HDTenEightyP/NetNews huggingface dataset:
From: cfthb@ux1.cts.eiu.edu (Howard Black)
Subject: DiMeola album
Date: Tue, 26 Jan 1993 19:58:02 GMT
Organization: Eastern Illinois University

    I just saw what I think is a new Al DiMeola album, called "The Best of
Al DiMeola - the Manhattan Years" (I think I'm recalling it correctly).  I
only recognized a couple of titles on the disk, despite being a diehard
DiMeola fan from 'way back.  Does anyone have any info on this release,
especially whether it's good, what era it's from etc.?
-- 
   ******************************************************************
     Howard Black                             cfthb@ux1.cts.eiu.edu
     Department of Chemistry                  Eastern Illinois Univ. 
Newsgroups: alt.guitar
From: jkiparsk@reed.edu (Jonathan Kiparsky)
Subject: Re: Harmonics
Organization: Reed College, Portland, Oregon
Date: Sun, 24 Jan 1993 06:25:37 GMT

You can tune the high B and E to the low E and A with the seventh fret 
harmonics. I usually do this, and tune the middle two strings to the third
frets(octaves) on the high strings. I find that this method gives me the most
"in-tune" sound for fingerpicking, which is when I really hear it.(love 
those not-quite-octaves!). 

If you play around a bit, you can find a lot of cool tricks using odd 
harmonics. I found an A scale that runs from the fifth fret of the 
fifth string to the third fret of the fourth, like so:

----------------
----------------
-------------5--
-------5---4---3
-5---4---3------
---3------------

If you use the G# at the fourth fret of the sixth string, you can get the main
lick from Optomistic Thought(Blues Traveller). It's pretty good for dropping
jaws when you pull a solo in it, too. 
-jon
Newsgroups: alt.guitar
From: chris@labtam.labtam.oz.au
 (Chris Taylor)
Subject: Re: Harmonics
Organization: Labtam Australia Pty. Ltd., Melbourne, Australia
Date: Mon, 25 Jan 1993 23:51:13 GMT
Summary: Elaboration

In article <1jq01aINN8e0@darkstar.UCSC.EDU>, indigo@ucscb.UCSC.EDU (Adam Schneider) writes:
> 
> In <C19yqz.1ABI@austin.ibm.com> poidoug@austin.ibm.com writes:
> 
> >When you pluck a string you don't hear just one frequency you hear several.
> >Touching the string directly above the 5th, 7th, and 12th frets while picking
> >it removes one of those frequencies.  This makes tuning the guitar with
> >harmonics easier than tuning it regularly because your ear has less sound to
> >sort through.
> 
> >Is this correct?
> 

Sort of.
In general - a natural or artifical harmonic is a way of selectively
favouring certain frequencies (overtones) while attenuating others.
This is by touching with the finger on a point where there exists a node
for the frequencies to be heard. Frequencies that do not have a node
at this point will be attenuated to some extent.
(Natural harmonics are done on open strings - artifical on fretted strings)

BUT you can play a fretted note at the twelvth fret or a natural 
harmonic at the twelvth fret.

In theory these will both produce the same spread of frequencies  ** 
(all those with a node in the centre of the string) but they will
sound different because the amplitude of the frequencies (overtones)
are different.

The difference arises because of the way the note is struck and
allowed to ring. With fretting the vibration is strongest so all the
overtones are loud.
With the natural harmonic the note is slighted muted by the finger
touching the string over the fret and the whole open string vibrates
afterwards (not just above the twelvth fret).

Hence the natural harmonic has less energy.
It turns out that most of it's energy ends up in the fundamental 
(lowest) frequency and so it is closer to being a single frequency
that the fretted note is.


** altough intonation or "dead-string" problems can cause
   slight differances in pitch.
From: schultz@stpaul.ncr.com (STEVE SCHULTZ)
Newsgroups: alt.guitar
Subject: Re: Artificial harmonics
Summary: playing harmonics on the guitar
Keywords: guitar; harmonics
Date: 26 Jan 93 19:11:50 GMT
Distribution: usa
Organization: Product Marketing

In article <1993Jan26.052922.28334@leland.Stanford.EDU> termite@leland.Stanford.EDU (David Paik) writes:

>I haven't read any responses on this thread yet where anyone does what I
>sometimes do.

>For harmonics ala Billy Gibbons (ZZTop) I usually choke up and use my thumb
>like everyone else but when I want to hit definite harmonics and not just
>random harmonics I do something different.

>I hold the pick between my thumb and middle finger leaving my index finger
>free.  I then put my index finger down where the harmonic will ring and pck
>with my thumb and middle finger.  I usually only do the 2nd harmonic with
>this technique because it gets too hard otherwise.

>The trick is to play a line with your left hand and instead of picking
>regularly you hit the 2nd harmonic.  Here's an example:

>Left hand        Right hand index finger
>2nd fret         14th fret
>5th fret         17th fret
>7th fret         19th fret

>OK, did I confuse everyone?  Does anyone else out there do this?

>Dave

The late Lenny Breau, jazz guitarist from Canada hailed as a genius by the 
likes of Atkins, others, used this particular technique, and was considered 
the master.  I don't know which of his recordings survive/are available.

Others may wish to comment....you can get some interesting melodic effects 
with this technique.  It takes patience at first holding the pick between 
the thumb and middle finger.  I suggest just holding the pick this way and 
practicing familiar melodies, then gradually adding the damping/touching of 
the first finger.  Also, when you touch the first finger, make sure you are 
above the fret, not behind it.

Any other comments?

Steve Schultz
NCR NPD
steve.schultz@stpaul.ncr.com
Steve Schultz, Mktg Product Manager
NCR NPD, St.Paul, MN
eMail:  steve.schultz@stpaul.ncr.com
Newsgroups: alt.guitar
From: kmacpher@ha06.eng.ua.edu (Ky MacPherson)
Subject: new guitar recommendations
Organization: The University of Alabama, Tuscaloosa
Date: Thu, 21 Jan 1993 20:29:18 GMT

Hi folks.  I'm looking for a new electric for mainly metal lead/rhythm
and maybe an occasional clean piece.
I've been playing for maybe 2 1/2 years.  I would like to hear your
recommendations on the following:
 1. Carvin DC(any)
 2. Hamer Diablo
 3. Somthing Else < $1000
 4. Save up for something expensive

If you have played one of the guitars I mentioned please let me know
what you thought of it.  I appreciate any opinions
Thanks a lot
 - Ky  kmacpher@buster.eng.ua.edu
       "Or we could dump it in one of those Southern states, 
        where the governor's a CROOK!" - Mr. Burns (The Simpsons)
From: chris@ccs.northeastern.edu (Chris Dunn)
Newsgroups: alt.guitar
Subject: Tube Amp Recommendations
Date: 26 Jan 93 16:08:14 GMT
Distribution: usa
Organization: College of CS, Northeastern U


   I recently sold my amp and effects because the need for warm tone,
smooth overdrive and sweet sustain overcame me.   My first love is the
blues, so I have no great desire for gigantic amounts of HIGH gain, but
plenty of overdrive is desired (ala Roy Buchanan).  Money is a
consideration, and I only want to spend up to about $550.  Of course
I'm going to go out and play, play, play on what I can find, but sometimes
its hard to try them all, so I'd like to hear from all you tube
aficionados.  Are the well known brands all they're cracked up to be?
Are there solid state amp just as good in the price range, with just as
good "tone" (whatever you want that to mean)?  Send replys to this news
group, or to my email address.  If there's enough response I create a
summary.  Thanks.

Here are some that I'm considering based on price, design, and reputation:

New:

- Peavey's new tweed amps.  50 watts, vintage design, comes in 2x12 and
  4x10 combos.  Also small 15 watt 1x10 may become available sometime.

- Carvin XV112, all tube 100 watt, 1x12 combo.

- Hughes & Kettner ATS 60 Combo.  65 watt, 1x12 combo, with I believe
  a tube preamp.

Used:

- Bedrock BC-75 Combo, 2x12 vintage all tube combo, 75 watts.
- Bedrock Lead 50c combo, all tube 1x12 combo, 75 watts.

- Tubeworks 2112 combo 1x12, 100 watts, tube preamp, "MosValve" power amp.

- Laney Tube combo, 1x12, various wattages.

- Mesa Boogie, studio .22, 22 watt, all tube.  (Are M/B's as good as they
  are expensive? What kind of sound are they designed for?)

Solid State:

- Possibly a new Crate or Gallien Krueger?

Chris (chris@damon.ccs.northeastern.edu)
Organization: Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Fri, 22 Jan 1993 00:56:28 -0500 
From: Nicolas Alejandro Arauz <na0s+@andrew.cmu.edu>
Subject: Korg A5 Effects For Sale $250!

I have a Korg A5 Multi-FX processor for sale.  It's sits on the floor,
and allows 5 effects simultaneously.  It's about a month old, in perfect
condition, still have the original box, manuals, etc.  It has
Compressor, 3 Band EQ, Exciter, Chorus/Flanger, Reverb/Delay.  It's
really nice, and each effect has its own pedal.  I just decided it's not
convenient for me to use.  I prefer rack-type/table-top/micro effects,
and actually, I've replaced this with a Zoom 9002, which I prefer because
of its compact size.  It sits on my desk where I can plays with the
controls.  But if combined foot-pedals are your thing, then the A5 is
for you!  I'm selling it for $250+ship (cash or certified check/m.o.).
I think it goes for about $299 (plus tax) at Sam Ash last time I checked.
And even if it's a little lower now, you'll still have to pay $40 or so
in taxes.  So if you're interested, give me a call at (212) 388-9495 and
ask for Alex or reply to this account.  I may accept a SLIGHTLY lower
(reasonable) offer.  Note that this is the NON-DISTORTION version, I
guess it would be ideally suited for Acoustic Guitar, Voice, Synthesizers.
From: Zapper@qube.OCUnix.On.Ca (Zapper)
Newsgroups: alt.guitar
Subject: Re: MOSFET distortion
Distribution: world
Date: 25 Jan 93 01:35:22 EDT
Organization: The QuBE BBS

In a message dated Sun 25 Jan 93 18:11, Meta <meta@unb.ca> wrote:

 M> The circuit can be found in Craig's book "Electronic Projects for
 M> Musicians" (2nd edition).

 M> The EPFM book can be had from a variety of sourrces, but I recommend
 M> getting Stewart-MacDonalds' Guitar Shop Supply Catalog, and
 M> orderring from them.  (ohmygOD! wAS THAT A COMMERCIAL ENDORSEMENT?)

  EPFM is such a fun book... I had the book and built most of them all, and
some of them are still in use...

  To be 100% honest, Craig and this book are the reason I chose to enter
electrical engineering... if it wasn't for that book I'd be adding columns
of numbers somewhere...

  The only thing that held me back were those dang optoisolators he used so
much that were so hard to find...

-- Via DLG Pro v0.992

----------------------------------------------------------------------
   Zapper@qube.ocunix.on.ca  | Trevor Boicey, U of Ottawa Comp. Eng.
     "don't need that jazz, don't need that stuff" - REM "Stumble"         

                 luv forever to slow@royalroads...
From: U59919@uicvm.uic.edu
Newsgroups: alt.guitar
Subject: FX for trade
Date: 21 Jan 93 20:33:03 GMT
Organization: University of Illinois at Chicago

I have a DOD Digital Turbo Distortion box (DFX5).
It has a delay that sounds more like a reverb.
I am looking to trade it for a DOD American Metal Pedal.
The original FX56 not the new FX56B _Super_ American Metal Pedal.
I only used the DFX5 about 4 or 5 times, so It's in great shape.
E-mail me with any replys.
I'd prefer to trade with someone in the Chicago area, but I will
talk to anyone anywhere.
thanx in advance.
--------------------------------+------------+---------------------------------
Theodore Penn                   |  <><   <>< | University of Illinois at
U59919@uicvm.uic.edu  Internet  |    ><>     | Chicago - Computer Science Dept.
U59919@uicvm          Bitnet    | <><  <><   | Go Against the Flow.
(312)237-0096         Phone     |  <><  <><  | I am a Stranger to this World.
Newsgroups: alt.guitar
Subject: quadraberb GT ... Zoom... ART  
From: Andrew@gacvx1.gac.edu (Andrew S. Benson)
Date: 28 Jan 93 11:49:30 -0600
Followup-To: alt.guitar
Distribution: world

I am looking to update my rig, and I am shopping for effects processors.  I
am looking at the Alesis Quadraverb GT, the ZOOM...uhh... I can't remember
the model, but it is the $500 or so box shaped (as opposed to fuzz buster
shaped), and briefly at the ART SGX2000.  I want some user opinions of
these processers.  Here are my present opinions:

Alesis Quadraverb GT- never played a GT, but the quadraverbs seem pretty
cool.  I don't recall the normal quadraverbs having distortion, but I guess
the GT does.  How is it?

ZOOM- I played one and it was really cool for wacked out sounds, but when I
wanted a clean sound, it was hard to find.  I was only dinking with the
presets though, and it seemed easy to program, so who knows?

Art SGX2000- My first impression of ART is cheap sound.  I wouldn't even
consider this, but I have a friend who is head over heals about the
SGX2000, he is going to buy it soon.  Maybe ART has worked on their sound
in the two years since I've played one, someone let me know.

Right now I play a DiGitech GSP-5, so any of these would be a much needed
update, I just want to know which one is the best.  I don't get around to
this group very often, so please send me any replies.

Thanks a big.

Andrew S. Benson
-->-->-->-->-->Andrew@gacvx1.gac.edu<--<--<--<--<--<--<--<--
From: mathers@sibelius.trl.OZ.AU (Steven Mathers)
Newsgroups: alt.guitar
Subject: Re: Harmonics
Date: 26 Jan 93 22:09:29 GMT
Reply-To: s.mathers@trl.oz.au
Organization: Telecom Research Labs, Melbourne, Australia

|> 
|> >Oh yeah you can!  Here's the harmonics that should be the same on the G and
|> >B strings: 4th fret G 5th fret B (and 7th fret E), they're all Es.
|> >Much easier to hear on an electric, but I even tune my acoustic this way.
|> 
|> NO NO NO!  The 4th fret harmonic (and the 9th fret harmonic) should NOT be
|> used to tune your guitar!  The 4th and 9th fret harmonics actually have the
|> same frequency, and this frequency is one-fifth the frequency of the open
|> string.  THIS IS NOT A NOTE!  On the G string, it's _close_ to B, but
|> slightly below it.  The G string is 784 Hz, B is 988 Hz, and that harmonic 
|> is (or at least sounds like it is) 980 Hz.  So if you use this harmonic to
|> tune your guitar, you'll be 9 Hz off.

How exactly does one tune a guitar using harmonics?
Newsgroups: alt.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: slanted frets on fingerboard
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<1993Jan28.194404.28362@ncsu.edu>
Date: 28 Jan 93 21:08:16

   From: ron@ramsey.cs.laurentian.ca (Ron Prediger [Ronster])
   Organization: Dept. of Computer Science, Laurentian University, Sudbury, ON
   Date: Thu, 28 Jan 1993 17:09:16 GMT

   Sometime ago I entered a small music store and noticed an
   electric guitar whose fingerboard frets gradually became
   slanted as you approached the heel (body end) of the neck
   (that is the frets progressively tilted away from the
   perpendicular).

   I have seen photopgraphs of Rickenbacker guitars with slanted
   frets,  but the fret angle appeared to be constant (vs.
   a progressive slant on the instrument I saw in person).
   I have also read a handful of books on guitar building and
   never enountered any mention of such a design.

   Has anyone enountered anything similar or understand the
   principle involved ?

The theory is that the scale length of an instrument makes a contribution
to the sound; guitars with longer scales (Fender's are typically 25.5
inches) have a brighter sound than guitars with shorter scales (Gibsons are
typically 24.75 inches), all else being equal, and that a shorter scale
might be preferable for the higher strings and a longer scale might be
preferable for the lower strings.  Y'know, like in a piano, harp, autoharp,
harpsichord, or clavinet.

(I don't mean to imply that this is the only reason, or even the most
significant reason, Fenders typically sound brighter than Gibsons.  If you
want to experiment with smaller scale lengths, simply capo up a fret or two
and tune down so that the capo'd open strings are at the standard tuning.)

I've never played one of these guitars, so I can't tell you if the effect
is noticable or not.

   From: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
   Organization: North Carolina State University, Project Eos
   Date: Thu, 28 Jan 1993 19:44:04 GMT

   It sounds like someone built a guitar with a graduated scale length. (It
   also sounds like some luthier got really loaded :-) I can imagine the
   headache of doing this, since the equation governing fret placement is
   an exponential one, there couldn't be too many solutions to 6 different
   scale lengths where the fret position on each string allows frets to be
   placed this way as opposed to 6 fret-lets per half tone (giving 132
   frets on a normal 22 fret length fingerboard ) I guess there'd be a bit
   more slop in intontation than we're accustomed to on normal
   fingerboards.

Um, you need to work on your math -- while the fret placement is in fact
exponential, all the distances scale linearly, so neither fretlets nor
curved frets are necessary.  (Curved frets would look pretty cool, eh?)

  -- Don
From: larryh@fawlty.lmc.com (Larry Huntley)
Newsgroups: alt.guitar
Subject: Re: BOOKS NEEDED: tube primer
Date: 26 Jan 93 21:18:58 GMT
Distribution: usa
Organization: Logic Modeling Corporation   Beaverton, OR

In article <1juklfINNi30@charnel.ecst.csuchico.edu> rferrel@ecst.csuchico.edu (Robert Douglas Ferrell) writes:
>
>   _Radio Engineering_, Frederick E. Terman, McGraw-Hill, various
>
>   _Communication Engineering_, William L. Everitt, McGraw-Hill, various
>
>   _Analysis and Design of Electronic Circuits_, Paul M. Chirlian,
>McGraw-Hill, 1965.
>
    Just a quick addition to Doug's excellent list.  "The Radio Amateur's
    Handbook" from the mid-60's has a fair amount of tube information and
    also has a lot of general electronics information and even construction
    techniques.  It makes a great reference, especially for someone who has
    not had much (or any) experience building tube-based electronics.

    Same sources as Doug listed.  Also watch for Ham-fests (swap meets for
    radio operators.)

    The Handbook is published every year, so newer ones won't have the same
    information as older ones.  Since tubes have almost vanished (except for
    finals in high-power transmitters), newer Handbooks have less information
    that would apply to tubes.  Look near the back; if it's got tube basing
    diagrams, you're in luck.  Still a useful book, though.  Usually cheap,
    too.

    - Larry Huntley

-- 
         (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
From: Benjamin.M.Brainard@dartmouth.edu (Benjamin M. Brainard)
Newsgroups: alt.guitar
Subject: MANDOLIN HELP?!?!?
Date: 25 Jan 93 20:23:57 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

Hi.  I was wondering if anyone out there had a copy of Bickford's
Mandolin that they would want to sell.  All of the books would be
wonderful, but I'd consider buying single volumes (I think there were
4?).  Thanks in advance,
edgar
edgar@coos.dartmouth.edu
Newsgroups: alt.guitar
From: kurt@ods.com (Kurt Taylor)
Subject: Re: Tube sound fuzz
Organization: Optical Data Systems, Inc.
X-Newsreader: TIN [version 1.1 PL8]
Date: Mon, 25 Jan 1993 23:51:39 GMT

matt harmon (harmon@hepxvt.ps.uci.edu) wrote:
: etlcrcy@bugs.ericsson.se (Chris Cleverley) writes:

: >In article <harmon.727743330@skid.ps.uci.edu> harmon@hepxvt.ps.uci.edu (matt harmon) writes:
: >>BTW, I built the Tube Sound Fuzz which appears in Electronic Prijects for
: >>Musicians by Craig Anderton.  I really like the sound hovever I am
: >>contemplating an improved design. . . 

: >  I have built this too and am very interested in the modifications.  I have
: >found this to be a very good unit and will use it in preference to my BOSS
: >pedal anyday due to its warm, rich sound.  I have found no problem with the
: >bass response ( I have two humbucker pick-ups ), but when switching from
: >rhythm to lead the extra-gain is a real problem. . .
: >Chris Cleverley                     \\\\ 


: Well . .  I have thought of a few solutions to this problem.  Some are a little
: hard to implement but the quickest fix would be to use a ganged pot for a comb-
: ination intensity output level control and to use a DPDT switch for the lead/
: rhythm control.  Then put an output dividing circuit on the other side of the
: switch to cut output when you switch into lead.  I myself will look at some
: basic circuit mods to add tone control and better output level control.

: It's good to see interest in this, I'll most likely post my improved design in
: a couple of weeks.

: 							Matt Harmon

Wow, Matt, you know THE Jim Kelly ???!??!??! The 6v6 amp maker ???
Is he still making these little jems ???

 - KT

-- 
OOOOOO DDDDD  SSSSSS    Kurt Taylor ----> kurt@istwok.ods.com
O    O D    D SS        Optical Data Systems, Inc.
O    O D    D     SS    1101 E. Arapaho Road, Richardson, TX 75081
OOOOOO DDDDD  SSSSSS    Disclaimer type thing.  Blah. Blah. Blah.
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: major acoustic mod
Date: 21 Jan 93 02:28:44 GMT
Followup-To: alt.guitar
Organization: Univ. of Arizona

In article <C0v46p.KuH@acsu.buffalo.edu>, v201lrxa@ubvmsb.cc.buffalo.edu
(L'Angelo Misterioso) wrote:
> 
> 
> 	I have a four year old Harmony acoustic guitar (of the Sears
> Catalog variety :) ). about a year ago, the top under the bridge started
> bulging out, and the bridge began to pull away from the top. I tried 
> tuning down, lighter strings, and use of a capo, but the problem has 
> gotten to where the guitar is unplayable. Something I thought of a few
> weeks ago is to install a tailpiece/floating bridge system like an 
> archtop so the tension is no longer directly on the top of the guitar.
> Is this feasable? The guitar has no major value other than the sentimental
> value of being my first guitar, so changing the original hardware is no 
> problem to me. I just want something I can play. I have never done major 
> work on an acoustic before, but I know what needs to be done and I know 
> how to do it. I'm just wondering if this has been done before, and if it's
> a good idea (as opposed to just getting a new guitar).
> 
Nope, it's a bad idea. Get a new guitar. The reason it's a bad idea is that
guitars with bridges glued onto the face are designed for *pulling* stress
(although in the case of cheap guitars like the Harmony, not particularly
well). If you put a stop tailpiece on, you subject the top to compressive
stress, and you may merely cause it to collapse the other way even faster,
since it wasn't made to support that kind of stress. Even if it doesn't
collapse, it won't sound very good...
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: alt.guitar