HDTenEightyP/NetNews huggingface dataset:
From: neal@cmptrc.lonestar.org (Neal Howard)
Newsgroups: alt.guitar
Subject: Re: Electronic definition of sprong!
Date: 18 Nov 92 21:05:58 GMT
Organization: CompuTrac Inc., Richardson TX

In article <1992Nov17.174753.12961@ncsu.edu> npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART) writes:
>
>Yes I've tried Boogies: Mk 1 reissue, .22 caliber, Mark III, Mark III Simul, and
>a Mark IV.  The Mark III is ok for pop/metal smooth tone (kinda like a tube
>rockman), and the Mark I is good, but none have anything close to the kind of
>touch response I'm looking for.

Ever try an old HI-WATT amp? They have marvellous sustain and an extremely    
controllable touch response unlike any other tube amp I've ever encountered.
The particular model I'm thinking of is a 50 watt combo (single 12" celestion)
(from the late 1970's ???) with a chrome faceplate. It used a pair of 6550's
for output and 12AX7's in the preamp. It's preamp design had what amounted to
a tube-type compressor circuit very different from the cascade stage that
Marshalls employ. I think it had 5 or 6 preamp stages before the phase inverter
stage and was a single channel. It had no reverb or effects loop. I have only
seen one of these in my entire lifetime and it's owner (who lived in Austin, TX)had me install a second channel (copy of a Marshall's JCM 800 preamp) so he
could also get crunch distorion out of it, plus an effects loop. It's native
sound (when using single coil pickups) might be described as "sprong". If
you get a chance to play thru one of these, by all means go for it. I would
love to find one of these amps in original condition myself (not the one I
turned into a frankenstein monster 8 years ago for the afore mentioned customer
since it looked like hell after we got done with it :-/).
-- 
=============================================================================
Neal Howard   '91 XLH-1200      DoD #686      CompuTrac, Inc (Richardson, TX)
         "Let us learn to dream, gentlemen, and then perhaps
          we shall learn the truth." -- August Kekule' (1890)
=============================================================================
From: tmbrex@desire.wright.edu
Newsgroups: alt.guitar
Subject: Re: Buying a first acoustic guitar, guide?
Date: 23 Nov 92 19:11:34 EST
Organization:  Wright State University 

In article <1992Nov20.152721.3026@tamsun.tamu.edu>, duane@tamsun.tamu.edu (Duane K Fields) writes:
> 
> 
> I am about to buy my first guitar, an acoustic.  I am looking to spend
> around $200 either used, or new.  I was wondering if any sort of "buyer's
> guide" existed on the net, or if perhaps anyone had any suggestions on
> what to look for as far as damage goes, what brand, etc.  I have done some
> preliminary looking, and I have seen Ovations w/ pickups for like $279 new
> (mailorder) so I am hopefull to find one without a pickup for a bit less.
> 
> Any help appreciated!
> 
> -duane
> 
> -- 
> Duane Fields                  Friends don't      Work#   (409) 845-6904
> Box 1315                     let friends use     Home#   (409) 847-6760
> College Station, Tx 77841        MS-DOS.         Email: duanef@tamu.edu


Well Duane, I agree with the other poster's advice about taking a friend
who plays when you get ready to buy...it is easy to get burned.  BTW, 
don't be afraid to bargain. Most of the time, you can save some $ or 
at least get a strap, strings, etc thrown in.

As far as makes and models, try a few models made by Sigma. This is the 
Japanese subsidiary of Martin. They started in 1970 when Martin got sick
of other people copying their guitars using low priced labor and less 
deluxe materials....so they started doing it themselves. I bought a used 
Sigma D-28(?) with a dark finish and nice binding on the sides and back 
for $125 (guitar, cheesy non-Sigma case, strap & new strings) and I love it!
It has great action (which _should_ be at the top of your priority list) and 
an excellent sound. Good Luck, and let me know if I can help.

			T. M. Brex
			Wright State University
			Dayton, OH


Newsgroups: alt.guitar
From: jhalvers@plains (Jon Halverson)
Subject: Re: Effect Ordering and Effect Loops
Date: Sun, 22 Nov 1992 03:14:32 GMT
Organization: North Dakota Higher Education Computing Network
X-Newsreader: Tin 1.1 PL4

Newsgroups: alt.guitar
From: fprince@cwis.unomaha.edu (Frank E. Prince)
Subject: Giant's Dann Huff
Organization: University of Nebraska at Omaha
Date: Tue, 17 Nov 1992 17:56:24 GMT

I've been listening to the album "Time to Burn" by Giant and I'm really
impressed by the guitarist Dann Huff. He has a very eloquent style and a
fluid sound. I have heard that he was a first call studio player in L.A.
and that he also did a lot of work in Nashville before playing in Giant.
If anybody knows what else he has played on, please email me or post.
				Thanks,
					Frank
Newsgroups: alt.guitar
From: c8906822@cc.newcastle.edu.au
Subject: Re: Edge is God...
Organization: University of Newcastle, AUSTRALIA
Date: Tue, 24 Nov 1992 01:31:30 GMT

In article <1dq757INN417@uniwa.uwa.edu.au>, luke@cowan.edu.au (L.RAYNER) writes:
> d1hej@dtek.chalmers.se (Henrik Jonsson) writes:
> 
>>caedmon@cats.ucsc.edu (Axeman) writes:
>>>>>Oh please.  Hendirx and Page are two people whom I'm glad died.
>>>>                         ^^^^
>>>>Just a note: Jimmy Page is alive and well.
> 
>>>	oops!  Hehe.  I meant SRV.  Although I'm not exempting page from 
>>>this catagory when he dies. :)
> 

To the person who wrote this crap. You are a FUCK WIT!!!!
 
Newsgroups: alt.guitar
From: sck8n@kelvin.seas.Virginia.EDU (Song Chun Kim)
Subject: BURNING QUESTIONS
Originator: sck8n@kelvin.seas.Virginia.EDU
Organization: University of Virginia
Distribution: na
Date: Wed, 18 Nov 1992 00:55:10 GMT



Hi.  I am a beginning guitar player (may be).  Can some of you out
there help me with a couple of things.  First, I would like to know
exactly what a double-stop is and what would be some effective
practice exercises that can help me grasp the idea.  Second, what are
some good exercises to improve one's triplet-playing skills?

These are the two burning questions that I have been trying to
answer on my own but unable to do for past three months.  If
somebody could help me, it will be deeply appreciated.  Thank
you.

-S. Kim





Xref: sparky alt.guitar:10042 rec.music.makers.guitar:254
From: dam@dcs.glasgow.ac.uk (David Morning)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: Re: Cry Baby or Hendrix Wah?
Date: 19 Nov 92 17:04:25 GMT
Organization: Glasgow University Computing Science Dept.

jkiparsk@reed.edu (Jonathan Kiparsky) writes:

>In article <1992Nov18.225313.26292@hpcvusn.cv.hp.com> fredh@cv.hp.com (Fred Handloser) writes:
>>I've seen CryBaby pedals that say "The Original" but they are
>>made by Duncan or some such company.  The CryBaby I bought
>>in 1971 or 1972 says  "Thomas Organ Company" on the bottom
>>plate.  Is this the model Hendrix used?

The original Cry Baby was made by Vox in England. This is one that Hendrix
used.
The Thomas Organ Company had a licsence deal with Vox to build AC30s in the
US - they built transistor amps, put them in AC30 boxes and claimed them the
real thing. Everyone wondered why US AC30s sounded crap - that's why.

Given that the Thomas Organ Company were also distributers for imported Vox
equipment, I really can't say whether they merely imported the Cry Baby and 
stuck their own badge on it or actually built them in the US, but if it was
the latter, I'd be pretty wary of a copy of one of these given Thomas Organ's
track record in scamming the US public.

They're almost certainly NOT going to be the original Vox version although
they may be pretty close, since the original pot core assemblies were made by
a company in Italy as was the pedal and are no longer available.

They also had a very weird sized pot spindle which made changing a noisy pot
a *real* pain - or expensive since Vox themselves was the only source .

Me? I *hated* them, mainly because of the short pedal throw.

Dave

-- 
Newsgroups: alt.guitar
From: fprince@cwis.unomaha.edu (Frank E. Prince)
Subject: Re: Improvisational focus (WAS: Re: Blues Soloing [help!])
Organization: University of Nebraska at Omaha
Distribution: usa
Date: Tue, 17 Nov 1992 17:49:50 GMT

napier@cs.ucsd.edu  writes:
> 
> This is a tangent to the discussion of blues playing that goes more into the
> psychological side of improvisation. One of the followup posters said that the
> thing to do was to get away from jamming to records and start playing with
> other people. One problem I have always had is that as soon as I'm with others
> or playing in front of people my mind goes blank. I'm so focused on where I
> am that any creative improvisational ability is washed away and I find myself
> repeating stiff phrases and groping for the right notes (or any notes that
> sound like anything related to the song). I've never mastered the art of 
> centering myself on the instrument while improvising with other musicians.
> I have no problem when I play by myself or to albums and quite enjoy the freedom
> of expression that improvisation provides. I guess for me the main problem is
> that the freedom of thought necessary to improvise properly is at odds with
> the fact that I'm completely aware that others are observing me. How do others
> deal with such distractions? Is this just a case of plain old stage fright?
> 
> =*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*

This is a problem I've had on and off over the years. I played guitar for 10
or 11 years before I got in a band, and I played in a fair amount of 'jam'
situations in that time. It seems like I used to thrive on the danger and
excitement of the situations even though may playing wasn't all that great!
I found that after I had been in a band for a year or so and was seriously
studying some hot players that I actually became a lot more self-conscious
about my playing. I think I started paying a lot more attention to what was
actually coming out of the instrument than the macho excitement rush of 
"shredding" on the guitar,( though I still do like to shred). One thing that
helps me in live situtaions that are not rehearsed is to make sure that I 
am playing with other players that inspire me and that are 'team players'.
If I'm in a jam with a drummer that's all over the place and a bass player
that's doing Jaco Pastorius all over the neck, I probably won't be able to
improvise real comfortably. Another thing that helps is to make you you have
a friend or two with you who loves to hear you play to kick up the confidence
factor. Above all, just KEEP AT IT!
				Happy hammering,
				Frank 
Organization: Senior, Architecture, Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Wed, 18 Nov 1992 23:20:58 -0500 
From: Nicolas Alejandro Arauz <na0s+@andrew.cmu.edu>
Subject: Zoom 9001 help! -- info

Has anyone tried out the new Zoom 9001 yet?  What do you all think of
it.  Especially compared to the 9002 or the 9000.  Do you all think it
sounds better than the 9002?  Also, if any of you have used the Korg A5,
what do you think of the Zoom 9001 compared to the A5?  BTW, I
understand the 9001 does have a distortion effect.  Can anyone confirm
this for me?  Thanks a lot!
From: kjell@emke.chalmers.se (Kjell Siimon)
Newsgroups: alt.guitar
Subject: HELP! I'm looking for song, again!
Date: 23 Nov 92 09:04:11 GMT
Followup-To: alt.guitar
Organization: Chalmers University of Technology


Hiya, You String-Stratchers!

Some time ago I recived very good help from this line with an old Tom Jones
song, so I would like to try my luck again with another one.
This time I don't know the title or who wrote it. I don't even know who
recorded it but the corus goes something like this:

 ||: "Give me the beat, boys, and free my soul
      I wanna get lost in your rock'n roll
      and drift away" :||

If this sounds familiar to anyone out there, and if you are in possession
of the text/cords, I would be more than happy to hear from you.

Thanks in advance!


Kjell the Brave
From: dcovell@hfglobe.intel.com (David Covell)
Newsgroups: alt.guitar
Subject: Re: Phil Keaggy's electric guitar instructional video.
Date: 17 Nov 92 23:56:29 GMT
Distribution: usa
Organization: Intel Corporation

mrayle@eng.clemson.edu (michael rayle) writes:

>Hello all  -
>I have learned that there is an instructional video out that was put 
>together by Phil Keaggy for the electric guitar.
>I am very impressed with his acoustic guitar work (what he plays
>in concert these days) and was curious if anybody out there has
>seen this video and has any feedback.

I've been a big fan of his for many years. I've seen the video, and while
it's definitely interesting, I wouldn't consider it very instructional.
It will provide insight into how he developed and recorded some of his
material, and he plays along with tracks from the original album cuts, but
there's a lack of nuts-and-bolts instruction in comparison to other guitar
videos available.
I enjoyed it as entertainment but would have been dissappointed if I'd
bought the tape with expectations of learning some of his technique.
If you're curious about his electric technique I'd suggest that your money
would be better spent buying his "Master and the Musician" album, which
contains lots of electric material. His newer "Wind and the Wheat" album also
contains some electric playing; one particular track, "March of the Clouds"
is worth the price of the CD alone! 
Organization: Freshman, CIT general, Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Mon, 16 Nov 1992 21:51:00 -0500 
From: Thomas James Waltz <tw26+@andrew.cmu.edu>
Subject: re: GSP-21

Guys,
I've played on all the GSP models and really can't stand them. The real
time effects are great, but the distortion settings are horrible. If you
are willing to spend that much money, check out the ART T-2. It's about
$500 and sounds a lot better.
Tom

                            ________ ___  
                               /    /  /  /I /I
                              /    /  /  / I/ I
                             /    /__/  /     I

                        "The way your heart sounds
                         makes all the difference"
                                     -Dream Theater

                      "Hope leads to quiet desparation
                       When reality obscures the dream"
                                     - Fates Warning

                                          

Newsgroups: alt.guitar
From: pkor@zombie.oulu.fi (Pasi Korhonen)
Subject: Re: Small Tube Amp
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 19 Nov 1992 13:00:11 GMT

Well, it can be done. I just bought a 60's Gibson Falcon (6v6 power tubes
just like a Vox) for $30.00. :')    

	Vox AC30 has EL-84 power tubes...

	Pasi


--
 p a s i   k o r h o n e n             p k o r @ p h o e n i x . o u l u . f i


 saaristonkatu 3 A 6      90100 oulu     finland,europe     tel:358-81-377 81
Newsgroups: alt.guitar
From: swood@phoebe.acs.oakland.edu (Scott Wood - EVENSONG)
Subject: Zoom 9001 wanted
Organization: Oakland University, Rochester MI.
Date: Thu, 19 Nov 1992 18:37:21 GMT

Looking for one of these little buggers...

swood

-- 
  Nov. 14   Closing day of Bird season in Michigan and pheasant in zones 2 & 3
  Nov. 14   Closing day of Goose season (U.P. of Michigan)
  Nov. 14   Closing day of early Archery Deer season in Michigan
  Nov. 15   Opening day of Rifle Deer season in Michigan (YES!)
From: jgllgher@unix1.tcd.ie (Dara Gallagher)
Newsgroups: alt.guitar
Subject: Re: Blues Soloing / Blues scale
Date: 15 Nov 92 15:33:02 GMT
Organization: Computer Science, Trinity College Dublin

basinski@biosci.arizona.edu (Mark Basinski):
> In article <1992Nov12.163455.1@cubldr.colorado.edu>,
> jacobson_d@cubldr.colorado.edu wrote:
> > . . .  Basically, I'm wondering if there's any advice people
> > can give my on going beyond those stale licks.

and

Daniel.Parmet@launchpad.unc.edu (Daniel Parmet):
> In article <d1hej.721273876@dtek.chalmers.se> d1hej@dtek.chalmers.se
> (Henrik Jonsson) writes:
> >
> >READ AND WEEP:  1-b3-3-4-b5-5-6-b7-7.... That's what life's all about
> >,sissy!!! A true Blues-scale !! Jimi and SRV knows what im talking about.
> >Bet you dont!!!

> Isn't the blues scale 1-b3-4-b5-5-b7-8?


nah, it's 1 2 b3 3 4 b5 5 b b7 7. 


Use 1 2 b3 3 5 6 for a mellow majorish bluesy sound.
Use 1 b3 4 b5 5 b7 for the more biting minor sound.
Best of all mix both or use nuances of one with the the other
or start with one and slowly introduce the other until the
other dominates...

Don't forget the 2, it's a beautiful note if used with care.
(try bending it and mixing in a little 5 6 1 )
The 7 is usually just a passing note, use it
to fill out the phrasing of solos/licks.

Try different blues structures besides the standard triplet
12 bar sequences ( e.g.  I-IV-I-I-IV-IV-I-I-V-IV-I-V ).
Don't just concentrate on single note solos/licks, play chords
too. 

Listen to some older blues ( the blues was not invented in
England in the 60's ). Try to discover a distinctive syle for
yourself, listen to people like John Lee Hooker or BB King
who are really distinctive and different. 
( Recommendation if you wish to hear really cool and 
different blues: Ali Farka Toura )

Timing and phrasing are very important, the blues is about 
tension ( I suppose all music is, but the blues is especially 
tense ).
You've got to hit that note just at the right time!! 

The ability to produce good tremolo (vibrato) is a useful skill. 
(BB King is cool 'cause he can 'hit the spot' perfectly
with just two notes and his famous tremolo.)
The way bends are performed can be very individual and distinctive
( e.g. Hendrix ).
Slides too are useful, but require real skill to perform well.

It is very difficult to avoid using the same licks over and over,
however I believe that blues soloing has some basis in licks, you'll
just have to increase you're collection of licks to the point that
you can play an entire blues without becoming repeditive ( or an
entire set ). If you wish to avoid your 'stale licks' one trick
is to hum with the notes you play, this is'nt trivial but once
mastered you'll be able to make your fingers follow what you are
humming.

I love the blues, but I'm would consider myself a very poor 
blues player, but now and again when I play I can really get
into the blues and can really express myself. These moments
are worth all the agony of playing shit.

Dara.
From: kjell@emke.chalmers.se (Kjell Siimon)
Newsgroups: alt.guitar
Subject: Re: Using Acoustic Strings on an electric?
Date: 23 Nov 92 13:23:29 GMT
Followup-To: alt.guitar
Organization: Chalmers University of Technology


As a pasus in this discussion I can tell you that I went the other way
round.

I was tired of playing the skin of my fingertips of by using lots of
different strings for my western guitar (I even tried bronze as they are
supposed to be smothest), so I tryed electric guitar strings for a change.
I picked up a set of 0.09 and put them on.
What a surprise! What a difference! What a sound!
Totaly new, and so much easyer to play.
Try it, it's worth it.


Kjell the Brave
Xref: sparky alt.guitar:10105 rec.music.makers.guitar:329
From: bungy@wpi.WPI.EDU (Jason Allen Bungert)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: Re: Effects questions
Date: 21 Nov 1992 18:34:14 GMT
Organization: Worcester Polytechnic Institute
Distribution: world
NNTP-Posting-Host: wpi.wpi.edu

In article <1ejcebINNmcp@matt.ksu.ksu.edu> edison@matt.ksu.ksu.edu (Thomas Matthew Callen) writes:
>This may seem like a strange question but I need to ask it nonetheless.
>I have had an electric guitar for about three years now and I am not 
>satisfied with my current set-up.  Right now I have a Peavey Patriot
>guitar and a small Gorilla practice amp (with built in distortion).
>I would like to buy some guitar effect pedals but I don't know which
>ones I should get, since I don't know what they do.  I would like to get
>some effects that will allow me to play a considerable wide range of
>music (rock, heavy metal, pop, etc...)  Are there any suggestions?
>Anything to stay away from?  Replies will be greatly appreciated, either
>by e-mail or posting.  Thanks...


   Well, I was wondering the same thing a couple of months ago.  So I went
down to the nearest music store with those big racks of effects pedals.  I
played through all of them and got an idea of what eack of them sound like
and what the differences are.  Some of the effects are kind of difficult
to explain, so I suggest that you do the same thing.  You definitely get a
good understanding of the differences b/w effects.  

						-Bungy.
Newsgroups: alt.guitar
From: pedwards@Csli.Stanford.EDU (Paul N Edwards)
Subject: Re: Rosewood vs Maple
Organization: Stanford University CSLI
Date: Fri, 20 Nov 1992 20:59:51 GMT

I've played both rosewood and maple necks extensively, and I think in
general the maple neck has a lighter, faster action. 
This is partly because it's slightly thinner than the rosewood version.

But the most important thing is really the feel of the individual
guitar, not what it's made of. Even though they're mass-produced, 
building a guitar is still a craft and there are minute differences
between each one and every other. Check for correct intonation (by
checking that the harmonic at the twelfth fret and the fretted note
are exactly the same. Check (by ear) that there are no fret buzzes or off-pitch
frets. Most of all, play it and see how it feels to you.

All Gibson guitars do tend to feel clumsy and unsophisticated after
the Strat. Their frets are thicker and more box-shaped, the necks are
thicker too, but the main thing is the shorter scale length.

 
Newsgroups: alt.guitar
From: ujhennin@uxa.ecn.bgu.edu (James Henning)
Subject: Re: Vibrato Effect BOX????
Organization: Educational Computing Network
Date: Wed, 18 Nov 1992 15:27:02 GMT

In article <BxsJ3H.13r@sdf.lonestar.org> 6o25@sdf.lonestar.org (Stephen M. Jones) writes:
>i've never seen one?? are they
>avaliable?

Roland makes a pedal called the 'pan tremolo' which is really a nice
pedal.  It has both square and sine wave and stereo outputs.  I love
mine.


Newsgroups: alt.guitar,alt.guitar.tab
From: hasn@midway.uchicago.edu (Sheheryar Hasnain)
Subject: Cry Baby or Hendrix Wah?
Organization: University of Chicago
Date: Tue, 17 Nov 1992 22:34:21 GMT

Which is a better Wah Wah?  The Hendrix costs $75 whereas
the CryBaby costs $59.  
Thanks in advance.
From: Lerxst@qube.OCUnix.On.Ca (Lerxst)
Newsgroups: alt.guitar
Subject: RE: String Guages [what to use?]
Distribution: world
Date: 15 Nov 92 21:00:31 EDT
Organization: The QuBE BBS

I personally use .09s.  I find them very comfortable to play.  I have 10s
on my acoustic and I sometimes wish that there were .09s for them, although
I'd imagin it would be way too thin.

Otherwise I've had no problems.  On my Strat is fine, although on my Gibson
ES-345 clone the high strings tend to break rather often.  Good thing they
are not expensive to replace!! :-)

Alex Lifeson from Rush and I believe David Gilmour from Pink Floyd use .09s
as well.  I don't know how Stevie Ray Vaughan ever could play the 13s.  It
would be like playing on electrical cable! :-)

Anyway, I'd imagin that it really boils down to personal preference, I like
to use them.  Try it out and see the difference.

Later...

_don

-- Via DLG Pro v0.992

Don Douglas
Lerxst@qube.ocunix.on.ca
Moslem or Christian Hullah or Pope,
Preacher or poet who was it wrote,
Give any one species too much rope
And they'll F*%#K it up...
Organization: Central Michigan University
Date: Sunday, 22 Nov 1992 18:11:06 EST
From: Matthew R. Ridenour <32HEEZM@CMUVM.CSV.CMICH.EDU>
Newsgroups: alt.guitar
Subject: Re: BURNING QUESTIONS
Distribution: na

Hello Song. I can't exactly explain the double stop right now.
I am a beginning guitarist as well.  I am a music major however
and I would say that the best thing to do to practice triplets
is to say the rhythm in your head.  Many people use such words as
one tee toe two tee toe etc.  I'll look up double stops and get
back to you.
          GUB.