HDTenEightyP/NetNews huggingface dataset:
From: dnj@kauai.verity.com (Dave Johansen)
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Re: Wha + distortion (was Re: Adding master volumes)
Date: 25 Jan 93 18:01:54 GMT
Reply-To: dnj@kauai.verity.com (Dave Johansen)
Organization: Verity, Inc.  1550 Plymouth Ave, Mt. View, CA 94043


 This is an interesting thread that has been around for quite a while..
The general consensus has been to wha before distortion boxes as this
give the "most dynamic range" according to the wha manufacturers.. The only
other seeming valid reason I've heard for wha --> distortion was from
Eric Johnson in the GP article on distortion... His feeling was that
to run high gain pedals before "tone" type devices had a tendancy to OVER-drive
the wha, chorus, etc, etc devices giving them a harder edge...  I tried
this and found distinct differences between the two... I stuck with 
the wha-distortion as this appeals to my taste.. I found that wha after
distortion gave a really dramatic sweep, but gave me the impression
of sweeping the distortion and not the sound of the guitar.. before
the distortion gave me a sweep of the tonal characteristics of the guitar..
 This may seem blatantly obvious, but it gets more extrinsic as you start
worrying about choruses, reverb and the like and which order these go into..

The rule of thumb I've always heard was tone devices, then distortion/gain
and then time domain devices (echo,chorus,flange,reblurb,etc....), But rules
are meant to be broken.... Thank <insert favorite deity>, or none of us would
be having these or any other discussions.... 

-dnj
From: walt@diusys.cms.udel.edu (Walt Dabell)
Newsgroups: rec.music.makers.guitar
Subject: INFO needed on HAGSTROM guitar please...
Date: 26 Jan 93 14:46:02 GMT
Reply-To: walt@diusys.cms.udel.edu
Organization: U of Delaware, College of Marine Studies / Lewes

Anybody know if Hagstrom guitars (made in Sweeden) have any value to them or 
are they one of the dime-store guitars? I have one I picked up at a yard sale 
cheap and it needs a little work. I'm just currious if it's worth it or not. 
It looks sort of like a Gibson 335.

Thanks in advance.

---
         __________________________________________________________
         Walt Dabell  KD3GS (302)645-4225  walt@diusys.cms.udel.edu  
                  U of Delaware / College of Marine Studies
                      700 Pilottown Rd. Lewes, DE 19958
From: shaffer-wendy@yale.edu (Wendy Shaffer)
Newsgroups: rec.music.makers.guitar
Subject: rattling in neck of guitar
Date: 21 Jan 1993 23:07:28 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

Last night I noticed this strange rattling sound in my guitar...It sounds like 
it is coming from the neck, near the headstock.  The only thing that I can
figure is that part of the truss rod or something came loose and is rattling
around or something.  Can anybody tell me what this is, if it is a serious  
problem, and what the best way to get it fixed is?  
Thanks..
---Wendy
shaffer@minerva.cis.yale.edu
From: bigelos@hobo.ECE.ORST.EDU (Steve Bigelow)
Newsgroups: rec.music.makers.guitar
Subject: WANTED:  Fender Telecaster (American Made)
Date: 23 Jan 1993 07:03:30 GMT
Organization: ECE Dept.,OSU,Corvallis
Distribution: usa
NNTP-Posting-Host: hobo.ece.orst.edu

I am looking for a used Fender Telecaster that is American made.
I am willing to pay bucks for this, but be reasonable seeing that
I am a college student trying pay bills.

Please email me at bigelos@luck.ece.orst.edu

Thanks,

-STEVE
Newsgroups: rec.music.makers.guitar
From: sumrn@dssv01.crd.ge.com (Robert N. Sum)
Subject: Re: Lesson a week (NEW)
Reply-To: sumrn@crd.ge.com
Organization: GE R&D, DICE Program
Date: Thu, 21 Jan 1993 14:07:23 GMT

In article <1993Jan20.173451.26901@wuecl.wustl.edu>,
omar@wucs1.wustl.edu (Omar El-Ghazzawy) writes:
[... some stuff omitted ...]
|>
|>Here is *my* tip for the week (for you acoustic players especially):
|>
|>D Major Chord <==> ROOT + Major 3rd + perfect 5th <==>  D + F# + A.
|>It is usually fingered like this:
|>X X O
|>___________
|>|_|_|_|_|_|
|>|_|_|_o_|_o
|>|_|_|_|_o_|
|>|_|_|_|_|_|
|>|_|_|_|_|_|
|>|_|_|_|_|_|
|>|_|_|_|_|_|
|>
|>
|>But let's make the D a little more interesting:
|>Take your regular C chord and move it up 2 frets:
|>
|>X   O O   O
|>___________
|>|_|_|_|_|_|
|>|_|_|_|_|_|
|>|_|_|_|_o_|
|>|_|_o_|_|_|
|>|_o_|_|_|_|
|>|_|_|_|_|_|
|>|_|_|_|_|_|
|>
|>Now we have added a major 9th (or M2nd, whichever you prefer) and a
perfect 4th.
|>So I don't know what you would call the chord, maybe a D9add4, but to me it
|>is a cool sounding D.  So, my advice is to use this chord as a D to add a
|>little flavor.  BTW, this is how Neil Young plays the D in Sugar Mountain.
|>

  Well, it depends on how the chord is functioning in the piece.  If it sounds
mostly like a D chord then you've got "D no 5, add 9, 11" to be very specific. 
If you add the low E, it might sound more like an "Em9 no 5," but two sevenths
is an unusual voicing.  To play a plain D here, I barre it even though it is a
bit of a stretch to play a C formation with fingers 2, 3, and 4.

|>tom downey  email me at downey@tripos.com
|>
|>
     Just my $.02,

       Bob                                                    
==
  sumrn@crd.ge.com

  Robert Sum
  G.E. Corp. R. & D.
  P.O. Box 8, Rm. KW-C287
  Schenectady, NY 12301

  Tel. (518) 387-7696

Please note that the "Standard Disclaimer" applies here.
From: Steve Wyrick <sjwyrick@csa3.lbl.gov>
Newsgroups: rec.music.makers.guitar
Subject: Re: Strat Plus
Date: 22 Jan 1993 15:33:08 GMT
Organization: Lawrence Berkeley Laboratory
Distribution: world
NNTP-Posting-Host: 131.243.210.26
X-UserAgent: Nuntius v1.1.1d9
X-XXMessage-ID: <A7855471BC01D21A@b75b-ehs9.lbl.gov>
X-XXDate: Fri, 22 Jan 93 07:36:17 GMT

In article <1993Jan21.215343.17335@verity.com> Dave Johansen,
dnj@kauai.verity.com writes:
>I believe that they are either alder or ash depending on the 
>finish, opaque finishes get alder, transparent get ash...
>I could have this backwards...
What I have read is that Fender used ash for the Stratocaster bodies with
transparent finishes because of the "prettier" grain pattern.  This was
true back in the CBS days, anyway.  American Standard and Strat Plus have
alder for the opaque finishes; I believe the Japanese Strats have
basswood bodies for both transparent and opaque finishes.  Each wood
imparts a distinctive tone; the wood used in the neck (ie, all maple or
maple/rosewood) also makes a big difference in the tone.  About a year
ago (March or April '92, I believe) "Guitar Player" did an extensive
article on factors contributing to tone of electric guitars which gave a
pretty good summary of typical characteristics of tone woods.  This might
be a good one to check out, although every guitar has its individual
characteristics.  As Dave says, buy what sounds best to you.
From: stevep@snowhite.cis.uoguelph.ca (Steve Portigal)
Newsgroups: rec.music.makers.guitar
Subject: REQ: B52s Rock Lobster
Date: 21 Jan 1993 23:17:18 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

 I'm sure someone out there can suggest a little as to how to play
this song...

thanks for anyone who can help (I checked nevada, there is no directory
for the B52s)
-- 
+-------------------------------------------------------------+
|  Steve Portigal  University of Guelph  Guelph, Ontario      |
|  stevep@snowhite.cis.uoguelph.ca (519) 824-4120 x 3580      |
|  "Oh Andy Capp, you wife-beating drunk!" - Homer Simpson    | 
+-------------------------------------------------------------+
Newsgroups: rec.music.makers
From: schippit@seviche.ycc.yale.edu (Mark G. Schippits)
Subject: For Sale: Hammond Audo-vari 64 organ add-on
Followup-To: rec.music.makers
Organization: Yale Medical Informatics
Date: Wed, 27 Jan 1993 13:36:22 GMT

Percussion unit made as an auxillary piece for organs which have no or
limited percussion accompaniment.

The unit offers choices of the following styles:

Walt6/8 March
March 4/4
Western Shuffle
Ballad
Dixieland
Jazz
Blues Rock
Hard Rock
Liverpool
Samba
Bossa Nova
Cha Cha
Rhumba Bebuine
Tango
Afro Latin

Each of the above styles has four variations A-D switched manually or
automatically at 1/2, 1, 2, 4, 8 or16 measure intervals as you specify.

Rotary controls for volume and tempo. 

Size 31" x 4 3/4" x 11"

Walnut wood finish in nice condition suitable for a living room.
Made to sit on top of the organ.

Instrument sounds to the best I can hear include the sounds ranging from a
bass drum, snare drum, various tom-toms, high hat & brush cymbal to
cowbell, clave, blocks and sand blocks.

Output is a line level female 1/4" jack.  A similar jack is availabe to
allow foot switch start/stop function.  A balance control is also provided
on the back of the unit.

Terms: $100 - split shipping if reasonable close but otherwise prefer not
to ship because of size.  I have the original carton and packing so it
should ship well if necessary.


mark_schippits@qm.ycc.yale.edu
schippit@seviche.ycc.yale.edu
Phone: (203) 785-7443
From: mrk@gvgspd.gvg.tek.com (Michael R. Kesti)
Newsgroups: rec.music.makers
Subject: Re: recommendations for headphone amp
Date: 27 Jan 93 02:50:35 GMT
Organization: Grass Valley Group, Grass Valley, CA
NNTP-Posting-Host: gvgspd.gvg.tek.com

In article <00966E7E.B9AF3380@Msu.oscs.montana.edu>
                                        ooptk@Msu.oscs.montana.edu writes:

>Are there any other choices [besides Fostex and Stewart] out there?

Alesis used to make a line of 1/3 rack space Micro modules.  There was the
MicroVerb, MicroGate, MicroLimiter, etc.  One of the products in the line
was the MicroCue, a headphone amp that featured 2 stereo line level inputs
and tow heaphone outputs.  Each output provided an independant mix of the
inputs.  There are still two of them in my mixer rack, and I find their
performance more than acceptable.  They're quiet and provide plenty of
output level.

When they discontinued the Micro line, I understood that they would continue
to produce the MicroCue, but I don't know whether they actually did, or still
do.
-- 
============================================================================
Michael Kesti  Grass Valley Group, Inc. | "And like, one and one don't make
    mrk@gvgspd.GVG.TEK.COM              |  two, one and one make one."
    !tektronix!gvgpsa!gvgspd!mrk        |         - The Who, Bargain
Newsgroups: rec.music.makers
From: awkerr@zia.aoc.nrao.edu (Alan Kerr)
Subject: Re: Musical Notation Questions
Organization: National Radio Astronomy Observatory, Socorro NM
Date: Sun, 24 Jan 93 19:15:31 GMT

In article <C1BJ2p.9GA@undergrad.math.waterloo.edu> elee@cayley.uwaterloo.ca (Salty Freckles) writes:
>In article <1993Jan22.222831.29921@zia.aoc.nrao.edu> awkerr@zia.aoc.nrao.edu (Alan Kerr) writes:
>>NO, RIGHT!  an accidental on an 'A' affects *all* A's.  That's Music
>>Theory Law (or whatever you want to call it).  If you want to be kind
>>to the musician, you *should* mark all the other A's, but it is not
>>needed.  personally, I've never liked this 'rule' and it *has* caused
>>me to make errors while transcribing to a new key. :-(
>
>It's been a while since I've done anything related to Music Theory but from
>what I remember, the accidental on a note only affects that same note in the
>*current* measure. In the next measure, the accidental doesn't affect that
>note anymore, so it has to be written in again for every measure. If the
>accidental affected *all* notes like you say, it might as well be in the key 
>signature.

woops! forgot to type that part.... yes, what I was talking about only
affects the *current* measure.  But it soes affect all A's (at any
pitch).  

Another 'silly rule' which you will still see on classical scores is
that you must 'cancel' parts of your key signature (KS) when changing
from a 'sharp' KS to a 'flat' KS (or vice versa).  For example, when
switching from '2 sharps' to '3 flats', you technically *can't* just
write 3 flats at the beginning of the measure.  You technically have
to put 2 naturals (to cancel the two sharps) *and* 3 flats in the new
KS.  But today, most people just expect you to know what to do.

Alan


-- 
Alan W. Kerr                               awkerr@aoc.nrao.edu
National Radio Astronomy Observatory       awkerr@nrao.bitnet
Socorro, NM, USA                           uunet!nrao.edu!awkerr
Newsgroups: rec.music.makers
From: naherzin@rodan.acs.syr.EDU (Neil A. Herzinger)
Subject: For Sale: Yamaha CX5M Music Computer
Organization: Syracuse University, Syracuse, NY
Date: Fri, 22 Jan 93 02:32:36 EST


For Sale:

*Yamaha CX5M Music Computer + Disk Drive and 3 Software Cartridges:
Everthing is in excellent condition, it was only used in my home.
This is an inexpensive way to get a computer based MIDI sequencer with the
equivalent of a DX-21 built in.

*Features:
-Built in 4 operator FM synthesizer (8 voice polyphonic and multi-timbral)
 (FM Sound Synthesizer Unit II (SFG-05 upgrade))
-Four octave keyboard
-MIDI in/out ports
-Stereo RCA audio out ports
-TV or Video monitor hookup (need additional cable for Video monitor)
 (TV input is coaxial)
-MSX standard operating system

*Disk Drive: Uses 3 1/4" DS/DD Disks

*Software:
-FM Music Composer II: 
 Allows you to sequence internal sounds as well as external sounds through
 MIDI.  Uses standard music notation.
-FM Voicing Program II:
 Allows you to edit internal sounds and create your own.
-MIDI Recorder:
 Allows you to record and playback through MIDI.

All manuals, All original boxes (except disk drive).
All for $300.
Price firm, shipping negotiable.

Contact through email or by phone:
Neil Herzinger
naherzin@rodan.acs.syr.edu
(315) 424-0104

neil.herzinger...graduate...art.media.studies...computer.graphics...syracuse.u.
....................................grae.com...................................
Xref: sparky rec.music.makers:12048 rec.music.synth:20218 comp.music:6277 rec.music.marketplace:3133
From: grahame@skyfox
Newsgroups: rec.music.makers,rec.music.synth,comp.music,rec.music.marketplace
Subject: RE: For Sale: Yamaha CX5M Music Computer
Date: 21 JAN 93 20:54:24 GMT
Organization: University of Saskatchewan
Distribution: inet
NNTP-Posting-Host: sask.usask.ca

$300 for a CX5M ??? Whew. Neil, you might want to rethink you pricing. A
couple of years back, I picked one up with a pile of software carts for
$50 CDN.


JG
Newsgroups: rec.music.makers,rec.music.makers.guitar,rec.music.makers.synth.guitar,rec.music.synth,rec.music.christian
From: barothwe@pobox.cca.cr.rockwell.com
Subject: Releasing an Album/License-Copyright Issues
Date: Fri, 22 Jan 93 13:56:01 -0600
X-Received: by usenet.pa.dec.com; id AA02731; Fri, 22 Jan 93 11:56:39 -0800
X-Received: by inet-gw-2.pa.dec.com; id AA07623; Fri, 22 Jan 93 11:56:32 -0800
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	id AA08740; Fri, 22 Jan 93 13:56:01 -0600
X-To: rec.music.makers.usenet, rec.music.makers.guitar.usenet,
        rec.music.makers.synth.guitar.usenet, rec.music.synth.usenet,
        rec.music.christian.usenet
X-Mts: smtp


If one were to want to release a compilation album of multiple 
artists, whereby the artists are donating their performance for 
the project, what needs to be done to satisfy:

	- The copyright owner of each song (usually a publisher?)
	- The record company the artist may have a contract with

What about radio airplay?
What about retail sales?
What about BMI, ASCAP, SESAC?

I'd appreciate it if someone could enlighten me on the steps involved
to make sure everything is done in a legal manner, so that all those
deSERVing a piece of the pie, gets one.

Thank you.

===============================================================================
  Bruce Rothwell                            \ /~~~~~~\     Opinions expressed
  barothwe@floyd.cca.cr.rockwell.com         X        )    are mine, but they
  Rockwell Int'l - CCA                      / \______/     might be shared by 
  Cedar Rapids, IA 	                                        multitudes !!
===============================================================================

Newsgroups: rec.music.makers
From: fredh@cv.hp.com (Fred Handloser)
Subject: Re: HELP ME! I AM A VICTIM OF FEEDBACK!
Organization: Hewlett-Packard Company, Corvallis, Oregon USA
X-Newsreader: Tin 1.1.3 PL5
Date: Thu, 28 Jan 1993 08:58:13 GMT

Scott Amspoker (scott@bbx.basis.com) wrote:
: Learn how to "ring out" the PA during your sound check.  And yes, you will
: end up doing this anew for each gig but it only takes a few minutes.

Is this a simple procedure to expain?  Do you tap the mic or use
a tone generator to do this?

  Thanks,
  --------------------------------------------------------------------
  Fred Handloser
  Corvallis, Oregon
  fredh@cv.hp.com   
Newsgroups: rec.music.makers
From: truth@sage.cc.purdue.edu (I am always right.)
Subject: HELP ME! I AM A VICTIM OF FEEDBACK!
Keywords: feedback, microphone, cheddar cheese
Organization: Purdue University
Date: Thu, 28 Jan 1993 01:37:50 GMT


I am having a MAJOR problem with feedback.  I would like to know
if there is anyone out there who can help me out with this problem.
I am a vocalist in an amateur rock band.  Every time our band has
a show, we have to spend the first half hour of it watching our
audience's ears plop out in a bloody mangled mess, and we end up
having to turn my monitor WAY down to eliminate this feedback.
HELP!  I'm afraid we are going to get sued (or lose our own hearing)
if we don't find a solution to this.

This is my current setup (in order):

Microphone -- ElectroVoice N/D 457-B to...
...One of those XLR to 1/4 inch in-line transformer thingies to...
...Alesis 3630 compressor (threshold at -10db / ratio at 5:1) to...
...Alesis QuadraVerb Plus (E.Q. is set FLAT -- in other words, I don't 
      use it) to...
...Mackie 1206 (I think) mixer to...
...Main outs and monitor.  Monitor has bass,mid, and treble adjust.

--NOTES ON EQUIPMENT:
    -The microphone has off-axis rejection, and "Neo-Dynium technology"!
    -The QuadraVerb has a selectable 11-band graphic (16Hz - 16KHz) -or-
       a 5-band parametric (20Hz to 20KHz)
    -I realize we should have the compressor on an insert, and the reverb
       on an effects send, but we tried that before to no avail.  Our
       setup at present makes this impossible to do without spending 
       a buttload of money.

What I really need to know is: 1) What is a good general EQ setting that 
will reduce feedback?  I realize this depends largely on the room I am in,
but is there a way to get a basic setup that I won't have to change for
every show?  If there are any other methods of reducing or eliminating
feedback without shelling out $400 for that feedback exterminator, 
PLEASE let me know.  I know I can't have my monitor TOO loud, but at this
point, I cannot hear it at all without getting feedback.

-Brendan Casey

Newsgroups: rec.music.makers
From: soh@gdstech.grumman.com (Scott O'Hare)
Subject: Re: Info Needed: Oberheim Drum Pattern Sequencer
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury
Date: Thu, 21 Jan 1993 16:44:02 GMT

In article <7649@bigbird.hri.com.hri.com> burgess@hri.com writes:
>
>What exactly does the Oberheim Drummer Drum Pattern
>Sequencer do? I have an Alesis SR-16 and love the
>sounds but not being a drummer programming the thing
>is a real pain. I end up using the same old patterns
>over and over again rather than making up new ones.
>Would the Oberheim unit really take the drudgery out of
>programming as the marketing info claims? 
>

It's kind of like a good drum machine without the sounds. 
The built-in patterns are excellent, and it has a very human
feel. I own one, and like it, but haven't really explored it 
yet. The main claim to fame are the so-called "interactive" 
features, like auto-start, velocity mapping, space-filling, 
etc., plus it allows four footswitches to plug in for 
more real time action. One thing I think it lacks (and may well 
be wrong about this) is Step editing, but you can record and
overdub, edit, etc. patterns in real time with quantization
and what appears to be a good set of humanization parameters.
It's a little black table top unit - kind of cheezy looking,
like it was built in 1983.  But I'm having alot of fun with
it (and my Alesis D4)...

To answer your question, though, I don't think it would be a
heck of alot easier to program than an SR-16, or any other 
modern drum machine.

soh
-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
Newsgroups: rec.music.makers
From: manes@magpie.nycenet.edu (Steve Manes)
Subject: Re: What's a "vocal mike"? (Re: FOR SALE: NEW mics)
Organization: Manes and Associates, NYC
Date: Thu, 21 Jan 1993 21:20:09 GMT
X-Newsreader: TIN [version 1.1 PL8]

John Deal (deal_j@apollo.HP.COM) wrote:
: In article <C0xDpJ.F1@magpie.nycenet.edu>, manes@magpie.nycenet.edu (Steve Manes) writes:
: |> John Deal (deal_j@apollo.HP.COM) wrote:
: |> : I have wondered about this also.  My question is that if this is so, why is
: |> : the SM58 listed freq. response 50-15K where the SM57 is listed at 40-15K?
: |> : Being a bass player that 10 Hz. means alot to me.
: |> 
: |> 10 Hz is four octaves below your low E string, you know.
: Sorry for the confusion.  What I was implying was the 10 Hz difference between
: 50 Hz and 40 Hz.

My confusion.  Something to bear in mind is that close-miking a bass amp
won't produce much bottom anyway because as the frequency gets higher it
gets more directional so you'll hear a disproportionate amount of string
clatter and fret buzz by close-miking a bass speaker.  OTOH, low
bass is omnidirectional and is as much a factor of cabinet resonance
(from all sides) and room acoustics as speaker output.  It takes
time and distance for a low bass wave to get the air moving.
Ever noticed how much brighter your bass amp sounds when you stand
directly in front of the speaker(s) instead of several feet away?

I've had my bass amp close-miked on a couple of studio dates as an
effect to mix in with the DI channel, especially if the song calls
a sorta Chris Squire sound.  Engineers groan when you ask for it
because it's a headache getting the two sources mixed without phasing
problems.
-- 
Stephen Manes					   manes@magpie.nycenet.edu
Manes and Associates/Commontech-NoHo		   New York, NY, USA  =o&>o
From: gerardy@cco.caltech.edu (Christopher Lowell Gerardy)
Newsgroups: rec.music.makers
Subject: What do I do with the Demo?
Date: 21 Jan 1993 08:10:05 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: sandman.caltech.edu
Summary: How does one get a demo tape heard?
Keywords: Demo Tape, Help, Record Compaines

	Can anyone tell me the standard proceedure for getting a demo tape heard
by a record label?  My band has just finished recording & copyrighting a demo
tape, and I figured that most record exec's don't want thousands of random tapes
from every garage band in america showing up on their desks.  I know that with
book publishers, you send a letter asking if they want to recieve a copy of 
your manuscript.  Is there a similar proceedure in the music industry.  Thanks

	send replys to gerardy@sandman.caltech.edu