HDTenEightyP/NetNews huggingface dataset:
From: tinsel@uiuc.edu (Thomas Aaron Insel)
Subject: Re: Query for brass players
Originator: tai50080@uxa.cso.uiuc.edu
Reply-To: tinsel@uiuc.edu
Organization: Illini Mastication Society
Date: Sat, 12 Sep 1992 05:33:11 GMT

gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

> Question for brass players:  How different is the technique for playing one
> brass instrument over another?  i.e. can a trumpeter easily play a trombone,
> or can a french horn player do anything productive with a tuba?  Is the
> embouchure <sp?> of one instrument significantly different from that of
> another?  Obviously the use of the valves will be different, but I'm curious
> about mouth positions

Usually, it's not to hard.  The nearer the instruments, the easier it is.  
Valves really aren't that different, consider that trumpets, baritones, and 
trombones all are almost always in Bb.  Tubas usually are, and most modern 
horns have the same valve layout.  Horn is a bigger switch for non-horn
players, because it uses the wrong hand, because it uses a different moutpiece 
shape.  Trumpet tends to throw me off because its music isn't written in
concert pitch.
-- 
Thomas Aaron Insel (tinsel@uiuc.edu)
  "We must not confuse dissent with disloyalty." -- Edward R. Murrow
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: HOW ABOUT a REC.MUSIC.DEMO group?
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
     <1992Sep1.180025.7106@ncar.ucar.edu>
Date: Tue, 8 Sep 1992 22:12:59 GMT

>so what's the problem with making r.m.promo/r.m.demo a place where people
>can make their tapes AVAILABLE?  

So who's gonna run this and front the money for the whole thing?  Someone
has to pay for duplication and distribution.  Sounds too much like hard
work.  I would use a company such as Musicians International Tape Exchange
and work with them on this.  They can handle the distribution for you.

But overall the problem is that you cannot spontaneously respond to a 
post about a demo tape until you have heard it.  And this spontanety is
what will reduce the messages down to a bare minimum.

Sorry, that's just my opinion.

Myles
Xref: sparky rec.music.makers:9493 rec.audio.pro:1683 rec.music.synth:14730
From: gt3281c@prism.gatech.EDU (TABLER,JOHN ALEXANDER)
Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth
Subject: Re: Earplugs?
Date: 11 Sep 92 17:24:53 GMT
Followup-To: rec.music.makers
Organization: Georgia Institute of Technology

dcovell@pcocd2.intel.com (David Covell) writes:

> As I get older and deeper in debt for recording gear I'm becoming more
> concerned with preserving what's left of my hearing. The occasional concerts
> and live gigs I do leave my ears ringing for days now, and sometimes they
> start ringing spontaneously in a quiet room. I know this is a bad sign and
> it's time to take action. 
> So, what's the story on earplugs these days? I see ads for various hi-tech
> plugs that alledgedly attenuate more flatly than do the old foam-wad types.
> Do they really work? I don't want to pay >$30 for some IUD-looking device
> that hurts and doesn't do any better than the cheap foam.
------------------------------

   I carry a pair of the Norton 'Sonic' earplugs with me.  They are very effective at
attenuating excess SPL or annoying sound.  I am the house engineer for a 1200 seat
theatre in Atlanta.  We often have a string of shows day after day.  I would not wear
earplugs while mixing critical and difficult events. However, I often do wear them during
long 'variety' type shows.  It takes some getting used to, and you need to get the sound
good before you plug up, but you can mix (some shows) like this and do just fine.
   They 'plugged' sound is just ok, not great, and the plugs are not completly
comfortable, but they DO give some measure of protection to your hearing.

   Music Emporium sells the Norton ear plugs for about $23.00

Bye

John T.
From: peteg@sequent.com (Pete Gibson)
Newsgroups: rec.music.makers
Subject: Re: Lyrics to "Brown-Eyed Girl"
Date: 15 Sep 92 15:30:21 GMT
Organization: Sequent Computer Systems Inc.

In article <1992Sep14.231537.23531@ncar.ucar.edu> tparker@music.scd.ucar.edu (Tom Parker) writes:
>In article <13557@pogo.wv.tek.com> jd@pogo.wv.tek.com (John "JD" Dalrymple) writes:
>>
>>Anyone got the lyrics to "Brown-Eyed Girl"?  I gigged it with a pickup band
>>yesterday and it was a lot of fun, but I had to mumble a lot.  I want to
>>start doing it with my regular band.
>>

Filling in the gaps...


>            Brown-Eyed Girl
>
>Hey where did we go, days when the rain came.
>Down in the hollow, playin' a new game.
>Laughin' and a runnin' , hey hey, skippin' and a jumpin' 
>in the misty mornin' fog with our hearts a thumpin' at you,
>The Brown-Eyed Girl
>You're my Brown-Eyed Girl
>
>Now what ever happened, Tuesday is so slow,
>Goin' down the old man river, with a transistor radio
>standin' in the sunlight laughin' 

 Hiding behind the rainbow's wall

>Slippin' and a slidin', all along the waterfall with you,
>the Brown-Eyed Girl
>You're my Brown-Eyed Girl.
>
>Do you remember when, ah we used to sing
>
>Sha la la la la la la la la la la dee dah
>Sha la la la la la la la la la la dee dah
>la dee dah
>
>So hard to find my way, now that I'm all on my own
>I saw you just the other day, my how you had grown,

 Cast my memory back there, lord

>sometimes overcome thinkin' bout,
>makin love in the green grass, behind the stadium with you.
>the Brown-Eyed Girl
>You, my Brown-Eyed Girl.
>
>Do you remember when, ah we used to sing
>
>Sha la la la la la la la la la la dee dah
>Sha la la la la la la la la la la dee dah
>la dee dah
Xref: sparky rec.music.makers:9479 rec.music.synth:14698
From: sant_m@cho006.cho.ge.com
Newsgroups: rec.music.makers,rec.music.synth
Subject: WANTED - Used Roland D5 or D10 Synth
Date: 10 Sep 92 14:06:40 GMT
Organization: GE Fanuc Automation, North America




I am looking for a used Roland D5 or D10.


Martan
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: Show tips & tricks
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Tue, 8 Sep 1992 21:59:36 GMT

>  OK, I'll bite.  I think that the music scene has too many complete
asses  
>without much talent.  It's like you said... people (well, at least
people like  
>me :-) go to see a band to hear the music, not to hear them talk or see
them  
>dance around on stage.

True for some.  However for the most part, research has concluded that
after hearing 3 songs from a band live, the rest of the show is visual
from
the audience's perspective.  That's why visual stage pressence is so 
important for bands, no matter how good the music is.

Myles
From: blave@netcom.com (David W. Blevins)
Newsgroups: rec.music.makers
Subject: Re: U220 vs SC-55...Help me Quick!!!!
Date: 8 Sep 92 17:43:25 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

The Sound Canvas blows away the U220 as far as I'm concerned.  I am using
the SC55 for ALL of my sequencing right now, which consists of backing
tracks for instrumental guitar performances (pretty much rock oriented).
I had a U110 for a brief while, which is basically the same thing as a 
U220 with less on-board sounds, and didn't like it AT ALL, so I traded it
away.

I bought the SC as a replacement for my MT32, which was not satisfactory
as a stand alone unit (particularly the drums).  The sound quality is 
vastly improved over the MT, and the drums are _definitely_ better than
the sad drum kit in the U110.   I also very much like the user interface
on the SC; the display is great...

I'm trying to think of something I don't like about the SC...  Oh yeah,
it has a damn wall wart power supply.  That's always worth -10 points.

I _am_ starting to run out of new sounds to use, and the SC doesn't have
many M1/D50 sort of patches, but I've put together about 60 minutes of
music with the SC so far with good results overall. As you can gather
by now 8^), I highly recommend the unit.

Blave, the strongly opinionated.
Newsgroups: rec.music.makers
From: geffy@access.digex.com (Geff King)
Subject: Re: Opinions wanted on Peavey TNT-160, Combo 300, DataBass.
Keywords: Combo 300
Organization: Express Access Online Communications, Greenbelt, Maryland USA
Distribution: Posting to hundreds of machines throughout the continent
Date: Wed, 2 Sep 1992 22:49:57 GMT

I'd go with the Combo 300 first. Unless they released a new model in the
last month or so, its basically a good ol' trusted design. I bought one used
in 1986 and the thing just keeps on tickin.' I may replace it by year's end
with another combo, mainly 'cos I got a road case with it.....

While I haven't heard bad about the DataBass, I just don't trust that much
power going through 1 15" Black Widow. Another thing about combo amps is that
you can't hook up another head to the speaker in an emergency (at least not 
from the factory). I really wish combo amps would include a speaker output
jack which will allow this. The TNT 160 I've never tried, just seen.

Anyway, that's my dos centavos.
 Good luck.
   :{"}:
    _|_
   /   \
+-(     )-GEFF KING-(geffy@access.digex.com)
|  )} {(  Professional Librarian - Regressional Bass Player 
| (     ) "Nobody told me. That don't mean nobody told anybody;
+--\_Y_/---that just means nobody told me." --F. Fender
     !



Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth
From: hhs@cbnewsm.cb.att.com (Sweetleaf)
Subject: Re: Earplugs?
Organization: AT&T
Date: Fri, 11 Sep 1992 22:52:38 GMT

 ted@dgbt.doc.ca (Ted Grusec) writes:
> kludge@grissom.larc.nasa.gov (Scott Dorsey) writes:
>> dcovell@pcocd2.intel.com (David Covell) writes:
>>>
>>>As I get older and deeper in debt for recording gear I'm becoming more
>>>concerned with preserving what's left of my hearing...
>>
>>Definitely recommended are the E-A-R plugs, made by...
>>
>I know the E-A-R plugs are very effective, and they are very cheap.  
>However, they are
>definitely non-linear and not what a musician may want.  There are
>ones which are very effective and are also very linear (and
>much more expensive).  I am interested in these as is the person with
>the original post. So if anyone knows the brand and suppliers, please
>let us know.

I bought a pair of Musician's Earplugs a year or so back from Golden
State Audiology (408)773-9933.  I think they have a couple of different
models - the ER-15, which reduces sound by 15 dB, and the ER-25.  
I bought the ER-15, which cost around $110, I think.  If you call GSA,
they'll refer you to a hearing clinic in your area where you have the
molds made.  The clinic then sends the molds to GSA.  I've been pretty
happy with the earplugs - I don't think the response is *completely* 
flat, but it's definitely better than the cheaper earplugs.  

I did have some hassles getting the plugs - I had to have *3* sets of
molds made - GSA apparently "lost" the 1st set, and the 2nd set got
crushed in the mail.  Really pissed me off at the time because the clinic
was almost an hour's drive from my house.  GSA ended up giving me some 
kind of discount for the hassle.

I would recommend them, though.  They really come in handy when you're
going to see one of those sadistic bands that seem to enjoy destroying
their fans' hearing...

Howard Sweet

-- 
************* Sweetleaf *************
********* hs@homxb.att.com ***************    
Newsgroups: rec.music.makers,alt.guitar
From: swanger@news.duc.auburn.edu
Subject: Re: Strat Plus Ultra question(s)
Organization: Auburn University, AL
Date: Mon, 14 Sep 1992 02:59:24 GMT

In article <92255.081143WAUGH@SLACVM.SLAC.STANFORD.EDU>, WAUGH@SLACVM.SLAC.STANFORD.EDU writes:
> In article <BuDxuA.CID@cup.hp.com>, balon@cup.hp.com (Tom Balon) says:
>>
>>        Has anyone played the new Strat Plus Deluxe Ultra Custom ?
>>        I think this is just like the Eric Johnson model with a
>>        few of the features of the Eric Clapton model. Great guitars.
>>
> Oh yeah.  They are too cool.  The Strat Plus Deluxe Ultra Custom has a
> fretboard just like the one on the Eric Johnson model and the  whammy bar from
> the Eric Clapton model.  The pickups were cloned from old '59 Strats and offset

Pretty funny!  The next thing you know, Fender will come out with one of
these (of course, they'll have the Squier version, the Standard version,
optional active electronics, Texas Special Pickups.....)

Who knows, one of these days, the Fender custom shop might have a Strat
model for every guitarist.  (the "JOE BLOW" strat, the "SUZIE CREEMCHEESE"
strat, etc.).  They'll probably only keep one of each in stock though.

-- 
David Swanger,   Auburn University, Alabama,   swanger@ducvax.auburn.edu 
Newsgroups: rec.music.makers
From: mark@csi.com (Mark Kaplan)
Subject: Re: Earplugs?
Organization: Comdisco Systems Inc.
Date: Tue, 15 Sep 1992 19:01:25 GMT

In article <BuKsJp.85o@apollo.hp.com> you write:

  >In general, I feel very much in the minority in this in that the whole
  >industry seems to feed on more volume.  Clubs state what great sound systems
  >they have where it seems that great = loud not necessarly quality of sound
  >reporduction.
  >
  >Sorry to get carried away but this has been a bit of a battle for me.

My band recently played at one club in Berkeley where I think they have
gone too far in trying to keep the sound levels down.  They have a row
of lights on the back wall which go from green on the bottom to red on
the top.  It is basically a sound meter in which the higher lights
get lit as the sound gets louder.  The have it set up so that if you hit
the top red light for 3 seconds straight, the power on the stage gets
temporarily shut off.  It was really annoying to have to stare at those
lights during the whole set.  The worst thing was when we did hit the red,
causing the power to go off and on, the patch on my amp got set back down
to #1.  I spent the rest of my solo getting back to patch #86.

- mark
  "Life ain't nothin but bitches and money" - Ice Cube

Xref: sparky rec.music.makers:9492 rec.music.classical:12662
From: brnt@kuhub.cc.ukans.edu
Newsgroups: rec.music.makers,rec.music.classical
Subject: Re: voice training and sinus conditions
Date: 11 Sep 92 12:10:23 CDT
Organization: University of Kansas Academic Computing Services

In article <1992Sep8.200108.24418@cs.ucla.edu>, gds@oahu.cs.ucla.edu (Greg Skinner) writes:
> I've been working with a voice teacher for the last few months, mostly
> on eliminating my voice break.  She thinks one problem I am having
> with my progress is that I may have a deviated septum, or some other
> sinus condition that has affected my ability to get a lot of resonance
> in my head voice.  She recommended that I see an ENT (ear, nose, and
> throat) specialist about it.  (In general, she recommends annual ENT
> exams for all of her students.)

There's a very good reason why you are having trouble "eliminating your voice
break" (it's a horrible description for mixing registers), it takes a very
looooooooooooooooooooooooooooooooooong time, and a lot of very hard, boring
work (did I mention how long it takes?)  I've been working on the technique for
well over two and a half years, and I am just now doing it consistently.  Be
patient, it's a lot like learning to walk; you have to retrain hundreds of
muscles and learn dozens of new techniques to make it work.  Men have an
especially hard time with learning it.  Female teachers (inexperienced ones)
may not quite understand this since they have gone through their entire lives
with just one voice.  You and I get the priveledge of getting a brand spanking
new one around twelve or thirteen.
	The biggest problem I encountered was that when you sing in the upper
registers correctly (at least while you are first learning the technique) it
sounds HORRIBLE!  I have a very large, full voice and when I began to use more
head voice I thought I sounded like a tenorino.  I had to be assured that it
sounded good, usually about twice a day.  The important things to remember are
1.) you cannot hear yourself.  It's crushing, but true.  The sound you are
actually hearing bears no resemblance to what everyone else hears. 2.) you have
to learn the technique first (bringing in the head voice) before you can start
to make really good sound.
	  
> I was wondering if any other vocalists out there have encountered this
> problem, either themselves or in their students, and what they did to
> counter this problem.
> 
> --gregbo
-- 
       .    _  .     _____________ 
       |\_|/__/|    /             \ 
      / / \/ \  \  / Happy! Happy! \      
     /__|O||O|__ \ \   Joy! Joy!   / 
    |/_ \_/\_/ _\ | \  ___________/      
    | | (____) | ||  |/                       
    \/\___/\__/  // _/
    (_/         ||   
     |          ||\   
      \        //_/   Brent E. Dyer
       \______//      Administrative Assistant
      __|| __||       University of Kansas Computing Services
     (____(____)      BRNT@UKANVAX		BRNT@KUHUB.CC.UKANS.EDU
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Fri, 4 Sep 1992 21:23:30 GMT
Subject: Re: Please help me find this book!
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.makers

In rec.music.makers, Paco_Ojeda_Gonzalez@macmailgw.dfci.harvard.edu (Paco Ojeda-Gonzalez) writes:

> A few years ago, when I was going to Berklee College of Music, I used to
> have this really cool book about jazz chords and voicings. I think it was
> called something like "The Complete Book of Chords for Jazz Piano" or
> something like that. It was primarily II-V progression exercises using
> different voicings. The book also had in the inside front cover, a sleeve
> with one of those plastic demo records with examples from the book.

The book I know of closest to that description is by Dan Haerle; I remember the
title as "Jazz/Rock Voicings For The Contemporary Keyboard Player", which you
can order through Jamey Aebersold (check the ads in Downbeat).  Mark Levine's
"The Jazz Piano Book" has a pretty good discussion of voicings, among other
things.  I recently completed a primer on jazz improvisation, and I included a
fair amount of information on voicings, although I had to compress a lot into
just a few pages.  I am planning to make this primer available via anonymous
ftp in another week or so, and I'll post an announcement to that effect here
and in rec.music.bluenote when that happens.

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@hpmonk.fc.hp.com
Newsgroups: rec.music.makers
From: laucht@silver.cs.umanitoba.ca (Matthias Laucht)
Subject: Re: Earplugs?
Keywords: earplugs
Organization: Computer Science, University of Manitoba, Winnipeg, Canada
Date: Fri, 11 Sep 1992 20:02:22 GMT

Glad to hear there is growing interest in ear plugs.

Have you considered the audience's perspective on performances with such
high SPL levels that earplugs are needed?

I have attended several performances where the SPL levels were such
that I wore earplugs, David Bowie Glass spider tour some years back for example.
The SPL at my end of the stadium (farthest from the stage - some additional
speakers at mid field) was <= 135 dB. Who knows what the max level was closer
to the stage.

Recently I have become concerned about the effect of such levels
on my children.

It is difficult to control the environments my children are exposed to.
I wo'nt even take my kids to the circus (Shrine and others) because of the
excessively loud sound levels. My efforts to have levels reduced have failed
miserably.

If the SR people need to wear ear plugs (I realize
they are in greater danger because of the number of shows they do)
what about the poor audience?

Do you not have a responsiblity to keep levels at a safe level?
-- 
Dr. C. Matthias Laucht, Assoc. Prof.    Internet: laucht@cs.umanitoba.ca
Dept. of Computer Science               Phone:    (204) 474-6339 (direct)
University of Manitoba                            (204) 474-8313 (messages)
Winnipeg, MB, Canada  R3T 2N2           Fax:      (204) 269-9178
Newsgroups: rec.music.makers,rec.music.synth
From: daved@cbnewsl.cb.att.com (david.dougherty)
Subject: WANTED: PIANO MFR. LIST
Organization: AT&T Bell Laboratories
Distribution: usa
Date: Thu, 10 Sep 1992 13:40:49 GMT
Followup-To: poster
Keywords: piano

Hi gang! I'm looking for a comprehensive list of piano manufacturers and their
respective addresses and telephone numbers. I've started the process of shop-
ping for a 48" or 52" upright piano, or a 5'7" grand (the piano with the best
sound wins). Does anybody own/maintain such a list? Also, are there any trade
rags dedicated to acoustic piano? Here are just a few of the manufacturers that
I have heard of:

Young Chang*
Charles Walter*
Steinway and Sons*
Bosendorfer
Yamaha*
Sohmer*
Story and Clarke
Petrov (or Petroff?)
Hyundia
Wurlitzer
Baldwin
Kawai

*played

I'd like to stay away from Korean-made pianos (not that all Korean pianos are
junk--the Young Chang pianos are wonderful--it's just that the sound is too
bright for my tastes). I prefer a darker (more bass response) sound--typified
by European pianos.

Thanks for your help!
-- 
--
David W. Dougherty @ UNIX System Laboratories, Inc.
ARPA: dwd@usl.COM	UUCP: ...!att!usl!dwd	
TELE: 908/522-6241
From: mgates@entiat.boeing.com (Michael Gates)
Newsgroups: rec.music.makers
Subject: Re: Show tips & tricks
Date: 10 Sep 92 17:48:43 GMT
	<schnitzi.715438719@eola.cs.ucf.edu> <1992Sep8.220817.4524@amgen.com>
Organization: Boeing Computer Services, Bellevue, WA
In-reply-to: mylesw@amgen.com's message of 8 Sep 92 22:08:17 GMT

>>>>> On 8 Sep 92 22:08:17 GMT, mylesw@amgen.com (Myles Wakeham) said:
Myles> The basic rules are:

Myles> 1.  Never apologise to an audience
Myles> 2.  Be a total professional.  Double check everything before you 
Myles>      start.  (Especially true for guitarists - tune and retune).
Myles> 3.  Move around a lot.  Don't stay in the same place all the time.
Myles> 4.  Be honest to your audience.  Don't try and be someone you are not.
Myles> 5.  Have an attitude.  This works very well.

Myles> and most importantly....

Myles> 6.  If you are having a great time, so will your audience.  Its amazing
Myles>      how contageous this is.

Number 4 is incompatible with Numbers 3 and 5.
--
et tu mgates?
From: rost@rgb.dec.com (My name is Brian Rost)
Newsgroups: rec.music.makers
Subject: Re: Help? Fuzzbox schematic?
Date: 10 Sep 92 12:15:16 GMT
Organization: Digital Equipment Corporation


In article <BuBv3x.F6C@news.cso.uiuc.edu>, tmbg9495@uxa.cso.uiuc.edu (Freak ) writes...
>Hi!  Does anybody out there know where to find a schematic for your basic
>fuzz-box?  Or is it simple enough to post?  I looked inside my Rat
>(which isn't as simple as some) and it didn't seem to be too complex... but
>I'd rather have it on paper than trying to figure out how to make one from
>looking at a circuit board.  Can anybody help me?  Thanks!

Try the Craig Anderton Book "Electronic Projects For Musicians" or some of his
articles in back issues of Guitar Player (he published a Fuzz Face schematic in
one issue, for example).

					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: jason@hpfcbig.SDE.HP.COM (Jason Goldman)
Date: Fri, 11 Sep 1992 15:10:15 GMT
Subject: Re: Anyone heard from the MUSENET CD project?
Organization: HP SESD, Fort Collins, CO
Newsgroups: rec.music.makers

Well, thanks to those who responded.  I got a different address which got
a quick response from Craig: latta@central.parcplace.com.

Jason
jason@gibson.sde.hp.com
Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth