HDTenEightyP/NetNews huggingface dataset:
From: mfallero@doc.bmd.trw.com
Newsgroups: rec.music.makers.guitar
Subject: Re: SGX2000
Date: 28 Jan 93 11:18:56 MST

In article <1906@ocpt.ccur.com>, manfredi@ocpt.ccur.com (Lou Manfredi) writes:
> Hi,
> 
> Is anyone out there using a Art SGX2000 guitar processor. I so how
> does it perform. Can it be used live with no problems or is it best
> utilized as a studio device??
> 
> Reply to SMPT"manfredl@ocpt.ccur.com":Lou Manfredi

I have had an SGX2000 for about a year now.  I've spent some time trying
to develop my own presets.  I posted a question in alt.guitar re: what
effects I need to get killer sustain out of the unit without a lot of
distortion.  I have also experienced some frustration trying to get
a blues tone that I like out of the unit.

The original presets are very good, lots of types of distortion.  I 
haven't used it live but it is great in the studio.  I a little 
disappointed with the user's guide.  I'm a pilgrim when it comes to 
effects, and I think the user's guide could have explained the 
details of the unit a little better.  But with a little study, I was
able to figure most things out.

I'd be interested in seeing any presets other owners use, or some answers
to my original questions on killer sustain w/o a lot of distortion, and also
on how to get a good blues tone out of it.

Mark Falleroni
TRW Defense Systems
Ogden Engineering Operations
Ogden, Utah 84403
From: jacobson5821@iscsvax.uni.edu
Newsgroups: rec.music.makers.guitar
Subject: Alex Skolnick
Date: 22 Jan 93 10:35:07 -0600
Organization: University of Northern Iowa

Does anyone know how I could get into contact with Alex Skolnick of Testament?
If so, email me at Jacobson5821@iscsvax.uni.edu
                                Thanks,
                                       Paul

Newsgroups: rec.music.makers.guitar,alt.guitar
From: META <META@UNB.CA>
Subject: Adding master volumes
Organization: The University of New Brunswick
Date: Sat, 23 Jan 1993 17:27:45 GMT

I just got a copy of Aspen Pittman's "Tube Amp Book, Vol. 3" from
Stewart-MacDonald's Guitar Shop Supply.  Wow.  Both are highly
recommended (even though the Pittman book ought to come with a
magnifying glass!).  While browsing through the schematics of the
hundreds of amps in the back, I was struck, first of all, by the
common factor between Marshalls and old Bassmans of having the tone
controls AFTER the initial volume and gain stages.  I was reminded
of a column Craig Anderton had some years ago about fuzzes and
filters, in which he discussed the pros and cons of sticking tone
controls after a fuzz, versus sticking them before a fuzz.  If you
think of guitar pre-amp stages as distortion producing devices, it
kind of maps onto Craig's comments.  Tone controls up front
determine what kinds of of harmonics will   be generated most by later
gain stages, while tone controls after select out which harmonics
one wants.  Analogous to sticking a wah after or before a fuzz.
Before is interesting, but after tends to provide the more desirable
personality-laden sounds.

The other thing I noticed was that the Marshall circuits (not all,
but the more famous ones derived from the Bassman design) include a
master volume control which simply consists of another volume
control placed after the tone controls.  Nothing fancy, just another
pot in the signal path.  Are there any substantive reasons (beyond
voiding warranties) why this would NOT be a reasonable modification
to either an original or reissue Bassman?

I also noticed that the Presence circuit is a little different on
the reissue and vintage Bassman.  Anyone who has feelings one way or
the other about their Presence control?  Is one more prone to noise
or anything undesirable than the other?  Is one more interactive
with the tone controls than the other?

While we're at it, can you add a presence control to one of those
single-tube class A amps or is it exclusively the domain of
push-pull phase-splitter amps?  One tends to see them only in the
latter, but I don't know if that's a function of design limitations
or design choices.

Mark Hammer
From: cfthb@ux1.cts.eiu.edu (Howard Black)
Newsgroups: rec.music.makers.guitar
Subject: Re: INFO needed on HAGSTROM guitar please...
Date: 26 Jan 93 15:23:21 GMT
Article-I.D.: ux1.1993Jan26.152321.30775
Organization: Eastern Illinois University

In article <C1GuCr.Ls0@news.udel.edu> walt@diusys.cms.udel.edu writes:
>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.

    My first electric was a Hagstrom....a long time ago.  IMHO, it was a
piece of junk.  Unless vast improvements have been made in the past 30
years, Hagstroms still are.
-- 
   ******************************************************************
     Howard Black                             cfthb@ux1.cts.eiu.edu
     Department of Chemistry                  Eastern Illinois Univ. 
Newsgroups: rec.music.makers.guitar
From: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Subject: Re: breaking high e
Originator: npstewar@c00010-118dan.eos.ncsu.edu
Reply-To: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Organization: North Carolina State University, Project Eos
Date: Thu, 21 Jan 1993 19:39:11 GMT


Lots of people are suggesting changing string gauges and playing styles to 
alleviate the problem, but IMO that should be a last resort. (Or a temporary fix
until the real problem is fixed.) Over the last 3 or 4 years, I've gone from
9's to 11's. Only while I played 9's did I ever break strings.  When I played a
lot, (2 nights rehearsal, 1 night onstage + daily noodling around) I found I
changed strings about every two weeks, since I've cut back, I change every month
or however often I can afford them. (I'm a student.)

During the summer months especially, I sweat very corrosively, so my strings go
dead faster, but didn't break as long as I changed 'em when they start to dull
in tone. My preference (for the last 7 years) was D'Addario, and I've not had 
problems with them. In my experience, intonation problems developed before they
get in the condition to break whenever they feel like it.  I'm currently using
DR Handmade strings (at about $1 more a pack than D'Addario), which I love to 
death, but I'm only on my second pack, so I can't say too much for consistency
yet, but I've had no problems here either. I don't really expect to have break-
age problems here either since I'm now playing a set 11-(52?) on a non tremelo
Zion Strat. I played an Ibanez RG-550 for about 3-4 years, with moderate to
heavy tremelo use the first 2 years of that, and had no problems with D'Addario
9-42's. (I used to be into metaloid stuff untill I realized I had sloppy techn-
ique and couldn't play fast. Now I play Da Bluz!)

Just a plug for DR strings here. I'd been playing D'Addario 11's for the last 
year, and was considering going to a light top/heavy bottom type set, since I
wanted heavier strings, but I didn't want to deal with bending a set of 12's.
The DR strings (11's) feel like a set of D'Addario 10's. I'm definately going 
to 12's now that I've found a string I could handle in 12's. The DR's are
extremely flexible, and seem to run at a lower tension than another brand of 
the same gauges. The holdup is just trying to get a set of 12's with a plain G.

hope it helps - Da Nate
npstewar@eos.ncsu.edu
From: mccalld@vax.sonoma.edu
Newsgroups: rec.music.makers.guitar
Subject: Re: Ovation Preacher?
Date: 21 Jan 93 15:48:32 GMT
 <18JAN93.16030649@skyfox><1993Jan19.181610.21489@pasteur.Berkeley.EDU> <BIRCSAK.93Jan20162705@cmpass.mps.mlo.dec.com>
Organization: Sonoma State University

> Does anyone out there know anything about an Ovation Preacher?
> What is it...?
It's an electric guitar, kinda a cross between an SG gibson and a Les Paul.
I can't remember if it has 2 or 3 pickups.....A friend of mine owns one...
I used to own the Breadwinner.
david
From: tom@cpac.washington.edu (Tom May)
Newsgroups: rec.music.makers.guitar
Subject: Re: Lesson a week (NEW)
Date: 23 Jan 1993 05:03:19 GMT
Organization: The name of the band is Slip.
NNTP-Posting-Host: yang.cpac.washington.edu
In-reply-to: omar@wucs1.wustl.edu's message of Wed, 20 Jan 1993 17:34:51 GMT

In article <1993Jan20.173451.26901@wuecl.wustl.edu> omar@wucs1.wustl.edu (Omar El-Ghazzawy) writes:

>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.

Don't stop at the third fret.  I use this chord at the fifth fret as an E
variant with a nice dissonance between the G# on the 4th string and the
open G string.  It also makes a nice G6 at the 8th fret and A7 at the 10th
fret.  In fact, it sounds cool at most frets.  Try repeating this pattern
a few times and you'll see what I mean (well, at least I like music that
sounds like this -- I think I'll stick this in a song sometime):

 e e e e h   e e e e h
---------0-|---------0-|
-------6---|-------5---|
-----0-----|-----0-----|
---7-------|---6-------|
-8---------|-7---------|
-----------|-----------|
--
Tom, whose second favorite note is open E.
From: ender@rodan.UU.NET (Pete "Ender" Walsh)
Newsgroups: rec.music.makers.guitar
Subject: Mesa Boogie Triaxis questions (Price, availability, etc.)
Date: 22 Jan 1993 05:56:48 -0500
Organization: UUNET Technologies Inc, Falls Church, VA, USA
Distribution: world
NNTP-Posting-Host: rodan.uu.net
Summary: Inquiries about the Triaxis amplifier
Keywords: Boogie, Triaxis, Price, Features, Availability


I've got a few questions about the Mesa Boogie Triaxis that I'm hoping
someone out there can help me with.

1)  I know that Boogie prices are pretty much "standard" everywhere.
    What's the going price for a Triaxis at this time?

2)  What does that price include?

3)  Does anyone know of a Boogie dealer in the Washington, D.C./Baltimore,
    MD area?

4)  Anything interesting to add about the Triaxis in general?

Thanx.

Ender

===============================================-=============================
Pete "Ender" Walsh, AlterNet Junior Engineer   | Internet: ender@uunet.uu.net
UUNet Technologies, Falls Church, VA.	       | UUCP: {anysite}!uunet!ender
===============================================-=============================
    "When someone says `My heart needs lifting.' don't ask `How come?',
     ask `How high?'" - "Don't Look Past Me" by Dream Theater (unreleased)
Newsgroups: rec.music.makers.guitar
From: mongeau@NMC.ED.RAY.COM (Michael Mongeau)
Subject: B.B. King on cable
Organization: Equipment Division, Raytheon Company
Distribution: usa
Date: Thu, 21 Jan 93 03:24:40 GMT

The Family Channel is broadcasting a show called "B.B. King and Friends"
on Thursday 1/21/93 at 9:00pm EST and again on Saturday 1/23/93 at 
11:00 pm EST.  I'm not sure who the guests are but I bet it will be 
pretty good.   Check your local listings to see if your cable supplier
provides the Family Channel.

   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
      Mike Mongeau                                Marlboro, MA
      mongeau@ed.ray.com           Raytheon Equipment Division
   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Newsgroups: rec.music.makers.guitar
From: kydeno00@nx05.mik.uky.edu (kirsten yvonne denoyelles)
Subject: Re: MAILINGLIST: Dokken/Lynch Mob
Organization: University Of Kentucky, Dept. of Math Sciences
Date: Fri, 22 Jan 1993 14:22:58 GMT

In article <1993Jan20.225717.10733@porthos.cc.bellcore.com> sag@pyuxf.uucp  
(25365-gietler) writes:
> In article <1993Jan19.195533.15777@cabezon.uucp> larryh@fawlty.lmc.com  
(Larry Huntley) writes:
> >    Really?  So soon?  My gosh, time just slips away.
> >
> 
> Yes, time does go by faster for people existing only with a brain stem.   
>  
> >
> >    How could you have come to that conclusion?  Oh!  Because George
> >    Lynch plays guitar, and we're all interested in guitar,  
therefore...
> >    Better sign up for UKY's freshman logic course, Kirsten Yvonne.
> >
> 
> Gee Larry, maybe she assumed that the readers had enough intelligence
> to look at the subject header and skip the article if they were not
> interested. Bad assumption on her part, in your case. Perhaps if you
> were practicing guitar instead of posting inane articles, you would be
> as well known as George Lynch.
> 
> >
> >     
> >     You want Guitar tab or guitar tab?  Try and make up your mind.
> >
> 
> Oh my god, what an insult - did it take you all day to think up that
> line? Seriously, it bothered me too that she forgot to capitalize the
> G consistantly. All the people down the hall were talking about that,
> too. Outstanding grammar there, Larry (You want Guitar tab or ...)
> 
> >
> >    I think you've used your exclamation quota for the year.  By the  
way;
> >    have you met B1FF!!!!?
> >
> >    'Bye now,
> >
> >    - Larry
> >
> >-- 
> >         (larryh@lmc.com)         |  ".... and if that, that don't kill  
you 
> >     Logic Modeling Corporation   |     soon, the women will, down at  
the
> >          Beaverton,  OR          |       Spanish Moon." - Little Feat
> 
> Please, who is this B1FF character? Is this your only friend?
> Since you work at Logic Modeling Corporation, I would think that
> you might have some logic, but I guess not. Kirsten was doing everyone
> a favor by offering us the opportunity to receive her newsletter. I
> don't see you offering anyone anything, except wasted bandwidth by
> (poorly) flaming her for talking about a very talented guitarist.
> Oh, and please let us all know what our exclamation quota is.
> 
> Scott Gietler
> sag@pyuxf.cc.bellcore.com


Thank you Scott, I appreciate that! 8) 

Kirsten
Newsgroups: rec.music.makers.guitar
From: mccleod@iastate.edu (Neil Wood)
Subject: Re: SGX2000
Organization: Iowa State University, Ames IA
Date: Thu, 28 Jan 1993 19:44:29 GMT

In <JOHNSON-280193101917@jmm4.ahabs.wisc.edu> JOHNSON@zeus.ahabs.wisc.edu (Scott C. Johnson) writes:

>In article <1906@ocpt.ccur.com>, manfredi@ocpt.ccur.com (Lou Manfredi)
>wrote:
>> 
>> Hi,
>> 
>> Is anyone out there using a Art SGX2000 guitar processor. I so how
>> does it perform. Can it be used live with no problems or is it best
>> utilized as a studio device??
>> 
>> Reply to SMPT"manfredl@ocpt.ccur.com":Lou Manfredi


>I am currently using an ART SGX2000 and I love it, but thats my opinion.  I
>haven't played out with it, but a friend of mine that works at a local
>music store uses his in clubs and he also loves it.  As a mater of fact he
>goes directly into the sound board with it.  Personally I put it between my
>guitar and my stack and it works great.  One problem that I have
>encountered that I haven't yet solved is that when I use presets that have
>reverb or hall effects and delays through my dirty channel I sometimes get
>a sound that can best be described as the signal feeding back on itself. 
>Not feedback, but something that sounds like a loop.  It sounds especially
>bad when strings are bent since now there are notes ringing that are very
>dissonant.  If you or anyone has any answers or specific questions about
>the unit feel free to ask.

>Scott C. Johnson
>University of Wisconsin - Madison
>JOHNSON@zeus.ahabs.wisc.eduOA

I also have had a SGX2000 for about a year now,  if you get one I highly
recommend the X-15 ultrafoot,  after about a year I'm finally getting close
to the full potential of the unit.  I am very pleased to say the leaset
Please excuse my spelling I'm on a stupid term with no clue of the key
bindings.

Neil Wood
Guitarist for Thieve's Carnival
-- 
Neil Eric Wood | mccleod@iastate.edu    | I've been here way too long. 
  Iowa State   |  taa50@isuvax.edu      | I need food and water.....
  University   |   MPC Consultant       | Hours and Hours in Durham!
  Go Clones!   |  Commodore PRS Axe     | don't you see...i need air :)
Newsgroups: rec.music.makers.guitar,alt.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: Adding master volumes
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Date: 23 Jan 93 18:41:45

   From: META <META@UNB.CA>
   Organization: The University of New Brunswick
   Date: Sat, 23 Jan 1993 17:27:45 GMT

   I just got a copy of Aspen Pittman's "Tube Amp Book, Vol. 3" from
   Stewart-MacDonald's Guitar Shop Supply.  Wow.  Both are highly
   recommended (even though the Pittman book ought to come with a
   magnifying glass!).  While browsing through the schematics of the
   hundreds of amps in the back, I was struck, first of all, by the
   common factor between Marshalls and old Bassmans of having the tone
   controls AFTER the initial volume and gain stages.  

Common factor is a bit of an understatement; the early Marshalls are damned
near identical to the tweed Bassman!
						       
						       I was reminded
   of a column Craig Anderton had some years ago about fuzzes and
   filters, in which he discussed the pros and cons of sticking tone
   controls after a fuzz, versus sticking them before a fuzz.  If you
   think of guitar pre-amp stages as distortion producing devices, it
   kind of maps onto Craig's comments.  Tone controls up front
   determine what kinds of of harmonics will be generated most by later
   gain stages, while tone controls after select out which harmonics
   one wants.  Analogous to sticking a wah after or before a fuzz.
   Before is interesting, but after tends to provide the more desirable
   personality-laden sounds.

Yeah.  Note that Mesa/Boogie amps use Fender style tone controls before
the distortion along with a graphic EQ after.

   The other thing I noticed was that the Marshall circuits (not all,
   but the more famous ones derived from the Bassman design) include a
   master volume control which simply consists of another volume
   control placed after the tone controls.  Nothing fancy, just another
   pot in the signal path.  Are there any substantive reasons (beyond
   voiding warranties) why this would NOT be a reasonable modification
   to either an original or reissue Bassman?

None that I can see.

   I also noticed that the Presence circuit is a little different on
   the reissue and vintage Bassman.  Anyone who has feelings one way or
   the other about their Presence control?  Is one more prone to noise
   or anything undesirable than the other?  Is one more interactive
   with the tone controls than the other?

I don't know which schematics you're referring to here.

   While we're at it, can you add a presence control to one of those
   single-tube class A amps or is it exclusively the domain of
   push-pull phase-splitter amps?  One tends to see them only in the
   latter, but I don't know if that's a function of design limitations
   or design choices.

Sure, any amp that uses feedback around the power amp can have a presence
control added.  Selecting values for the parts might take some trial and
error though.

  -- Don


Newsgroups: rec.music.makers.guitar
From: blave@netcom.com (David W. Blevins)
Subject: Re: Satch video out now?!?
Organization: Netcom - Online Communication Services (408 241-9760 guest)
Date: Wed, 27 Jan 1993 18:40:09 GMT

Yes, the Satch video is out and it's great, if you're a Joe-head. There's
some video/film clips from studio sessions of Surfing and The Extremist
 as well as  most or all of the videos (MTV) that he's done, and lots
of one on one with The Joester.  Finally, there are comments interspersed
throughout by one of his main influences, the gtr player from Spinal
Tap (whose name escapes me at the moment).

Blave.
Newsgroups: rec.music.makers.guitar
From: s36445d@saha.hut.fi (Petteretteri Kurki)
Subject: Satch video out now?!?
Organization: Helsinki University of Technology, Finland
Date: Wed, 27 Jan 1993 12:20:35 GMT


	Hi there, fretheads...


	  Has anyone had a look on Satriani's video, which is supposed
	to be out now (at least in the States)???? Worth buying???
	(Which I think I'll do no matter what...)
	  I wonder how long we have to wait here in Finland...


	-pete.... s36445d@saha.hut.fi


		'We used to have a great bird - a cockatiel,
		 which I named Bird Reynolds.'
						- Frank Zappa
From: manfredi@ocpt.ccur.com (Lou Manfredi)
Newsgroups: rec.music.makers.guitar
Subject: SGX2000
Date: 27 Jan 93 23:14:04 GMT
Organization: Concurrent Computer Corp., Oceanport, NJ
X-Newsreader: TIN [version 1.1 PL8]

Hi,

Is anyone out there using a Art SGX2000 guitar processor. I so how
does it perform. Can it be used live with no problems or is it best
utilized as a studio device??

Reply to SMPT"manfredl@ocpt.ccur.com":Lou Manfredi
From: DMUT000 <DMUT@MUSIC.LIB.MATC.EDU>
Newsgroups: rec.music.makers.guitar
Subject: RE: sustainiac
Date: 26 JAN 93 22:38:19 CST
Organization: Milwaukee Area Technical College
NNTP-Posting-Host: 148.8.64.2


In article <1jvbseINNdbd@ariel.ucs.unimelb.EDU.AU> cde@mulka (Colin Entwisle) writes:
>
>
>
> had a fiddle on a sustainiac on saturday
> (in the shop - it was priced out of practicle use)
> which is an axe with a built in string vibrator
>-rather like an eboe (with a couple of freqs).
> bloody good fun
> anyone know if you get the driver on its own and add
>to an existing axe - and if so how much it would cost?
>     CE
>.
>.

I too have played with a sustainiac sustainer.  I liked it so much,
that I put one in a guitar that I recently built. It works great.
Just to clarify a point, the sustainiac it not a string vibrator from
what I understand. It's actually an active pickup that has a feedback
loop built into a small IC board that is installed in the guitar.
Hammer is putting these little wonders in many of their axes.
Mine cost me around $200.00. However, I got mine through a connection
at Hammer.  I was told that they sell a lesser model to other customers
and are available through music stores.  The model I have is only
available for replacement in Hammer guitars. (This is what I was told).

To install one, it's like installing a regular pickup with the exception
that the sustainac should be installed in the neck position exactly
under what would be the 24th fret (or half the scale on your guitar
if it has more frets.)  As you probable know, lot's of guitar's on the
have their bass pickup installed so close to the neck, that there is
no room to install the sustainac.  Also, the back of the guitar requires
lot's of routing to make room for the IC board and batteries.

Keep Jammin,
Don Mutsch
From: stevep@snowhite.cis.uoguelph.ca (Steve Portigal)
Newsgroups: rec.music.makers.guitar
Subject: REQ: Hurting Kind by Robert Plant
Date: 21 Jan 1993 23:17:54 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

The guitar part seems really simple. I mean, I have no idea how to
figure out a gutiar part, but it seems really simple.

Anyone?

No Plant directory at Nevada either.

Steve
-- 
+-------------------------------------------------------------+
|  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    | 
+-------------------------------------------------------------+