HDTenEightyP/NetNews huggingface dataset:
From: mic@ut-emx.uucp (Mic Kaczmarczik)
Newsgroups: rec.music.makers.guitar
Subject: Re: Fender 210
Date: 16 Dec 92 23:08:33 GMT
Organization: UT Austin Computation Center, Unix Services

In article <Bz3MKy.LsE@watserv1.uwaterloo.ca> mkuinder@cape.UWaterloo.ca (Mike Kuindersma) writes:
>
>  While shopping for a new guitar combo unit, my buddy and I stumbled across
>something called a Fender 210.  It's a tube amplifier combo with (you guessed
>it) two 10" speakers.  It has channel switching and (if I remember correctly)
>a quite nice reverb effect.
>
>  I've never heard mention of a Fender 210 here on the net.  I've heard of
>the Twin, the Tweed and so on, but never the 210.  What do you folks call it?

	I was told that the 210 and its counterpart, the 112 (with one 12"
	speaker) are successors to the Super 60, a 60-watt combo with the same
	features but a different sized cabinet. I think the Super 60 came out
	in 1988 or 1989, but I might be off by a year or two.  They were
	supposed to be pretty popular, and got a good review in Guitar Player
	magazine.  By the time I was shopping for an amp, they weren't making
	the Super 60 any more.  I don't know if they're back in production,
	or even if the 210's/112's are.

>  BTW, we found that the 210 had just the kind of sound we're looking for - a
>nice, warm, tubey distortion sound that's easy to control with dynamics... and
>the clean channel is mighty fine as well.

	I wholeheartedly agree!  In my case, my 112 made me realize that a lot
	of my dissatisfaction with the way I sounded had to do with my
	previous amp, not my guitar. 

Just another satisfied Super 112 owner, 

--mic--

-- 
Mic Kaczmarczik - Unix Services /  I got the rolling artharitis
 UT Austin Computation Center  /      Sitting down at a rhythm review
remark@{ccwf,emx,bongo} 1-0251 \          - Chuck Berry, "Roll Over Beethoven"
Newsgroups: rec.music.makers.guitar
From: rnakkula@magnus.acs.ohio-state.edu (Robin J Nakkula)
Subject: Re: mandolin tab
Organization: The Ohio State University
Date: Mon, 14 Dec 1992 04:48:17 GMT

In article <1992Dec13.033019.4577@athena.mit.edu> juggle@athena.mit.edu (furious axe demon) writes:
>In article <1992Dec12.233134.26571@samba.oit.unc.edu> elessar@PHYSICS.UNC.EDU (Shawn Mehan) writes:
>
>>Hi ho. I sense a dearth of any mandoin tabs out there and thought some
>>people actually might get some use out of some. . .
> 
>> |                                    |                                   |
>>E|------------------------------------|-----------------------------------|
>> |4                                   |                                   |
>>A|------------------------------------|--0-0-0-0-------2-------5----------|
>> |4                                   |                                   |
>>D|----R--------0--------4-------5-----|-----------------------------------|
>> |                                    |                                   |
>>G|------------------------------------|-----------------------------------|
>
>
>Hmm. . .  Excuse my possible ignorance, but isn't this tabbed
>upside-down??  (or maybe lefty?)
>
>I'm not really sure how Mandolins are tuned (never having played one),
>but I would imagine that they are tuned with the bass strings on top like a 
>guitar and bass, etc.  
>
>They do have eight double-strings kind of like a twelve string guitar,
>right?  They aren't strung with high strings on top, or tuned to sevenths
>are they?
>
>Any mandolin experts out there want to put in their $.02??  Does guitar
>skill transfer over to Mandolins?  how many frets do these things have
>anyway?
>
>	Sincerely,
>	-juggle-
>
>

Mandolins are tuned like violins (if that's any help).  E is the "bottom"
course (pair of strings) and it is tuned the highest.  The next course,
A, is a whole step below the corresponding 2nd string of a guitar (not 
counting the change of real octave due to the instrument's small size;
staff music is written out with both the mando's E (1st) string and the
guitar's 1st string on the same place on the treble staff).

The 3rd course of the mando is tuned the same as the guitar's 4th string,
and the mando's 4th course is tuned to the G just below that (same as the
guitar's 3rd fret on the 6th string).

Guitar skill does transfer over inasmuch as you're talking about the skill
of changing chords in a timely manner, or running up and down scales.
however, the structure of the chords is different, and I'm still occaisionally
referring back to a chord diagram book.

Lesse if I can do this example:
          Guitar:               Mando:
              o o o             o o
          ___________           ________
          |_|_|_|_|_|           |_|_|_|
          |_*_|_|_|_|           |_|_*_|
          *_|_|_|_|_*           |_|_|_*
          | | | | | |           | | | |


If this came out right, both of these are G major chords.

@@@---Robin Nakkula
From: cs_d640@ceres (Henry Willder)
Newsgroups: rec.music.makers.guitar
Subject: Strat for Sale
Date: 14 Dec 1992 12:52:35 GMT
Organization: Kingston University
NNTP-Posting-Host: ceres.kingston.ac.uk
X-Newsreader: Tin 1.1 PL4



--
Newsgroups: rec.music.makers.guitar
From: billq@ms.uky.edu (Billy Quinn)
Subject: Re: First guitar reccomandations
Date: Sat, 12 Dec 1992 08:10:06 GMT
Organization: University Of Kentucky, Dept. of Math Sciences

ivaliote@ux1.cso.uiuc.edu (Lotus ) writes:

>I am a singer in a band, and would like to purchase a guitar that I can compose
>with.  Of course, I would also like to learn to play the sucker, and don't just
>want a 'beginners' guitar.  I would like to make this a long-term investment.  
>I will consider the used alternative, but I prefer new guitars, since you never
>know what a used anything has been through.  I tend to like a blues/straight
>old fashioned rock sound, and would like to keep the cost as low as possible, of
>course (under 400 to be sure, lower if possible.)

>Given those criteria, what would you reccomend?

Matt,

	Two things might happen: you will be happy with your purchase or you
won't.  If you end up unhappy because you hate the guitar - then that means it
probably sucks.  If you are unhappy because you got ripped off (but maybe like
the guitar) then - well you'll get over it.  If you are happy because you got
a great deal (but the guitar isn't all that great) then you got ripped off.
And if you are happy because you love the guitar - but maybe paid too much -
then you'll get over it.

	Maybe this whole set of logic is sounds dumb, but really - don't look
for a good *deal* look for a good guitar.  From what you say - it sounds like
a used Fender or Gibson would do you great.  Go to a local store with a friend
and play a few (regardless of the price) until you know wich one you *really*
want.  Make sure you know exactly which model it is and the year too (?).  Then
put the word out that you are looking for a used 19XX 'blank' and you will pay
$400.  Flyers at bars and music related stores/restruants ect.  No doubt sooner
or later some one who has a guitar laying around will need some rent money one
day (sad but true) and get rid of that guitar dirt cheap.

	I lucked into a '74 Les Paul Custom and a '73 Strat with left handed
neck each for under $200 bucks.  People just know that I like to buy guitars.
And the people I buy from are the ones who don't gigi and need to pay bills.
I'm sure one day if I'm hard up for bucks I'll do the same ?!?

good luck.

-- 
*-----------------------------------------------------------------------*
*	Bill Quinn			billq@ms.uky.edu		*
*-----------------------------------------------------------------------*
Newsgroups: rec.music.makers.guitar
From: borst@cs.utexas.edu (Christoph W. Borst)
Newsgroups: rec.music.makers.guitar
Subject: Need advice: microphone setup
Date: 17 Dec 1992 17:56:59 -0600
Organization: CS Dept, University of Texas at Austin
NNTP-Posting-Host: saltillo.cs.utexas.edu


I am about to buy myself a microphone and stand, and need opinions
about what microphone will be best, and where it is cheapest.  I
will be doing mostly guitar recording, with perhaps a small amount
of vocals.  I need a stand to hold it in place, but don't need 
anything fancy.  I already have cords/transformers/etc.  So far,
my friends have recommended that I get a Sure Sm57 and the cheapest
stand I can find.  I seek more advice about which mike o buy and
about which distributor sells it least expensively . . .

Newsgroups: rec.music.makers,rec.music.synth
From: manes@magpie.nycenet.edu (Steve Manes)
Subject: Re: Tha Bizness.
Organization: Manes and Associates, NYC
Date: Sun, 20 Dec 1992 20:08:59 GMT
Followup-To: rec.music.makers,rec.music.synth
X-Newsreader: TIN [version 1.1 PL7]

Dragon (David Fiedler) (fiedler@netcom.com) wrote:
: >In article <0105009A.l1ojqo@david.roth-music.com> david@roth-music.com (David A. Roth) writes:
: >Equally, you may be a struggling musician, thinking on the quiet
: >evenings about your friends in other professions, who are making
: >decent incomes.  I have a friend who is an aspiring actor who is going
: >through this.  He is thinking about going back to law school.
: 
: Sorry, I consider this excessivley negative. Your friend might just be on
: the verge of becoming the next Tom Cruise or something. The world really
: doesn't need another lawyer, you know, but a good actor, musician, or
: other creative person can brighten millions of lives.

Oh yeah... just what the world needs.  Another Tom Cruise.

According to NYC Actors Equity statistics, only .2% of the membership
earns over 50% of its income from the occupation of acting, writing,
directing, stage managing, etc.  That's one in five hundred (you can
imagine what the stats are for non-Equity actors).  Actors Equity
probably has a hundred times that number of professional, full-time
restaurant workers.  So what's wrong with being a lawyer who also
acts?  Nothing.  I've worked with many talented, satisfied artists
who were smart enough to pursue alternative, backstop careers.
Georg Wadenius (guitarist with Paul Simon, Saturday Night Live and
currently owner of a successful jingle company) is an MD as is
jazz saxophonist, Joe Henderson.  Steve Morse from the Dixie Dregs
is a ATP-licensed commercial pilot and works p/t for a southeastern
regional carrier now.  A friend of mine has gone one step further:
he's a Miami vice lieutenant (no shit) who at age 35 managed to get
his MD.  He moved to Los Angeles last month to pursue a career as
a playwright.  There's no law on this planet that says you must
become an occupational slave to your art to be an artist.  On the
contrary, nothing makes you feel better about your art than the
confidence of knowing that you don't HAVE to do shit work or
compromise your art to pay next month's rent.

As a former twenty-year professional NYC musician who's found a
highly-compatible second life as a software consultant (and am
finally able to buy my first house and first car at 40 years of
age) I've always found your kind of art snobbery intolerable, if
only because it typically springs from those who haven't got a
clue what they're talking about.  Take your own advice, guy.
Quit your job and follow a life as a professional musician.
Then get back to me in fifteen years.

-- 
Stephen Manes					   manes@magpie.nycenet.edu
Manes and Associates/Commontech-NoHo		   New York, NY, USA  =o&>o
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: Re: Laryngitis
Date: 18 Dec 92 22:17:18 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <1992Dec18.153626.29672@tigger.jvnc.net> steve@imix.Cyanamid.COM writes:
>
>Anyone out there suffered from laryngitis?  Any experiences to share about
>how to get over it?  Home remedies?  Vocal exercises?  How long does it 
>take to get over?  
>
>Thanks
>
>Steve :)
>

This has happened to me at least twice before important recitals.
Resting your body, as the previous poster mentioned, is most important.
I usually call in sick to work (laryngitis counts as sick!).
The next most important thing is to rest the chords themselves.  I get a
pad of paper, and write "I'm not talking because of laryngitis", I then
show it to anyone who tries to converse with me.  I let out not one peep
for a full day before I perform, then slowly warm up with quiet humming
to full vocal exercises.  This is the hardest part, as I'm a talker.
Finally, what you put past your chords and into your stomach is very
important.  Don't eat spicy/hot foods (another tough one for me), but do
make sure you get plenty of sustenance.  What you are trying to do is fend
the bug off with rest, fluids, and sustenance, but not at the expense of
gallons of scalding tea coursing past your vocal chords (or anything else
harsh and unforgiving).  I usually drink gallons of tepid tea with plenty
of honey, but no lemon.
Remember, you must temper all advice to not just get rid of the bug, but to
not hurt your throat in the process.

You will probably not sing as well as you would given no physical ailment,
but at least you can make it through with no physical damage to your throat.

And if it does hurt to sing...don't!  No one else in your ensemble who
doesn't sing is likely to understand, but that's life.  I always give
groups I perform in a constant reminder that my voice is not like their
horn or string instrument.  I can't replace it if it breaks, and I have
to listen when it tells me "no!".

Michael Breen
singing and philosophizing
(safely and soundly)
Newsgroups: rec.music.makers
From: darrin@arrakis.engin.umich.edu (Darrin P Cardani)
Subject: Re: 4-Tracks
Date: Tue, 15 Dec 92 13:43:17 EST
Organization: The University of Michigan AI and VR Laboratory
Originator: darrin@arrakis.engin.umich.edu



I recently bought a used Fostex X-26 for about $230.00. It has 
minor EQ (Hi's and Lo's adjustable in stereo) but it's a lot more 
complete than the Tascam Porta-03 that somone else mentioned.
I looked intot that at stores, also. You can usually find something
really good used that has more features for the same price as
something new with less features. But then you run the risk that it
might not be in good condition, etc. 

Things I looked for were Ability to control stereo setting of each
track, effects send, ease of bouncing tracks (combining 2 tracks into
1), sound quality (although I was unsure what to go by), etc.
Look for things you want from the box, check out prices and look
for deals, sales, or used equipment, is my suggestion.

					Darrin Cardani
From: joebac@hpcupt3.cup.hp.com (Joe Bac)
Date: Mon, 14 Dec 1992 18:22:39 GMT
Subject: Re: Texas Special Pickups
Organization: Hewlett Packard, Cupertino
Newsgroups: rec.music.makers

List price on the Texas Specials are $175.  I got a set for $120 which I thoughtwas a good deal.  I have not installed them yet but plan to some time this
week.  You might want to also consider Van Zandt pickups for your strat.  He
makes four models: True Vintage (50's sound), Vintage Plus (60's sound, over-
wound True Vintage, similiar to the Texas Specials), Blues model (also similiar
to the Texas Specials, a little darker), and Rock (overwound Blues model).
I've been using the True Vintage model and have been very happy with them.
They are very bright and glassy sounding - far better than the Fender vintage
re-issues.

Newsgroups: rec.music.makers
From: jay@ccrma.Stanford.EDU (Jay Kadis)
Subject: Re: Dr. Demento?
Organization: DSO, Stanford University
Distribution: usa
Date: Fri, 18 Dec 92 19:21:15 GMT

In article <1992Dec18.033846.16676@netcom.com> fiedler@netcom.com (Dragon  
(David Fiedler)) writes:
> jay@ccrma.Stanford.EDU (Jay Kadis) writes:
> 
> >Does anyone have a mailing address for Dr. Demento? 
> 
> Yes, in fact I do.
> 
> 
> Oh! You *wanted* it. OK: PO Box 884, Culver City, CA 90232.
> -- 
> David Fiedler       UUCP:{ames,mrspoc,hoptoad}!infopro!david        AIR:  
N3717R
> "The future is tekon"     Internet: fiedler@netcom.com or david@infopro.com
> USMail:InfoPro Systems, PO Box 220 Rescue CA 95672 Phone:916/677-5870  
FAX:-5873

No. I just wondered if you had it...

(Thanks anyway)

Jay
jay@ccrma.stanford.edu
From: Paco Ojeda <ffoogg@macmailgw.dfci.harvard.edu>
Newsgroups: rec.music.makers
Subject: Re: The Business
Date: 16 Dec 1992 15:00:56 GMT
Organization: Thinking Machines Corporation
Distribution: world
NNTP-Posting-Host: macdrf_43.dfci.harvard.edu
X-UserAgent: Nuntius v1.1.1d11
X-XXMessage-ID: <A754AF4949014F9B@macdrf_43.dfci.harvard.edu>
X-XXDate: Wed, 16 Dec 92 15:02:49 GMT

In article <lisqjeINN1bd@jethro.Corp.Sun.COM> Ed Miller,
e@mc2.Corp.Sun.COM writes:
>What's that Fripp quote?
>
>"The primary aim of the Musician is Music. The primary
>aim of the Professional Musician is Business."

Who/what is Fripp?

Paco
Newsgroups: rec.music.makers,rec.music.makers.synth,rec.music.makers.guitar,rec.music.makers.bass,rec.music.makers.percussion,rec.music.synth,alt.guitar,alt.bass,news.answers
From: gt5806a@prism.gatech.EDU (Bill Blackwell)
Newsgroups: rec.music.makers
Subject: Amp For Sale:  Crate G40C
Date: 13 Dec 92 18:11:55 GMT
Organization: Georgia Institute of Technology

Guitar Amplifier Forsale:  Crate G40C

Excellent condition (still under warranty)
40 Watts
Two 8" Celestion speakers
Chorus
Reverb
"Amp of the Year" a couple of years ago

$225
I'll pay half of the shipping cost.

Email or call 404-926-7438 if interested.
Thanks.
-- 
  Bill Blackwell                                                   
  Georgia Institute of Technology, Atlanta Georgia, 30332            
  uucp:  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!gt5806a 
  Internet: gt5806a@prism.gatech.edu                                   
Newsgroups: rec.music.makers
From: healy@nosc.mil (Mike Healy)
Subject: Re: Vocal Exercises...
Organization: Naval Ocean Systems Center, San Diego
Date: Thu, 17 Dec 1992 20:14:00 GMT


This month's Scientific American has an article on how the
voice works. Interesting reading.

Mike Healy

healy@nosc.mil
Newsgroups: rec.music.makers,alt.guitar,rec.music.makers.guitar
From: jimt@mullian.ee.mu.oz.au (Jim Trivellas)
Subject: Re: Rocktron Intellifex
Organization: Electrical and Electronic - University of Melbourne 
Date: Sat, 19 Dec 1992 19:05:03 GMT


>    Any opinions on the Rocktron Intellifex?  How is it compared to the 
>Quadraverb Plus?  I want to combine one of these with a Marshall JMP-1
>into a guitar rack.  
>                                     Much appreciated,
>                                           Mike

IMHO there is no comparison between the Intellifex and the Quadraverb.  I've
had my Intellifex for about a month, and I only wish that I had bought it 
earlier.  Its the only effect that I use (all Roland, Yamaha, etc effects have
now been put in cold storage :) ).

The Intellifex is not cheap, but it is cheaper than the high-end Lexicon stuff
(like the LXP-15) and the legendary TC 2290, and IMHO it as good (if not
better) than the abovementioned units.  Some people may prefer the Lexicon
reverbs, but when it comes to delays and chorusing the intellifex really shines.

The Intellifex is a high performance unit that has 8-voice chorusing, 
digital HUSH noise reduction, pitch shifting, various delays and reverbs, and
the very useful feature of delay/reverb ducking (previously available only
on the TC 2290 I think).  It also offers comprehensive programmable mixing. 
And of course, all effects are in stereo. 

The Quadraverb on the other hand has more built in gizmos and costs less, but
it is noisy, and IMO it isn't as clear as the intellifex, and its effects
algorithms are not that good.

But check out both units with the JMP-1.  Who knows, you may prefer the
Quadraverb.  My advice, go for the Intellifex.  It may be the only effects
unit that you buy and use for a long, long time.

Hope this helps.
Regards,	Jim.

-------------------------------------------------------------------------------
  Jim Trivellas.
  Department of Electrical & Electronic Engineering.
  School of Information Technology & Electrical Engineering.
  The University of Melbourne, Parkville 3052, Victoria, Australia.
                  |
                  |
                  |			Telephone: +61 3 3447976
                *****			Email: jimt@mullian.ee.mu.oz.au
     _______*************_______
   _|_____*****************_____|_
 _|_|_____*****************_____|_|_	"Hello, is that the front desk?"
| | ________*************________ | |			Allan Holdsworth
|  |            *****            |  |
   |          The  SPID          |
-------------------------------------------------------------------------------
Newsgroups: rec.music.makers
From: jay@ccrma.Stanford.EDU (Jay Kadis)
Subject: Dr. Demento?
Organization: DSO, Stanford University
Distribution: usa
Date: Thu, 17 Dec 92 18:08:16 GMT

Does anyone have a mailing address for Dr. Demento? 

Jay Kadis
jay@ccrma.stanford.edu
From: rstern@col.hp.com (Richard Stern)
Newsgroups: rec.music.makers
Subject: Danny Gatton - NY Stories
Date: 15 Dec 92 20:09:43 GMT
Organization: HP Colorado Springs Division
NNTP-Posting-Host: hpcslb1.col.hp.com

I've heard talk of a new CD by Danny Gatton called NY Stories.  Does
this really exist??  I have checked all the local record stores, and
not only don't they have it but they don't even show it in their list
of special order discs.

If you have this disc, could you please tell me what label it's on and
what the "disc #" is.  And if you know where I can order that would be
great!

Thanks a lot,
Richard Stern
rstern@col.hp.com
From: anda@ahpcrc.umn.edu (Andrew A. Anda)
Newsgroups: rec.music.makers
Subject: Mandolin info requested on instrument style and price negotiating
Keywords: mandolin
Date: 12 Dec 92 02:58:54 GMT
Distribution: usa
Organization: University of Minnesota, AHPCRC


My first question is on which style of mandolin I should consider purchasing.
I am primarily a violinist and prefer a narrow neck from that perspective.
Additionally, though my fingers are fairly long, they are very narrow, so I
cannot bridge two sets of mandolin strings with a fingertip on the neck of an
average width mandolin.  I currently have a cheap roundback but would like to
get away from that style (if possible).  What style or make should I look for?
Do the scroll tops, or those instruments designed for classical performance have
a narrower neck?

My second question has to do with the purchase itself.  How firm are the "list"
prices of instruments on instrument shop walls?
If negotiable, what is a reasonable discount for new and similarly for used?
How about for the big "catalogue" stores such as Elderly Instruments in East
Lansing, MI, or Mandolin Bros. in NYC?

If you E-mail, I'll summarize.

Thanks!

&y&a
Andrew Allen Anda, (University of Minnesota: anda@cs.umn.edu)
Computer Science Dept., 4-192 EE/CSci Bldg.,
200 Union St. S.E.,
Mpls., MN 55455
--
Andrew Allen Anda, (University of Minnesota: anda@cs.umn.edu)
Computer Science Dept., 4-192 EE/CSci Bldg.,
200 Union St. S.E.,
Mpls., MN 55455