HDTenEightyP/NetNews huggingface dataset:
From: JOHNSO_FRM@CCSUA.CTSTATEU.EDU (Mr. Wizard)
Newsgroups: rec.music.makers
Subject: Notes on the harmonica (Harp)
Date: 21 Jul 92 22:19:10 GMT


	On the ten hole harmonica in the key of C, you have the following
notes, in the BLOW, THEN DRAW, order:

Hole	BLOW	DRAW
 1	 C	 D
 2	 E	 G
 3	 G	 B
 4	 C	 D
 5	 E	 F
 6	 G	 A
 7	 C	 B
 8	 E	 D
 9	 G	 F
10	 C	 A

	As you can see, holes 4-7 give you the whole C scale.  This would be
true for any key you purchase the harp in. (4-7 in a G harp gives you a G
scale)

	As for your 12 hole harmonica, I am not sure of the order of the notes
for registers 11 and 12, although they probably follow a similar pattern.

	As for more information on harmonica playing, there are quite a few
books out there, and I have included my list of titles that I find useful.

	"Country & Blues Harmonica for the Musically Hopeless", by Jon Gindick. 
It comes with a tape and a 'C' harp., and costs around $12.
	Don't laugh, I found this to be EXTREMELY helpful on explaining
	music theory.

	"The Harmonica: A fabulous New Book and Cassette for beginners on how
to play the Harp or Diatonic Harmonica", by Don Baker.  It comes with a tape.
	Really good effects, although the narrator os rather dull sounding.

	"Mel Bay presents Blues Harp for Diatonic and Chromatic Harmonica", by
Phil Duncan.  Costs $6.95.  Pretty good, although I found Gindick's book to be
the best for REALLY NEW musicians.  The blow and draw notation are not really
clear, at first, but once you have that down...not too shabby.

	I play the harmonica, Cross Harp style, so I get a blues sound, by
accenting the draw notes.  If I want to play cross harp on a C harmonica, I
will actually be playing in the key of G.

	If you have any questions, I will try my best to answer.

********************************************************************************

	Now, I have a harp question:
	I am looking for any books put out by Alan "Blackie" Schackner, but
especially "BLUES HARP AND MARINE BAND", or the title COULD be, "Everything You
Ever Wanted To Know About Blues Harp, But Didn't Know Who To Ask"
	I have seen this book, and I find it to be the most informative book I
have found so far.  Any information about the man, or his written works, would
be greatly appreciated!!

	Also, any other Harp Players out there recommending books? (Cross or
slant harp)  Thanks.


     {*}
     /
    /  Mr. Wizard
   /     "Rick"
johnso_frm@ccsu.ctstateu.edu
From: bw@hpcvxgmr.cv.hp.com (Bill Wilhelmi)
Newsgroups: rec.music.makers
Subject: Re: noise abatement shuts down Tesla
Keywords: noise abatement
Date: 23 Jul 92 16:10:56 GMT
Reply-To: bw@hpcvlx.cv.hp.com
Organization: Interstate 5

In article <376@bit.UUCP>, grego@bit.UUCP (Greg Sanguinetti) writes:
|> In article <1992Jul21.210123.3565@hpcvusn.cv.hp.com> bw@hpcvlx.cv.hp.com writes:
|> Thanks for the background Bill. It's good to know Salem hasn't gotten into the
|> music censorship business. I didn't know it was scheduled in an outdoor
|> amphitheater. Sounds like poor judgement on the part of the concert producer
|> to schedule, what I assumed is, a fairly hard rock band into an outdoor
|> arena. Especially one known to have a noise ceiling!

My understanding is that the band was made aware of the sound-level 
restrictions when the act was booked.

|> 
|> I can't blame the folks that live by it, assuming they didn't build there
|> after the theater was built. It has sometimes amazed me when people build
|> homes right next to existing race tracks or airports and then complain about
|> the noise!

The Amphitheater is just a few years old.  The neighborhood is much older.


|> 
|> -grego
|> -- 
|> ---------------------------------------------------------------------------
|> Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
|> grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
|> or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.

-- 
 Bill Wilhelmi    
 Hewlett-Packard - User-interface Technology Division CV
 1000 NE Circle Blvd.  Corvallis, OR 97330
 bw@hpcvlx.cv.hp.com
From: jmorton@euler.Berkeley.EDU (John Morton)
Newsgroups: rec.music.makers
Subject: Guitar Wood Shop
Date: 22 Jul 92 19:48:04 GMT
Reply-To: jmorton@euler.Berkeley.EDU (John Morton)
Distribution: na
Organization: University of California, Berkeley

I need to know the address of a certain instrument-wood outlet
in Northern California - I hope to pay them a visit later this
week.  I have forgotten the name and the city, but I think it's
in Healdsburg or Cloverdale.

Can someone send me this info?

thanks

John Morton					University of California
jmorton@euler.berkeley.edu			Mechanical Engineering
{decvax,cbosgd}!ucbvax!euler!jmorton		Machine Shop
Newsgroups: rec.music.makers
From: bussey@meaddata.com (Greg Bussey)
Subject: noise abatement shuts down Tesla
Followup-To: noise abatement shuts down Tesla
Organization: Mead Data Central, Dayton OH
Date: Thu, 23 Jul 1992 11:18:18 GMT

>> 
>> I once measured the level of ambient noise inside a car. 
>> 
>> It was a 1982 Subaru GL. The car was in good condition (eg. no 
>> muffler problems, etc.) 55 miles per hour. Radio off. The 
>> A-weighted SPL measured at the same postion as a passenger's 
>> ears was 86-89 dB.
>> 
>> It was hard to believe because it didn't sound at all loud.
> 
>Windows open, I take it?
> 
>--
>Nathan Janette          "I'm a NeXTstep man,


One would think so, but no. The windows were closed. It wasn't
raining, either, nor was there a strong cross-wind. 

86dB of random noise just isn't very loud. Either that or we are
conditioned to expect that level when we are in cars.

Remember that although 96dB is only ten dB more than 86dB, it is _twice_
as loud as 86dB. 106 dB is four times louder than that car.

-- 
---------------------------------------------------------------------
- Greg Bussey                                  bussey@meaddata.com  -
-                                                                   -
- If you choose not to decide, you still have made a choice  (rush) -
---------------------------------------------------------------------

Newsgroups: rec.music.makers,rec.music.synth,alt.music.progressive
From: jonb@Ingres.COM (Jon Berger)
Subject: Re: Will the real ALT.MUSIC.PROGRESSIVE please stand up!
Reply-To: jonb@ingres.com
Organization: Ingres, an ASK Company
Date: 28 Jul 92 17:17:13 GMT

In article <153tquINN53m@wupost.wustl.edu>, oser@fermi.wustl.edu (Scott Oser) writes:
>If Kansas and Genesis don't belong here, who the hell does?
>

Oh goody!  There's going to be a flame war about which music qualifies
to be labelled with a particular word!  What fun!

We do this over on rec.music.folk about every six months.  "It's not
folk music if the person who wrote it has teeth."  "It's folk music if
I say it is."  "It's folk music if Mike Seeger says it is."  "It's not
folk music if you play it on something you plug in."  "Oh yeah, well,
how about microphones?"  "It's not folk music if it's about politics."
"It's not folk music _unless_ it's about politics."

We never settle anything.  You won't either.

--------------------------------------------------------------------------
Jon Berger     jonb@ingres.com     {mtxinu,sun,amdahl,pyramid}!ingres!jonb
"If you push something hard enough, it will fall over." 
                                         -- Fudd's First Law of Opposition
Newsgroups: rec.music.makers
From: friedman@col.hp.com (John Friedman)
Subject: Re: Opinions about A.R.T
Date: Tue, 21 Jul 1992 15:40:48 GMT
Organization: HP Colorado Springs Division

lem7266@ritvax.isc.rit.edu writes:
> Hello,
> 	I am interested in buying some new gear for my rack and 
> home studio.  I have heard about A.R.T. (Applied Research and Technology)
> and wondered what you netters think of this company and their products.
> I know they have cool graphics but what else...?

I looked at the MDC 2001 (I think that's the correct product number)
Dynamics Processor.  I thought it was basically a piece of junk.  The
saleman was unable to connect it up correctly - it made some horrible
noises!  When we did get it to work, it was, IMHO, excessively noisey.

I decided not to get one.

I've also heard NUMEROUS horror stories about their NightBass preamp on The
Bottom Line (a bass player's mailing list) as well as alt.guitar.bass.  In
fact, there is a short thread in alt.guitar.bass right now on this topic.

> 					Thanx in advance
> 					Lee

John Friedman
friedman@col.hp.com

Newsgroups: rec.music.makers,alt.guitar
From: dcovell@pcocd2.intel.com (David Covell)
Subject: What's happening with Fender amps?!
Organization: Development Tools Operation, Intel Corp., Hillsboro, OR
Date: Wed, 22 Jul 92 16:25:58 GMT


Last weekend I tried out a few strats and telecasters at a local music store.
I plugged into the nearest amp, a new Fender Princeton Chorus, and dialed up
a typical clean tone w/o chorus. The resultant sound was totally lifeless
and Sahara-desert-bone dry, so I assumed the strat was a lemon and next
tried a telecaster. Sounded even worse! So, I plugged into another Princeton
Chorus, set the tone controls like they were on the first one, and it sounded
just as bad. By now I was really intrigued with how Fender amps could sound
I also tried the same guitars through a new Twin (the grey-with-red-knobs type
and it also sounded bad. I don't understand how Fender can be selling these
things! I'm far from a fan of Peavey amps, but I've never heard any of theirs
sound as bad as these three Fenders did. I didn't bother to try out the
on-board chorus or distortion features, since I have no use for any amp that
can't provide at least a decent clean tone. I did experiment quite a bit with
the tone controls on both the amps and guitars, and there were just no good
tones to be had from these amps. Three amps is a pretty good sampling, and
they all sounded very bad. I know Fender is still capable of building good
amps, since their reissue vintage Twin sounds very close to the original, but
I have to wonder about the capability of their design engineers. Either they
are cutting corners to keep prices down (and their prices are still too high)
or they just can't build a decent solid-state guitar amp. I'm sure I could
find a Peavey that sounded better, and at a much lower price. I think Fender
is in danger of losing out on the amp market (except for their tube reissues,
perhaps) if they don't improve. Either that, or the onboard chorus and
distortion are really great (I doubt it!).
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.makers
Subject: Re: Playing cover songs
Date: 24 Jul 92 17:40:44 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1992Jul24.145204.7006@infonode.ingr.com> james@raveup.b24a.ingr.com (Teddie James) writes:
>
>This is directed to cover bands and original bands who do an occasional
>cover or two.  When you start preparing a cover song for performance, do
>you agonize over every last note and phrase so you can play it the same
>way the original artist does?  Or do you just get the essence of the
>song (progressions, etc.) and fill in the rest with your own stuff? 

When learning a cover, I usually listen to the tape just enough to
learn its fundamental structure and voicings.  After that I do what
I want with it.  If I don't remember some small detail I make something
up rather than refer to the tape.  How close we come to the original
depends on the original.  I might have a special fondness for a certain
synth patch used on the original and try to match it.  I might like
the opening notes of a lead and start my lead with those same notes.
Who knows?

In any case, I'm usually shocked a year later, when I hear the original again, 
how strange the original sounds to me.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
Newsgroups: rec.music.makers
From: andre@rurutu.wri.com (Andre Kuzniarek)
Subject: Re: multitrack recordings of other than popular music
Organization: Wolfram Research, Inc.
Date: Fri, 24 Jul 1992 17:17:15 GMT

In article <1992Jul23.040745.4793@news.cs.brandeis.edu>  
jacob@max.cc.brandeis.edu ( ) writes:

> Is it correct that multitrack recording (4-track and above) is only
> used for popular music ... ? ... if it makes
> a difference whether it's live or studio I'd be interested to hear the 
> answer for both.

I'm pretty sure I once saw a documentary of Leonard Bernstein at work in a  
big time, multitrack studio. He was supervising the recording, in  
different sessions, of one of his works, I believe. Now, of course, I  
consider his stuff to be akin to "popular music", but I got the impression  
that the multitrack recording process was not an uncommon route for  
orchestral works...

AK
From: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Newsgroups: rec.music.makers
Subject: Re: Anti-censorship T-Shirts
Date: 28 Jul 92 13:29:21 GMT
Reply-To: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Organization: Control Data Corp., Arden Hills, MN

In article <5168@transfer.stratus.com>, tespy@sw.stratus.com (Tony Espy)
writes:
|>In article <45688@shamash.cdc.com>, ats@phoenix.udev.cdc.com (alex t
stagg x4718) writes:
|>   While we're at it, why don't we start stickering books?  I think
|>   you'd be hard pressed to find a book on the Bestseller list 
|>   that didn't have a portion of smut that would earn it a sticker 
|>   were it a recorded work ( sex sells ).  I bet Tipper Gore herself

Good Idea! I agree completely! Without labels, those of us
who don't want the trash don't have to contribute to the
profits of those who produce the stuff just to find out
what's inside. I want information on what I'm getting
before I get it (novel idea?). Reviews don't allways give
this info.

Alex.

----------------------------------------------------------------
A. T. (Alex) Stagg/ARH215      | INTERNET: ats@udev.cdc.com
Control Data Systems, Inc.     |
4201 Lexington Ave.N.          | fax:      01-612-482-4455
Arden Hills, MN USA 55126-6198 | Voice:    01-612-482-4718
From: gt6851a@prism.gatech.EDU (Brian King)
Newsgroups: rec.music.makers
Subject: Opinions about ART
Date: 22 Jul 92 01:55:30 GMT
Organization: Georgia Institute of Technology

>>I am interested in buying some new gear for my rack and 
home studio.  I have heard about A.R.T. (Applied Research and Technology)
and wondered what you netters think of this company and their products.
I know they have cool graphics but what else...?


I had a similar experience to this:
>>I called ART to arrange for sending it back
to them.  I found out that I had to pay shipping to Rochester,NY and they
would take care of shipping it back, but they only use UPS Ground.  This 
meant that at best I would be without my unit for three weeks, most of
the time being spent in transit.  I shipped it and waited...and waited.
Finally, I called ART and found out that my unit had been received, but no one
was working on it!


With me, I was told the unit (in my case, a guitar processor -  SGE Mach I)
would be back in three weeks.  It didn't get back until 6 weeks, which just
happened to be the day after a gig.  I had to hound them to get it back that
soon.  One good thing - the repair was only $45, which holds for ANY repair,
no matter how serious.


BTW, the two things which needed to be repaired - an LED and a pot- were 
caused by wear-and-tear on my part, and were not the fault of bad materials
or workmanship on the part of ART.

Now that it is repaired, I like it.  It has most of the major guitar/bass
effects I need, plus adequate studio applications.  It is a jack-of-all-trades
unit, though, so it is master of none.  However, for the money, it is a good
unit.

bk

-- 
"in this day & age...music performed by humans?...Hum?! - Wilde Silas Tomkyn 
"and for the Catholic students... FISH!!!" - Galactic Cowboys
Brian King - Georgia Institute of Technology, Atlanta: gt6851a@prism.gatech.edu 

From: mow@hpwin052.uksr.hp.com (Mark Payne)
Date: Mon, 27 Jul 1992 09:40:57 GMT
Subject: Re: WANTED: Drivers for stage monitors
Organization: Hewlett Packard Response Centre, England
Newsgroups: rec.music.makers

Re .. Building Monitors for Vocals...

DON'T build your own.. You end up with debatable quality and something 
that will not hold any re-sale value. If you want cheap monitors with reasonablequality check out the PEAVEY ES12M (comes powered or non-powered). These are 
good for about 60/80W each.. NOT up to rock vocals. The TOA SL-150M is a 
15"/horn unit that will handle 250W programme. We uses these as our standard
rig monitor.. In the UK I pay approx 140 (Pounds) each for these. There is 
NO WAY I could build anything this good for that money.

DONT BUILD YOUR OWN.. I know, I've done it amnd I've always hated what I end
up with.

Mark
______________________________________________________________________________
Mark Payne | Mail: mow@hpwin052.uksr.hp.com |  Telephone: (UK) 734 777688
___________|________________________________|_________________________________
Hewlett Packard, King Street Lane, Winnersh, Wokingham, Berkshire RG11 5AR
United Kingdom.
From: duslt@dcatla.uucp
Newsgroups: rec.music.makers
Subject: Insuring home studio equipment?
Date: 21 Jul 92 13:22:07 GMT
Organization: Digital Communications Associates, Alpharetta, GA

I have over the past several months built up a pretty good home studio setup,
and heve several thousand dollars invested in equipment.  I decided that I 
really needed to have this covered by insurance, so I called my friendly
homeowners' agent to add some additional coverage to cover this equipment.

They are giving me no end of grief about covering my studio gear.  First I
have to unequivocally swear that I never do anything there for which I charge
anywone, then they still act like they don't really want to cover it because
electronic equipment is considered "high risk", and the underwriters don't
want to cover you when two thirds of the content value of your home is in
electronic stuff.  Apparently professional musicians have the same problem in
covering their gear.  If you are a musician, the insurance companies think you
are a bad risk and don't want to cover you.

Anyway, I am looking for ideas as to how I might get this stuff covered, 
preferably without having to restrict myself from ever doing a session for
someone for money.  Does anyone know of an insurance company that specializes
is coverage for musor would be willing to write a policy to cover my home studio equipment?

Lee Taylor
Atlanta, GA
duslt@dcatla.uucp
Xref: sparky rec.music.makers:8528 rec.music.bluenote:5860
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.music.makers,rec.music.bluenote
Subject: Re: Berkeley
Keywords: Berklee
Date: 24 Jul 92 16:16:33 GMT
Article-I.D.: bit.379
Reply-To: grego@bit.UUCP (Grego Sanguinetti)
Organization: BIT  Portland, OR

In article <1992Jul22.151058.2764@HQ.Ileaf.COM> anton@HQ.Ileaf.COM (steve norton) writes:
>nope.  berklee was founded in the (i believe) late fifties (maybe
>early sixties).  it grew out of the Shillinger House, a music school
>started by composer/theoretician Joseph (?) Shillinger.  (Steve Lacy
>is a prominent alum.)  it was founded by Lawrence Berk, who named the
>school after his new son, Lee Eliot Berk (BerkLee), who is the current
>president.
>-- 
>/steve

Hmmmm, where did I get the lawyer part? I remember someone telling me
that Lee was a lawyer. Oh well, it doesn't really matter, sigh, I guess
the old memory components are glitching!
-grego
-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Insuring home studio equipment?
Date: 22 Jul 92 17:28:10 GMT
Organization: Grass Valley Group, Grass Valley, CA

Don't fool around with your gear.  Insure it and install a burglar
alarm.  Also as one poster suggested, don't flaunt your gear!  My
sound truck is a simple grungy looking vehicle and I have avoided
putting a sign in it!  "XYZ Sound" only targets the vehicle for
the insistant thief.

I installed a burgular alarm after I was burglarized.......But I have
it now and I feel a little better about it.

Several years ago I went to my local independent insurance agent and purchased 
a combination policy of liablity and equipment insurance. 

The insurance is well worth the cost.  The cost of the insurance vs.
the cost of the equipment ratio (for me) is 37.5:1.  I am sure it's worth
it!
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Newsgroups: rec.music.makers
From: james@raveup.b24a.ingr.com (Teddie James)
Subject: Playing cover songs
Organization: Intergraph Corporation
Date: Fri, 24 Jul 1992 14:52:04 GMT


This is directed to cover bands and original bands who do an occasional
cover or two.  When you start preparing a cover song for performance, do
you agonize over every last note and phrase so you can play it the same
way the original artist does?  Or do you just get the essence of the
song (progressions, etc.) and fill in the rest with your own stuff? 

Personally, I would rather not play a cover exactly as it is written. 
Why not make up a new verse, write a new solo, change the intro, change
the key?  Change the song around and make it your own.  I get bored if
I hear a band playing note for note covers, and I know a lot of other
people do, too.  You might as well listen to the CD.

These are just my opinions.  What I want to know is how you approach
cover songs and why you play them like you do.

Thanks,



			        TEDDIE JAMES
			   Intergraph Corporation
			       Huntsville, AL
			        205-730-8065
			 james@raveup.b24a.ingr.com
			uunet!ingr!b24a!raveup!james
			____________________________
                         --------------------------

I see the light at the end of the tunnel now.  Someone please tell me it's
not a train.
							Cracker		
Xref: sparky rec.music.makers:8439 rec.music.marketplace:916 rec.music.synth:12600 misc.forsale:21722 pnw.forsale:1370
From: bjornl@milton.u.washington.edu (Bjorn Levidow)
Newsgroups: rec.music.makers,rec.music.marketplace,rec.music.synth,misc.forsale,pnw.forsale,na.forsale,uw.forsale
Subject: FOR SALE: Ensoniq SQ-80 Synth/Workstation - CHEAP!
Date: 22 Jul 92 22:21:21 GMT
Article-I.D.: u.1992Jul22.222121.4398
Reply-To: bjornl@u.washington.edu
Distribution: usa
Organization: University of Washington, Seattle

FOR SALE

Ensoniq SQ-80 Synth

Features:	5 Octave Velocity Sensitive Keyboard
			with aftertouch
		8 Voice Polyphony
		40 On board patches (120 available with RAM Cartrage)
		8 Track, 20,000 note sequencer
		Floppy Disk Drive to store sequences and Sound Patches
		Dual Waveform sound construction
		Sampled attack waveforms
		Full set of drum kit samples

Comes complete with a Mac MIDI interface and cables, stand (Seattle area only),
sustain pedle, manual and orignal box.  I've only given it very light use
at home, so it is in excelent condition.

Price: $450 FIRM + Shipping

Respond via E-Mail or call (206) 685-7423
===============================================================================
\  Bjorn Levidow                    |   Romance is unreal...it's the essence  /
\  Dept. of Psychology      NI-25   |   of life, but not the reality of it.   /
\  University of Washington         |               ---Robyn Hitchcock        /
\  Seattle, WA  98195               |   It's mine!  All mine!                 /
\  bjornl@u.washington.edu          |   I'm independently thoughtful!         /
===============================================================================