HDTenEightyP/NetNews huggingface dataset:
From: evh5150@camelot.bradley.edu (Andrew Eckhart)
Newsgroups: alt.guitar
Subject: Re: van halen's variac
Date: 5 Nov 92 20:45:56 GMT
Distribution: usa
Organization: Bradley University


In reference to the talk about Van Halen's use of a variac there are a
couple of things that have been misconstrued over the years. He originally
did use them on the mains in his amp to originally boost the input voltage
up to 130 volts, and with this he recorded the first couple of albums
(possilby all the way up to Fair Warning but at least up to WACF). This
was an actual variac, a transformer, but he also describes using something
he also called a variac to lower the output to the speakers. Later reading
showed this to be a light-dimmer switch. This was so he could crank up the
amp but lower the volume... sorta a main volume control. I do know that as
of the 5150 and OU812 tours he again used the actual variac again but this
time to lower the voltage to about 90 volts, this allowed him to crank up
the amp, and have it last longer (much longer tube life too, I heard). I
do suggest that nobody do this though, if you put those things on wrong,
you can get a hot lead on the chassis, and "poomp" one roasted gutiar
player.
--
___________________________________________________________________________
Goodbye,   |Stop lookin' out                   Andrew Eckhart              | 
Farewell,& |start lookin' in                   evh5150@camelot.bradley.edu | 
Don't do   |be your own best friend            La Grange Park, IL          |
anything   |stand up and say                   Winter Park, FL             | 
I wouldn't |Hey! This is mine!                 Corpus Christi, TX          | 
do...TWICE |(Van Halen "Mine all Mine")        pick one, that's home       | 
Newsgroups: alt.guitar
From: ron@vicorp.com (Ron Peterson)
Subject: Re: Active guitar preamp batteries
Organization: V. I. Corporation, Northampton, Massachusetts
Distribution: na
Date: Tue, 10 Nov 1992 22:13:30 GMT

In article <1992Nov9.155315.9720@tc.cornell.edu> saunders@theory.TC.Cornell.EDU (Kevin Saunders) writes:
>>What are some good indications that my electric guitar is ready for
>>a battery change?
>
>   This is a great question, 'coz a few months ago I thought something
>horrible was happening to my '65 Fender Tremolux...
>   The battery wasn't all that low, but it sure was crippling the sound.

  It's not difficult to add a battery check circuit if you're willing to
modify your guitar slightly.  A small hole in either the front faceplate
or the rear battery compartment cover can be drilled and an LED fitted
there.  (These panels are easily replacable if you decide you HAVE to have
a completely unmodified guitar some day.)  With the right resistor connected 
to it the LED brightness is a good indicator of the batteries condition.
Be sure to wire it into the power AFTER the switch in the jack that cuts
power when you remove the plug or else it will drain your battery when
you aren't playing.  You may want to sand the end of the LED flat so that 
it doesn't protrude beyond the surface of the guitar (particularly if it 
is on the back so it doesn't catch on clothing.)
  For a 9V battery try a resistor around 330 ohms.  If it doesn't get
dim when your guitar starts to sound weak then try a slightly larger
resistor value until it does.  To improve battery life add a micro-miniature
pushbutton switch so that the LED is only connected when the button is pressed.
A variation on this is to use one of those LED's with a built in flasher.
By setting the resistor value carefully it will stop flashing as soon as
the battery starts to get weak.  I modified my Stratocaster in this 
fashion and it has proved itself quite useful many times.
ron@vicorp.com or uunet!vicorp!ron
Newsgroups: alt.guitar
From: Daniel.Parmet@launchpad.unc.edu (Daniel Parmet)
Subject: Re: Name that tune...please.
Organization: University of North Carolina Extended Bulletin Board Service
Distribution: usa
Date: Thu, 5 Nov 1992 17:55:14 GMT

In article <1992Oct30.143118.10856@cbfsb.cb.att.com> kew@cbnewsg.cb.att.com 
(steve.w.askew) writes:
>
>	The Song:	Love To Change The world
>
>	The Album:	A Space In Time
>
>	The Group:	Ten Years After
>
>	Chords:		Em Gmaj	Am Cmaj B7
>
>	During the Chorus start with Em arppegiate the first 4 strings E-G.
>	Then walk the bass E string F,F#,G. Now Arppegiat the open Gmaj first
>	4 strings. Walk to Am etc ect you get the picture
>
>	
>	The verse is the same chords only strummed full.
>
>	Sorry about no tab, but this is a fairly easy song

I'll accept your statement if you can play the solo.  Steve, didn't you
buy a 335 in the last year or so?  You're all set up to play this one then.

- Dan

--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
Newsgroups: alt.guitar
From: fweckerl@novell.com (Frank Weckerle)
Subject: Re: REQ:Mesa-Boogie info.
Organization: Novell Inc., San Jose, Califonia
Date: Thu, 5 Nov 1992 18:10:47 GMT

I looked at the .22calibre , .50+calibre, and the MarkIV, when I was
shopping for MEsa's. I choose the .50+ combo with an enclosed 12" extension
cabinet. I paid around $800 something for the combo and around $275 for
the extension speaker. They maybe a bit pricey, but I personally think
they're worth it. The only complaint I have is the reverb is not quite
as good as I would like, (but I'm probably biased since I've come from 
a Fender twin and super reverb background). Other than that the amp
sounds great. The thing I like the most is that you can really get a lot
of different tones from it, I play sort of clean so I can get a nice
clean sound at realatively high volumes (nice sustain on the solos too) 
but if you want to get crunchy you can do that too. Other things you may want 
to consider is where you playing out at, the .50 calibre (50 watts) is
probably fine for small gigs without miking it, I'm not sure if the .22
can handle that . The other thing for me is MArk IV, although would have
been the ultimate choice, but I could't justify paying another $700 for
the added power and features (for me and my tastes and playing styles all
three got the same tone that I was after). 
Happy shopping.

Xref: sparky alt.guitar:9800 comp.music:5176
From: wilson@binah.cc.brandeis.edu
Newsgroups: alt.guitar,comp.music
Subject: Roland gr-1 and gr-50 reviews
Date: 11 Nov 92 18:05:57 GMT
Reply-To: wilson@binah.cc.brandeis.edu
Organization: Brandeis University

Someone has suggested to me The Roland GR-1 and the GR-50 as a
good guitar synth. Any reviewers out there? I would like to use my
guitar to imitate other instruments and sounds through a synth. I will
be using in theatre sound design, so I can't have it sound cheesy. Also
has anyone used the E-Bow? It's an electronic bow for guitar-sounds
interesting-has anyone used it or heard it? Please E-Mail Responses.
David Wilson
Newsgroups: alt.guitar
Subject: turn it off!
From: loman@cstp.umkc.edu
Date: Sun, 8 Nov 1992 23:28:25 GMT
Organization: UM - Kansas City, Computer Science

Yo whutzup its me again.

I've had problemz with the batteries going dead in my active electronics
guitars cause when you leave them plugged in, they stay 'on'. 

 Now, dont get me wrong, I'm not too lazy to unplug it when I'm done,

 ( I'm just too lazy to want to plug it back in when I want to play. )

Theres no way I'm gonna cut a hole for a switch in my 1000 dollar guitar
 either.

Here's my solution.  I simply wired in a mercury tilt switch into a power lead
from the battery.  I carefully judged the proper angle to mount it so that the
guitar neck has to be completely vertical or past to open the circuit.  So far,
I've had little or no problems.  Since the mercury is heavy, and the switch is
small, shaking, bouncing, + contortions havent been a problem.
 ( I play _hard_ ). 

 There are some neat effects too.  Strike a power cord, tilt the plank (guitar)
up flat prone horizontal, and shake it.  Sounds like flipping the switch on a
Gibson real fast, like Randy Roads....

And when its turned off, and you shake it, it gives off this wobbly, liquidy,
"full-of-something" sound to it... 8-)

Anybody else ever heard of this? Is this coole or whut?

Joe Loman
Loman@VAX2.CSTP.UMKC.EDU
Xref: sparky alt.guitar:9861 rec.music.makers.guitar:95
From: brian@manta.mel.dit.csiro.au (Brian May, 723 Swanston St Carlton)
Subject: Re: Bass guitar and delay pedals etc
Organization: CSIRO DIT (Melb.)
Date: Sun, 8 Nov 92 03:52:50 GMT

From article <9231301.19792@mulga.cs.mu.OZ.AU>, by carl@montebello.ecom.unimelb.EDU.AU (Carl Brewer):
> 
> I've been fooling round a bit with an old Boss Analog delay pedal
> with my bass,  and have't been able to come up with any settings
> that do anything but turn the sound into absolute mud.  
> 
> I've heard of delays being used to good effect on much of Pink Floyds'
> stuff, and numerous other bands,  are they using the delay in sync with
> a flanger or T-wah ?  

Dunno about those, but I've heard a ring modulator can do weird things to 
many instrument's sounds.  I'll leave it to someone else to describe what
it does...

The main problem with delays is that it's all too easy to get locked into a
rhythm dictated by the delay time.  Annoying if you're a part of the rhythm
section (or a cheap metronome!?)

brian
--
| Brian.May@mel.dit.csiro.au |           Open Systems Program           |
| CSIRO/DIT, 723 Swanston st | TEL +61 3 282 2613 -- FAX +61 3 282 2600 |
|Carlton, VIC 3053, Australia|          Experimental Scientist          |
From: seann@igor.tamri.com (Sean Nelson)
Newsgroups: alt.guitar
Subject: Re: 12-Strings
Date: 12 Nov 92 21:23:50 GMT
Organization: Toshiba America MRI Inc, S. San Francisco, CA.


Sounds like you may have a mandoGuitar there, basically a 3/4
size 12 string, and yes you do tune it lower (D) than your
standard issue 6 string. there are also electric versions of
these made by Vox in the 60's. Quite rare these days....
-- 
Sean Nelson,  		
Toshiba America MRI	  What Me Worry ?
seann@igor.tamri.com 
Newsgroups: alt.guitar
From: sdavis@laforge.ksc.nasa.gov (Steve Davis)
Subject: Re: 8-Track recorders... Help!
Organization: NASA
Date: Fri, 6 Nov 1992 22:46:24 GMT

Glenn Waldron writes
> : A good Tascam, with 8 individual units and a stereo master and UV meters
> : and the works would probably run you about 5 to 6 hundred dollars from
> : mail order, or if you are lucky, you might be able to get one used from
> : anywhere from 350 to 500.
> : 
> 
> I don't think so!  Maybe for a four track, but the lowest price I've
> seen on, say, the Tascam 488 (or is it 688?)  was over $1000.

  I assume we're talking about 8-track cassette machines here, not open  
reels... right?  I'd really like to get my hands on a decent used open reel  
8-track machine and mixer.

--
+----------------------------------------------------------------+
| Steve Davis                      | sdavis@laforge.ksc.nasa.gov |
| NASA, DL-DSD-32                  | (NeXT Mail preferred)       |
| Kennedy Space Center, FL  32899  |                             |
| (407)867-7582  fax:(407)867-2173 | #include <disclaimer.h>     |
+----------------------------------------------------------------+
Newsgroups: alt.guitar
From: cde@mulka (Colin Entwisle)
Newsgroups: alt.guitar,aus.music
Subject: Re: Bass guitar and delay pedals etc
Date: 12 Nov 1992 05:15:52 GMT
Organization: University of Melbourne
NNTP-Posting-Host: mulka.ph.unimelb.edu.au
X-Newsreader: Tin 1.1 PL3

pope@physics.su.OZ.AU (The Nightstalker) writes:
: {in response to a couple of slightly cynical comments about the axeman}
: And shows artistic expression and creativity that is most possibly beyond
: your sense of appreciation, but not beyond your sarcasm, as is obvious

	i think his facial expressions help put it within even my 
admittly very short reach.

: by your less than constructive posting.  Tommy Emmanuel would have to be
: one of the most thoughtful guitarists I have heard.  If it is so trite,

	i think you may have hit the nail on the head here.
	
: you do better.
:
	i'd like to say i could, but i fear toms technical competence
is far superior to my own.  mind you i wouldnt try to do "better" i'd
try to do "different"
	what you say is a little like telling someone who critizes the
nazis to try and do better.  The point being that the critism is against
the very activity not the manner in which it is done. 

					CE
Newsgroups: alt.guitar
From: evh5150@camelot.bradley.edu (Andrew Eckhart)
Subject: Re: home builder questions
Organization: Bradley University
Distribution: na
Date:  7 Nov 92 09:53:12 GMT

In <1deeiiINNmvb@MINERVA.CIS.YALE.EDU> frink-andrew@yale.edu (Andrew Frink) writes:

>I have a question...I am currently building a telecaster-style guitar
>using a warmoth compound radius neck and I have a question about neck
>angle.  Since I am building the body from scratch, I am going to have
>to rout the neck pocket (obviously).  I am using a Fender tele bridge.
>Do I need to have the neck angled down (the strings pass through the
>body, so downward pressure on the bridge shouldn't be a problem).  

>The telecasters that I have looked at (as well as my jazz bass) have a
>flat pocket.  But some guitars I have looked at do have angles...

In this case with the parts listed, you should use a flat pocket. It is a
fender tele bridge. Tele and Strat bridges were designed to be used on
guitars with no angle on the neck. The most common reason necks are angled
is because they use a bridge like the Gibson Tune-o-matic found on
Les Pauls, V's, Explorers, etc. where the strings are held farther away
from the body.
The only reason you would want to angle the neck with what you've got wold
be if the strings refuse to lower to a decent action height. At that point
you will have to use shims.

>needles to say i am confused.

It's part of the territory, just look for books, talk to friends, go to
stores, and ask LOTS of questions.

>Any help or suggestions would be most welcome.

Keep at it, it's very rewarding.
--
___________________________________________________________________________
Goodbye,   |Stop lookin' out                   Andrew Eckhart              | 
Farewell,& |start lookin' in                   evh5150@camelot.bradley.edu | 
Don't do   |be your own best friend            La Grange Park, IL          |
anything   |stand up and say                   Winter Park, FL             | 
I wouldn't |Hey! This is mine!                 Corpus Christi, TX          | 
do...TWICE |(Van Halen "Mine all Mine")        pick one, that's home       | 
Newsgroups: alt.guitar
From: ujhennin@uxa.ecn.bgu.edu (James Henning)
Subject: HELP ME FIND A SONG PLEASE!
Organization: Educational Computing Network
Date: Fri, 13 Nov 1992 16:34:03 GMT

Does anyone remember a song called (?) "Home Grown Tomatoes"?  Probably
done in the early 70's.  I don't know who did it but would like to find
it.
  Maybe I should have posted this in alt.gardening instead.

                              Thanks  -  Jim
From: dhi00@ccc.amdahl.com (mofo )
Newsgroups: alt.guitar
Subject: re: van halen's variac
Date: 9 Nov 92 22:11:16 GMT
Reply-To: dhi00@juts.ccc.amdahl.com (mofo )
Distribution: na
Organization: Amdahl Corporation, Sunnyvale CA

i've read the same article regarding variac'ing an amp to a higher 
line voltage.  it also said most if not all manufacturers frown on
this.  it may not blow out the amp on the spot, but running it 
higher than normal line voltage stresses the power supply by
forcing higher heat dissipation.  this effectively reduces your
mean time between failures meaning your amp will crash sooner
than it should have.  

but if youre van halen you just call marshall and tell them to
ship another one.  i'm sure marshall is more than happy to
oblige...

d
From: dpm@msc.edu (David P. Mottaz)
Newsgroups: alt.guitar
Subject: Re: van halen's variac
Date: 10 Nov 92 19:08:52 GMT
Organization: Minnesota Supercomputer Center, Minneapolis, MN

In article <BxI0Dw.9w7@dcs.glasgow.ac.uk>, dam@dcs.glasgow.ac.uk (David Morning) writes:
|> drp40@cd.amdahl.com (Doug Puchalski) writes:
|> 
|> >In article <1dgk0rINNs7o@usenet.INS.CWRU.Edu>, bk233@cleveland.Freenet.Edu (Jack W. Weinmann) writes:
|> 
|>>>As an electronic technician I must agree that this is NOT a good idea for
|>>>the average guitarist.
[safety notes deleted]

|>>Excuse me, but a variac *decreases* input voltage, correct?  By decreasing
|>>input voltage you lower the amplitude at which clipping and distortion occurs.
|>
|>Excuse me, but you don't know what your talking about.
[clarification of previous post deleted]

Excuse me, but he is not completely wrong.  I have a variac that stops at 100%,
so all variacs are not equal.  I use it to supply a tube amp with 60% voltage,
and YES, "you lower the amplitude at which clipping and distortion occurs".
It works.

I agree wholeheartedly about the damage done by supplying an amp with more
than 100% voltage.

-David Mottaz
 dpm@msc.edu  (612)625-7589
 Minnesota Supercomputer Center Inc.
Xref: sparky alt.guitar:9706 rec.music.makers:10830
From: sihd_ss@uhura.cc.rochester.edu (Dan Shimmyo)
Newsgroups: alt.guitar,rec.music.makers
Subject: recording bass guitar..
Date: 9 Nov 92 21:45:55 GMT
Organization: University of Rochester - Rochester, New York

Hi all, 
  I was just wondering what is a cheap way to get a nice,fat, sort of 
overdriven bass sound without spending lots of money.  I mostly want to
use it for recording directly. I just think my bass sounds too sterile
when I plug it into the board. Any help would be appreciated. Thanks.
Dan.
From: chrisb@lynx.ps.uci.edu (Chris Barrus)
Subject: Re: What does Mark Knopfler use?
In-reply-to: pedwards@Csli.Stanford.EDU's message of Mon, 9 Nov 1992 00:08:41 GMT
Newsgroups: alt.guitar
Organization: Dept. of Physics, Univ. of California, Irvine
Date: 11 Nov 92 09:39:34 GMT


In article <1992Nov9.000841.654@Csli.Stanford.EDU> pedwards@Csli.Stanford.EDU (Paul N Edwards) writes:

   Does anyone know what kind of equipment Mark Knopfler uses now,
   and/or what he used on the first Dire Straits album?

   -- Paul Edwards
   pedwards@euphrates.stanford.edu

=======~=====================================================

On the first album, I believe he used Strats for the most part.  When I saw
Dire Straits on the Brothers In Arms tour, Knopfler appeared to use a
different guitar on every song they played.  I counted four different
Strats, a Tele (used on "Walk Of Life"), a Les Paul ("Money For Nothing"),
a head and bodyless guitar (couldn't ID the make from the lawn section :-( )

Hope that helps.  You might want to check for recent interviews in either
Musician or Guitar Player magazine as they are pretty thorough in equipment
lists.

Chris
--
---------------------------------------------------------------------------
Chris Barrus - P.O. Box 5115 - Irvine - CA - 92716 - chrisb@lynx.ps.uci.edu

           Sacred cows make the best hamburger - Abbie Hoffman
---------------------------------------------------------------------------
From: roger@nrc.com (Roger Goeb)
Newsgroups: alt.guitar
Subject: Re: Les Paul data needed
Date: 5 Nov 92 21:10:15 GMT
Distribution: usa
Organization: Network Research Corporation

jay@b15.ingr.com (Jay Reeves) writes:

>In article <1992Nov3.162627.4272@cbfsb.cb.att.com> kew@cbnewsg.cb.att.com (steve.w.askew) writes:
>>
>>	I was at my local music store, talkin with the local assistant
>>	manager. They had just gotten in a 1960 Les Paul reissue. During
>>	the conversation he brought up two points that I found hard to
>>	swallow. So I need some verification from all you Les Paul Guru's
>>
>>	1. all Gibson Les Pauls(not jr's or SG,s) have Maple tops   True/False
>	   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>BEEEP!  Wrong!  The Black Custom model does not have a Maple top - it's all 
>	mahogany.  The only reason for the maple top is aesthetic.  Think 
>	about it - Why cover-up a pretty maple top?
BEEP!  CAREFULL!  The *original* (pre 1961) and 1968 Customs were solid 
	mahogony, not the ones that were made after (and including) 1969.
	The only exception to this would be special order guitars and
	possibly the brand new 40th anniversary Les Paul Black Beauty.  The
	only reason for the maple top is certainly not aesthetic - there's
	a major, major difference in sound.  There are plenty of stories
	(Some documented in "The Gibson Guitar Handbook) of old gold-top
	Les Paul standards that were refinished and Lo and Behold, there
	was outstanding curly maple under all that paint.  They were 
	typically not book-matched and several were three piece instead
	of the standard 2 piece.  The question this raises is, why would
	Gibson use maple under the gold paint and not the black paint?
	Answer?  Tone...  The original Custom was designed for more of
	a "Jazz" style and was outfitted with smaller (thinner) frets
	and given a solid mahogony bode giving it a lower, throatier
	tone.  The standard was their "regular" guitar (even with the
	curly maple) and has the maple top in order to attain a brighter
	crisper tone.  Customs also had fancier headstock with the inlay
	from the Super 400 (I think) and an ebony fretboard.  In 1961 they
	were discontinued in favor of a thin double cutaway body that 
	continued to use the "Les Paul" name.  In 1968 (Due to public 
	demand) the guitars were reintroduced with the original spec's
	intact.  In 1969, (Due to public demand) the all mahogony custom
	was replaced by the custom with a maple top.  It is possible that
	in 1968 both customs (with and without maple top) were produced.
	By the way, don't assume that just because there's maple under
	the solid paint of a guitar that the maple is curled.  It may
	be straight grained.
	
	Anyone looking into the various models of Les Paul's really needs
	to do some homework and read up on the history.  What went on before
	1961 and after 1969  are two intirely different things...

	One final disclaimer, all of the above was true *UNTIL* about 2
	years ago.  Gibson may have changed since...

	Good Luck and look at the spec sheet for the guitar.

-- 

Roger H. Goeb.				
Network Research Corp.
roger@NRC.COM
Newsgroups: alt.guitar
From: gothick@dcs.warwick.ac.uk (Matthew B. M. Gibson)
Subject: Re: 12-Strings
Organization: Department of Computer Science, Warwick University, England
Date: Wed, 11 Nov 1992 23:37:20 GMT

pan2765@seas.gwu.edu (Crazyman Pan) writes:

>In article <1992Nov10.211327.1@cc.curtin.edu.au> nmurrayr@cc.curtin.edu.au (Ron Murray) writes:

>[stuff deleted]

>>Anyone had experience with these things: 12-strings in general and Fender 12's>in particular?
>>
>> .....Ron

>I have a 12-string acoustic -- except that it's not a guitar.  In fact I have
>no idea what the hell it is.  It's got the neck of the bottom half of a guitar
>neck (from frets 12-22) and is tiny (like a yukelele).  It's fun to play (but
>hard on the fingers -- copper wires), but keeps going out of tune.  I'd have
>to say that 12-strings are easier to play fast on (because of hitting two
>strings instead of one) but definitely a bitch to tune.  Anyway, I never have

My 12-string stays in tune very reliably; better than my 6-string and my
stratocaster most of the time.  It's a Shaftesbury (Italian-made and having
relation to the more modern "Eko" series, I believe - anyone know for sure?)

>any problems with neck disfigurement, but that's probably because the neck is
>so small anyway.  I have a feeling that the thing wasn't designed to be tuned

The neck is just as straight as on the 6-string, ie. no noticable
disfigurement.  The action's nice 'n' low, and the tone is lovely.

>in the same key as a guitar.  Anybody out there know what this thing is?

No idea!

>						-- Crazyman Pan


>(I'd rather be playing guitar...)

Cheers,

Matt


-- 
 Matthew B. M. Gibson:
 gothick@dcs.warwick.ac.uk - mgibson@nyx.cs.du.edu -  csudo@csv.warwick.ac.uk
 "Great.  I'm a million miles from home, about to be killed, with a 
  gung-ho iguana who tells me to relax"
Newsgroups: alt.guitar