HDTenEightyP/NetNews huggingface dataset:
From: kowal@bmerh136.bnr.ca (Andrew Kowal)
Subject: "Guitar Handbook" Questions
Organization: Bell-Northern Research Ltd.
Distribution: na
Date: Mon, 17 Aug 92 19:45:05 GMT


I've just started playing, and only today starting reading this group.
These questions may have been asked before; if so, I offer my apologies.

In the beginner threads, I've heard the book "Guitar Handbook" recommended
several times.  I decided to run out and see if I could find my own copy,
but there were none left at the local bookshop.

I went through the process of ordering, and the salesperson told me
that a revised edition is due out sometime in December of this year.

(I'm assuming that the book that was recommended was "Guitar Handbook" by
Ralph Denyer, no-one mentioned the author's name in the posts.)

The ISBN of the new edition is 067974275 (PIB?), and it will run for 
$CAN 31.50.

I'm ignorant of how publishing houses distribute, so here's my problem:
I'd like to wait and get the edition, however I want to start learning
from the book *now*.  I'd hate to plunk down $30 of our monopoly money
now (even if I could find the older version), then realize I would like
the newer book in a few months.

Is there any chance that this new version is out (or will be out very
soon) anywhere in the States?  I'll be in 'frisco for the first week of
September and it would be the perfect opportunity to snatch it up.

I know, I'm dreaming.

Thanks in advance for any info you might have,

-Andrew

P.S.  I know this is a FAQ, but: where is the FAQ?
--
J. Andrew Kowal | kowal@bnr.ca | My opinions,| WhenwasIborn?WheredidIcomef
   -or- kowal@x400gate.bnr.ca  |  not BNR's. | rom?WhereamIgoing?WhatamI?
           -----------------------------------------------------
"Somewhere along the line I knew there'd be girls, visions, everything;
Newsgroups: alt.guitar
From: tsw1@Isis.MsState.Edu (S Wilson)
Subject: electric violins
Reply-To: wilson@ee.msstate.edu
Organization: I'm not very organized!
Date: Thu, 13 Aug 1992 17:46:28 GMT


Well, I tried posing this message before, but it didn't seem to work.
I have a violin that I need amped up... I bought a Fishman pickup which
is just an acoustic pickup. I run that through a Yamaha EMP-100 that I 
just got for some added depth that I loose when amping up, no to mention
that chorus and flange and delay sound wicked on a violin!

What I eould like to know is if there are any people out there that 
know anyone who builds electric violins? I have seen a few custom
looking violins in groups like Laurie Anderson and Carry Nation. 

I have talked to Zeta who makes a violin and midi controller, but the 
violins are well over $1000 and the controllers are about $1500. Zeta 
has a wicked pickup system, but the prices are a little high for a 
college student.

Any one know of anything else or ever play an electric violin?

-Scott

-- 
         
 |||    Scott Wilson              |||    "Paradise is exactly like where    |||
 . .    wilson@ee.msstate.edu     . .     you are right now, only much,     . .
  _     "office": (601)325-2220    _      MUCH better     -Laurie Anderson   _





-- 
         
 |||    Scott Wilson              |||    "Paradise is exactly like where    |||
 . .    wilson@ee.msstate.edu     . .     you are right now, only much,     . .
  _     "office": (601)325-2220    _      MUCH better     -Laurie Anderson   _


Newsgroups: alt.guitar
From: rroberts@magnus.acs.ohio-state.edu (Ross Allan Roberts)
Subject: Re: Ty Tabor's Guitar Sound
Organization: The Ohio State University
Date: Sun, 16 Aug 1992 03:28:51 GMT

>Nope.  He's a Yamaha endorser, but he more often uses Fender Stratocaster
>Elites...

Having seen them twice from 3rd row of the club they hit here in Ohio, I can 
confirm he used a Yamaha for two songs. It was the blue one with the 'X'
airbrushed on it.

>He uses some kind of preamp, but he won't tell anybody what it is -- he
>says they're out of production and he is trying to buy out any that he
>can find and he doesn't want any competition.i

I also got to meet him after the last time I saw him. He said the major
contributor to his tone is a little Pierce amp. Made mention of the last
interview w/Guitar Player really hyping his gear, and from the way he talked
they more or less blew it out of proportion.

Both he and Doung Pinnick are really nice people; more than willing to talk to 
their fans. GO SEE THIS BAND!

 #############################################################################
#Ross Roberts (rroberts@magnus.acs.ohio-state.edu)|'85 IT200, '81 MX100       #
#DoD#0340, still patiently awaiting the 6ooF2...  |'88 YFM350 Warrior         #
 #---------------------4-stroke good, 2-stroke gooder!---------------------- #
 #       Today's Lyric:'I don't believe in love... it's never worth          #
 #                   the pain that you feel' -- Queensryche                  #
 #############################################################################
Newsgroups: alt.guitar
From: ryanr@beethoven.CS.ColoState.EDU (richard ryan)
Subject: Re: Playing with fingernails
Date: Thu, 20 Aug 1992 15:11:13 GMT
	<RYANR.92Aug13122539@beethoven.CS.ColoState.EDU>
	<vucinic.713743046@apol3ppe1>
Organization: Computer Science Department, Colorado State University

>>>>> On Thu, 13 Aug 1992 21:57:26 GMT, vucinic@apol3ppe1.cern.ch (Dejan Vucinic ) said:


Dejan> Of course, there are many sounds that are easier to play with a pick
Dejan> (nobody would use a pick otherwise), but I think that the variety of
Dejan> sounds you can make by fingerpicking is worth learning to play with
Dejan> your fingers - you won't forget to use the pick :) 

Flatpicking technique has a palette of tone colors comparable with finger-
picking, they're just not always the same colors is all.  But since they're
two different approaches you probably would not want them to have the same
set of tone colors.  To stress a point, an interesting and useful technique
is damped tremolo.  It's a pretty nice sound that you can also use to run
scales (even if Al DiMeola has overused this).  I'm sure there are a lot
of people who are both flatpickers and fingerpickers who can add to this.

See you,
Richard.
From: rblander@watdragon.uwaterloo.ca (Robyn Landers)
Newsgroups: alt.guitar
Subject: Re: Soldano mod
Summary: Hot Mod - what it is
Keywords: tube HotMod Soldano
Date: 17 Aug 92 18:54:30 GMT
Distribution: na
Organization: University of Waterloo

In article <1992Aug13.204152.3188@uxa.ecn.bgu.edu> gistim@uxa.ecn.bgu.edu (Tim Raebig) writes:
>Does anyone have any experience or know anything about the Soldano
>plug-in modification?  It supposedly, according to the ad in Guitar,
>gives better distortion, better control over tone...  It looks like
>it just plugs into a preamp socket (couldn't be for the power side,
>could it?) -based on the illustration in the mag.  I think it might
>be called Hot Mod or something like that.
>

	I examined one of these at Starving Musician in, um, Santa Clara
(what a cool store).  It is a plug-in module that replaces
a preamp tube.  It uses a tube whose model number I wrote down
but can't remember off-hand now.  My RCA Receiving Tube Manual
shows it to be a triple triode.  Now, your ubiquitous 12AX7 is a twin
triode (i.e. two triode devices in one glass bottle).  So the
obvious conclusion is that the Hot Mod cascades two of its three triodes
to generate lots of gain/distortion while filling in for half of
the original 12AX7, and the third triode does whatever the other half did.

	So, for all that cash, you get a tube, the socket it is seated
in, and no doubt a few extra resistors, wiring, etc. under the shrink-wrap
to massage the three triodes into doing the right thing.

	The most important thing of course is what it sounds like.
I didn't get the chance to listen to it.



-----
Robyn
rblanders@math.uwaterloo.ca
	"I'm just doing my rock'n'roll duty." -- Dubois
Newsgroups: alt.guitar
From: whc2993@ritvax.isc.rit.edu
Subject: bLues gRoup
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Tue, 18 Aug 1992 13:51:04 GMT

By the way, I just read the last 30 entries to rec.music.bluenote and there
was 1, maybe 2 notes pertaining to blues music depending on how you far you
stretch the requirements.
							B.C.


********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************
From: fweckerl@na.novell.com (Frank Weckerle)
Newsgroups: alt.guitar
Subject: Gutar effects survey
Date: 18 Aug 92 17:42:54 GMT
Reply-To: fweckerl@na.novell.com (Frank Weckerle)
Distribution: usa
Organization: Novell, Inc., San Jose, Ca




I know this request has been posted before, but I wasn't paying much attention
because I wasn't in the market. Now, I find myself expanding my
horizons of different sounds and in the market for a good guitar effects
gizmo. I currently play a 'Tele' with Mesa 50 watt combo, if that really 
matters, and what I am looking for is any feedback pro/con on the
Digitech 'GSP21 Legend', Digitech RP/1, and the Alesis 'Qudraverb'.
Also, what about noise with these boxes?? It's so hard to hear how 
clean they really are when you have 30 Eddie Van Halen clones going
Mach 1 in the music stores.

Thanks in advance.
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: Playing with fingernails
Date: 17 Aug 92 17:47:45 GMT
Followup-To: alt.guitar
Organization: Univ. of Arizona

I'm a classical guitarist and teacher, and I thought I might toss out a
few ideas regarding the discussion of using the fingers to play scales 
and tremolo:

RE: Scales, I generally play all scales alternating i-m, no matter what
the number of notes on a string or the string crosses (though I may well
choose which finger to start with in order to take advantage of the
string crossing).  I'd say that if you are serious about playing with
your fingers, you need to practice sufficiently so that you can play
scales well SOMEHOW...for me, i-m works best. I have heard some players
do scales ami (esp with 3 notes on string) but I have *rarely* heard this
done in such a way that it didn't sound uneven (sometimes, but not very
often). I did know a guy who played all scales amam (tryly a mutant, but 
it worked for him) and others prefer aiai. Generally it is much easier to
coordinate 2 fingers, and for example, if you look at spanish flamenco
players, they all have terrifyingly fast scales (though the tone may not
be the greatest) and they always play strictly alternating i & m, for 
simplicity's sake.

Speaking of flamenco techniques, if you want to try a neat variation on
tremolo, often the flamenco style uses a 5-let tremolo, i.e. in one beat
you play a bass note with the thumb, followed by *4* (not 3) melody notes;
the whole thing is fingered p-i-a-m-i...it's a bit tricky, but a really
cool effect, so give it a try on "Recuerdos.." or whatever...
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: alt.guitar
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: My thumb can't do the Hendrix
Date: 21 Aug 92 23:55:54 GMT
Followup-To: alt.guitar
Distribution: alt
Organization: Univ. of Arizona

RE: Hendrix on classical guitar -

				There is quite a lot of Hendrix that you can do cool arrangements of
for classical guitar (Ben Verdery has done a whole bunch, I've only 
done "The Wind Cries Mary" and "Little Wing" myself). I'm afraid that 
I find the size of the classical neck precludes practical use of the
left hand thumb for fretting - just have to come up with some other way 
to do it (and I *do* get frustrated and not being able to "flex" the 
neck to get that pitch wobble - but let's face it, no classical guitarist
wants a neck that will flex anyway...heh)
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: alt.guitar
From: ccb@axemax.zk3.dec.com (Charlie Bennett)
Subject: Re: Absolute beginner needing a few pointers
Organization: Digital Equipment Corporation - Nashua, NH
Distribution: alt
Date: Wed, 12 Aug 1992 16:00:29 GMT


Hey Martin, welcome to the guitar. 

I like the Epiphone Tele copy, but the strat copy doesn't do it for me.
What I'm really writing for is to give you some moral support. I played
bass in my teens but didn't play much after I started college. Sold off
all my stuff and thought I'd had a pleasant experience and that was it.

One morning in 1987 I was listening to Cult "Electric" and decided that
I HAD TO PLAY. I took the credit card to the music store and bought a
bass and an amp. I was 27 at the time. Within a year I changed to guitar
and I've been playing ever since. This spring I got my acceptance letter
from Berklee and I'm saving my pennies for tuition.

Don't worry about starting late. You'll only progress faster. When I
was younger I could play but I didn't know what the heck I was doing.
Now I have the discipline required to really know the instrument and
to make serious progress. You can do it.

-- 

The opinions expressed are those of the author and do not represent the
opinion of DEC's UNIX Engineering Group or Digital Equipment Corp.
-------------------------------------------------------------------------------
Charlie Bennett, UNIX Engineering	| "What the hail is that thing?"
Digital Equipment Corporation		|		- Steve Martin
110 Spitbrook Road, ZKO3-3/X18		| "Everybody needs somebody sometime"
Nashua, NH 03062	603.881.0360	|		- Dean Martin
-------------------------------------------------------------------------------

Newsgroups: alt.guitar
From: whc2993@ritvax.isc.rit.edu
Subject: Upcoming releases for real
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Thu, 20 Aug 1992 19:13:39 GMT

Sorry about, this time for real.  I just read that there is a Live Stevie Ray
Vaughan album coming out Sept. 29!  This is too good to be true!
	Also the Jimmy Page/David Coverdale project is due out in October.
									B.C.


********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************

Newsgroups: alt.guitar
From: cdl0915@ritvax.isc.rit.edu (Christian Dylan Losinger)
Subject: fender amp question
Reply-To: cdl0915@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Fri, 21 Aug 1992 17:00:50 GMT


	I'm looking to buy (in a month or so) a new amp. I went amp shopping
yesterday and found that I really liked the sound of a Fender Pro 185. I got a
price of $699 for it. Then I went to another store to see if they could beat
that price. The second store didn't have any (the Great Great House of Guitars
didn't have something, ha!) but they told me to play around with a Fender Power
Chorus, which I did. The amps sounded identical to me (with the exception of
the stereo chorus). I also played around with a Peavey Power Chorus which I
didn't like. I currently have a Peavey Bandit 112, and like it a lot, if that
gives you an idea of what kind of sounds I dig.
	Most of the stuff I'll be playing will be grungy fast stuff but I also
really want an amp with a sweet clean sound that makes the ends of notes mean
something too.

	My first question is : is the addition of the chorus the only
difference between these two amps, and is spending $100 extra worth it for the
Power Chorus?

	My second question is : what other amps are out there, in the $700 and
down price range, 2x10 or 2x12, are there. (I really want to hear what people
like, but if there's something you really don't like, tell me also.)


	-c
        --------------------------------------------------------------
        	c  h  r  i  s   l  o  s  i  n  g  e  r   r  i  t
From: WAUGH@SLACVM.SLAC.STANFORD.EDU
Newsgroups: alt.guitar
Subject: Re: 12-string tuning
Date: 13 Aug 92 00:59:29 GMT
Organization: Stanford Linear Accelerator Center

In article <1992Aug12.193500.13491@cs.yale.edu>, nathan@laplace.biology.yale.edu
(Nathan F. Janette) says:
>
>In article <1281@pdxvme.pdx.csd.mot.com> cah@pdx.csd.mot.com (Chris Huey) > :
>> : For a bit of trivia, what was the first ROCK song to feature an electric
>> : 12 string?
>>
>> As for the trivia question: I'll guess "Eight Miles High" by the Byrds.
>
>How about: "A hard day's night."

How about "Little GTO" by Ronnie and the Daytonas.

Brian Waugh                       |    "What's for dinner?"
WAUGH@SLACVM.SLAC.STANFORD.EDU    |       John DeLorean
From: phs404g@vaxc.cc.monash.edu.au
Newsgroups: alt.guitar
Subject: Re: Steve Vai
Date: 20 Aug 92 10:17:58 +1000
Organization: Monash_University,Melbourne,Victoria

In article <1992Aug16.205406.5659@news.Hawaii.Edu>, mau@uhunix.uhcc.Hawaii.Edu (Darin Au) writes:
> In article <Bt09I9.6o0@andy.bgsu.edu> sarnold@andy.bgsu.edu (G. Steve Arnold) writes:
>>mwelie@cs.vu.nl (Welie van M) writes:
>>> Does anybody know what Steve Vai is doing currently. In GFTPM I read
>>
>>	Hopefully getting a soul to go with his technical perfection.
> 
> ACK!  Apparently someone appears to be judging Steve Vai solely upon his
> "Passion and Warfare" album!  Now I won't go so far as to say that "P & W" was
> a "guitar wanking extravaganza" but I do agree that it didn't have the same
> amount of feel and "soul" as his "Flex-able" projects and his stuff with
> Alcatrazz and David Lee Roth.  In fact, I was listening to "Flex-able" last
> night and it reminded me how much better that album was as compared to "P&W"
> 
> --darin
> 

Well I have both albums and personally I think Passion and Warfare has a hell
of a lot more feeling to it than Flex-able....just depends on what you like I
guess :)

Greg

   ****************************************************************
*** Greg Anders, Physics Department, Monash University - Australia.***
   ****************************************************************

Disclaimer: The thoughts expressed above do not represent the opinions
               of anyone, least of all me.
Newsgroups: alt.guitar
From: whc2993@ritvax.isc.rit.edu
Subject: Upcoming releases
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Thu, 20 Aug 1992 19:06:43 GMT



********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************
Newsgroups: alt.guitar.bass
Subject: Re: What's "the 1-2-4 rule"?
From: plopper@husc8.harvard.edu (George Plopper)
Date: 16 Aug 92 19:19:08 EDT
Organization: Harvard University Science Center

In article <1992Aug16.210527.4431@leland.Stanford.EDU> whale@leland.Stanford.EDU (Stephen Schmidt) writes:
>Sounds to me like he's talking about Simandl fingering (probably has other
>names besides these two). Instead of using four fingers to cover four frets,
>you don't use your ring finger (or use it together with the pinkie) covering
>only three frets in a given position. I hear they teach upright bass players
>to do this because of the longer scale, and if you have small fingers it is
>a good idea on electric basses too. I can't imagine that this would speed
>up your playing, though...?

That's exactly right- I was referring to the Simandl fingering method for
upright bass. Point of clarification: I follow the "1-2-4 rule" (a term
I made up on the spot in reference to the discussion at hand) when playing
upright, but I DO NOT play with just three fingers on the electric. The
point I was trying to make, I think, is that playing a big 'ol upright bass
doesn't allow one to easily play quickly BECAUSE of this very fact. If I
was Niels Henning Orsted Pederson, maybe I could ignore this fingering,
but my small "wimpy" fingers can't manhandle an upright the way I would
like to. I like having complete finger independence, and the way Simandl
lays it out, you've got your index finger committed to playing virtually
every note (thus no "anticipating" notes to come by adjusting your hand)
and your ring and little fingers "glued together" so that they, too, can't
execute quick runs. In short, according to Simandl, to play anything with
your little finger requires your ENTIRE left hand to press down one string-
quite an investment in one note! Once a guy tried to tell me that that
was how you play the electric bass properly! Think about it...  


-- 
George Plopper 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
From: plopper@husc8.harvard.edu (George Plopper)
Newsgroups: alt.guitar.bass
Subject: Seeking physicists (re: speakers)
Date: 21 Aug 92 05:28:22 GMT
Organization: Harvard University Science Center

In article <116910001@hpcvlx.cv.hp.com> fredh@hpcvlx.cv.hp.com (Fred Handloser) writes:
>What are the "amperage/watt rules" ?
>
A while back there was an elegant, lengthy posting on how to match your
speaker wiring to the proper output of your amp. I don't want to attempt
a paraphrasing, so would whomever did the original article please put it
up again? The short, short answer: Your amp is rated to put out X watts
of power into Y ohms of resistance, and it matters a great deal how you hook
up your speakers so as not to put too many amps of power into a speaker that
doesn't offer enough resistance to handle it. 500 watts into a speaker that
can handle 200 will cook it, and quick. The technical details have escaped me
since I made sure I was OK....


-- 
George Plopper 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
From: plopper@husc8.harvard.edu (George Plopper)
Newsgroups: alt.guitar.bass
Subject: Re: acoustic vs. electric bass
Keywords: n
Date: 15 Aug 92 02:35:08 GMT
Organization: Harvard University Science Center

Rather than include the entire "dialog" from the last posting, let me
respond: Thank you for presenting the other point of view and for 
including new info and clarifying some critical points from my original
"electric-slanted" response to the question. I'm willing to concede
that one can find a "reasonably" priced fiddle, but I must say that
to go through that (going to Poland?!) to get a reasonable electric
would seem ridiculous these days. Obviously, one can "audition" as
many electrics in one big store in the span of an hour as would be necessary
to feel pretty comfortable with the range available. The equivalent
amount of auditioning for a fiddle would require more energy than I'm
willing to put out.

I did not know about cheaper cases, and that's a good point.

While I'd not like to deal with separated teeth (ow!), taped, bleeding fingers
don't seem too pleasant, either. Why do that? Really.

Speedy playing, while not the be-all and end-all of music, comes in
handy, even in acoustic bass music (bluegrass can be a killer!), and
I always wish I could move around as freely on the acoustic as I do on
the electric. I'll confess I'm a wimp when it comes to wanting easy
fingering (and I do follow the 1-2-4 rule).

Let me close by bringing up a point I have raised before: Why not go
for an electric upright? That's on my agenda, when I get enough cash.
Seems like the best of both worlds, and it doesn't cost that much, either.
I'd love to hear your opinion on this approach- my previous listing on
this electric upright business didn't generate much enthusiasm.
-- 
George Plopper 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
Newsgroups: alt.guitar.bass