HDTenEightyP/NetNews huggingface dataset:
From: richardp@tekig5.pen.tek.com (Richard R Prince)
Newsgroups: rec.music.makers.guitar
Subject: Re: On tubes vs. transistors; a few misconceptions revealed
Date: 18 Nov 92 23:10:09 GMT
Organization: Tektronix, Inc., Beaverton,  OR.

In article <1eb8j7INNl2e@gap.caltech.edu> franko@cco.caltech.edu (Frank Filipanits) writes:
>There has been much banter on the subject of tubes vs. transistors here;
>I noticed a few things that I think need some clarification.  I have been
>repairing amplifiers for a number of years, and have seen plenty of tube
>AND transistor amps.
>
  [ much insightful info deleted ]
>
>It is patently untrue that a tube has a finite number of particles that are
>being boiled off, the idea being that once you run out the tube dies.
>Those particles are electrons, and they are supplied by electrical current.
>You will not run out of electrons.
 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
   The intent is good, but..... charge carrier in tubes is the electron but
   the electrons are emitted from the material the cathode is made from.
   To make emission "easier", the cathode is heated (the heater or filament
   the "glow").  Over a period of time - both the available electrons and
   the ability of the cathode material to supply electrons does diminish.

   As the intent implies though... this is quite some time.

   .....Not to distract from an otherwise excellent article.....

>
>
  [ much more insightful info deleted ]
>
>
Newsgroups: rec.music.makers.guitar
From: barsz@bnr.ca (Peter Barszczewski)
Subject: Gallien-Krueger Cabinets?
Organization: Bell-Northern Research Ltd.
Distribution: rec
Date: 18 Nov 92 16:36:27

I generally hate these types of posts, but I am considering purchasing a
GK guitar cabinet and I was wondering if anyone has had experience with
them.  I know that the bass-community generally likes GK amps--especially
the 400RB and the MB150E-112 combo.  But what about their guitar cabinets?

The one I am interested in is the 212S (2x12, 4 ohm mono, 8 ohm stereo,
160W, 70 lb :-< wood cabinet).  It is partially open back with celestian
lead speakers.  It looks rugged, sounds good and has the option of stereo
for future expansion.  The price I am getting is roughly $350 US.

Any experiences good or bad would be appreciated.  Please respond in e-mail
and I will summarize and post.
--
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
Newsgroups: rec.music.makers.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Kramer Guitar Parts... Where can I find the,?!
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Sun, 22 Nov 1992 22:04:40 GMT

Dr.Love (ccocstt@prism.gatech.EDU) wrote:
: 
: I've got a 4 year old Kramer Striker 620 (or 650??), and I need parts
: for the Floyd Rose II Tremelo.  Where can I find them?!
: 
: I found out this past summer that they went out of business or something?!
: I couldn't believe it!!!  I was sooo PO'd!  The freaking brand that Eddie VH
: supported and advertised!!  I bought it knowing (back then) that they'd be
: supported forever!!  ARGH!!

	and from the brand that Eddie supported you didn't buy the real thing
	but el cheapo Korean model... :)

	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 81
Newsgroups: rec.music.makers.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Gibson Les Pauls!
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Sun, 22 Nov 1992 22:49:24 GMT

Robert Seymour (rseymour@reed.edu) wrote:

: 	I've been looking at PRS customs, and the price varies widely. A  
: minimal custom with bolt on neck, dot inlays, no maple topsheet, and standard  
	If it has bolt on neck and no maple top sheet it is NOT a PRS Custom.
	There is NO such thing as a neck thru body PRS, they're set neck
	guitars, like Les Paul.

	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 81
Newsgroups: rec.music.makers.guitar
From: louis@well.sf.ca.us (Louis Jaffe)
Subject: Re: Tubes vs. Transistors
Organization: Whole Earth 'Lectronic Link
Date: Mon, 16 Nov 1992 08:39:18 GMT

I too have a Fender Princeton tube amp that seems to go on forever.  It was
last serviced 15 years ago or more, works fine.  Well, the spring reverb's a
little noisy, but that's normal for a spring reverb.  Hi fi this thing is not,
but it sounds fine with a Stratocaster.  LJ
From: rosen@kranz.enet.dec.com (Jim Rosenkranz)
Newsgroups: rec.music.makers.guitar
Subject: Re: Danny Gatton:  Anything forthcoming?
Date: 23 Nov 92 15:14:18 GMT
Reply-To: rosen@kranz.enet.dec.com (Jim Rosenkranz)
Organization: Digital Equipment Corp.

Try recently issued "New York Stories" on bluenote. This is a serious jazz
album.

Other previous releases:

	Red Neck Jazz
	Unfinished Business ( my fav )
	Blazing Telecasters  (w/ Tom Principato)
	
--
Jim Rosenkranz	rosen@kranz.enet.dec.com

"Never try to teach a pig to sing: it can't be done, and it annoys the pig."
From: sihd_ss@uhura.cc.rochester.edu (Dan Shimmyo)
Newsgroups: rec.music.makers.guitar
Subject: Re: Question about recording a guitar track...
Date: 20 Nov 92 01:14:19 GMT
Organization: University of Rochester - Rochester, New York

In <1992Nov18.144956.25293@cc.umontreal.ca> brunetm@JSP.UMontreal.CA (Brunet Martin) writes:

>In article <9211172338.aa27189@Bonnie.ics.uci.edu> hoijoonk@Bonnie.ICS.UCI.EDU writes:
>>Hi
>>
>>I'm in the process of buying a preamplifier, 'cuz I need to record some
>>guitar lines on my four track.  I've tried miking my Randall RG80, but
>>didn't like the sound NOR the hassle.  I heard from someone that I can
>>get rid of a lot of the noise by recording through a preamp straight to
>>the 4-track.  It really apeal to me since I do most of my recording at
>>night, too  (Yes, my neighbors just adore me ;-)

>  Me too, I'm in a mood of buying something and really need a pre-amp. I 
>never deal with pre-amp for guitar but constantly searching for information
>about them. I know that ADA, ART & DIGITECH made the most 'popular' pre-amp
>but are they the best? If there is good comments about them? I think that
>Mesa boogie, Marchall, .... pre-amp are very expensive and not wore there
>value. Any suggestion or comments will be gratefully receive.       

Hey Guy's,
I think a good ,relatively affordable way to get nice recordings is to get a 
Zoom 9002 or whatever. I have a 9002. I got it when it was still a new thing.
Well, it's great because it has tons of stereo effects and a pretty decent 
distortion. I'm sure it would be an incredible improvement over miking a 
Randall.  
  Well, you could go for the best like and ADA MP-1, I'm currently upgrading
my gear. But I chose to get the ADA just for incredible tones in a live 
situation. My suggestion is go see what you think of Zoom. The problem with
testing a Zoom in a store is that it has some really terrible presets. I was
able to get some awesome sounds. If you'll die without real tubes then you'll
just have to fork out more cash but for the money, I can't think of anything
much better than the Zoom.
  I've made some great professional sounding recordings with it. 

  If you're interested, I just might decide to sell mine for around $250. It
depends on how much I can do with the ADA MP-1 in the studio and how soon I
get a good reverb unit .
  Good luck!
Dan.
Newsgroups: rec.music.makers.guitar,rec.music.synth
From: blave@netcom.com (David W. Blevins)
Subject: Re: WANTED: Vintage Guitar Synthesizer
Organization: Netcom - Online Communication Services (408 241-9760 guest)
Date: Mon, 23 Nov 1992 18:24:47 GMT

The original Roland _polyphonic_ gtr synth was the GR300.  (There was a
monophonic predecessor which was Roland's first effort, WAY back when.)
A companion unit, the GR100, was simply a hexophonic fuzz box, if you couldn't
afford the GR300.  The GR100 was yellow but otherwise looked very similar
to the GR300.

Next came the GR700 which didn't do so well; I think the tracking was pretty
bad on it.  Then there was the GR50, which had a Roland D110 "LA Synthesis"
synth engine with much improved tracking/response.  (Oops, the GM70 came before
the GR50, but it had no internal synth capabilities so you ALWAYS had to
deal with MIDI delay.)

The latest is the GR-1 with a PCM sample player engine (very similar to the
Sound Canvas/JW30/JW50s' electronics) and a revised "envelope detection"
circuit, whatever that is.  I fiddled with one of these a few weeks ago
just for fun, and as a result will soon be about $1100 poorer (it should
be here Tues. or Wed.).  I've had a Sound Canvas for a while and have been
really happy with its sound, and the ability to control high-quality samples
with my main instrument is just too irresistible...

Just a note about the GR-1 if you try it out - there are 64 patch locations
available BUT actually there are 200 available samples on board (total
internal sample ROM is 6mb) of which many are superior to those used in the
factory patches, IMO.  You can sequence through all 200 fairly easily, just
have your in-store expert (yeah sure) tell you how...

Dave Blevins   blave@netcom.com
Newsgroups: rec.music.makers.guitar,alt.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Gibson Oddity
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Sat, 21 Nov 1992 16:26:46 GMT


Dan Weber (dweber@lark.qualcomm.com) wrote:

:           What it is; is a Arctic white Explorer with three P-90
:          pickups, two 3-way toggles, and one volume & one tone
:          control. The serial no. is 83394523 and it says MADE IN
:          USA beneath the serial on the headstock. Does any one know

	From the Gruhn book : Explorer III, alder body, 3 P-90's
	2 knobs, 2 switches, tune-o-matic, rosewood board, dot inlay,
	decal logo, chrome parts.
	
	Introduced : mid 1984
	Discontinued : mid 1985

	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 81
From: franko@cco.caltech.edu (Frank Filipanits)
Newsgroups: rec.music.makers.guitar
Subject: Re: Tubes vs. Transistors
Date: 21 Nov 1992 06:50:36 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: alumni.caltech.edu

till@campeau.lucid.com (Don Tillman) writes:

>  1. Why do people think that tubes have a distortion characterized by
>certain harmonics and transistors have a distortion for certain other
>harmonics regardless of the specific devices employed (triode, tetrode,
>pentode, bipolar, JFET, MOSFET, VFET, various compounds, etc.), and
>regardless of the circuit configuration and regardless of the number of
>devices and feedback configuration used?  Seems crazy to me.

I agree this is a crazy generalization (ANY generalization about a 
specific element is bogus;  I can make a really "good" op amp sound really
bad by putting it in a circuit configuration it wasn't meant for.)  I think 
it stems from the related generalization that while transistors perform
hard clipping, tubes "squash" or compress when overdriven.  

I don't agree with the whole thought process, but it goes something like this:
see the sharp edge on the transistor clipping?  Sharp edges require more
odd harmonics.  Round edges (like on the tube compression/clipping) are 
composed of more even harmonics.  If you look at fourier decompositions, 
anything with an edge (triangle, square) has lots of odd harmonics.
Voila, one broad generalization about tubes generating evens and silicon odds.

>  2. Why do people think that the ratio of odd to even harmonics is a measure
> of the musicality of an amplifier?

Ahhh.  I do know where this comes from:  Sounds with alot of odd harmonics
tend to sound "harsh" or "gritty".  There have been many psychoacoustic 
studies on this, I can dig up some references if you like.  
It's the difference between a sawtooth and a piano, basically.


-- 
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Frank Filipanits Jr.    B.S. EE/Music, California Institute of Technology '92
>><< Go 'canes! >><<       M.S. Music Engineering, University of Miami    '94  
franko@alumni.caltech.edu   "I ain't evil - I'm just good lookin'..." A.Cooper
From: bull@vaxc.cc.monash.edu.au
Newsgroups: rec.music.makers.guitar
Subject: Re: Help with my G-string
Date: 23 Nov 92 21:39:37 +1100
Organization: Computer Centre, Monash University, Australia

shugrue@spatial (Leon Shugrue) writes:
> I have two old guitars that I want to repair and learn to play on.
> Both of them have a key or two missing, as well as one of the
> small gears attatched to them. Where are some good places to
> fing parts for these antiques? I would appreciate general answers
> as well as specific locations around the Chicago, Il. area.

        Most places that sell guitars sell the various bits and
pieces. You might also get the catalogues from some of the bigger
mail order places (generally nice to have even when you deal with
local stores, to show them a picture of what you want).

> Also, any suggestions about which strings I should use? I have one
> electric and one acoustic guitar. Thanks.

        Stay away from the stuff you tie up parcels with, it stretches
too much ;-).

        You never said if the acoustic was steel stringed or classical
(it does make a difference).

          Bull@vaxc.cc.monash.edu.au  OR  bull@monu1.cc.monash.oz
                    DOD# 251  '84 VF 750   Closet Ducatisto
             Disclaimer. If you love your llama, let it lambada.
Newsgroups: rec.music.makers.guitar
From: scott@bell.b17a.ingr.com (Scott Bell)
Subject: Re: Changing the neck...Can I ?????
Organization: Intergraph
Date: Wed, 18 Nov 1992 14:13:08 GMT

In article <Bxvp79.IA@max.physics.sunysb.edu>, asarris@engws5 (Alexander Sarris) writes:
|> Hello everyone....
|> 
   Howdy.
   << misc. jubilation w/ another guitar nuked for space... >>

|> 
|> It came down to :" If you manna grow as a giutarist/musician you gotta 
|>                    get a decent neck for your guitar....."

     That may be true, but only to a certain extent. You don't need a new
     guitar to be "good", but that's another thread.

      You do need a spellchecker or dictionary, though. :)
|> 
|> Changing the neck, though is not like installing pickups....
|> At least in the sense that I dont' no DIDDLEY about it....
|> 
|> FOR ALL YOU PEOPLE OUT THERE THAT KNOW *ANYTHING* ABOUT IT: 
|> 1) Can it be done ??

    With a bolt-on neck, sure. It's pretty easy if you have another neck that 
    has the same neck flange as yours. If it is a thru-body neck, probably not.
    The bolt on neck bolts will sjow on the back of the neck flange. Be sure
    you lossen strings and the tange bar(?) before doing this.
|> 
|> 2) Do I need to send the dimensions of the heel cavity to one of the 
|> 
|>   guitar HardWare suppliers ??

     Either that or your guitar type/number/etc. I'd go w/ the dimensions of 
     neck flange and the fretboard you want; that way they can't mistake what
     you want for something else.
|> 
|> 3) Any suggestions for a supplier ??

     I've gotten stuff from Warmoth Guitar Products and had no trouble at all.
     They have almost every guitar part you might ever want( except for some
     locking tremelos I wanted ). Their number is 1-206-845-0403.

|> 
|> 4) Anything else I need to know ????

     Don't crank the tange bar( the bar that is embedded in the neck - sorry,
     the name escapes me right now, dumb, huh?! ) too hard right away on a new
     neck. Go slow, making little adjustments at a time over a couple of days.
     This way the neck will not flex in strange ways once you do it.

|> 
|> 
|> 
|> Please all you people with the Jacksons and the Hammers and the Ibanezes.. 
|> Help this guy (and all the other ones like him) get a LIFE !

     Your on your own with that. :)

Scott
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_
| Scott Bell                               | "I may be N by NW when the | 
| Intergraph Corp. - Mapping Sciences Div. | wind is Southerly - but I  |
| M/S IW17A2  Huntsville, AL  35894-0001   | know a hawk from a         | 
| scott@bell.b17a.ingr.com   (Internet)    | handsaw."                  | 
| 205-730-1776   #include <std_disclaim.h> |      W.S. , 'Hamlet'       | 
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_
From: pyuaq@csv.warwick.ac.uk (Mr G S Sutherland)
Newsgroups: rec.music.makers.guitar
Subject: Re: Tubes vs. Transistors
Date: 16 Nov 92 19:21:13 GMT
Organization: Computing Services, University of Warwick, UK
NNTP-Posting-Host: lily.csv.warwick.ac.uk

In article <1992Nov12.010212.24138@eecs.nwu.edu> ray@eecs.nwu.edu (Jim Ray) 
writes:

+I need a new amp.  I have heard tubes are the only way to go.
+Transistors are much more reliable.  Is there a way to get the same
+effect of a tube amp at a small signal level or even digitally and
+then use a transistor power amp to get the volume?
+
+  Jim Ray

Try a Marshall valve-state, they combine a couple of tubes in the pre-amp
section, along with a specially designed transistor circuit that mimics a
valve amp's distortion circuit. They also do (I think) a rackmount version
of this amp.

		Graeme Sutherland.
From: mapsj@gdr.bath.ac.uk (Simon Juden)
Newsgroups: rec.music.makers.guitar
Subject: Re: YNGWIE MALMSTEEN
Date: 19 Nov 92 21:34:18 GMT
Organization: School of Mathematics, University of Bath, UK

In the referenced article, KAP118@psuvm.psu.edu (Kevin Polcovich) writes:
>Just wanted to get everyone's input on Yngwie. How do you rank him with other
>guitarists-he's at the very top of my list. For those who say "you can't
>compare guitarists" don't respond. Thanks, Kevin


...saw him live with Joe Lynn Turner on vocals (actually I just went to see if
JLT could still sing - and Jesus, could he! ;-) He's very fast; I've never seen
a guitarist with a better or comparable technique. But to my mind at least he
plays like a robot, ie he has no feel for the music, it's like he got a
computer to write his solos and stuff for him. To say he's more of a speed
machine than a musician may be harsh, but it's not so far from the truth (I
don't write out of envy btw: I'm a keyboard player, and he reminded me of a
sequencer ;-). In short 10/10 for technique, 5/10 for style, 0/10 for
musicianship. Certainly most of his solos seemed to me to be straight out of
Bach or Blackmore...

Simon the Cynic (and please don't flame me for expressing an opinion)
Newsgroups: rec.music.makers.guitar
From: crmilton@mundil.cs.mu.OZ.AU (Christopher Robert MILTON)
Subject: Advice: Fender PRO 185 amp
Summary: Comments required please
Organization: Computer Science, University of Melbourne, Australia
Date: Fri, 20 Nov 1992 16:14:52 GMT

Hi, just wondering if anyone knows anything about Fender PRO 185 amps - I'm
thinking of buying one since I've been impressed with the Fender Deluxe 85 but
want something a bit more powerful (the PRO is 160 watts). I'm after an amp with
a really clean sound.

Also, heard that there are 2 versions of the amp - one with a single 12"
speaker, and one with 2 12" speakers - any recommendations?

Thanks,
Chris.
From: bwana@daktari.Corp.Sun.COM (Don Finch)
Newsgroups: rec.music.makers.guitar
Subject: Gibson L6-S Tone Switch Wiring??
Date: 17 Nov 1992 00:46:17 GMT
Organization: Sun Microsystems, Inc.
Distribution: usa
Reply-To: bwana@daktari.Corp.Sun.COM
NNTP-Posting-Host: daktari.corp.sun.com

Greetings, pickers! (My first post to this group.)
  
Does anyone know or have the wiring diagram for a 1975 Gibson L6-S 6-position
tone switch?  Many years ago I swapped out the pickups on it (DiMarzios) and
neglected to draw a diagram.  I have since tried lots of combinations of 
wiring on it but can't seem to reproduce the original tone variations that
were available.   

Even with its less than perfect wiring, I can do lots with this axe, but I'd
sure like to have the switch right.

Don.


Newsgroups: rec.music.makers.guitar
From: META000 <META@UNB.CA>
Subject: RE: Pahzer? Flanger? Chorus?
Organization: The University of New Brunswick
Date: Sat, 21 Nov 1992 19:13:34 GMT

In article <By164F.B04@news.udel.edu> walt@diusys.noname (Walt Dabell) writes:
>---
>
>I play acoustic guitar, mostly 12-string. I have been looking at effects to
>use when amplified. I have a phase shifter already. What would a phazer,
>flanger or chorus do for me that a phase shifter wont do? Whats the difference?
>Is one better to have over another? I was also thinking about a digital delay...
>Any comments? Suggestions?
>
>         __________________________________________________________
>         Walt Dabell  KD3GS (302)645-4225  walt@diusys.cms.udel.edu
>                  U of Delaware / College of Marine Studies
>                      700 Pilottown Rd. Lewes, DE 19958
>
>.
>.
A "Phazer" is merely a phase shifter with an intentional spelling
mistake as a marketing ploy (like Toys R Us).  Phase shifters do not
employ any time delay (strictly speaking), so that while they add
some liveliness to the sound, tend not to add much ambience or
"air".  Depending on the range which a given flanger can operate in,
some flangers can create modulated delays of sufficient time that
they can create a fuller, airier sound.  In general, chorus units
(which operate EXACTLY the same as flangers, except over a slightly
different rangeof time delays, usually about 4-20msec, as opposed to
0.5-10 msec) tendto provide the airy sound that many guitarists,
acoustic and electric alike, find desirable.  As well, when a signal
is time shifted over a short delay, the main effect is to shift the
listener's focus to different points in the frequency spectrum
(which is one of the things thata flanger and phase shifter share in
common).  When the delay becomes noticeable longer, variationsin
thedelay tend to produce apparent pitch shifting, which is why the
chorus box got its name: several sound sources attempting to produce
the same sound (whether vocally or instrumentally) will be ever so
slightlyout of pitch with each other and ever so slightlyout of
sync (not unlike the strings on a 12 string guitar), hence a "chorus"
like effect.  There is certainly something useful to be done with
flangers and phase shifters in the acoustic domain, but for a "gimme
something I can step on, and get a BIG sound without twiddling
knobs" effect for acoustic guitar, it's hard to beat a decent
chorus.

MHammer
From: mley@acorn.co.uk (Martin Ley)
Newsgroups: rec.music.makers.guitar
Subject: Re: B.C. Rich guitars
Date: 23 Nov 92 10:05:08 GMT
Organization: Acorn Computers Limited, Cambridge, UK

tgilman@hotcity.COM (Tim Gilman) writes:

>Does anybody out there have any solid experiences with BC Rich guitars?  I'd
>like to get some opinions about them besides "they look weird"...

> ___ .                            
>  |  | |\/|      ---- "Man needs a religion like a fish needs a bicycle."
>         Gilman....   tgilman@hotcity.com


Yeah...

I've got a BC Rich MacAlpine (ST3) which is a standars strat shape
but has a really good paint job (purple, green, blue, black crackle!)

The only criticisms I have are a) it feeds back (not the useful sort - 
more of a constant high tone when you stand at the wrong angle to the amp)
and b) I can't get bits for the wammy bar 'cause they don't make that
sort any more.

Apart from those gripes, I've been really happy with the guitar.

More than can be said for my neighbours...

Martin 
Newsgroups: rec.music.makers.guitar