HDTenEightyP/NetNews huggingface dataset:
From: rjc1@kepler.unh.edu (Ryan J Charland)
Subject: Digitech FOOT CONTROLLERS for TWIN TUBE
Organization: University of New Hampshire  -  Durham, NH
Date: Tue, 14 Apr 1992 21:50:43 GMT


	I called Musician's Friend today and asked if the Digitech FS-300
footswitch is compatible with the Twin Tube and they said no.  Is this true?
I thought all midi devices were compatible.  Can anyone tell me if the FS-300
or MC7 will work with the Twin Tube?  I don't want to buy a $250 Twin Tube
footswitch that has the kitchen sink attached to it, just something to go
through the presets.


|   | |\  | |   |  : ryan j. charland is... rjc1@kepler.unh.edu  "Some people :
|   | | \ | |---|  : say the pen is mightier than the sword, I say fuck the   :
|___|.|  \|.|   |. : pen, because you can die by the sword." -Tom Araya       :


Newsgroups: rec.music.makers
From: daveh@xtenk.wpd.sgi.com (David Higgen)
Subject: Re: Where to look for lyrics?
Organization: Silicon Graphics, Inc.  Mountain View, CA
Date: Mon, 13 Apr 1992 19:55:22 GMT

In article <1992Apr10.190325.301@uucs1.UUCP>, gaf@uucs1.UUCP (Guy Finney) writes:
> 
> Don't get me wrong - I'm not bashing the non-rhyming, non-rhythmic kind of 
> poetry.  I'm just looking for suggestions on where to find the kind that
> more easily lends itself to music.  Practice material for tunesmithing,
> you might say.

There have been quite a few good poets in the last 100 years who used
traditional forms extensively. (You probably don't want to go back much
more than that unless you're deliberately aiming for an archaic effect).

There was something of a backlash movement returning to traditional forms in 
the 30's & 40's, after the free-verse extravaganzas of T.S. Eliot, Ezra Pound
et al in the 10's & 20's.

Two of my personal favorites: W. H. Auden, and W. B. Yeats.

You should be able to find both (and many others!) in just about any
library. Scan any introductory history of 20th century poetry for some names, 
and dip in...


		Dave Higgen (daveh@xtenk.wpd.sgi.com)

Xref: sparky rec.music.makers:5600 rec.audio.pro:470
From: yeidel@tomar.accs.wsu.edu (Joshua Yeidel)
Newsgroups: rec.music.makers
Subject: Re: Where to look for lyrics?
Date: 13 Apr 92 21:51:21 GMT
Reply-To: yeidel@tomar.accs.wsu.edu (Joshua Yeidel)
Organization: Academic Computing Services, Washington State University


Try using some of the old Childe ballads (or other folk ballads)
for practice tune-smithing.  Some of the best tunes ever were written
for those lyrics (or vice versa).

--
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: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Newsgroups: rec.music.makers
Subject: Re: Music Theory
Date: 16 Apr 92 17:39:52 GMT
Organization: Hewlett-Packard, Fort Collins, CO, USA

In rec.music.makers, ccmnate@othello.ucdavis.edu (The Jester) writes:

>   Music Theory is merely a cataloging of "musical observations."  Many
> generations of music theorists studied the works of the great masters
> and hacked out a set of specific musical qualities that applied to 
> them all....in varying degrees of success.  The music came first.  Then
> came the theory.

Revisionist history.  You make it sound like the study of music theory is
a recent (say, 20th century) phenomenon.  This is not the case at all.
Certainly rules such as "avoid parallel fifths in four part voice writing"
developed out of the music at first, but these rules were consciously codified
long before people stopped writing four part chorales.  In other words, no
one sat down and invented the "rules" without hearing the music, but they
didn't wait for all the music to be written first, either.  I'm sure by the
time, say Haydn came around, his teachers were already telling him to avoid
melodic intervals of augmented seconds.

And of course, serialism was in effect a purely "invented" (as opposed to
"discovered") form of music theory.  Schoenberg didn't look at other scores and
notice people writing tone rows; it was a conscious invention that pre-dated
any actual 12 tone music.

>   To use a somewhat obscure example, let's consider Beethoven.

I'll take some of that obscurity, thank you...

> But I feel strongly that
> a musician should learn them...then forget them.

Forget?  No.  Understand and ultimately transcend, yes.  I think it was Charles
Ives' father who taught him "first you must learn the rules so you will know
how to break them".

-------------------------------------------------------------------------------
Marc Sabatella      "Blondes and jazz seldom go together" - Cmdr. William Riker
marc@hpmonk.fc.hp.com
From: sutin@ra.ucsc.edu (Brian Sutin)
Newsgroups: rec.music.makers
Subject: Re: Concertina wannabe
Date: 15 Apr 92 18:26:12 GMT
Article-I.D.: darkstar.32984
Organization: Lick Observatory UCSC

takoosma@utkvx1.utk.edu (Toby Koosman) writes:
->[originally posted to rec.music.folk]
->In article <1992Apr7.165024.24038@mailer.cc.fsu.edu>, djb@mailer.cc.fsu.edu 
->(David Brightbill) writes...
->>I'm looking for hints and tips for getting started on the concertina.
->>I'd like to hear about begining books, albums to listen to, sources of
->>used instruments, what to look for in an instrument, etc.  So far, I
->>think that I should look for a 30 button anglo instrument.  I'm into
->>irish and contra dance music..also sea chanteys.  A lot of stuff in D
->>and G, some in Em, Am, etc.  My understanding is that the 30 button
->>instrument has the range to be able to play in most common keys.  My
->>current primary instrument is the tin whistle and I am assuming that
->>it should not be too hard a transition.  Thanks in advance.  Davie
->...

If you read music fluently, then you might consider the english concertina.
It is fully chromatic and the buttons do the same thing on pull and draw.
Also, the button pattern exactly corresponds to the placement of the notes
on the musical staff.  Sight-reading is easy.

The ultimate place to purchase excellent concertinas of any kind for
reasonable prices is an obscure island named Britain.  Mail ordering
a Bastari from someone like Elderly will get you a dependable intermediate
level instrument.  Don't buy anything used without a second opinion from
someone you trust -- a vast number of used concertinas need far more
repairs than their intrinsic worth.

Brian Sutin				sutin@helios.ucsc.edu
Lick Observatory, UCSC			Santa Cruz, CA 95064
    Fred:   "May I rescue you?"
    Ginger: "No, thank you.  I prefer being in distress."
Newsgroups: rec.music.makers,alt.guitar
From: enorwood@hplabsz.hpl.hp.com (Earl Norwood)
Subject: Re: Fender Pro Reverb Amp
Date: Mon, 13 Apr 1992 16:33:12 GMT
Organization: Hewlett-Packard Laboratories Palo Alto,CA

>
>If it's a Pre-CBS blackface Pro Reverb (black face with white
>lettering under the knobs and a silver grillcloth -- no blue in it),
>it goes for $250 to $300 used, in good condition, in the NYC area,
>though collectors are trying to bring the price up.  In general, the
>price of all of the old blackfaced are going up for no good reason
>other than collectability.  The silverfaced amps go for a bit less.
>
>Len Moskowitz
>moskowit@tronsbox.xei.com
>
Yeah I saw a black face Fender Bandmaster with a sold sign over the
price tag. So I looked under the 'sold' sign and just about had a
cow man!!!! $700.00 No lie!! The thing was real clean and looked 
almost new, but $700 is a bit steep for my back pocket. I remember
bying one ot these things in the late 60's (showing my age here)
for $125.00 and that seem like a lot at the time.

And a a flame about collectability of these things. Well they are not
fine art, it is just a 'fair' guitar amp. I don't understand the craze
these days that everything is a colectable item. From baseball cards
to airplanes it drives me carzy. I meen I saw a Gibson Melody Maker
($100 guitar in 1975) on sale in a store in San Jose for $600.00!!! CRAZY!

FLAME OFF:

See ya'
Earl Norwood
From: raivio@niksula.hut.fi (Perttu Raivio)
Newsgroups: rec.music.makers
Subject: Prices for used Les Pauls?
Date: 8 Apr 92 07:56:02 GMT
Organization: BREWTeX - Wine, women and song


	What are the approximate prices of used Les Pauls in USA? I
guess that instruments from the 70's would have the best quality/
price ratio, is this so? Where would one shop for used Gibsons in St.
Louis or New York? Thanks in advance...

--

	K.P.Raivio - Helsinki U of T - raivio@niksula.hut.fi
	Ei fl|ittej{, ei niin dzoukin p{tk{{k{{n...
From: bae@eniac.seas.upenn.edu (Kyung Nam Bae)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 15 Apr 92 15:43:42 GMT
Organization: University of Pennsylvania


I think he is right.  This is just my opinion.  Try this, get a CD and an
the same on album.  Play them both (of course you need a quality turntable)
next to each other.  You can tell a big difference (at least I can).  I
personally like the analog sound.

Oh well, it's all preference.

Later on,
Kyung

--
****|***********************************************************************
* -----   "Women, you can't live with 'em.   * Kyung Bae                   *
*   |      Pass the beer nuts!" Norm, Cheers * bae@eniac.seas.upenn.edu    *
****|***********************************************************************
Newsgroups: rec.music.makers
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
Subject: "Digital Is A Huge Rip-Off" (Neil Young)
Originator: elliott@ncrcol.ColumbiaSC.NCR.COM
Organization: NCR E&M Columbia SC.
Date: Tue, 14 Apr 92 13:15:37 GMT

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)


   Digital, CDs - I hate them.  Digital is a disaster.  This is the darkest age
   of musical sound. ... Digital is a huge rip-off. It's completely premature 
   and completely wrong.  It's a farce.

   Digital has to be taken three or four levels higher.  Sampling rates have to 
   quadruple - at least - to get to where analog was.  And digital music has
   a very limited therapeutic effect, if any, whereas real music has an incredible 
   effect for the calming of nerves.  Any therapeutic application of sound HAS
   to be analog, or it won't get results.  You can search around, but the sound
   isn't there.

   Let me use a window aas an illustration.  When you look thru the glass, imagine
   that's sound out there.  And then look out thru the screen.  See all the little
   squares in the screen?  If you get right up on them, all different kinds of colors
   come thru the screen holes.  Well, that has to be averaged out to only one color
   per hole for digital.  That's all you get, the dominant one.

   They've got sampling enough now so that when you 1st start listening, you say,
   "Hey, that's music."  But your brain and your heart are *starved* for a challenge.
   There's no challenge, there's no possibilities, there's no imagination.  You're
   hearing a simulated music.  Your brain is capable of taking on an incredible
   amount of information....  
  
   That's why these records have got to be remastered from the *analog* originals
   every time there's an improvement..... technology is just not there for that
   kind of sampling rate.  It's a real shame, because music is not being captured.
   It's an insult to the brain & heart & feelings to have to listen to this and
   think it's music.

   I've been making records for 26 years, working in the studio... and I'm telling
   you:  From the early '80s up till now and probably for another 10 to 15 years
   is the darkest time for recorded music ever.  We'll come out the other end and
   it'll be okay, but we'll look bak and go, "Wow, that was the digital age.  I
   wonder what it really sounded like?  They were so carried away that they didn't
   really record it.  They just made digital records of it."  That's what people will
   say - MARK MY WORDS.


Neil, what a guy!   Can you believe this stuff?  Maybe it was really meant for the 
April Fool's issue.

Enjoy,
Elliott New
Newsgroups: rec.music.makers
From: mccool@dayfac.cdc.com (James McCool;WRTFAC;)
Subject: PA system for sale
Organization: Control Data Corporation, Dayton, Ohio
Distribution: na
Date: Thu, 9 Apr 92 14:42:37 GMT

For Sale whole or part:

4 2x18 bass SONIC bass cabinets withe EV ProLines
2 SONIC 2x12's + 1" & 1/2" horns
Studiomaster 16 channel board
2 QSC1500 amps.
2 Crown PowerBase 2 amps
1 Peavey M7000 amp
Ashley XR1000 crossover
2 SONIC monitors with 1" horn and 15" EV Proline
2 Random peavey monitors
Assorted mic's and stands
100' 16 channel snake with 4 returns
GoldLine Real Time analyzer
Assorted ROSS and DOD EQ's (I'm keeping the real good stuff for my studio)

You pay shipping outside the Dayton OH. area

email mccoool@dayfac.cdc.com
phone (513) 845-1615 after 7:00pm EDT.  There's a recorder so leave a message.

-- 
Jim McCool
Control Data Corp.
Dayton Oh.  USA	
Newsgroups: rec.music.makers,alt.guitar
From: friedman@col.hp.com (John Friedman)
Subject: Re: alt.bass is here!!!
Date: Tue, 7 Apr 1992 05:32:10 GMT
Organization: HP Colorado Springs Division

ibanez@ac.dal.ca writes:
> Glad to hear it! One question - what does the alt. stand for? Alternative?
> Does that mean we have to discuss Les Claypool but not jaco? Just kiddin.

"alt" is simply a different hierarchy, like "rec" or "comp" or "sci."
The ikey difference is that you do not have to go through USENET voting
procedures in order to create an alt group.

John Friedman
friedman@col.hp.com
From: msaleski@tegra.COM (Mark Saleski)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 17 Apr 92 10:34:19 GMT
	<1992Apr15.151214.23945@csrd.uiuc.edu> <JGJ.92Apr16135450@amber.ssd.csd.harris.com>
Organization: Tegra, Inc., Billerica, MA
In-reply-to: jgj@ssd.csd.harris.com's message of 16 Apr 92 18:54:50 GMT


 how many people out there have CDs marked 'DAD'...seems like whoever did the
 mastering was more comfortable with analog equipment...i've only got a few
 done like this but the one that springs to mind is 'The Very Big Carla Bley Band'
 by (of course) Carla Bley. The sound is incredible...the horns sound so big 
 and 'in yer face'...i don't think i've got any other recordings that can compare
 to it...


 Mark Saleski                                               msaleski@tegra.com
"Unfortunately, life contains an unavoidable element of unpredictability"
        -David Lynch "The Angriest Dog in the World"

-- 
 Mark Saleski                                               msaleski@tegra.com
"Unfortunately, life contains an unavoidable element of unpredictability"
        -David Lynch "The Angriest Dog in the World"

From: joncon@hpcc01.corp.hp.com (Jon Connolly)
Date: Wed, 8 Apr 1992 19:46:47 GMT
Subject: Re: Guitar Shops in the Bay Area
Organization: the HP Corporate notes server
Newsgroups: rec.music.makers


There's a couple of places in San Francisco you might want to check out.  Both
of these places have mostly "vintage" electric guitars. Not all of the stock
is so vintage that the prices are outrageous so if you're looking for an older
axe your odds of finding one here is fairly good.

The first place is called REAL GUITARS and it is locate on lafayette St., I
think.  Lafayette is a small alley one block away from VAN NESS and MISSION
St. intersection.  In case you're not familiar with S.F., both Van Ness and
Mission Streets are very main streets in the city. If you ask just about 
any one they will know where these streets are. From that intersection, go
East (or towards the bay or downtown, samething) on Mission St. and take a
right at the very first right you can make.  Like I said before it's an alley 
so it's easy to pass up.  This place is also well known for guitar repair. 
Gary Brawer is supposed to be one of the best in the city.  I don't have the 
phone number but I'm sure they're listed.

The second place is called BLACK MARKET MUSIC it is located in the South of
Market area of S.F.  I don't know what street it is on maybe Harrison at
6th or 7th Streets? I'm guessing at the address so don't quote me on that.
This place too, has a large stock of used and vintage guitars and amps.

Both of these places are interesting to check out even if you're not in the
market of buying anything.  They almost always have an odd guitar or amp that
you have seen in picures but never seen "in the flesh".

One more place I just thought of that kind of sticks out is Gelb Music in 
Redwood City, this is for the most part a standard music shop/retailer. What
makes them a little different is the selection of basses that they have.  They
have a very impressive  selection of 5 and 6 string basses, not to mention 
4 string, made by very quality manufacturers including Pedula, damn I just 
drew a blank on some of the other brand names. Anyway they're their. They also
have a decent guitar inventory including atleast a dozen Paul Reed Smith guitars and the usual mid to upper range Ibanez, Fender and the rest.  The drum 
department is also very good.
Gelb is located on El Camino Real in Redwood City (about 30 minutes south of
San Francisco, down 101)  take the Whipple Ave. exit off of highway 101,
take a right on whipple (West), take a left on El Camino Real (South),
Gelb will be on you're right.  The phone # is (415) 365-8878.

Hope I'm not too late!

Jon
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Newsgroups: rec.music.makers
Subject: Re: Fender Pro Reverb Amp
Summary: Prices of Pro and Super reverb
Date: 13 Apr 92 15:59:13 GMT
Distribution: usa
Organization: AT&T

In article <3524@tronsbox.UUCP>, moskowit@tronsbox.UUCP (Len Moskowitz) writes:
> In article <19546@chopin.udel.edu> abby@chopin.udel.edu (Louis Abbruzzesi) writes:
> 
> If it's a Pre-CBS blackface Pro Reverb (black face with white
> lettering under the knobs and a silver grillcloth -- no blue in it),
> it goes for $250 to $300 used, in good condition, in the NYC area,
> though collectors are trying to bring the price up.  In general, the
> price of all of the old blackfaced are going up for no good reason
> other than collectability.  The silverfaced amps go for a bit less.
> 
> The Pro was the Twin Reverb's little brother and a step up from the
> Deluxe Reverb.  If I remember rightly it had the same output power as
> the Super Reverb (4 -10" speakers) -- around 40 Watts.
> -- 
> 
> 
> Len Moskowitz
> moskowit@tronsbox.xei.com

	In the Chicago area  a pre-CBS Pro goes for the same $250 to about
	$400. Now this is were it gets weird. A blackface Super usually starts
	at about $750. The reason is the Super is a great Blues amp. I just
	had a discussion about this with the owner of a local store that 
	handles	alot of used Fenders. The discussion  centered around the new 
	Peavey Classic 50. Seems he's has sold 10 to 12 maybe 13 counting the 
	one I just ordered. He was saying how Blues players will pay $750 to
	$1000 for a old Super, They wont buy a Pro at all, and they can get
	the same sound out of the Peavey with channel switching and forced
	cooling for $500.
	
	Steve Doin That Blues ThAng!
	Come on down to the Sippin E-Z

r
From: ee299bw@sdcc3.ucsd.edu (Dark Star Crashes)
Newsgroups: rec.music.makers
Subject: Guitar mailing list request address wanted
Keywords: we don't need no steenking keywords!
Date: 8 Apr 92 01:29:08 GMT


Would some kind soul please email me the request-address for the
guitar mailing list?

Thanks,

Dave
-- 
***********************    Dave Chesavage    ****************************
*                       dchesavage@ucsd.edu                             *
*                                                                       *
Xref: sparky rec.music.makers:5440 rec.music.synth:7498
From: hjv@phil.ruu.nl (Hendrik Jan Veenstra)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Re: MIDI clock & FSK
Keywords: MIDI
Date: 4 Apr 92 19:27:17 GMT
Organization: Department of Philosophy, University of Utrecht, The Netherlands

iann@tcom.stc.co.uk (Ian Newman) writes:

>Could someone out there explain exactly how MIDI clock is sent over a MIDI
>link? It is a counter, right? How does it fit in with the note/status data
>going over the link? What form does it take - is it a status message?

>MIDI clock is time-dependent. It is a count of the number of ppqns since
>starting, or something like that.

>FSK is tempo-dependent. It is just a a tone oscillating between two frquencies
>at a certain rate. What is that rate (i.e. how does it map onto the tempo,
>ppqn etc.)?

I'm no sync-guru, but I guess I could give it a try...
MIDIclock is *not* a counter. It's just a pulse-train, sent at a rate of 24
pulses per quarter note. So when syncing e.g. a tape and a sequencer with
MIDIsync, it's not possible to start the tape somewhere in the middle of a song
and then having the sequencer chasing to the right time-stamp - because there
is no time stamp. For such purposes you need some kind of realtime-sync, such
as SMPTE. The MIDI Timing Clock consists of just a single status byte (hex F8)
and no data bytes and is part of the so-called System Realtime Messages. The
other Realtime Messages are:
Start (hex FA): signals the beginning of a sequence. Timing Clock bytes follow
Continue (hex FB): continue the sequence from where it was last stopped
Stop (hex FC): Stop the sequence
Active Sensing (FE) and Reset (FF): not of interest here.
All Realtime Messages may be sent ANYWHERE, even in between data bytes, etc.

So, although MIDI clock is sent at the rate of 24 ppq, it *does not* COUNT the
quarters since the beginning of the song.

FSK is indeed a sync-method where a signal shifts between 2 frequencies. Just
as MIDIclock, its rate is defined in pulses-per-quarter. I know of two types,
although there may be more: Roland's FSK, which is 24 ppq (just as MIDIclock),
and Oberheim's FSK, which is 96 ppq.

So basically there is not a great difference between MIDIclock and FSK: both
are ppq-types of sync signals. When the tempo of the music increases, the tempo
of the sync-signal increases accordingly. BTW: same applies to TTL-sync.

Hope this is any help.


--
Hendrik Jan Veenstra - Department of Philosophy
University of Utrecht - The Netherlands
USENET: hjv@phil.ruu.nl   * don't worry about life; it's not permanent *
Xref: sparky rec.music.makers:5583 rec.music.misc:14105