HDTenEightyP/NetNews huggingface dataset:
From: jay@cmn8.Stanford.EDU (Jay Kadis)
Subject: Re: Fender Mustang
Organization: DSG, Stanford University
Date: Fri, 17 Apr 92 17:04:58 GMT

In article <1992Apr17.130101.211@wam.umd.edu> ctso@wam.umd.edu (CT Shock)  
writes:
> Jeffery.A.Schneider@dartmouth.edu (Jeffery A. Schneider) writes:
> : I've got a student model Fender Mustang from Feb 1966 here and was
> : wondering what it's worth if anything?  I'd the the condition is  
"good"
> : to "very good".  Also what's the difference between it and other
> : Fenders (size, quality, etc)?  Any help is greatly appreciated,  
thanks.
> :
> I used to have a '71 Mustang. The first trick is to make sure that what
> you have is indeed a '66. (Just 'cus someone told you so doesn't make it
> true...) The way to make sure on earlier Fenders is to pull the neck.
> There's a month and year stamped on the neck where it joins the body.
> It also never hurts to check the serial number on the metal plate where
> the neck bolts on and see if it is reasonably low (because Mustangs were 
> first made in '66, so your number should be way low). Everything that  
appears
> after this is IMHO. (to borrow some of my favorite quotes, 
> #include <std.disclaimer.h> and direct flames to /dev/null ....
> 
> The mustang was never regarded as highly as the other Fenders (Tele,  
strat, and
> Jaguar etc...) It's basically a strat with a strange set of Pickups in 
> different positions than on the strat. IMHO the bridge pickup is set too  
far
> forward, but then again... Anyway, because of this, the prices aren't  
nearly as
> good for them. Yours should be worth a little bit more if it is a '66,  
just 
> because it is the first year of production. BTW, the red ones seem to  
bring
> slightly more than the blue ones. I don't know what the difference is  
with
> a 'student model' but the regular ones go for $450-600 if they're in  
good shape.
> 
> Hope this helps.
> 		-Todd
>  


Well, this is almost correct.  I have a Mustang dated July 1965 and I  
bought it then, so it seems Mustangs came out in '65. The original list  
price was $189.  I have since replaced the pickups with a single  
dual-sound humbucker and rewired the controls.  I really like the neck  
radius and, although I mostly play a Strat now, I still use the Mustang.   
I'm considering using it as my MIDI controller.  The really unique thing  
about the Mustang is the vibrato system.  I lost the whammy bar years ago,  
but you can do really subtle pitch effects just with a little rocking of  
the horizontal bar to which the strings attach...maybe you have to see one  
to know what I mean...Anyway, a pretty cool guitar

Jay Kadis
jay@ccrma.stanford.edu
From: jasdzews@mace.cc.purdue.edu (Gary James Jasdzewski)
Newsgroups: alt.guitar
Subject: scales
Keywords: scales
Date: 8 Apr 92 18:25:45 GMT
Article-I.D.: mentor.44463

Sometimes these major and minor scales sound to mainstream or
something in my songs.  What can a person do?  How do you know if you
can use a diminished scale over major and minor chords, etc.

Make sense?
Newsgroups: alt.guitar
From: alib@IASTATE.EDU (Richard A Brown)
Subject: 7-string guitars (was Re: Buying a GOOD guitar...)
Reply-To: alib@IASTATE.EDU (Richard A Brown)
Organization: Iowa State University
Date: Wed, 15 Apr 1992 09:18:22 GMT

In article <1992Apr15.035515.2120@cam.compserv.utas.edu.au>, cmurray@esk
(Christopher John Murray) writes:
> >(in much the same way I think Vai's 7-string is a good idea... or even an
> >eight string with one extra high so we could reach higher notes lower on the
> >board and one low so that we could interact with the bass plater... but I
> >thikn this despite the fact thata lot of people buy it because it is VAI'S
> >model...)
> >
>      Vai's 7 string is a damn good idea.  Guitars have been so similar
> in the mainstream we really need something like this to get popular,
> just to show guitar companies it can work, like 5 and 6 string basses.

    7 string guitars have been put to good use for a long time by a few
players.  Check out the album Soliloquoy (sp?) by George Van Eps, for
example (actually, I don't know if it's still available; I taped it
from a guitar teacher years ago).  Very, very cool solo fingerstyle jazz.
I too, hope that 7-string guitars become more mainstream; there are plenty
of good players out there who would surely make some good music with them.
Besides, I'd like to own one someday without having to pay an arm and a leg.

Anyone else know of other good 7-string players to listen to?

--
Ali Brown
From: ghamlin@bonnie.ics.uci.edu (Griffith Askew Iii Hamlin)
Subject: Re: A pickup recomendation
Newsgroups: alt.guitar
Reply-To: ghamlin@ics.uci.edu (Griffith Askew Iii Hamlin)
Organization: Univ. of Calif., Irvine, Info. & Computer Sci. Dept.
Date: 16 Apr 92 20:11:02 GMT

In article <CMM.0.90.2.703436072.clane@magnus.acs.ohio-state.edu> Usually Dazed <clane@magnus.acs.ohio-state.edu> writes:
>
>
>I agree with another fellow gutarist that Seymore Duncan JB Humbucker is a
>really great pickup.  I put one in a home made guitar and was very impressed.
> Then when I bought my Fender HM, I replaced the humbucker (forget who makes
>it) with the JB and am very happy with the results.  Pretty high output, nice
>lows and highs, GOOD harmonics  (if the pickup helps??? i think so)
>

Pickups definitely have a lot to do with how well harmonics stand out.
I have to agree that the Duncan pickups are great. However, if the
bucks are there, I have been a BIG fan of EMG's for several years.
They just sound like nothing I have ever known. I have replaced several
Duncans, and Dimarzios with EMGs over the years.

Griff Hamlin

Newsgroups: alt.guitar
From: iscorp@next12pg2.wam.umd.edu (Jamee Wang)
Subject: Tuning a Fender Strat + ???
Organization: Workstations at Maryland, University of Maryland, College Park
Date: Thu, 9 Apr 1992 18:08:02 GMT

Greetings.

Whenever I move the tremelo bar to produce a quivering sound (push bar  
down, play a harmonic note, quiver while pulling the bar up), my guitar
(Fender Strat Plus) keeps getting out of tune. Can someone tell me how to  
solve this problem?

- jamee
Newsgroups: alt.guitar
Subject: CANDY AND THE BITCH
From: greenspa@vax.sonoma.edu
Date: 6 Apr 92 13:52:24 -0800
Organization: Sonoma State University

well, i know that bb king named his guitar Lucille and i've heard 
that Billy Sheehan named his bass "the Wife". I've named my brite,
brite red strat "candy" (miss applered to you!) and my fender p-bass
"the bitch". I was wondering if anyone else out there in net.land
named their instruments. (ps this is just a desperate attempt to
start a new thread!!!) 
                        guitarfully yours, 
                        thrashmaster rustafari
From: scottshk@csd4.csd.uwm.edu (Scott L Petersen)
Newsgroups: alt.guitar
Subject: WANTED:  Bryan Adams Tabs, Chords
Date: 8 Apr 92 23:21:41 GMT
Article-I.D.: uwm.1992Apr8.232141.296
Organization: Computing Services Division, University of Wisconsin - Milwaukee
Originator: scottshk@csd4.csd.uwm.edu

Hey,	
	Does anyone know any of the tabs, or just the chords from any of 
	Bryan Adams' music ? (especially Run to You or Summer of 69)
	I have one of his piano/vocal books, which is not extremely
	helpful in figuring out the exact chords played.   
	I was told that none of his music is in tab print, 
	but I was hoping someone had played some of his stuff in a 
	band or something, and might have some suggestions.  Any mail
	replies	appreciated!
					
scottshk@csd4.csd.uwm.edu

-- 
				  ()
				  /\          _/_ _/_
				 /  )  _. ____/   /
				/__/__(__(_) (___<__
From: rost@rgb.dec.com (My name is Brian Rost)
Newsgroups: alt.guitar
Subject: Re: Fender and CBS
Date: 9 Apr 92 14:51:16 GMT
Organization: Digital Equipment Corporation


>>In article <52780@mimsy.umd.edu> larsb@mimsy.umd.edu (Lars Baekgaard) writes:
>> >Could somebody please tell me when Fender and CBS were separated? I
>> >know that their 'marriage' started in the mid-sixties and that people
>> >in general relate this to a decreasing quality although it is hard to
>> >date the beginning of the down-period. Also, I would like to know if
>> >you guys think that the down-period is over and if it is: when did it
>> >stop and had it anything to do with the separation from CBS?

CBS sold off Fender around 1985.  At that time, the plant in Fullerton, CA was
shut down, the Fender name began to appear on Japanese made guitars, and some
of the lines were dropped: Elite guitars and basses, Chroma and Rhodes
keyboards, the PA equipment, etc.

Fedner was actually on the rise when it was sold, after a rather dead period
in the 70s where they didn't necessarily make junk but they certainly weren't
bothering to try to keep up with current trends in the guitar business (i.e.
channel-switching anplifiers, hot-rodded guitars, etc.).  Until about 1982 many
of the newewr US companies like Dean, Hamer, B.C. Rich and Kramer were building
instruments that offered modern features,  (better hardware, improved
electronics) while Fender kept cranking out the same thing they had been making
since 1968 or so.  Most of the 70s-era product introductions were flops,
including the Starcaster and Lead guitars (basses never made it past
prorotype), and except for two bass amps, not a single new amp was introduced
between 1972 and 1982.

Then they brought in people like Paul Rivera and started redesigning both the
guitars and amps, and by 1983 had some interesting new products: the vintage
and Elite lines, new amps (except for bass) across the board, etc.  Then the
bottom fell out.

However, just a few years after leaving the CBS fold, Fender now has a diverse
line, with guitars ranging the entire spectrum of tastes and prices and a
competitive amp line as well.  I think that the quality of the stuff since 1983
is probably the highest it has ever been.  Maybe the only disclaimer is that
they now appear to be followers rathers than innovators, but without Leo at the
helm, that's not too surprising.

					Brian Rost @rgb.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.					   *
	*						   *
	****************************************************
From: veilm00@terre.DMI.USherb.CA (MARC VEILLEUX)
Newsgroups: alt.guitar
Subject: TAB 4 MY KIND OF WOMAN (Mr BIG) WANTED
Date: 15 Apr 92 03:32:39 GMT
Organization: Universite de Sherbrooke -- DMI


-- 
+------------------[Max Halen's Signature File v1.0]---------------------------+
| "When I do a guitar solo in concert, I play Van Halen's licks.  That kills   |
|  me." - The great Randy Rhoads, 10 years already.                            |
+-----[Home : Max@punisher.Sherb.CAM.ORG / School : veilm00@DMI.USherb.CA]-----+
From: mccarty@mailhost.aa.cad.slb.com (Bryan McCarty)
Newsgroups: alt.guitar
Subject: Blue Oyster Cult Music
Date: 6 Apr 92 21:36:43 GMT
Organization: Schlumberger CAD/CAM; Ann Arbor, Michigan (USA)

I have been playing along with several of the BOC albums and
haven't been able to figure out a few chords, riffs, etc.

Are there any other BOC fans out there?  Maybe we can exchange
TAB and chords of songs we have figured out.

Please contact me via e-mail because I don't always get a chance
to read the news.  Maybe we can get a network going to figure
just what the hell Buck Dharma is doing on some songs.


-- 
============================================================================
Brian D. McCarty                    Internet: mccarty@mailhost.aa.cad.slb.com
Schlumberger CAD/CAM                          mccarty@aaaca1.sinet.slb.com
Ann Arbor, Michigan (USA)               UUCP: uunet!sharkey!applga!mccarty
From: indigo@ucscb.UCSC.EDU (Adam Schneider)
Newsgroups: alt.guitar
Subject: Re: alt.guitar.tab anyone?
Date: 13 Apr 92 17:17:46 GMT
Article-I.D.: darkstar.32773



nbb@crosfield.co.uk (nick bristow) writes:
>bj_stedm@csd.brispoly.ac.uk (Bruce Stedman) writes:
>>mcdonghj@unix2.tcd.ie (Nascent Virion.....) writes:
>>>psr@acsu.buffalo.edu (Ben the Crafter) writes:
>>>>bergman@glycine.cs.unc.edu (Larry Bergman) writes:
>>>>>rane+@CS.CMU.EDU (Aaron Hughes) writes:
>>>>>> Since we have so many tab postings and requests, perhaps
>>>>>> we should consider creating alt.guitar.tabs - anyone?
>>>>>> 
>>I thought exactly the same the day before yesterday myself.
>And another yes vote here.....

ME TOO!  Bring on alt.guitar.tab...


PS - We don't have alt.bass yet at UCSC either (not that I care)...
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Newsgroups: alt.guitar
Subject: Amp Mods from Torres Engineering
Date: 14 Apr 92 19:24:07 GMT
Distribution: usa
Organization: AT&T


	I have gotten quite a few requests for the information about
	Torres Engineering. So I think I will just post the address
	and phone number. Good luck to all, and remember TUBE AMPS
	CONTAIN LETHAL! VOLTAGES



	Torres Engineering 
	Dept. GP 110 Avila rd.
	San Metao CA 94402
	Phone 415-571-0849

	Steve
	Doin That Blues ThAng
	Hosting Jam nights at the Sippin E-Z
Newsgroups: alt.guitar
Subject: RE: bad to the bone
From: phys174@csc.canterbury.ac.nz
Date: 16 Apr 92 10:19:59 +1200
Organization: University of Canterbury, Christchurch, New Zealand

The Tab for Bad To The Bone is in Oct.'91  Guitar f.t.p. Musician.
It's way too long to post.
But: it's played in open G tuning (because of all the slide)
i.e.  e - d
      b - b
      g - g
      d - d
      a - g
      e - d

then the main riff is ---------------
                      --0-0-5-0-3/-0-
                      --0-0-5-0-3/-0-
                      --0-0-5-0-3/-0-
                      ---------------
                      ---------------
then he mucks aroung up at the 11-12th positions etc. etc... get
a back issue of the mag.
Xref: sparky alt.guitar:2075 rec.music.classical:5686
From: mckinzie@schaefer.math.wisc.edu (Mark McKinzie)
Newsgroups: alt.guitar,rec.music.classical
Subject: Paganini Caprices Op. 1 for guitar?
Date: 9 Apr 92 16:10:20 GMT
Article-I.D.: schaefer.1992Apr9.161020.20973
Organization: Univ. of Wisconsin Dept. of Mathematics


This piece was composed for violin, but has been transcribed
for other instruments (my fav is a recording of the flute
version, but I digress.....)   

I have the sheet music for a guitar transcription, and am 
wondering if any *complete* recordings of this exist.
I have Eliot Fisk's recording of Caprice #5, and a couple
of heavy-metal guitarists have released rock versions
of Caprice #24.  But has anyone done the whole thing ??


-- 
Mark McKinzie          	| Tra la la, Tra la la la, Tra la la la la la la la
mckinzie@math.wisc.edu 	|               -The Banana Splits, 1968-
UW Dept. of Mathematics	| Oy oi oi, Oy yoi oi oi, Oy oi oi oi oi oi oi oi
Madison, WI 53706      	|               -Bob Marley, 1974-
Newsgroups: alt.guitar
From: dcovell@intelhf.hf.intel.com (David Covell)
Subject: Re: Rockman problems; Zoom comparison? (was Re: distortion boxes?)
Organization: Development Tools Operation, Intel Corp., Hillsboro  OR
Date: Tue, 14 Apr 92 18:27:09 GMT

rblander@watdragon.waterloo.edu (Robyn Landers) writes:

>In article <1992Apr10.212152@IASTATE.EDU> alib@IASTATE.EDU (Richard A Brown) writes:
>>
>>I've had the following problems/complaints with my Rockman:
>>
>>1) 1 (of the two stereo) headphone channel cutting out.  I've opened it
>>up and the solder joints for the headphone jacks look ok.  
>>   [lots deleted]
>>a close visual inspection of the circuit boards didn't find any obvious 
>>damage or manufacturing defects.
>>

This is a common problem on all devices using the 1/8" (or metric whatever)
headphone jacks. The problem usually is not the solder joints at all but
rather the contacts inside the jack. You must either replace the jack or
in some cases you can use a probe or small jewelers' screwdriver to push
the contacts back into place. Some jacks have holes in the plastic case to
allow access to the metal contacts, and you can try forcing them inward to
improve physical contact between male jack and female jack's contacts.
This is a design flaw, and the only permanent cure is to either hard-wire
(bypass the jack entirely) or, if there's room, install a 1/4" jack.
The usual symptom of this problem is the cutting out of one channel, which
comes back when you push the male jack one way or the other.
These miniature stereo jacks are a real pain in any situation where there's
stress on the plug (this can even break the PCB or crack the solder joint)
or when the jack is connected/disconnected frequently.
I realize there's a need to conserve space in these cases, but these jacks 
should never have been used at all on portable audio components. Don't think
for a moment that the design engineers didn't know these would be troublesome!

------------------------------------------------------------------------------
DAVID COVELL (dcovell@pcocd2.intel.com)|Wrangler of acoustic, electric, and
INTEL FOLSOM (California)              |Midi guitars, basses, synths, CAD tools
DESIGN ENGINEERING, EPG GROUP          |and assorted other techno-beasties
Newsgroups: alt.guitar
From: yeidel@tomar.accs.wsu.edu (Joshua Yeidel)
Subject: Re: James Taylor
Reply-To: yeidel@tomar.accs.wsu.edu (Joshua Yeidel)
Organization: Academic Computing Services, Washington State University
Date: Fri, 17 Apr 92 19:27:22 GMT


--
Joshua Yeidel               | yeidel@tomar.accs.wsu.edu
Academic Computing Services | All standard disclaimers apply
Washington State University |   "Believe it if you need it, 
Pullman, WA 99164-1226      |     or leave it if you dare..."
509/335-0441                |         -- Robert Hunter
In article <1992Apr16.013557.7985@exu.ericsson.se>, exubrst@exu.ericsson.se (Brad Steele) writes:
|>From: exubrst@exu.ericsson.se (Brad Steele)
|>Subject: James Taylor
|>Organization: Ericsson Network Systems, Inc.
|>Lines: 13
|>
|>Does anyone know of a book of James Taylor
|>music with tab?  I have seen the "James
|>Taylor Anthology", but it only has piano
|>music (arranged no doubt).
|>
|>Also, I've noticed that a lot of sheet music
|>seems to be simplified or arranged differently
|>than the original recording.  Do the publishing
|>houses think no one can play?
|>
|>---
|>Brad Steele
|>
|>

No, they just think that people who can't play buy a lot more
books than people who can.
--
Joshua Yeidel               | yeidel@tomar.accs.wsu.edu
Academic Computing Services | All standard disclaimers apply
Washington State University |   "Believe it if you need it, 
Pullman, WA 99164-1226      |     or leave it if you dare..."
509/335-0441                |         -- Robert Hunter
From: abby@chopin.udel.edu (Louis Abbruzzesi)
Newsgroups: alt.guitar
Subject: Re: Acoustic Guitar Pedal survey -HELP ME PLEASE!
Date: 8 Apr 92 16:23:27 GMT
Organization: University of Delaware

In article <1992Apr7.205008.4108@athena.mit.edu> ebshen@athena.mit.edu (Eric B Shen) writes:
=>Survey:
=>
=>1) Would you buy such a device?
=>
=>2) How much would you expect to pay for it?  (how about $250?)
=>
=>3) Any suggestions for features?
=>
=>4) What is your age and occupation?
=>
=>
=>Some comments:  A lot of you guys don't think you should pay more than say $150
=>for this thing.  I think 1) you are underestimating the difficulty in designing
=>such a device, and 2) you are underestimating the applications of the device.

=>Basically, this would be a complex device!  Why do you think no one has been able
=>to do this already?  

<STUFF DELETED>

=>(I'm looking more into the business side of
=>things).

If you truly want to look at the business side of this pedal(supply/demand)
then your first point above about the difficulty of designing the pedal is 
irrelevant.  You don't produce something, then set the price on how difficult
it was to make-- You should find out what people will pay for it and compare
that to the per/unit cost of the pedal. People don't care what it took to 
make the product- they weigh the benefits with the price.

So my point is, if I may be so nitpicky, you can say its complex until you are 
blue in the face and it won't have any effect on what I or anyone else is will-
ing to pay.

<STUFF DELETED>

=>Eric Shen
=>ebshen@athena.mit.edu
=> 

abby@brahms.udel.edu
Newsgroups: alt.guitar
From: drake@dragon.cpe.ulowell.edu (Frank Drake)
Subject: Re: The Pat Travers Band
Organization: University of Massachusetts Lowell
	<72654@netnews.upenn.edu>
Date: Wed, 8 Apr 1992 22:43:19 GMT

In article <72654@netnews.upenn.edu> sarisky@a.chem.upenn.edu (Mark J. Sarisky) writes:
>
>   >
>   >Does anyone know what Pat Thrall is up to these days? 
>
>   How about the guitar player with Asia, I kid you not!
>
>   mark sarisky
>   sarisky@a.chem.upenn.edu

Wow. Asia must be the band where great musicians get lame and die :-(
Maybe its kind of like a "purgatory" for musicians.

Sorry, Asia fans...

Frank
--
Frank Drake                 "Jesus saves - and Esposito scores on the rebound!"
University of Massachusetts Lowell
Center for Productivity Enhancement                               (508)934-2630
Lowell, Massachusetts 01854                        drake@dragon.cpe.ulowell.edu
From: quinby@athena.cs.uga.edu (James Quinby)
Newsgroups: alt.guitar
Subject: info on "Ventura" guitars
Date: 16 Apr 92 00:31:35 GMT
Distribution: usa
Organization: University of Georgia, Athens


I have in my possession a 12 string acoustic that was given to me by an uncle
who purchased it at a flea market. The neck was warping in, and it was badly
scuffed. Fortunately, he fixed the neck and refinished it (or polished it real   well, anyway) and then gave it to me. Here is my quesition.

I thought (!) I was pretty up to date on manufacturers, but I have never heard
of the "Ventura" company before. The neck has some nice mother of pearl (or it  looks like it anyway) inlays and the plastic thingie under the sound hole has
a vine and bird motif on it. It plays very well, in spite of it's previous
state and it inspires many oohs and aahs from other folks in the hall.

It feels heavy enough to be a solid neck (?), but beyond that, I can't find a 
whole lot of info on it. While I know that I should follow the credo of
"if it plays well, who gives a shit about name brands" but this is simply
curiosity. And information on Ventura would be appreciated.

Thanks....

James Quinby / quinby@athena.cs.uga.edu
Newsgroups: alt.guitar
From: behm@ucsu.Colorado.EDU (BEHM CHRISTOPHER JOSEPH)
Subject: top_50_albums
Organization: University of Colorado, Boulder
Date: Tue, 14 Apr 1992 18:16:35 GMT



	Hi.
		I don't know if you are going to autamate this or what,
	but here are a few albums:

	* John McLaughlin and the the One Truth Band
		Electric Dreams  (1979 or 1980)
	* Pat Metheny
		New Chataqua (~1979)
	* Robin Trower
		In City Dreams (~1975)
	* Stevie Ray Vaugh
		Soul to Soul (~1985)
	* Led Zepplin
		Houses of the Holy, Physical Graffitti, Presence
	* Eric Clapton
		Derek and the Dominoes Live
	* Joe Satriani
		Surfing with the Aliens
	* Jimi Hendrix
		Axis: Bold as Love, Electric Ladyland
	* Rush 
		Moving Pictures, Permanent Waves
	* Roy Buchanan
		Loading Zone
	* Johnny Winter
		Live!
	* Jeff Beck
		Blow by Blow
	* Larry Coryell
		The Restful Mind

				John Mastrangelo
				ice@ntia.its.bldr.nist.gov

Newsgroups: alt.guitar
From: larryh@cabezon.uucp (Larry Huntley)
Subject: Re: CHORDS!!
Organization: Logic Modeling Corporation, Beaverton OR & Milpitas CA
Date: Wed, 8 Apr 92 22:23:55 GMT

In article <28730@brahms.udel.edu> ferg@brahms.udel.edu (Christopher Ferguson) writes:
>In article <1992Apr8.112522.23740@spider.co.uk> keitha@spider.co.uk (Keith Aitken) writes:
>>
>>How about the following chord?
>>
>>    E 3   <- G   Minor 3rd
>>    B 3   <- D   Flat 7
>>    G 0   <- G   Minor 3rd
>>    D 2   <- E   Root
>>    A 2   <- B   Fifth
>>    E 0   <- E   Root
>>
>>I would've called it E/G, but from the above, I guess that's wrong.
>
>Correct me if I'm wrong, but isn't that just another fingering for an
>Em ?

	Em7, I'd call it.
-- 

    Larry Huntley / Logic Modeling Corporation / Beaverton  OR
	  "Pink and wet - they make the best kind of pet"
                   -*- Stop Continental Drift! -*-