HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.makers
Subject: Re: Fretboard / scale printing program
From: derek@fivegl.co.nz (Derek Tearne)
Date: Tue, 14 Apr 92 20:49:53 GMT
Reply-To: derek@fivegl.co.nz (Derek Tearne)
Organization: Task Management Ltd, Auckland, New Zealand

In article <1992Apr10.033704.7148@moliere.uucp> pmk@moliere.uucp (Peter Michael Klausler) writes:
>/* fretbd - Fretboard printing program for scales and chords
> *


Tried to send this by  e-mail but it didn't get there.

Hi there.

Nice program. Unfortunately it doesn't work well for 5 string Basses.

The following #define prints all but the Low B, which comes out as --

#ifdef BASSFIVE
#define FRETS		24
#define STRINGS		5
#define	DOT(s,f)	0
#define FIRSTFRET	0
int opentuning [STRINGS] = {
	notenum (7, 2),		/* string 1: G (second one below middle C) */
	notenum (2, 2),		/* string 2: D, down a fourth */
	notenum (9, 1),		/* string 3: A, down a fourth */
	notenum (4, 1),		/* string 4: E, down a fourth */
	notenum (11, 0),        /* string 5: B, down a fourth */
};
#endif

If I ever get any free time I can hack my copy but there may be some 
5 string Bassists out there who can't do that.

I could just move everything up an octave I suppose. Or I could just edit
the final result...

Just letting you know.

Nice work though - a pity there are trouble makers like me who like 
even lower notes than normal!

Derek Tearne



-- 
Derek Tearne      derek@fivegl.co.nz | If yo
  rek      l   .nz                   | yo
New Zea
and while he wasn't looking the .sig eaters were busy at work
Newsgroups: rec.music.makers
From: pat@mks.com (Pat Inglis)
Subject: Re: Band practice and hearing - A drummer speaks
Organization: Mortice Kern Systems Inc., Waterloo, Ontario, CANADA
Distribution: na
Date: Mon, 6 Apr 1992 14:58:38 GMT

In article <1992Apr3.195539.23895@cs.yale.edu> nathan@laplace.biology.yale.edu writes:
>
>I have to respond to the all the posters that make the same
>claim as above regarding the highly subjective quality
>of "feel".  It seems that most of these folks haven't
>wacked any of the newer electronic pads - only the older
>Simmons were hard as a rock. There are both softer rubber
>pads, and pads that have actual "normal" drum heads now! 
>Get with the times, folks, the pads have improved with the
>sound modules!
>
>The bottom line for me doesn't change: I refuse to play
>with *any* other musician that can't or won't control
>their volume to be within non-damaging levels.  And I'm
>most certainly not the only guy around will *not*
>compromise his hearing for anything.
>
>Your right to have good "feel" ends at my (intact) eardrums.

I'm having a hard time connecting your two arguments. Nobody is denying
that fact that a drummer who plays at full volume on an acoustic kit is
an annoyance. What does this have to do with the difference in feel
between an acoustic rig and an electronic rig? If you are suggesting
that a drummer who is unable to control the volume of his/her playing
should move to an electronic set-up - Yes, that is one solution albeit a
band-aid solution. A drummer needs to develop the stick control
necessary to preform all rudiments at any volume. Most amateur drummers
(like me) are able to play the rudiments at high volume because it
doesn't require as much feel or touch. Being able to play all the
rudiments at any volume is the mark of an experienced drummer.

As for electronic drums having as much feel as acoustic - the ones with
'normal' drum heads are a step in the right direction. The rubber pad
set-ups will never match an acoustic set-up simply because the pads
don't take in to account the subtlties of things like playing the rim,
getting different sounds depending on where and how you strike the drum
head and/or cymbal and using brush strokes.

The bottom line for me is that there is room in music for acoustic and
electronic as well as anything new that comes out in the future. Why
limit yourself to current technology? Try everything. If your drummer
insists on using an acoustic set-up, make sure that they are able to
play at all volume levels. If they can't, make them set up outside or in
the attic or someplace away from you.

-- 
___            { Pat Inglis
 |   __   =I=	{ Mortice Kern Systems, Inc
 |  /  \[_]|	{ 35 King St. N., Waterloo, Ontario, Canada. N2J 2W9 
/ \ \__/ I/|\	{ vox:519-884-2251 fax:519-884-8861 email:pat@mks.com
From: jmgst26@unix.cis.pitt.edu (Joseph M Goodwin)
Newsgroups: rec.music.makers
Subject: Re: Leslie speaker construction
Date: 16 Apr 92 03:14:42 GMT
Organization: University of Pittsburgh

Doesn't (didn't) Stevie Ray Vaughan play through a Leslie often?
Could someone point out which of his songs has this effect.
Also, do these have to be built from scratch, or does someone market
them?

Mike
From: byafuso@athena.qualcomm.com (byron yafuso)
Newsgroups: rec.music.makers
Subject: Bass guitar evaluations
Summary: Bass guitar evaluations
Date: 15 Apr 92 19:27:59 GMT
Organization: Qualcomm, Inc., San Diego, CA

I have a friend who wants to buy an electric bass for his girlfriend who
used to play double-bass in a high school orchestra.  Her hands are
fairly small, but he wants to get her a 5-string (he really likes that
low B).  He's narrowed the field down to three contestants:

	Ibanez Soundgear SR-885		$850 list
	Fender Jazz Plus V		$1000 list

	Peavey TKO-80 BW amplifier	$450 list

Does anyone have anything BAD to say about any of these?
Any recommendations for something else in a comparable price range?

Please e-mail replies to byafuso@qualcomm.com and I'll forward the info
to him.

Thanks,

Byron Yafuso
byafuso@qualcomm.com
Newsgroups: rec.music.makers
From: rfries@ub.com (Robert Fries)
Subject: Re: TR505 problems..... can anyone help?
Organization: Ungermann Bass
Date: Tue, 7 Apr 1992 17:35:37 GMT

In article <1992Apr7.123943.10703@spider.co.uk> keitha@spider.co.uk (Keith Aitken) writes:


>Hi,
>   I have a problem with my Roland TR505 drum-machine which is as
>follows:

>The bass drum does not sound when you press the appropriate pad,
>neither does the bass drum voice sound when playing a pattern with
>bass drum in it.

>I haven't tried it over MIDI yet, but does anyone have any idea as to
>what the problem could be? A fault in the sample memory perhaps?

>Keith A
>-- 
>_____________________________________________________________________________
>Keith.D.Aitken,T&I Engineer | "Well,..........you *would* hear it............
>Spider Systems, Edinburgh   |  ........if it was plugged in."
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Sounds to me like the volume on the BASS DRUM ONLY is set to 0. These
can be set individually.

If it's not this, this is really weird.

Robert
Newsgroups: rec.music.makers
From: dce@smsc.sony.com (David Elliott)
Subject: Re: digital Is A Huge Rip
Organization: Sony Microsystems, San Jose, CA
Date: Fri, 17 Apr 92 18:09:55 GMT


In article <1992Apr17.143227.1@cc.helsinki.fi>, jpmakela@cc.helsinki.fi (jP M{kel{) writes:
|> 	You're talking about different thing than Neil. He said 
|> 	"digital doesn't sound as good than analog" and you say
|> 	"digital sounds accurate". There's a difference; Why
|> 	do you think many guitarists prefer tube amps, or
|> 	studio engineers prefer 30-year old tube compressors?
|> 	Not to get accuracy but to color the sound in a pleasing
|> 	manner.

Are you sure you're not talking about something different?

The comments I read by Neil Young weren't about tubes vs. transistors
or analog vs. digital instruments, but specifically about the CD (you
even quoted the statement "CDs - I hate them.).  He even talks
about sampling rates.  When I read the article, I read "digital
isn't as accurate as analog".

As a musician, I don't want my music changed by the final recording
medium (how many complaints have I seen about the quality, or
"innacuracy" of the USENET tapes?).  I like the idea of an accurate
recording/playback method.

|> 	Anyway, there exist no completely digital recording. We
|> 	have yet to see a digital microphone. Even the records
|> 	with that misguiding "DDD" label contain a lot of analog
|> 	signal processing and converting.

I agree that "DDD" is misguiding in that analog components are used,
but it is quite possible to generate a completely digital recording.
It won't contain guitars and vocals, but digital synthesis programs
exist that allow a computer to generate, assemble, and play music
without it ever being in analog form.  Of course, this is simply
an academic argument -- most current forms of music aren't produced
this way.

-- 
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."Nobody believes a laughing person." -- Farkle
Xref: sparky rec.music.makers:5685 alt.guitar:2449 rec.music.synth:8067
From: plate@cdsmn.mn.org (Doug Plate)
Newsgroups: rec.music.makers,alt.guitar,rec.music.synth
Subject: Re: Fender Pro Reverb Amp
Date: 15 Apr 92 17:08:39 GMT
Article-I.D.: cdsmn.1992Apr15.170839.18689
Reply-To: plate@cdsmn.UUCP (Doug Plate)
Organization: Dicomed Inc, Burnsville, MN.

In article <1992Apr14.201434.25478@intelhf.hf.intel.com> dcovell@intelhf.hf.intel.com (David Covell) writes:
>barnhill@kuhub.cc.ukans.edu writes:
>
>>In article <1992Apr13.183703.4665@icd.ab.com>, jaz@icd.ab.com (Jack A. Zucker) writes:
>>> In article <1992Apr13.163312.27357@hplabsz.hpl.hp.com>, enorwood@hplabsz.hpl.hp.com (Earl Norwood) writes:
>
>>Various stuff about Fender Amps (still have the '68 I bought new, no,
>>you can't have it at any price...well, almost any price...
>
>>> 
>>> I agree. I hear about vintage synths. I guess the sand for the silicon
>>> was better quality years ago... :-)
>>> 
>>> -Jaz
>
>>How can you joke?  We know that sand, especially pre-CBS sand, has a quality
>>which is almost impossible to find these days; there was a mellowing to it
>>which can't be reproduced, even if you sample the sand, and then filter the
>>hell out of it.  I mean, I've tried everything, even including some kitty
>
>Well, this is true; however, some of the pre-CBS sand remained and was used
>in some designs through the early '70s. It's simply not true that quality
>tone can only be obtained from black-face sand. Many devices using silver-
>face sand sound just as good at half the price.
>Design engineers, being tweak-happy folks, couldn't resist the temptation to
>meddle with the sand after CBS bought out Fender. The new sand just didn't
>sound the same. Good thing there was still some pre -CBS sand around...
>We at Intel have access to huge stockpiles of pre-CBS sand with which we
>make our silicon. I've offered to "divert" some of it for music apllications
>but noone's taken me up on it. I suppose they're afraid they'll get burned
>because they can't verify the actual date of manufacture (where are those
>I therefore repeat my offer, and can vouch for the true pre-CBS origin of
>the sand. Using this sand, some enterprising folks could rekindle the Great
>Age of Analog!!!
>I dare not omit the smiley      ;^}
>
>>Ok.  I'll go back to watching Kanza trounce Dennis Conner (NOT this time)
>>in the Cup and shut up -- and no, I'm not interested in selling my old Les
>>Paul either...
>
>That's okay, because I too have an old Les Paul. However, for those of you
>  ;^}  , etc, etc....
>
>------------------------------------------------------------------------------
>DAVID COVELL (dcovell@pcocd2.intel.com)|Wrangler of acoustic, electric, and
>DESIGN ENGINEERING, EPG GROUP          |and assorted other techno-beasties


Come on you guys, who you trying to kid?  Pre-CBS sand is worthless without
some pre-CBS Boron for doping.

Ya think we just fell off the truck?

Doug
Xref: sparky rec.music.makers:5746 rec.music.synth:8198
From: wade@sdacs.ucsd.edu (Wade Blomgren)
Newsgroups: rec.music.makers,rec.music.synth
Subject: powered speakers - recommendation wanted
Date: 17 Apr 92 16:52:25 GMT
Followup-To: rec.music.makers

I'm looking for recommendations on modestly priced powered speakers for
use as monitors in a tiny "home studio" consisting of a 4 track, synth
with drum section, and guitars & microphones.  I figure that any sort of
separate amplifier/mixer and speaker cabinets will be beyond my means
at this time, so it seems like some small self-powered speakers might
fill the bill.  If you have recommendations on particular brands/models
of such speakers, and an idea of what they might cost, I'd appreciate it.
Also, if you feel this is not the right solution, let me know.
I will post a summary of responses if there is interest.

Wade Blomgren
wade@hobbes.ucsd.edu
Newsgroups: rec.music.makers
From: mike@nmt.edu (Michael Ames)
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Followup-To: rec.audio
Organization: New Mexico Tech
Date: Wed, 15 Apr 92 15:48:36 GMT

In article <1992Apr14.131537.6357@ncrcae.ColumbiaSC.NCR.COM> elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>Did anyone see the guest editorial in Guitar Player (May, 1992)?
>Neil Young spoke his mind about digital music (CDs).  It was
>very uninformed...   Here are some highlights....	
>
>           
>                 "Digital is a Huge Rip-Off" by Neil Young
>                    (from Guitar Player, May '92, p.14)
>
>
	[ Neal Young's article about him saying CDs sound bad deleted ]
>
>Neil, what a guy!   Can you believe this stuff?  Maybe it was really meant for the 
>April Fool's issue.
>
>Enjoy,
>Elliott New


	This may not be the correct newsgroup for talking about this
issue, but the nutshell of it is that Neal Young is right.  The very
best analog tapes sound *to me at least* quite a bit better than the
best CDs.  I am talking about high quality studio reel to reel, not
home system quality cassettes.  Direct to disk LPs also sound better
when played on equipment that costs more than most people make in a
year.  I suspect that type of equipment is what Mr. Young is talking
about.  I have listened to that type of stuff vs CDs and the
difference in quality was obvious and quickly noticed.  The softer
passages were easiest to tell with.  Note that with the type of stuff
I am talking about there is no audible tape hiss at all.

	I have no idea why this is. If I had to make a guess, I would
say that at softer volume levels, you don't get 16 bits of data, the
higher bits are always off.  Perhaps someone who knows more about how
this all works can comment.

				Mike Ames
				New Mexico Tech
				mike@jupiter.nmt.edu


Xref: sparky rec.music.makers:5665 rec.music.synth:8019
From: dan@cafws1.eng.uci.edu (Dan Harkless)
Subject: Re: 1622 disassembly
Newsgroups: rec.music.makers,rec.music.synth
Organization: University of California, Irvine
Date: 15 Apr 92 01:43:23 GMT

In article <1821@gvgspd.GVG.TEK.COM> mrk@gvgspd.GVG.TEK.COM (Michael R. Kesti) writes:
>My Alesis 1622 mixer has developed an annoying noise source that I
>believe is being generated by the "normals" on the insert jacks and
>main 1/4" inputs.  If I remove a plug from these jacks, and leave
>that channel unmuted, a fairly broadband noise with sufficient
>amplitude to light 3 or 4 meter LEDs is often generated.  This noise
>can be temporarily relieved by "exercising" the jack with several
>rapid insertions and removals of the plug.                ^^^^^^^
 ^^^^^ ^^^^^^^^^^ ^^^ ^^^^^^^^ ^^ ^^^ ^^^^
	Ahem, well, I call it something other than "exercising" myself, but I
suppose that's an okay metaphor...  ;->

------------------------------------------------------------------------------
| Dan Harkless                | "The sore in my soul                         |
| dharkles@bonnie.ics.uci.edu |  The mark in my heart  ->  Front 242,        |
| dan@cafws1.eng.uci.edu      |  Her acid reign..."        Tragedy >For You< |
------------------------------------------------------------------------------
From: mow@hpwin052.uksr.hp.com (Mark Payne)
Newsgroups: rec.music.makers
Subject: Re: Roland GR-1 vs. GM-70 vs. ???
Date: 16 Apr 92 13:24:29 GMT
Organization: Hewlett Packard Response Centre, England

>The real questions in my mind are "Will the GR-1 or the GR-50 track
>significantly better than my GM-70?" and "How do they sound, as compared with
>a good rack-mount synth?".  Related, I guess, is the question about when
>the GR-1 will actually ship.

Hmm..

The GR-50 tracks fine. I Have my GK2 on a stratoid. I am told that the best 
results are obtained on a guitar WITHOUT trem system.. the pinging of the 
trem springs can cause false triggering and the movement of the bridge 
send a lot of MIDI pitch bend info that you don't hear (cause it's not a lot)
and you dont want (cause it's just using up MIDI bandwidth). Also the string
distance is more controlled without a trem.. There a good article in Guitarist
(UK) about this.. 

I have used mine with a U20.. yes the delay is more noticable when you go out 
on MIDI to a remote K/B or rack. The sounds on the GR50 are ok but not
special.. Strings and Piano suck.. when compared to a U20 !

I don't know.. the thing has helped me to write. We have a K/B player in the 
band now anyway and he is a far better musician than I and he uses the U20 now
so I am really cutting back on the GR50 to leave space. I do use it on Solo 
stuff to back the guitar up. It's a good tool.

Would I sell it ? .. No
Would I buy it again ? .. No

I hear the GR1 is just a repackaged GR50 on the floor with some foot pedals.
I don't think that it is going to be any better at tracking. I think that
tracking on pitch analysis systems has gone about as far as it can ??

IMHO You can say more with a good guitar sound.

I could say more by learning how to play better.

A GR50 does'nt write good songs. I sometimes do ?

The moral .. Thats a lot of money.. Can you play keys at all ? Maybe better
to work on this and buy a K/B.....

BTW.. The GR50 is VERY VERY noisy (hiss on the output). Recording needs
a gate for sure. 

Mark


______________________________________________________________________________
Mark Payne | Mail: mow@hpwin052.uksr.hp.com |  Telephone: (UK) 734 777688
___________|________________________________|_________________________________
Hewlett Packard, King Street Lane, Winnersh, Wokingham, Berkshire RG11 5AR
United Kingdom.
Newsgroups: rec.music.makers
From: collin@cory.Berkeley.EDU (Collin Ong)
Subject: Re: Leslie speaker construction
Organization: University of California, at Berkeley
Date: Mon, 13 Apr 1992 20:23:55 GMT

chrisc@gold.gvg.tek.com (Chris Christensen) writes:

>I would suggest that you get a copy of the patent.  The inventor is
>Don Leslie.  The patent goes into (the required) detail on the device.

Could somebody explain the basic premise of Leslie speakers?
Newsgroups: rec.music.makers
From: AS.TLK@forsythe.stanford.edu (Timothy Kaufman)
Subject: Re: Hip Chord Voicings
Organization: Stanford University, California, USA
Distribution: usa
Date: Thu, 9 Apr 1992 15:55:25 GMT

william sadler <wsadler@copper.ucs.indiana.edu> writes:
>
>The other thing about using mi7(b5) is that it more accurately explains
>the function of the chord than "half-diminished."  It is not really a
>diminshed chord with a minor seventh-- it's a minor chord with a
>flat five.  The end result is the same, but often how you think
>about a chord determines how you approach it improvisationally.

I tend to see it as neither an altered diminished chord nor an
altered minor seventh, but a separate quality altogether.  Which is
why I've always liked the circle/slash symbol and the term
half-diminished (NOT meaning to imply a kind of diminished chord).

Now that I have to justify it to someone, look at it this way:
A dominant seventh generally sounds like the V of a key, major or
minor.  If you alter it, that function doesn't change.

A minor seventh most frequently is the II or VI of a major key,
sometimes the I of a "minor key" (if you've got a tune in Dorian
mode).  A "half-diminished" usually sounds like the VII of a major
key or the II of a minor key.  To me, you take a mi7 and flat the
5th, you're drastically changing the implied function of that chord.

-Tim K
Newsgroups: rec.music.makers
From: mills+@cs.cmu.edu (Michael Mills)
Subject: portland music shops [summary]
Date: Fri, 17 Apr 92 04:46:12 GMT
Organization: School of Computer Science, Carnegie Mellon

many thanks to Bob Puckette, Larry Huntley, Pete Gibson, David Botteron, and
Hal Jones, for some suggestions.  here's everything that was mentioned, the
comments on the shops were so varied from person to person that it made no
sense to try and summarise them.


  Artichoke Music 36th & SE Hawthorne

  Guitar Crazy    1739 SE Hawthorne (238-4487)

  Apple Music     225 SW 1st Ave (226-0036)

  Denny's         135 SW 3rd Ave (223-0393)

  Pioneer Music   505 SW 3rd Ave (224-4047)

  Horseshoe Music ?? SW Barbour Blvd


							thanks again,
								       mdm

-- 
        m.d.mills		interviewer: what kind of guitars do you play?
 dept.of.computer.science       stevie ray vaughan: they're wood.
carnegie.mellon.university
   pittsburgh.pa.15213
Newsgroups: rec.music.makers,alt.guitar,rec.music.synth
From: cdj@iti.org (Chris D. Jennings)
Subject: Re: Fender Pro Reverb Amp
Organization: Industrial Technology Institute
Distribution: usa 
Date: Wed, 15 Apr 1992 17:07:00 GMT

In article <1992Apr14.201434.25478@intelhf.hf.intel.com> dcovell@intelhf.hf.intel.com (David Covell) writes:
>barnhill@kuhub.cc.ukans.edu writes:
>
>>In article <1992Apr13.183703.4665@icd.ab.com>, jaz@icd.ab.com (Jack A. Zucker) writes:
>>> In article <1992Apr13.163312.27357@hplabsz.hpl.hp.com>, enorwood@hplabsz.hpl.hp.com (Earl Norwood) writes:
>
>>Various stuff about Fender Amps (still have the '68 I bought new, no,
>>you can't have it at any price...well, almost any price...
>
>>> 
>>> I agree. I hear about vintage synths. I guess the sand for the silicon
>>> was better quality years ago... :-)
>>> 
>>> -Jaz
>
>>How can you joke?  We know that sand, especially pre-CBS sand, has a quality
>>which is almost impossible to find these days; there was a mellowing to it
>>which can't be reproduced, even if you sample the sand, and then filter the
>>hell out of it.  I mean, I've tried everything, even including some kitty
>
>Well, this is true; however, some of the pre-CBS sand remained and was used
>in some designs through the early '70s. It's simply not true that quality
>tone can only be obtained from black-face sand. Many devices using silver-
>face sand sound just as good at half the price.
>Design engineers, being tweak-happy folks, couldn't resist the temptation to
>meddle with the sand after CBS bought out Fender. The new sand just didn't
>sound the same. Good thing there was still some pre -CBS sand around...
>We at Intel have access to huge stockpiles of pre-CBS sand with which we
>make our silicon. I've offered to "divert" some of it for music apllications
>I dare not omit the smiley      ;^}
>


Oh, so THAT's the problem!  I've been wondering what gave all those
Seattle bands that "muddy" sound, and I thought maybe it was just
the excessive rainfall, but you've made me think maybe it's just the
inferior post-CBS sand itself...

BTW, I've heard that you can break open a vintage Etch-a-Sketch and
retrieve just enough pre-CBS sand for a simple synth, but I've never
tried it.

-Chris ;^)
From: jgj@ssd.csd.harris.com (Jeff Jackson)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 16 Apr 92 18:54:50 GMT
Article-I.D.: amber.JGJ.92Apr16135450
	<1992Apr15.151214.23945@csrd.uiuc.edu>
Organization: I would rather be windsurfing.
In-reply-to: andrews@sp1.csrd.uiuc.edu's message of 15 Apr 92 15:12:14 GMT

> The reason I prefer the AAD CDs is probably explained by the harmonic distortion
> (mostly 3rd order) that occurs on tape that is pushed close to its limits.

If this phenonoma is real, it seems to me that it ought to be simple
to quantify it and create a digital effects box that emulates it.

--
============================================================================
Jeffrey Glen Jackson  _|_Satan jeered, "You're dead meat Jesus, I'm gonna
jgj@ssd.csd.harris.com |     bust you up tonight."
x5120                  | Jesus said, "Go ahead, make my day."
                   ~~~~~~~~~ -- Carman, "The Champion"
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