HDTenEightyP/NetNews huggingface dataset:
From: larryr@saturn.sdsu.edu (Larry Riedel)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Re: Opinions of Cakewalk for Windows?
Date: 1 Jan 93 09:28:47 GMT
Followup-To: rec.music.makers,rec.music.synth
Distribution: na
Organization: San Diego State University, College of Sciences
NNTP-Posting-Host: saturn.sdsu.edu
X-Newsreader: TIN [version 1.1 PL8]

Anthony Arviola (ada@zip.larc.nasa.gov) wrote:
> Somebody else (sorry) wrote:
> >   1) Is there any provision yet for "loop" recording (a la any drum
> >   machine ever made!! ;-)
>
> You can loop a track over and over if you wish.  If you define a range, you
> can have it loop over and over while recording until you get a take you like.

I don't think the capability exists to have individual tracks looping
within themselves for user-defined intervals, e.g. you can't record
a simple one measure drum track and just have it repeat over and over
while the other tracks don't repeat.

Yes you can say loop the whole song from measure 13 to measure 21
over and over, but I don't think that's a very useful performance
feature - it's strictly for recording purposes.

The only reason I can think of off hand why they wouldn't provide
the capability is that it might make it difficult to read/write MIDI
files, or maybe it would be difficult to compute where in the pattern
each of the tracks would be if you were to ask for measures 241 to 245
to play, and you had 15 tracks which were just one measure patterns set
to loop indefinitely.


> >   2) Can you globally edit events (volume, pitch, etc.)

Yes the capability exists.  It isn't trivial to do it though.
But it's not that hard either.


Larry
From: markj@hpspdla.spd.HP.COM (Mark Johnston)
Date: Mon, 28 Dec 1992 16:17:35 GMT
Subject: Re: ==> +30db GAIN Circuit for Your Guitar: $25 <==
Organization: HP Stanford Park - Palo Alto, CA
Newsgroups: rec.music.makers

I agree with dave that the 1000x gain would clip.
A typical guitar pickup output is 30 or so millivolts and les paul
output can peak at greater than 100 millivolt (0.1 Volt!)
So 30 db can be made to clip on a 9 V supply quite easily.
BUT ... When used with less gain, sounds like a nice addition.
My axe has a preamp as well but it is nice to play with it out and
use the natural tones.  In short, just kick in the preamp when
you WANT lots of gain into a nice distortion box and do not crank
the gain on the preamp so you can get 4 volt peaks out of the 
guitar into your favorite fuzzbox which is still clean up to the
fuzz box.   JUST BE SURE THE GAIN CONTROL FOR THIS 30dB amp
IS IN FRONT OF THE PREAMP AND THE PREAMP is quiet.
mj

Newsgroups: rec.music.makers,rec.music.makers.guitar.tab,alt.guitar.tab
From: acura@cbnewsi.cb.att.com (james.r.feeney)
Subject: Need lyrics to two Spin Doctors' songs
Organization: AT&T
Distribution: usa
Date: Tue, 29 Dec 1992 13:31:58 GMT

Does anyone have the lyrics to "Little Miss Can't Be Wrong" and "Two Princes"?
I checked the various FTP sites and they don't have them.

Thanks 

Jim Feeney
From: ST801578@brownvm.brown.edu (Calvin Lee)
Newsgroups: rec.music.makers
Subject: TRUMPET PRICES NEEDED QUICK, BACH?
Date: Tue, 22 Dec 1992 01:03:03 EST
Organization: Brown University - Providence, Rhode Island  USA
NNTP-Posting-Host: brownvm.brown.edu
News-Software: BNN via BNN_POST v1.0 beta

Hello, I need help with trumpet pricings.  I'm totally unfamiliar wwith the
trumpet world.  I just play the violin.  A friend's mom asked me to help
her find a very very good trumpet for her son as a CHRISTMAS PRESENT.  Time
is running out and I need advice quick..  I plan to run to the store tomorrow
with my friend's mom and see if we could buy a great trumpet for under
$3,000.  Give us advice about how not to get ripped off and bargaining
strategies.. Both me and my friend's mom don't play trumpet, so could you
recommend a model or brand.  I think my friend mentioned something about
BACH being a good brand or they have a  great model and their top one
is something he likes.  What's the price for the top BACH model??

Thanks in advance..
-Calvin
Newsgroups: rec.music.makers.bass
From: khumphre@s.psych.uiuc.edu (Keith Humphreys)
Subject: Radio on Amp
Summary: Getting Radio Stations on my bass amp 
Organization: Dept. of Psychology, Univ. of Illinois, Urbana
Distribution: usa
Date: Wed, 30 Dec 1992 02:33:35 GMT

The Summary line says it all.  Sometimes the radio comes in on my
amop in between songs (my songs, not the radios). Anyone know
why this happens and if it can be corrected?
:
Newsgroups: rec.music.makers.bass,rec.audio.pro
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Radio on Amp
Date: Wed, 30 Dec 1992 20:50:06 GMT
Distribution: usa
Organization: Colorado Concert Sound

In article <1hsqcoINNklb@network.ucsd.edu> mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>In article <C01wG1.870@news.cso.uiuc.edu> khumphre@s.psych.uiuc.edu (Keith Humphreys) writes:
>>The Summary line says it all.  Sometimes the radio comes in on my
>>amop in between songs (my songs, not the radios). Anyone know
>>why this happens and if it can be corrected?
>Happens (and happened) to me with long cable runs.  I used to tell the
>other band members the cable was "acting like an antenna", but I was just
>guessing.
>Can anyone offer the technical reason this happens?

The wiring does act as an antenna and dirty contacts act as a detector to
help get the signal into your system.  You must be close to a transmitter
or near a stereo and getting the stereo's IF signal.  Getting rid of the
problem can be as simple as improving the ground, or as difficult as adding
small ( about 10-50 pF) capacitors between all leads going in and out and the
ground.
First try to isolate where the interferance is getting in.  If it's the
instrument, turning down the input volume will make it go away, and you should
shield the instrument better.  Trying a new cable from the inst to the amp
may help also.  
Try setting the amp up at a friend's house a few miles away and see if it
still happens.
The particulars of where/what/how it's getting in could exhaust Gigabytes,
so play around with your setup and learn how to avoid it in the future.

I worked with a band that played a gig about 2 miles from the main
transmitter site for Denver, and we ended up wrapping all the amp
heads in aluminum foil and grounding the foil, and you could still
hear a TV station when the head was at full volume.

Good Luck!
Galen Watts

>
>Cross-posted to rec.audio.pro, where they should know.
>
>Michael Breen
>singing and philosophizing
>(and also operating in the dark)


Newsgroups: rec.music.makers.bass
From: barsz@bnr.ca (Peter Barszczewski)
Subject: Re: Flea's effect
Organization: Bell-Northern Research Ltd.
Date: 22 Dec 92 14:39:35

francis@csli.stanford.edu (Straw Man Dude) writes:

>   What is the effect that Flea uses to get that fuzzy tone
>   on Sir Psycho Sexy? (from RHCP's Blood Sex Sugar Magik)

A Mutron Envelope Filter.  Just try and find one at any price!

Regards,
--
Peter A. Barszczewski         |           .   .   .   .   .   .   .
(barsz@bnr.ca)                |        :    :    :    :    :    :    :
Bell-Northern Research, Ltd.  |     3     3     3     3     3     3     3
Montreal, Canada              |  D      D      D      D      D      D      D
Newsgroups: rec.music.makers.bass,rec.audio.pro
From: jna@silver.lcs.mit.edu (Hey You)
Subject: Recording Analog Synths
Organization: We Take What We Want, Inc.
Distribution: usa
Date: Wed, 30 Dec 1992 18:52:33 GMT

What's the best way to record an old, noisy, analog synth? I've got a 
sequential circuits Split-8, and it's noisy as HELL. You can hear immense
amounts of hiss when you bring the faders up, but that's a quality of the
synth itself (seeing as it's old and all) and not the rest of my equiptment.

Would compression / expansion change anything? 

-john


Xref: sparky rec.music.makers.bass:459 rec.music.makers:11643 rec.music.makers.synth:948
From: purelght@deeptht.armory.com (Eric Braun)
Newsgroups: rec.music.makers.bass,rec.music.makers,rec.music.makers.synth
Subject: Bass Technique Videos & Sounds
Date: 30 Dec 92 21:30:42 GMT
Reply-To: purelght@armory.com
Organization: Eric Braun Associates/PureLight Inc.

Hi,

1) Does anyone know of any good videos that teach popping techniques
   and other fun bass tricks?

2) Does anyone have ideas about getting dynamite bass sounds out of a
   DX7-II? I have a bunch of good bass patches. I was just wondering 
   if anyone had neat tricks to share.

Thanks in advance....
-- 
+-------------------------------------+
| Eric Braun	purelght@armory.com   |
+-------------------------------------+
Xref: sparky rec.music.makers.bass:467 alt.guitar.bass:2190
From: kevins@eng.auburn.edu (Kevin Sullivan)
Newsgroups: rec.music.makers.bass,alt.guitar.bass
Subject: bass/guitar
Date: 1 Jan 93 11:05:14 GMT
Organization: Auburn University Engineering

I turned on the TV yesterday and Phil Donahue (sp?) is on and they're 
talking about street musicians in New York.  A three piece band plays: 
drummer, keyboard synth (DX-7 :-P), and the leader plays a guitar with 
a _really_ wide neck and ten strings -- six string guitar on bottom and 
four string bass on top (closest to his head).  Did some pretty interesting 
stuff.  Oh yeah, it only had _one_ bridge for all ten strings.  I couldn't 
see the name on it but I've never seen one of these things.  Seems like 
a really short scale length for bass.
Newsgroups: rec.music.makers.bass
From: irmurray@math.uwaterloo.ca (Ian Murray)
Subject: Kramer Ferrington bass
Organization: University of Waterloo
Distribution: na
Date: Sat, 2 Jan 1993 18:52:12 GMT

Hey...

I'm somewhat captivated by a Kramer Ferrington acoustic/electric bass I saw
in a pawn shop recently.

Anybody ever own/play one of these beasts?

What might it be worth?

Thanks, Ian.
-- 
-------------------------------------------------------------------------------
Ian Murray                    | Overweight gypsies lack
Dept. of Applied Math., U.W.  | colour denomination   
irmurray@math.waterloo.edu    | and goggles.             -- the Tribe of Scribe
Xref: sparky rec.music.makers.bass:455 rec.audio.pro:2664
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers.bass,rec.audio.pro
Subject: Re: Radio on Amp
Date: 30 Dec 1992 18:39:20 GMT
Organization: University of California, San Diego
Distribution: usa
NNTP-Posting-Host: sdacs.ucsd.edu

In article <C01wG1.870@news.cso.uiuc.edu> khumphre@s.psych.uiuc.edu (Keith Humphreys) writes:
>The Summary line says it all.  Sometimes the radio comes in on my
>amop in between songs (my songs, not the radios). Anyone know
>why this happens and if it can be corrected?
>:

Happens (and happened) to me with long cable runs.  I used to tell the
other band members the cable was "acting like an antenna", but I was just
guessing.

Can anyone offer the technical reason this happens?

Cross-posted to rec.audio.pro, where they should know.

Michael Breen
singing and philosophizing
(and also operating in the dark)
From: garyr@hpspdla.spd.HP.COM (Gary Rosen)
Date: Fri, 25 Dec 1992 20:22:33 GMT
Subject: Re: first audition
Organization: HP Stanford Park - Palo Alto, CA
Newsgroups: rec.music.makers.bass

>I hope nobody minds a stupid newbie question.

>I've been playing for six months, working with two teachers (one strictly
>reggae, one rock/blues/jazz) and I'm getting awful itchy to play with a
>band.  I have my first audition in two weeks with a 3-piece band who are
>turfing their current bass player.  I have heard the band play once,
>am going again next week and will be getting a 10-song demo from them
>tomorrow.  Now I would like to humbly appeal to you veteran players for
>any advice or wisdom you might have regarding auditions.  I'm really
>not sure what to expect.  Anecdotes would be appreciated, but nothing
>TOO horrifying or I might chicken out.  :-)  Thanks lots.

>Lois-Anna

I think that at this point in your musical career you should regard an
audition as a learning experience, whether you get the job or not.  I
believe that beginning musicians should get as wide a variety of
experience as possible, and you should try to line up other auditions or
jams if possible instead of having your "heart set" on this one band.
This is particularly important for bass players, since bass is
essentially an ensemble instrument.

Another thing: have confidence in yourself and trust your instincts.  It
is common for beginning musicians to get put down by others who have
only slightly more experience and knowledge than they do.  You learn the
most from playing with good musicians (those better than or more
experienced than yourself) but try to distinguish those who are trying
to be helpful from the egotistical know-it-alls.  I have found that 99%
of the time (though not 100% of the time :^)) that the *really* good
musicians have no need to show off - their playing speaks for itself.

- Gary Rosen
Newsgroups: rec.music.makers.bass,alt.bass
From: fredh@cv.hp.com (Fred Handloser)
Subject: Aria ProII Bass
Summary: Aria ProII Bass
Organization: Hewlett-Packard Company, Corvallis, Oregon USA
X-Newsreader: Tin 1.1.3 PL5
Date: Sat, 2 Jan 1993 05:35:03 GMT

I just borrowed an Aria Pro II bass from my brother-in-law.  I've never
heard of this bass before.  Does anybody know anything about this bass?
He purchased it about 5 years ago for about $200.00 in San Fancisco.

It has two pickups that look like a P-bass configuration encased in one
piece of plastic.  That is the pole pieces are like the P-bass but the
pickup's shape is a rectangle like a soapbar pickup.  It has one tone
and one volume control and a switch to select bridge, neck or both
pickups.  I seems about average as far as playability.  I haven't played
it through an amp yet.  I need to lower the action a little.

I was cleaning it today and the A string broke right at the bridge saddle
when I pushed it to the side slightly to clean under the string.  I noticed
the saddle had a pattern in the small groove that holds the string from
moving side to side.  The pattern looks like the windings of the string.
I was wondering if I should take a small rat-tail file and smooth the
groove in the saddle. 

My brother-in-law has not played this bass much.  If I like the bass and
decide to offer to buy it,  what would be a fair price for both of us?

  Thanks for any info,
  Fred Handloser
  Corvallis, Oregon
  fredh@cv.hp.com   
Newsgroups: rec.music.makers.bass
From: morrowjp@rtsg.mot.com (Jerry P Morrow)
Subject: What's SWR's tech support phone number??
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: usa
Date: Thu, 31 Dec 1992 16:15:30 GMT

the subject says it all!
Jerry
Newsgroups: rec.music.makers.bass
From: francis@csli.stanford.edu (Straw Man Dude)
Subject: Flea's effect
Organization: CSLI, Stanford University
Date: Mon, 21 Dec 1992 18:33:56 GMT

What is the effect that Flea uses to get that fuzzy tone
on Sir Psycho Sexy? (from RHCP's Blood Sex Sugar Magik)
Newsgroups: rec.music.makers.bass
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: string guage
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Date: 3 Jan 93 09:56:31

   From: fredh@cv.hp.com (Fred Handloser)
   Organization: Hewlett-Packard Company, Corvallis, Oregon USA
   Date: Sat, 2 Jan 1993 06:16:48 GMT

   I was thinking that a heavy string guage would require a higher
   tension to achieve a given pitch than a lighter guage string but 
   tonight I was thinking that the tension required for any given pitch
   is really a factor of the guage of the solid core of the string rather than
   the guage of the final wound string.  I wanted heavier guage strings to 
   make my E sting have higher tension since my 30 inch scale lengh bass
   seems to have a sloppy low E.  Does anyone know which determines what 
   tension is required for a given pitch, the guage of the solid core of a 
   string or the guage of the final wound string?

*Somebody* fell asleep during a freshman physics class!  :-)  

The pitch of a string is determined entirely by the string length, the
tension, and the mass-per-unit-length of the string.  (See the "Waves in
Elastic Media" chapter in "Physics I", Halliday and Resnick for the gory
details.)  For pitch, the diameter and internal construction specifics of
the string only matter to the extent that they determine the mass-per-
unit-length.

 -- Don

Newsgroups: rec.music.makers.bass
From: ars1@cunixa.cc.columbia.edu (Sinn Santos)
Subject: Re: first audition
Reply-To: ars1@cunixa.cc.columbia.edu (Sinn Santos)
Organization: Columbia University
Date: Tue, 22 Dec 1992 06:03:10 GMT

In article <Bzn5s1.6C1@helios.physics.utoronto.ca> dooley@aurora.physics.utoronto.ca (Kevin Dooley) writes:

>any advice or wisdom you might have regarding auditions.  I'm really
>not sure what to expect.  Anecdotes would be appreciated, but nothing
>TOO horrifying or I might chicken out.  :-)  Thanks lots.
>
>Lois-Anna

Well, one thing I would like to strongly suggest is that you do not try to
change the way you behave in order to fit the personality of the band.  Know
the tunes well, but add your own little touches, and if they're smart, they'll
worry about slight personality conflicts later.  (I've heard rumors about
Metallica and Troy gregory; Troy claims that he didn't make the cut because he
was a nice guy, and Jason turned out to be the perfect cocksucker for the job.
Kinduva disgruntling story, but thought I'd relay it to ya.)

Just go in, have a good time, and if they don't think you're It, it is 
definitely not the end of the world.  Just my $1.25 ($0.02 won't get you on
the bus anymore).



  OOOOO  OO  OOOO   OOOO     sinn santos, computer music, columbia university.
 /OO/// /OO /OO//O /OO//O     "They can take the record, and they can SHOVE
 //  OO /OO /OO /O /OO /O     IT RIGHT DOWN THEIR THROATS!"   "Money talks,
  OOOOO /OO /OO /O /OO /O      and bullshit walks..."  "Every song's a hit!"
Newsgroups: rec.music.makers.bass
From: irwin@usdev.enet.dec.com ()
Subject: Re: Flea's effect
Reply-To: irwin@usdev.enet.dec.com ()
Organization: Digital Equipment Corporation
Date: Tue, 22 Dec 1992 21:11:30 GMT



I agree with the attitude and personality stuff.  I've been in 5 bands that
played out on any kind of regular basis over the past 12 years, and seen many
a player come and go.  Electric and Steel guitar players most often, I think
that also stemmed from personality type trouble.  

It's most important not only that they "get along" with you, but also you do
with them.  Getting down the tunes and licks is easy, piece of cake.  All that
takes is working at it.  The tougher the song, the more time to work at it,
but then it's there, and ya don't forget it.

You don't all have to get along perfect, but at least pretty good, and have
the same mind set for what your looking for.  Like, play out EVERY weekend,
every other, do originalsk, covers , etc etc....

If someone does not get along right off the bat, it will get MUCH WORSE LATER !

Be cool, I'm sure it will go fine.  Sounds like your pretty excited.  I've 
done some dumb things at some audtions, that the band members laughed their
head off at, then realized, hey, this is just the kind of guy we'd like to
hang out and jam with !!   It really is like a family, usually without the
sex, although I remember my first country band with a few hot babes in it ....

Ahhh..... the good ole' days !!

Enjoy, I'm sure you'll do fine,

Dave
From: mrk@gvgspd.gvg.tek.com (Michael R. Kesti)
Newsgroups: rec.music.makers.bass
Subject: Re: first audition
Date: 22 Dec 92 18:50:55 GMT
Organization: Grass Valley Group, Grass Valley, CA
NNTP-Posting-Host: gvgspd.gvg.tek.com

In article <Bzo6vs.2u8@hfglobe.intel.com>
                             dcovell@hfglobe.intel.com (David Covell) writes:

>                                     A band is a close relationship, closer
>than some marriages and with many of the same troubles.

Indeed!  One of my favorite descriptions of what it's like to be in a band
is that it is similar to being married to three or four people at once,
without the benefit of sex (at least in none of the bands I've been in!).

-- 
============================================================================
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.bass
From: rost@tecrus.dec.com (My name is Brian Rost)
Subject: Re: Fast Picking
Organization: Digital Equipment Corporation
Date: 27 DEC 92 09:39:37    


In article <TVTawB3w165w@netlink.cts.com>, english@netlink.cts.com (Steven Foley) writes...
>I am not a very fast picker (probably due to the fact that I am a 
>beginner), and I would love to increse my speed as well as my accuracy (I 
>miss a lot of the upward strokes when alternate picking).  Does anyone 
>have any drills that they did or some advice for picking up the tempo?
>Thanks.

Practice with a metronome or set up a drum machine playing a *simple* beat.
Play major, minor, pentatonic scales, common licks, etc. at SLOW tempos making
great care to use alternate picking.  If you can play with no mistkes for say
five minutes, then advance the tempo about 10% and repeat.  Soon you should be
playing at faster tempos easily.  The real trick is learning the picking at the
slower  tempos, trying to learn something while playing too fast is the likely
source of your problem.

					Brian Rost @tecrus.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************

Newsgroups: rec.music.makers.bass,rec.audio.pro
From: skipb@IMD.Sterling.COM (Skip Burrell)
Subject: Re: Radio on Amp
Organization: Sterling Software
Distribution: usa
Date: Wed, 30 Dec 1992 21:33:29 GMT
X-Md4-Signature: 398c783cc67a5581abe572c6f60da7c8

In article <1hsqcoINNklb@network.ucsd.edu> mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>In article <C01wG1.870@news.cso.uiuc.edu> khumphre@s.psych.uiuc.edu (Keith Humphreys) writes:
>>The Summary line says it all.  Sometimes the radio comes in on my
>>amop in between songs (my songs, not the radios). Anyone know
>>why this happens and if it can be corrected?
>>:
>
>Happens (and happened) to me with long cable runs.  I used to tell the
>other band members the cable was "acting like an antenna", but I was just
>guessing.
>
That's pretty much what is happening, usually. This can occur when there is a 
fairly strong radio source in the area, and you are using a non-shielded or 
poorly-shielded cable. Another possibility is that there is a bad connection
somewhere, usually a bad solder joint, that sets up a EM-field around the 
connection that is succeptable (sp?) to interference by the radio signal. 90% of
the time the problem is the cable, but there could be bad connections in the
amp itself.

>Michael Breen
>singing and philosophizing
>(and also operating in the dark)


-- 
Skip Burrell	             UUCP:     uunet!sparky!skipb
Sterling Software IMD        INTERNET: skipb@IMD.Sterling.COM
1404 Ft. Crook Rd. South     Phone:    (402) 291-8300 x216
Bellevue, NE. 68005-2969     FAX:      (402) 291-4362

Newsgroups: rec.music.makers.bass
From: jimlynch@netcom.com (Jim Lynch)
Subject: Re: cleaning strings
Organization: Netcom Online Communications Services (408-241-9760 login: guest)
Distribution: usa
Date: Fri, 1 Jan 1993 13:53:12 GMT

In article <1httjuINNe63@uwm.edu> aragorn@convex.csd.uwm.edu (Steven J.) writes:
>Someone recently posted something about using alcohol and Windex for
>cleaning bass strings, or maybe even strings in general.  My question is in
>which order do I use these two compounds?

I'm the guilty party! Use the windex first, it has a detergent which gets
cleaned off by the alcohol. _Note:_ windex contains ammonia, be careful where
it goes.