

Rockin' In The Free World,
   Mike (The Dr.) Woo
From: kgs@doc.ic.ac.uk (Kirit Geir Saelensminde)
Newsgroups: rec.music.makers.guitar
Subject: Goodbye Blue Sky ( was Re: Lesson a week (NEW) )
Date: 25 Jan 1993 13:35:05 -0000
Organization: Department of Computing, Imperial College, University of London, UK.
Distribution: world
NNTP-Posting-Host: oak24.doc.ic.ac.uk


In article <1993Jan21.025621.3556@news.uiowa.edu>, brent@hitchcock (Brent H. Pease) writes:
|> >
|> >X   O O   O
|> >___________
|> >|_|_|_|_|_|
|> >|_|_|_|_|_|
|> >|_|_|_|_o_|
|> >|_|_o_|_|_|
|> >|_o_|_|_|_|
|> >|_|_|_|_|_|
|> >|_|_|_|_|_|
|> >
|> This is also used in Pink Floyd's Goodby Blue Sky.
|> brent.
|> 

Not strictly that chord. The tab for that part of the song is:

E --------------------------------
B --------------------------------
G -----------------0--------------
D -----------4-----------4-----4--
A --------5-----5-----5-----5-----
E --------------------------------

This is repeated ( I think four times ).

This is slightly different from the chord posted as the notes here are D Gb G
which is more a melody line than a chord. The notes in the chord are D Gb G D E.
The top E does change the sound and strumming it forces it into sounding like a
chord ( but I can't think what you would sensibly call it - Gno3 maj 7 add 6 / D
seems a bit pointless and probably wrong anyway ).

If anybody is interested I can post the tab for the whole thing to
rec.music.makers.guitar.tab

-- 
---                  ___ __
Kirit Saelensminde. /   ~  \        ,,,        Department of Computing
kgs@doc.ic.ac.uk   |  #=#==========#   |              Imperial College
Blue Salamander     \___-__/        ```  		    London, UK
Newsgroups: rec.music.makers.guitar
From: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Subject: Re: breaking high e
Originator: npstewar@c00028-118dan.eos.ncsu.edu
Reply-To: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Organization: North Carolina State University, Project Eos
Date: Fri, 22 Jan 1993 15:46:28 GMT


>A thicker string would be harder to break of course but then it will also
>sound different.
>
>Does anyone make strings out of some super alloy with a tensile strength
>much stronger than the steel normally used in strings?  Seems like a
>market opportunity.  Has anyone ever strung their guitar with something
>other than guitar strings (like steel wire from the hardware store or
>piano wire or strands from a steel cable)?  The tradeoff is probably
>brittleness vs tensile strength.  The stronger the steel the less it
>likes being bent.  At some critical point brittleness will become the
>more likely source of breaking instead of strength.  Anyone who's
>industrial out there who can tell us about metal fatigue?

Yes changing your string guage will change your sound, but not nearly as
much as changing your string composition. In addition to tonal and 
endurance considerations, you've also got to select a string that will
interact with the magnetic field of your pickups, or you won't get the right
sound. (Or no sound if you put nylons on your Strat. :-) For this reason,
Phosphor bronze (acoustic) strings don't work very well on electric guitars.

Regarding changing to a locking tremelo, changing your playing style (That
was someone else's response.), etc.. My answer was given with the assumption
that since the only issue raised was breaking strings, the solution should
only affect breaking strings. Suggesting changing to a locking tremelo has 
no more relevance than suggesting blocking the tremelo completely (which
would have advantages for string longevity as well as considereably less
hassle than any tremelo system.) A locking tremelo is a solution, but to
a different problem - tuning stability.<Insert grain of salt here if it helps>

If you like your playing technique and sound, then changing your technique
(and hence your sound-unless you're getting all of it from a box) in order
to save string life is like driving a race car at 55mph in order to save
your tires. 

npstewar@eos.ncsu.edu
Newsgroups: rec.music.makers.guitar
From: pat@gsfc.nasa.gov (patrick m. ryan)
Subject: Re: REQ: B52s Rock Lobster
Reply-To: pat@jaameri.gsfc.nasa.gov (patrick m. ryan)
Organization: Oceans & Ice Branch, NASA/GSFC/Hughes STX
X-Newsreader: TIN [version 1.1 PL8]
Date: Mon, 25 Jan 1993 14:50:02 GMT

Steve Portigal (stevep@snowhite.cis.uoguelph.ca) wrote:
> I'm sure someone out there can suggest a little as to how to play
>this song...

tune down a half-step (and buy a Rick).

--------------------
--------------------
--------------------
--------------------
-----------3-2-3-2--
-0-2-3-2-0----------

pat

--
"I have a cunning plan." -- Baldrick
                                                             patrick m. ryan
     nasa / goddard space flight center / oceans and ice branch / hughes stx
                     pat@jaameri.gsfc.nasa.gov / zmpmr@charney.gsfc.nasa.gov
Xref: sparky rec.music.makers.guitar:1481 alt.guitar:11523
From: cudex@csv.warwick.ac.uk (Mr K R Smith)
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Re: Flame-Proof Resistors?
Date: 21 Jan 1993 08:27:38 -0000
Organization: Computing Services, University of Warwick, UK
NNTP-Posting-Host: violet.csv.warwick.ac.uk

I've been an electronic engineer over 30 years now, but the term "flame proof"
doesn't really mean much to me.  Mind you, in the UK "flame retardent" is
often used for some items, and jargon is different in different places.

Resistor body colours GENERALLY signify the construction - pale blue indicates
metal glaze types, these are high value high voltage rating (say,
over 100K) usually used in special applications like across the
insulation barrier in a switch mode supply; pale green body colour
signifies metal film construction, these are high quality low noise ones
for general use (they cost a bit more than "ordinary" resistors as used in
mass production but are best for home constructed audio projects where the
added cost is too small to matter); dark brown/red bodies usually mean
metal oxide resistors which are low noise and close tolerance temperature
stable devices; light brown usually means carbon film which are low
noise but not as temperature stable as other types and have a negative
temperature coefficient.   Older types could be any colour, they were
mostly solid carbon comp (generally browm) with "hi-stab" film types coloured
pink.
If you replace a resistor try and use the same type as it could have been
selected for aparticular job - small carbon film types are often used for
protection due to the way they fuse, whereas film types could just change
value and some other more expensive bit could die, or a safety hazard result,
as it would if you put a carbon or metal film in place of a metal glaze
resistor!
You probably won't come across composition resistors as they are used only for
special jobs nowadays, like feeding video to the CRT in TV's and monitors, or
in signal splitters. Again this is 'cos of their characteristics - like under
flashover conditions in one case, and becuase they are non-inductve in the
other.

I would have thought that "flame proof" probably refers to the coating of a
device - like the paint or wax or compounded whatever in which it is dunked
before coding- this could flare up a bit under catastrophic failure
conditions.  Can anyone give an authoritive statement please?

Kev
the metal film
Xref: sparky rec.music.makers.guitar:1631 alt.guitar:11688
From: larryh@fawlty.lmc.com (Larry Huntley)
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Re: Guitar Player's Stack in a box
Summary: Error in pre-amp schematic
Date: 27 Jan 93 03:10:41 GMT
Article-I.D.: cabezon.1993Jan27.031041.16119
Organization: Logic Modeling Corporation   Beaverton, OR

In article <lm7u79INNqip@saltillo.cs.utexas.edu> borst@cs.utexas.edu (Christoph W. Borst) writes:
>
>If anyone has built Guitar Player's stack-in-a-box or something
>similar, I would like to know how good it sounded . . .
>
    Sorry; I haven't built one, but I've looked at the schematic enough to
    warn you that there is one (at least) error in the schematic as pub-
    lished in the magazine (pg 94.)

    At the right side of the schematic where the wiring is shown for the
    polarity switch, S5, there is a mis-wire.

    This is the way it's shown:

	|
	+------o
	|
	|
	+---+--o  This produces a dead short between the two complementary
	|   |     outputs.
	|   |
        |   +--o
	|   |
	|   |
	+------o
	|   |
	|   |


    This is the way it should be:

	|
	+------o
	|
	|
	|   +--o
	|   |
	|   |
        |   +--o
	|   |
	|   |
	+------o
	|   |
	|   |


    I'm assuming that this is a typographic error; if you buy the parts
    from PAIA they probably include a correct schematic.  Since this was
    off-board wiring, it was more likely to cause someone trouble than an
    error in the area that is actually on the PCB.

    - Larry Huntley
-- 
         (larryh@lmc.com)         |  ".... and if that, that don't kill you 
     Logic Modeling Corporation   |     soon, the women will, down at the
          Beaverton,  OR          |       Spanish Moon." - Little Feat
From: spankey@blackstone.eece.unm.edu (His Spanknesss)
Newsgroups: rec.music.makers.guitar
Subject: WANTED: TUBE AMP
Date: 26 Jan 1993 22:59:42 GMT
Organization: UNM Electrical and Computer Engineering Department
Distribution: usa
NNTP-Posting-Host: blackstone.eece.unm.edu

Wanted: Tube amps one for bass one for guitar.
	like a Fender or Ampeg SVT ot V44,V40,Reverb-o-Rocket,
	ect. Fender Twin Reverb,Pro Reverb,Delux,Vibroverb ect.

	I like working on tube amps( I do not have a business for
	resaling amps)and get a big kick out of playing Bass and 
	guitar through different systems.
	
	Pleeze reply thru E-Mail 
					Thanks,
					Spankey

Xref: sparky rec.music.makers.guitar:1569 alt.guitar:11600
From: tom@cpac.washington.edu (Tom May)
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Wha + distortion (was Re: Adding master volumes)
Date: 24 Jan 93 09:39:05 GMT
Organization: The name of the band is Slip.
NNTP-Posting-Host: bailey.cpac.washington.edu
In-reply-to: META's message of Sat, 23 Jan 1993 17:27:45 GMT

In article <23JAN93.14539770.0062@UNBVM1.CSD.UNB.CA> META <META@UNB.CA> writes:

   Tone controls up front
   determine what kinds of of harmonics will   be generated most by later
   gain stages, while tone controls after select out which harmonics
   one wants.  Analogous to sticking a wah after or before a fuzz.
   Before is interesting, but after tends to provide the more desirable
   personality-laden sounds.

Not!

For me, the choice for where to put the wha might depend on whether
I'm playing notes or chords.  (The chords I tend to wha are things
like Em on the top four strings at the 12th fret.)  For chords, wha
before distortion sounds a lot better.  As you wha, different notes of
the chord are emphasized, but the distortion sound remains consistent
for each note.  You get a nice funk-type wha sound, but with
distortion.  With wha after distortion, the wha changes the distortion
sounds from muddy to scratchy.  This sounds ok for note parts, but
gets somewhat obnoxious for chords.  There are bands (Mudhoney comes
to mind) that use this sound a lot on chords, so I guess it has its
uses (actually I like Mudhoney quite a bit, but I digress).

Note that I said "might" depend on notes vs. chords.  This is because
I think wha before distortion sounds better for notes, too.  It is
easier to play with wha after distortion because the extra pedal
travel required to get a decent wha effect allows one to be quite
sloppy.  But when I practice with wha before distortion so I can
keep the pedal in a narrow range around the point where each note goes
"wha", I find a get a much sharper wha sound, and once again I like
the consistency of the distortion as I move around the neck.
--
Tom, who is not a grunge player.
From: mpaul@unl.edu (marxhausen paul)
Newsgroups: rec.music.makers.guitar
Subject: Re: ALT vs REC
Date: 22 Jan 1993 16:42:29 GMT
Organization: University of Nebraska--Lincoln	
Distribution: world
NNTP-Posting-Host: unlinfo.unl.edu
Keywords: alt vs rec

chris@labtam.labtam.oz.au  (Chris Taylor) writes:

>Some people think "alt.guitar" should go now but some people can only
>get "alt.guitar" (for some technical reason) so it is going to stay.

>Can everyone get "alt.guitar"?
>Why then does the "rec" group exist? (It's harder to spell for a start !)

Here at the University of Nebraska - Lincoln, _all_ of the "alt." groups
are nixed, removed for reasons said to be technical (disk space) but
doubtlessly political/administrative (public unhappiness with things
like "alt.sex.bondage", etc.)  So the "rec" group is all we can get anyway.
I hear that this is true at other public institutions also.



--
paul marxhausen .... ....... ............. ............ ............ .......... 
 .. . .  . . . university of nebraska - lincoln .  . . .. . .  .. . . . . . . .
 .     .    .  .   .     .   .  .    .   .  .   .    .   .  grace .   .    .  . 
   .         .       .      .        .        .      .        .   happens .     
Newsgroups: rec.music.makers.guitar
From: aki+@cs.cmu.edu (Yoshiaki Ohshima)
Subject: Re: INFO needed on HAGSTROM guitar please...
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 28 Jan 1993 22:26:25 GMT

Bill Nelson of BeBop deLuxe is a long time user of Hagstrom guitars.
In mid~late 70s, Daryl Stuermer and Michael Rutherford share a Hagstrom
bass on stage in Genesis tours.

Apparently some people know how to make them sound right, eh?


							--aki
Xref: sparky rec.music.makers.guitar:1484 alt.guitar:11526
From: cudex@csv.warwick.ac.uk (Mr K R Smith)
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Re: Flame-Proof Resistors?
Date: 21 Jan 1993 09:30:13 -0000
Organization: Computing Services, University of Warwick, UK
NNTP-Posting-Host: violet.csv.warwick.ac.uk

I am not really a metal film - that was an editor problem.
Kev
Newsgroups: rec.music.makers.guitar,rec.music.makers.bass
From: pfaff@cbnewsi.cb.att.com (john.s.pfaff)
Subject: what exactly is a "small stone"?
Organization: AT&T
Date: Sat, 23 Jan 1993 14:46:50 GMT
Followup-To: rec.music.makers.bass

my guitar player has one of those old electro-harmonix "small stones",
which has a really cool "underwater" sound.  i'd like to get one for
my bass, but i doubt the actual small stones are still available.
what is the technical/functional name of this thing?  i imagine the
effect is available under some other name.  any ideas?

john
Newsgroups: rec.music.makers.guitar,alt.guitar,rec.music.makers
From: mike@vm1.mcgill.ca (Mike Woo)
Subject: Re: Mesa 50/50 (was New Amp from MESA!) 
Organization: Computing Centre, McGill University
Date: Wed, 27 Jan 1993 15:51:02 GMT

In article <mike.28@vm1.mcgill.ca> mike@vm1.mcgill.ca (Mike Woo) writes:
>In article <1993Jan26.003323.11883@novell.com> sonny@novell.com (Rosanno "
>Sonny" DeLara) writes:>>: amp - a 2x12 DUAL RECTIFIER Combo!  To my 
>knowledge this is their first >>
>>>      I saw some preliminary specs in dec '92 about 19" rack mountable
>>>      Dual Rectifier head...
>>>

>>I like the sound of this amp too but can't afford it at the moment.

>>What do you guys think of the rack mountable all tube Mesa Boogie Fifty/
>Fifty?
>>Thanks,
>>Sonny

>Hi Sonny,
>     I recently went shopping for a power amp for my rack and tried several 
>before settling on the MESA 50/50.  I use two Strats (Amer Std and Plus) 
>through a Marshall JMP-1 preamp, Rocktron Intellifex, and a Marshall 1960A
>4x12 cab.  With this gear, I tried out:
>      
>       1) Marshall's 9050 (50W stereo - EL34's)

    Whoops...that should read the 9005 (not 9050).  Sorry about that.
By the way, I've just received the latest product literature from Mesa/Boogie
and their Jan/93 price list.  Stay tuned for some news on their new products!

Keep On Rockin'
Mike (The Dr.) Woo
From: rost@tecrus.dec.com (My name is Brian Rost)
Newsgroups: rec.music.makers.guitar
Subject: Re: Ovation Preacher?
Date: 22 Jan 93 16:27:33 GMT
Organization: Digital Equipment Corporation


In article <1993Jan21.074833.1@vax.sonoma.edu>, mccalld@vax.sonoma.edu writes...
>> Does anyone out there know anything about an Ovation Preacher?
>> What is it...?
>It's an electric guitar, kinda a cross between an SG gibson and a Les Paul.
>I can't remember if it has 2 or 3 pickups.....A friend of mine owns one...
>I used to own the Breadwinner.
>david

The Preacher was a twin pickup solidbody made in the late seventies/early
eighties.

Twin humbuckers, bolt-on 24 fret neck with rosewood board, 2 volumes, 2 tones.
Stereo wired so you could split each pickup to a separate amplifier.  Came in
cherry and sunburst finishes.

The Preacher Deluxe added neck binding and fancy inlays, but the wiring was
mono, with one volume, one tone using an FET preamp (same one as in the
Breadwinner, as a matter of fact) with a notchable midrange.  Also the Deluxe
was available in a 12 string version.

Not a bad guitar but not worth much money, $200 would be a decent price for a
used one.

					Brian Rost @tecrus.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************
Newsgroups: rec.music.makers.guitar.tablature