HDTenEightyP/NetNews huggingface dataset:
Newsgroups: alt.guitar
Date: Wed,  7 Oct 1992 20:20:22 -0400 
From: Haw Juin Lin <hl27+@andrew.cmu.edu>
Subject: Re: Distortion pedal question

>  Last night I decided to plug in my old Ibanez Fat Cat distortion pedal and
>realised that I really hated the sound I was getting.  The main reason I hate
> it so much is that it gives such a week attack and the distortion isn't very
>'heavy'... Whatever the case, I've been using a Zoom 9001 for a couple years 
>just because it sounded so much better than my pedals.  I've been wanting
> to go back to the simplicity of effect pedals since I have problems with the 
>Zoom on stage and at practice. It's great in the studio.
>  Here's the question. Could the reason I hate my pedals be that I'm
not using 
>it thru a 'guitar' amp? I use a Peavey KB100. It sounds great with the Zoom
>since the Zoom has a chip that simulates a guitar amplifier or something. So,
>if I go get a guitar amp will I change my mind about my pedal and actually 
>begin to use it again?
>  Also anyone have any great things to say about the ADA MP-1?
> 
						Dan.

Yes...that could be one reason.


Another reason is that the batteries may have been low.




Q:  Did you check to see if the input level of the guitar was turned all
the way up?

Q:  Did you check for loose connection from the pedal to the amp or the
guitar to the pedal?

Q:  Did you check to see if the maximal gain of the KB amp was reached?

Q:  Was the guitar in working condition (pickups, wiring, etc.)


Hope that helps..

Merlin
Newsgroups: alt.guitar
From: jensen@neocad.com (Jeff Jensen)
Subject: Hotrodding Fender Amps
Organization: NeoCAD, Inc.
Date: Fri, 9 Oct 1992 16:28:26 GMT

If anyone has any experience modifying/hotrodding Fender
tube amps, or tube amps in general, I would be interested
in learning your techniques.

Since this has probably been beaten to death in this group
before, email me and I'll summarize for the net.
-- 
  Jeff Jensen   Neocad Inc.   2585 Central Ave.   Boulder, CO 80301
  (303) 442-9121 X116  Internet: jensen@neocad.com  UUCP: neocad!jensen
----------------------------------------------------------------------
"... watch from high atop Tokyo Tower as the twisted world you created
From: exubrst@exu.ericsson.se (Brad Steele)
Newsgroups: alt.guitar
Subject: '56 Les Paul Special
Date: 15 Oct 92 15:18:06 GMT
Reply-To: exubrst@exu.ericsson.se
Organization: Ericsson Network Systems, Inc.
X-Disclaimer: This article was posted by a user at Ericsson.
              The opinions expressed are strictly those of the
              user and not necessarily those of Ericsson.

I just got my hands on one for next to nothing and I'm wondering
what it might be worth.  It needs a new pickup and the finish is
looking pretty bad (heck, the thing's 36 years old).  Otherwise it
plays and sounds great.

Brad
From: gistim@uxa.ecn.bgu.edu (Tim Raebig)
Newsgroups: alt.guitar
Subject: forsale
Date: 9 Oct 92 19:33:17 GMT
Distribution: usa
Organization: Educational Computing Network

Posting for a friend, respond through e-mail.

Forsale:

              Gibson Les Paul Custom, three EMG humbuckers, white
              with gold hardware.

                                  and
\
              Ampeg 1002 head.  100 Watts, dual channel.

Accepting offers for both or either
                                                                    .
From: dbk@cs.umd.edu (Dan Kozak)
Newsgroups: alt.guitar
Subject: Re: Alternate tunings
Date: 16 Oct 92 16:51:03 GMT
Organization: U of Maryland, Dept. of Computer Science, Coll. Pk., MD 20742

In article <haley.718958600@husc10> haley@husc10.harvard.edu (Elizabeth Haley) writes:
>Robert Fripp amazed me with things from King Krimson, both in stndard
>and quite bizarre tunings.

What Crimson is in other than standard tuning?  I think that Fripp's
"new standard tuning" as used in Guitar Craft postdates Crimson and
I've never heard him speak of any other tunings.

#dan

Clever:         dbk@cs.umd.edu    | "Softly her tower crumbled in the 
Not-so-clever:  uunet!mimsy!dbk   |  sweet silent sun." - Nabokov
Newsgroups: alt.guitar
From: db@seachg.uucp (David Bell)
Subject: Re: Volume pedal in FX loop
Keywords: Volume pedal vs. guitar volume pot
Reply-To: db@seachg.UUCP (David Bell)
Organization: Sea Change Corporation, Mississauga, Ontario, Canada
Date: Fri, 9 Oct 92 13:15:36 GMT

In article <1992Oct05.061437.21890@aragon.stgt.sub.org> dstoll@aragon.stgt.sub.org (Dieter Stoll) writes:
>Ever since I started playing electric I have always had a volume pedal in
>the amp's FX loop. So, to turn down or crank up the volume, I never really
>use the guitar's volume pot (it's always full up). I guess the advantage is
>that you don't lose treble when turning the volume down, and that preamp
>distortion works basically unaffected by the overall volume (it's almost like
>turning the master volume of the amp down). 
>I have always used this more or less intuitively, without much thinking about
>the pros and cons. However, I rarely see the "big shots" using this technique -
>most of them have a nicely uncluttered stage, with no pedals and cables
>whatsoever.
>What do YOU think? Anyone using a volume pedal like this?
>-- Dieter Stoll
>

Yeah, it works great for all the reasons you mentioned.

-- 
Dave Bell

Sea Change Corporation        
Mississauga, Ontario, Canada    
...!uunet!uunet.ca!seachg!db
From: fennig@fennig (Kurt Fennig)
Newsgroups: alt.guitar
Subject: Re: Speed picking and heavy metal cord riffs
Date: 9 Oct 92 15:30:40 GMT
Organization: Mitel. Kanata (Ontario). Canada.
X-Newsreader: Tin 1.1 PL3

rbanksjr@nyx.cs.du.edu (Richard E. Banks Jr.) writes:
: 
: Question 1: What is your technique for speed picking single strings and
: cords?  How do you hold the pick?  How hard do you pick?  I'm semi-new
: to guitar playing and have been trying to peed pick but its not working
: for me.
: 
 I use a medium pick although I believe a heavier pick is better for
 speed picking.  I hold the pick fairly close to the point and I pick the
 string a slight angle to the strings.  Experiment with palm muting as
 you pick since this will probably increase you accuracy in speed picking.
 For speed picking cords, definitely palm mute the strings (side of your
 hand muting the strings).  I hold the pick fairly hard but some of my
 friends pick very lightly.

: 
: Question 2: Could someone send me some basic heavy-metal rhythm riffs that
: I can practice and play.  Thanks.  Rich
From: procopio@graphics.cis.upenn.edu (Joseph L. Procopio)
Newsgroups: alt.guitar
Subject: Re: Stew-Mac info wanted (was Re: Stratocaster a'la Warmoth?)
Date: 9 Oct 92 16:15:56 GMT
	<1992Oct1.204808.1570@intelhf.hf.intel.com>
	<Bvrut2.2o2@watdragon.uwaterloo.ca>
	<1992Oct8.071137.1@ducvax.auburn.edu>
Organization: UPENN Computer Graphics Research Laboratory
In-reply-to: swanger@ducvax.auburn.edu's message of 8 Oct 92 12:11:37 GMT


Stewart-Macdonald's Guitar Shop Supply
	800-848-2273 from US or Canada
	614-592-3021 from anywhere else

FAX: 614-593-7922


Address: 21 N. Shafer St.
	 Box 900
	 Athens, Ohio 45701


	
Newsgroups: alt.guitar
From: wayne@inmet.camb.inmet.com (Wayne Wylupski)
Subject: JCM-900 opinions wanted
Organization: Intermetrics Inc, Cambridge MA
Date: Fri, 16 Oct 1992 14:20:59 GMT

I'm looking at a Marshall JCM-900 to buy.  Has anyone tried this model
and what is your opinion of it?  Have you noticed any particular problems
or pluses with this amplifier?

For the record, it's a 50 watt combo amp.  It has been used (only for 8 
months) and it's selling for $575.  My only concern is having one set of
tone controls for both channels -- how much of a limitation is that?

wayne
-- 
Wayne Wylupski    {...!}uunet!inmet!wayne    wayne@inmet.camb.inmet.com
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: alt.guitar
Subject: Re: the hum that just won't die
Date: 15 Oct 1992 20:53:14 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <92289.115644U59919@uicvm.uic.edu> <U59919@uicvm.uic.edu> writes:
>I'm playing an imitation of a jap-strat.

Ah! An imitation of an imitation!  Gotta love it...

>Although cheap, I expected it to be good.
>Everytime I plug it in, my amp hums (background noise).
>I tried putting the pick-ups magnetically out of phase, but it didn't help.
>I recently got a gibson bass.
>Active pick-ups and full shielding.
>It hums.
>Is it my amp or do I live in an electro-magnetinc soup?
>I'm using a small (10 watt) Crate combo amp.
>Any suggestions would help.
>Inexpensive or free ones would help even more.
>
>Thanx in advance
>Theodore Penn

My first bass was a total piece of sh*t, so I can sympathize.

Of course, with a whole ten watts, you wanna be able to stand right in
front of your amp so you can *feel* the burn (yeah, right...try 250W or
so).  Try moving around a bit...your pick-up is probably doing a pretty
good version of feedback where you're standing.

From my experience with thie complex phenomenon, you will find that the
only way you can get it to not hum is to stand around the corner with
one foot up on a chair and the guitar held straight up over your head.
Probably look cool on stage though.

Hey, I'm serious about the moving around to find a good spot bit;
the rest is just the ramblings of a man at work on a very
strange
Thursday...

Michael Breen
singing and philosophizing
(and starting to believe those stories about stored LSD re-entering the mind)
Xref: sparky alt.guitar:8854 rec.music.makers:10179
Newsgroups: alt.guitar,rec.music.makers
Subject: HELP: Jaguar Problems
From: scduncan@miavx1.acs.muohio.edu (Sean C. Duncan, Idiot)
Date: 12 Oct 92 21:19:03 -0500
Organization: Miami University Academic Computer Service"

Here's my problem (I think I know what the cause is, but would like some
other opinions nevertheless)...

I've got a '64 Fender Jaguar, which is wonderful shape except for a problem
with the saddles.  I have a consistent buzz on the highest 2 strings, which
often makes the guitar sound sitar-ish (much to my annoyance and occasional
humored pleasure).  It's not fret buzz, and seems to be coming from the
way the string rests upon the saddles... since the Jaguar has the saddles
that allow for quick string adjustment, it's got five or six grooves
parallel to the string that the string can rest in.  Is this the problem?

I haven't been able to figure out exactly which grooves are causing the
problem and it's really getting annoying.  Any ideas?  I've thought about
getting them replaced, but I don't know how much it would cost or if it would
be worth it -- do they even make replacement parts like this, or would I have
to get an entirely new bridge?  (I don't give a shit about kollektor skum
prices going down and all that... the guitar's been entirely refinished 
anyway.)

Also, I've been having a problem with the action lowering after I play it
for a few weeks... I raise it, then after 3 or 4 weeks, it drops to 
fret buzzing levels.  I tune up often (blame Sonic Youth) and maybe the 
string tension pushes the saddles down?  Any ideas?

Thanks,
-- 
Sean C. Duncan, scd@einstein.bgsu.edu :: scduncan@miavx1.acs.muohio.edu
"The best thing to come out of Ohio is I-75." - Anonymous
_______________________________________________________________________
Newsgroups: alt.guitar
Subject: Re: Alternate tunings
From: haley@husc10.harvard.edu (Elizabeth Haley)
Date: 13 Oct 92 06:43:20 GMT

TMCCART3@ua1vm.ua.edu writes:


>a guitar player who does new and interesting things
Period.
Robert Fripp amazed me with things from King Krimson, both in stndard
and quite bizarre tunings.
The only things that matters is does your heart/head/feet move when
they do it.
If you want to know how, and it's a new tuning, great. But you can
really suck with a new tuning or the old one.
(Speaking as a person whose guitar is tuned D A D G B E. Why? Cause
I'm Lazy!)
So I guess my answer is both or neither...

Newsgroups: alt.guitar
From: rost@rgb.dec.com (My name is Brian Rost)
Subject: Re: Gibson's sales policy
Organization: Digital Equipment Corporation
Date:  9 OCT 92 13:18:18    


>In article <92282.075109WAUGH@SLACVM.SLAC.STANFORD.EDU> <WAUGH@SLACVM.SLAC.STANFORD.EDU> writes:
>>
>>At this point the salesperson, who I know to be wise in the ways of the music
>>biz, informs me that Gibson is limiting the number of Les Paul Customs to
>>dealers who will commit to a set number of L-5s, Super 400s, Byrdlands and the
>>like. 

Gibson has had a policy like this for years, i.e. to have a franchise you had
to commit to a minimum number of pieces of certain models, whether you can sell
them or not.  As long as they are making money doing this, I see no reason for
them to stop.  The rationalization I suppose is to protect certain dealers
(i.e. you can't go just anywhere to get a LP Custom) in return for them
carrying the full line of stuff.  After all, with mail order availability of
the cheaper Gibson stuff, there's more pressure on the local dealer price-wise.
The Gibson policy helps protect him somewhat.

					Brian Rost @rgb.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.					   *
	*						   *
	****************************************************
From: denio@scubed.com (Dennis C. O'Neill)
Newsgroups: alt.guitar
Subject: Re: Alternate tunings
Date: 14 Oct 92 13:05:35 GMT
Organization: S-CUBED, A Division of Maxwell Labs; San Diego CA

In article <1687DA0E2.TMCCART3@ua1vm.ua.edu TMCCART3@ua1vm.ua.edu writes:
> I have a Deep Philosophical Question that I hope will inspire some
> discussion.  Which impresses you more, a guitar player who does new and
> interesting things b y playing around with weird tunings, or a player
> who does amazing things by wor king within the restrictions of standard
> tuning? I realize this is probably and unfair question, and I'm not
> sure how I feel about it. Whattya think?

One of the most musical things I ever heard was done by Hermeto Pascoal's
band, using cinder blocks and plastic sewer pipe.  Don't know what tuning
they used.

Personally I don't care what tuning someone uses if what they do musically
is moving.  I'm more interested in standard tuning myself, but I've 
heard some wonderful things in alterred tunings (e.g., Leo Kottke).
-- 
Dennis O'Neill (denio@seismo.css.gov)
Newsgroups: alt.guitar
From: gutzmann@acri.fr (Kurt Gutzmann)
Newsgroups: alt.guitar
Subject: Re: Help! Tension forces in the strings?
Date: 8 Oct 92 09:42:56 GMT
Reply-To: gutzmann@acri.fr
Organization: Advanced Computer Research Institute

In article 1aa4cpINNald@bigboote.WPI.EDU, jhughes@bigwpi.WPI.EDU (Jason C. Hughes) writes:
>Interestingly enough, I read today that the units for Tension has now been
>changed to kg instead of newtons.  I learn something every day.
>

It seems a little strange to learn that units for tension are now different,
somehow magically occurring.  Perhaps you are confusing different "systems of
units" (e.g. centimeter-gram-sec, meter-kilogr-sec, ft-lb-sec, and so on).
Engineers work with mks and ft-lb-sec typically, while physicists and
electrical engineers tend to use cgs more.  Take your pick. The key ingredients
in a system of measure are distance-force-time.

>Unless I am mistaken, or musicians have redefined tension to suit their needs,
>tension is measured in kg m/s/s.  Just a little note of clarification,
>
You are right that 'tension' is a force unit, not a derived unit as cited
above.



---
_________________________________________________________________
       o
      /_~.        Kurt Martin Gutzmann   | Adv. Comp. Rsrch. Inst.
    ()\/ ()  /|\    gutzmann@acri.fr     |     Lyon, France
_________________________________________________________________
"This signature file is an expression of my individual
 creativity and belief in personal freedom..." -- Sailor
Newsgroups: alt.guitar
From: braunste@fjord.ATMOS.ColoState.Edu (lance the braunstein)
Subject: Re: Where to buy guitars on the east coast?
Date: Wed, 07 Oct 1992 19:19:34 GMT
Distribution: usa
Organization: Colorado State University, Fort Collins, CO  80523

In article <BvrFKL.B7q@news.udel.edu> schliep@bach.udel.edu (Alexander  
Schliep) writes:
> Sorry if this is a FAQ,
> but im a looking for a new guitar. I would like to get something like
> a Telecaster. I ve played one of the G&L telecasters (the one with
> a $1199 list price, it was on sale for $799. Good deal??) and was quite
> impressed. Any opinions and recommendations appreciated.
> 
> Which shops can you recommend in either
> Delaware and the adjacent areas of PA,MD,NJ.
> 
> or NYC or Washington,DC.
> 
> Thanks a lot.
> Alexander
> 
> schliep@bach.udel.edu

you can almost always get a good price at sam ash in new jersey.  i think  
it's on route 17 or route 4.  they'll usually haggle with you and if  
you've got cash they'll go the extra mile to make the sale.

steam
Xref: sparky alt.guitar:8867 rec.music.makers:10184
From: larryh@cabezon.uucp (Larry Huntley)
Newsgroups: alt.guitar
Subject: Re: forming chords
Date: 15 Oct 92 00:04:49 GMT
Organization: Logic Modeling Inc of Beaverton Oregon

In article <Oct08.030331.16731@yuma.ACNS.ColoState.EDU> braunste@fjord.ATMOS.ColoState.Edu (lance the braunstein) writes:
>is there a systematic way to form a suspended (sus) chord?  for instance,  
>is Asus4 simply an A with the 4th note moved up one?

    A suspended fourth is a triad (one-four-five, I-IV-V) with the IV used
    in place of the third usually found in the  major triad.  As a
    practical example, let's take a C-major triad.  This would have the three
    notes: C E G; these are the I, the III, and the V.  Now, if we add the
    four (IV), F, we have C E F G.  This is somewhat dissonant, so is nor-
    mally played as just the I, the IV, and the V (C F G.)  This is the
    suspended fourth chord, named for the 'suspended' IV tone in the triad.
    It usually resolves to the major triad.  This resolution sounds like the
    end of 99% of the hymns sung in protestant churches (the "Ahhhhhhh-mennnn"
    part.)  It's written Csus4 (or Xsus4.)

    On the guitar, the dissonance is not so noticeable if the III is played
    an octave or more distant from the IV, so we can play it like:


    E|----|----|----|----|  III  E
    B|--O-|----|----|----|  I    C
    G|----|----|----|----|  V    G
    D|----|----|--O-|----|  IV   F (Resolves to the III, E)
    A|----|----|--O-|----|  I    C
    E|----|----|--O-|----|  V    G

    The resolution is accomplished by letting the F on the 4th (D) string
    move down one fret to the E.


>also, i've seen  
>people posting "+" chords - like B+.  what's up with that?  is it supposed  
>to denote a sharp?
>
	"X+" denotes an X augmented chord. (I #III #V)
	"Xo" is X diminished.  (I bIII bV)

    Looks like we need a  basic harmony section in the FAQ.  I'll look into
    it.  In the meantime, get a first-semester harmony book and read it in
    your spare time.  Interesting reading, if not exactly tense, gripping
    drama.


	- Happy Playing,

		Larry Huntley
-- 
         (larryh@lmc.com)         | She made champagne out of 7-Up and
     Logic Modeling Corporation   |       cheap wine.  A chemist! 
          Beaverton,  OR          |  - "Earth To Doris" [Was (Not Was)]
Newsgroups: alt.guitar
From: teli@smos.com (Te-Li Lau)
Subject: Washburn EA30 Guitar
Organization: S-MOS, Inc
Date: Thu, 8 Oct 1992 15:51:10 GMT

I saw an ad for a Washburn EA30 Guitar. Can somebody provide me
with information or any experiences that they had and also what's
the relative worth of such a used guitar.

Thanks..

Te Li

-- 
/teli@khan
Newsgroups: alt.guitar
From: nahigian@athena.mit.edu (Gabriel H Nahigian)
Subject: Re: forming chords
Organization: Massachusetts Institute of Technology
Date: Sat, 10 Oct 1992 23:20:59 GMT

In article <BvwuxM.7o@usenet.ucs.indiana.edu>, jtblair@silver.ucs.indiana.edu (John Blair) writes:
|> My two cents on sus chords:
|> 
|> Actually I don't think it's either a raised third or a replaced one. Orininally
|> and ideally if you're really going to call a sus chord, the  note has be
|> *sustained* from the previous chord, so a Gsus4 has a c left over from a
|> C, Amin, F, etc. preceding it.  It can still have its own 3rd.  If you
|> play a Gsus4 without a b, you got something that can be confused with a
|> modal or quintal chord (wwhatever that means.  Who can say that it's a
|> G at all?   The sus4 chord has probably gained something of an independent
|> status, for all I know, and can be played anytime, but if it has, it might
|> be more appropriate to it a Gadd4 or  somesuch.   This is starting to
|> sound a bit pedantic.  I use an appropriate smiley, but I don't really
|> know them.  Hmmmm!             john Schmarrn 
   
     In the classical sense, you are absolutely correct.  When writing figured
bass, the notation (sus) denotes a note suspended from the previous chord into
the current chord.  More recently, however, this notation is interpreted as
playing the major chord with the third tone raised one-half step.
     Incidentally, my theory teacher is going to be absolutely thrilled that I
remembered this.

Gabe (nahigian@athena.mit.edu)
     "If it sounds good, you played it right."
Newsgroups: alt.guitar
From: loffit@wam.umd.edu (Dixie Cup)
Subject: Re: Date This Les Paul
Organization: University of Maryland, College Park
Date: Fri, 9 Oct 1992 04:22:26 GMT

In article <1992Oct8.192453.8699@samba.oit.unc.edu> Daniel.Parmet@bbs.oit.unc.edu (Daniel Parmet) writes:
>A friend of mine has a Gibson Les Paul Custom that he bought several
>years ago.  I think he paid $550 for it.  He and I are curious as to
>the date (and value) of the guitar (which needs some work).
>
>The serial is 00119520.

Are you sure about the serial number?  Describe what the guitar looks like
and ask a really nice guy named Rob Spray (spray@convex.com).  If that
is the real serial number I don't know when the guitar was made.  I'd guess
mid or early seventies.  What information I've gathered in the past (mostly
from Rob Spray) is that the 1st and 5th digits are the date.  If the serial
number were 80119520 it would mean it was made in 1989.  Actually, the
2nd-4th digits are the Julian day.  So you'd know it was made on January
11th.  And to top it off, you'd also know it was the 21st guitar made that
day in Nashville (from the last 3 digits).  Gibson didn't start this serial
number scheme until the mid seventies.  My Les Paul Custom has a six digit
serial number but other things (like it has Made in U.S.A. engraved on the
headstock) indicate that it was made in the early seventies.  Send Rob Spray
a complete description of your guitar and maybe he'll be able to help you date
it.
From: tmills@unpcs1.cs.unp.ac.za (Timothy Mills)
Newsgroups: alt.guitar
Subject: UPDATE : Peavey Pro-Fex MIDI Guitar Sound Module !!!!
Date: Mon, 12 Oct 1992 09:16:22 GMT
Organization: Dept. Computer Science, UNP
Distribution: world
NNTP-Posting-Host: pc021.cc.unp.ac.za

Howdee once again,

Sorry to let you know but there was a configuration error in the last 
letter when it was posted! As a result all your replies have bounced and so 
I haven't recieved any ! Please,if you don't mind,could you resend your 
replies by reading the UPDATE article.I have rewritten the last letter below
for your attention.Sorry for the inconvenience.Many thanks.

I read an article on a new guitar sound module,called the Peavey Pro-Fex
MIDI Guitar Sound Module,a couple of months ago.I did not get enough info
from the article so I decided to use the network to hopefully get some !
I would like to know the current price for the sound module from anybody
who has it on hand (never mind the currency).If anyone has had the
opportunity to use the module,some feedback on its capabilities would be
much appreciated.What I would also like to know is what the best MIDI guitar
is,that could be used with the sound module.

Many thanks for your time.

Yours in guitaring
T.J.Mills
( tmills@unpcs1.cs.unp.ac.za or tmills@unpsun1.cc.unp.ac.za )
Xref: sparky alt.guitar:8666 rec.music.makers:10075