HDTenEightyP/NetNews huggingface dataset:
From: kjs@gvgspd.GVG.TEK.COM (Kevin J. Shuholm)
Newsgroups: rec.music.makers,alt.guitar
Subject: Re: Barcus-Berry Electronics question
Date: 6 Oct 92 15:54:19 GMT
Article-I.D.: gvgspd.2057
Followup-To: rec.music.makers
Distribution: na
Organization: Grass Valley Group, Grass Valley  CA

In article <702M02UI24As01@JUTS.ccc.amdahl.com> dhi00@juts.ccc.amdahl.com (mofo ) writes:
>
>My brother in London asked me to try to find out if anyone has or has had any
>dealings with a company by the name of Barcus-Berry Electronics (sp?).

Try calling a few music shops, such as Guitar Showcase in San Jose.
They are located on South Bascom Ave.  They (or some other shop) should
be able to find a phone # for you.  Good luck.

Kevin
Newsgroups: rec.music.makers
From: Chris Wolcott <chrisw@prodnet.la.locus.com>
Subject: DemarzioDDDDDDMCCCCC pickups
Organization: Locus Computing Corporation, Los Angeles, California
Date: Fri, 02 Oct 1992 18:55:06 GMT

-------
I have 2 DeMarzio cream color supper distortion puckups for sale or trade
for 1 stock Gibson dubble coil humbucking pickup for a Gibson Les Paul.

Make a offer!

thanks

Chris

(310)337-5940
Xref: sparky rec.music.makers:9973 rec.music.synth:15813
From: kjs@edsr.eds.com (Kevin Sedota)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Korg 2500 4 sale
Date: 1 Oct 92 13:56:37 GMT
Organization: EDS, Dallas, TX
Originator: kjs@tantalum

Selling a Korg 2500 electronic Keyboard. 76 Key model.
It's one of those with weighted keys so it feels like a piano.
Also Korg Symphony module (one of those that you can put cards
into for more sounds but I dont have any cards.) It has 8 built
in sounds including pipe organ, choir, strings, and others. 
Also includes sustain pedal. No stand. Milk crates seem to work 
for me. 

Reason for Sale: Lack of use.

$750 takes it.

I'd like to sell it to someone in the Dallas/FortWorth Area.


 *****************************************************************************
* #include <std/disclaimers.h>      *                  ___                    *
* (load "/usr/lisp/denials.lsp")    *       / _/    / (       Kevin Sedota    *
* COPY CPYWRITE IN COPYLIB          *      /<      /   \                      *
* compile("/usr/prolog/excuses.pl").*     /  \  /_/  ___)       kjs@edsr      *
* %INCLUDE CAVEATS                  *                                         *
* Your milage may vary.             *                                         *
* (214) 661-6419
*          A world which requires disclaimers has too many lawyers.           *
 *****************************************************************************
From: cooper@kdx200.enet.dec.com
Newsgroups: rec.music.makers
Subject: Looking for a $300-$400 combo amp...
Date: 2 Oct 92 13:22:31 GMT
Reply-To: cooper@kdx200.enet.dec.com ()
Organization: Digital Equipment Corporation


I have a buddy who is looking to start off with a combo.

I recommended that he try to find a 50wt tube combo.
Anyone have one they'd like to sell ??  

'Verb, nice distortion, and channel switching please.
:)

Thanks,
jc
From: v034292@plato.lsvl8.stortek.com (A Steaming Swedge of Chocolate Squidloaf)
Newsgroups: rec.music.makers
Subject: Getting a Label to Listen
Date: 28 Sep 92 21:30:24 GMT
Organization: StorageTek


Is it true that you will absolutely _not_ get a demo listened to if all you do
is mail it out?  Anybody out there have thoughts on the best way to generate
the attention of a label?  A friend of mine thinks the best way is to make a
catchy demo and mail about 6 krillion of the suckers out.  I disagree, I always
thought your chances were better if you could create a major disturbance in
your general area, and a label would get wind and send someone to check it out.

Any thoughts or experiences would be, you know, swell.



--- Dave Ridge ---------------------------------------------------------------

    "When the going gets weird, the weird turn Pro." - Hunter S. Thompson

---------  Reality is an illusion created by an alcohol deficiency  ----------
From: sumrn@dssv01.crd.ge.com (Robert N. Sum)
Newsgroups: rec.music.makers
Subject: Re: Singing and playing simultaneously
Date: 29 Sep 92 12:56:28 GMT
Reply-To: sumrn@crd.ge.com
Organization: GE R&D, DICE Program

In article <annius.717696387@freyr>, annius@sif.research.ptt.nl (Annius
Groenink) writes:
|>sumrn@dssv01.crd.ge.com (Robert N. Sum) writes:
|>
|>>sure they're doing ok.  My experience is that my singing goes bye-bye
when I 
|>>have to think too much about the instrument (guitar, flute) and vice
versa.  
|>
|>So you've actually tried to sing and play flute at the same time?
|>

  Well, ok.  You don't actually get words through the flute, but there is the
ability to get different qualities of the voice through.  Some think of it more
as humming and others as just open vowels like "oooo".  It is a moderately
popular special effect in jazz and rock music.  This technique is often called
"voice over flute".

  The best person at this technique that I've heard is Bobby Millitello
(spelling?).  He was most prominant in the late 70's (and early 80's?) as part
of the Maynard Ferguson band when they were at their popular height.  He did
some of the most incredible stuff with independent lines in the voice
and flute.
Ian Anderson of Jethro Tull also would use some of it, but he's not nearly as
accomplished as Millitello.

  And to actually answer the question, yes, I've used it in performances
in high school and college jazz band.  I am somewhat out-of-practice at the
moment, however, as that was several years ago.

  -- Bob
|>
|>
|>--
|>Annius Victor Groenink     Universiteit Utrecht      PTT Research
Leidschendam 
|>Mathematics/Comp. Sc.       avgroeni@cs.ruu.nl       +31 70 3325445
(weekdays) 
|>Atari ST/Music         A.V.Groenink@research.ptt.nl  +31 70 3464732
(evenings) 
|>_____________My opinions are my opinions____________ +31 5700 29396
(weekends)
              
==
  sumrn@crd.ge.com

  Robert Sum
  G.E. Corp. R. & D.
  P.O. Box 8, Rm. KW-C277
  Schenectady, NY 12301

  Tel. (518) 387-7696

Please note that the "Standard Disclaimer" applies here.
From: haley@husc10.harvard.edu (Elizabeth Haley)
Newsgroups: rec.music.makers
Subject: Re: Publishing Music
Date: 27 Sep 92 09:31:26 GMT
Article-I.D.: husc3.1992Sep27.053126.15882
Organization: Harvard University Science Center

Publishing music is as easy or as hard as your pocketbook makes it.
The hard part is making money, which is what I think you are talking about...

Consider this: You talk about sequencing everything, mix it down, send
it to Wax Trax, and seeing what happens...

But so is everyone else with a song in their head and a couple grand
to spend on a sequencing keyboard. Don't get me wrong, I'm not
accusing you of being any idiot with cash, but what I'm saying is you
have a lot of competition, since you don't have to work so hard at
being able to play it live cause that's the only way, anymore.

Companies such as Wax Trax probably receive a hundred tapes a day otr
at least a week, which someone promptly erases and puts in a "Have one
on us" box by the employee lounge. Few successful labels or book
publishers will even read/listen to something without an intro from
and agent or someone else with known "taste". Just a fact of life.

Your best bet is to write a letter to Wax Trax, and a bunch of other
labels, and ask about their submission guidelines... Those who will
accept "Unsolicited" demos, will specify the format and who to send it
to, and usually how long it will be until you know what they think...

Most howver will suggest you get an agent. Most agents will find you,
though many will listen to demos if you plead a bit...

Keep writing, try and play out. If yer music is not conducive to the
stage, try and impress a local radio personality, they might have you
on a local spotlight show, or some such thing... Most radio stations
have a recording studio of some kind. A little airplay, a few DJ
plugs, a call from an agent, and BOOM, Trent Resnor is running for
Cover...
Newsgroups: rec.music.makers
From: g_house@goes11.enet.dec.com (Greg House)
Subject: Re: ADAT question
Reply-To: g_house@goes11.enet.dec.com (Greg House)
Organization: Digital Equipment Corporation
Date: Tue, 6 Oct 1992 16:32:12 GMT


Check out the review in the latest Electronic Musician.  They seemed
to think it was top quality.

Greg
Newsgroups: rec.music.makers
From: sergei@is.morgan.com (Sergei Poliakoff)
Subject: help select practice keyboard
Organization: Morgan Stanley - IS
Date: Thu, 1 Oct 1992 14:31:12 GMT

After more then 10 years  break in any music-related activity
I decided to start the whole thing again. I'm  very much unaware
what is out there these days (not mention that my musial activity
most occured in Russia, where most of the stuff wasn't available
at any times anyway).
I have classical violin education, have piano skills on a general 
musical culture level,  which basically means that I can play
accompaniment in a kindergarden chorus :), and play guitars of
all sorts. 

I mostly play the guitar, but think about harmony, notes, music in general 
in piano terms, so what I'm looking for is a keyboard : see, I don't even 
know the terminology, is it a electric piano, or synthesizer or organ ? 
with following  properties :

	- proper real-piano key feel : key size, resistance, etc.  

	- I know  these beasts can make all kinds of sounds, but 
	  acoustic piano sound must be there and better be good.
	  By all means, I would simply get an acoustic instrument,
		if it were not that :

	- I need some electronic functionality. In particular, I would
	  like to be able to program in a chord progression, and make the
	  device repeat it . I need this feature for guitar practice.

	- If someone can suggest additional features that the instrument
	  with  such a use charter should have, please go ahead.

	- expandability and broad "programmability"   is a plus, although
	  I don't see much use for it at this point.

	- I'd rather  spend < $1000 , is that reasonable ? 

What can you people suggest ?  I went to the store, and what I saw
was dazzling. There are instruments that fit the bill, but I don't
know how will they behave in a long term : reliability, available
software, ease of use.

Any help is much appreciated.


Sergei
From: ross-c@scs.leeds.ac.uk (R Clement)
Newsgroups: rec.music.makers
Subject: Making your voice sounds like it really does
Date: 29 Sep 92 16:46:03 GMT
Organization: The University of Leeds, School of Computer Studies
Originator: ross-c@csparc12

Hi.

One trouble I've been having with learning to sing is that my voice does
NOT sound to me as it does to others (followup reduction: because I hear a
mix of internal and external vibrations blah blah blah). Hence it's important
to often tape your own voice and .... blah blah blah blah.

I just spotted a good (?) method in a book about the voice in general. When
you talk or sing, cup your hands over your ears so that the backs of your ears
are pressed flatter and your hands only let sound in at the front. (um, a
bit hard to describe) This makes an amazing difference to perceived voice
quality and sounds much more like it does on tape. 

Does anyone know any better/more accurate ways?
Since my arms get tired holding them like this, anyone know how to make
um, *something* that will do the same task (I'm imagining something based
on old headphones but).
Anyone got any thoughts on using this sort of method during practice?

Thanks in anticipation,

Ross-c
Newsgroups: rec.music.makers
From: sdavis@laforge.ksc.nasa.gov (Steve Davis)
Subject: Re: Cassettes at half speed for transcription
Organization: NASA
Date: Sat, 3 Oct 1992 19:23:57 GMT

Matthew Wyneken writes
> Does anybody out there have one? Does it do the trick?
> How much does it cost? Are there any other machines
> that play cassettes at half speed?

  This is a long shot, but keep your eye out for a used Nakamichi 680 series  
cassette deck.  They sold for well over $1000 about 10 years ago; I bought a  
680 last year for $200 and it works great.  The half-speed mode was designed  
for playback _and_ recording, effectively doubling the capacity of a tape.  It  
sounds as good as (or better than) most ordinary cassette decks at full speed!

  I bought mine just because I wanted a nice deck, but now I use the half-speed  
playback mode for picking out parts, just as you describe.

Good luck,

Steve
--
+----------------------------------------------------------------+
| Steve Davis                      | sdavis@laforge.ksc.nasa.gov |
| NASA, DL-DSD-32                  | (NeXT Mail preferred)       |
| Kennedy Space Center, FL  32899  |                             |
| (407)867-7582  fax:(407)867-2173 | #include <disclaimer.h>     |
+----------------------------------------------------------------+
Newsgroups: rec.music.makers
From: dpelton@nyx.cs.du.edu (Dennis Pelton)
Subject: Re: SansAmp:  Opinions and comments
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Distribution: na
Date: Sat, 3 Oct 92 16:07:17 GMT

In article <6732@blue.cis.pitt.edu.UUCP> jmgst26+@pitt.edu (Joseph M Goodwin) writes:
>I've read nothing but good things about the SansAmp, and I was wondering
>if anyone has anything to say about it?  I'm considering buying one, 
>and would like to hear how people like it.

Check out the Nov issue of Guitar Player.  There is a review of
the new SansAmp rack mount as well as the Design "Sessionmaster"
(made in England).  Some comments about the SansAmp "stomp box"
are included as well.  

As for personal opinions, I love mine.  A major reason is that
I play keys as well, and I can run the SansAmp direct into my
keyboard mixer--which means I don't have to carry a separate
guitar amp to gigs!  As they say at the end of the GP article
"weigh your options with care."

Listen before you buy.  Your mileage may vary.

Dennis Pelton
dpelton@nyx.cs.du.edu
Newsgroups: rec.music.makers
From: brian@mel.dit.csiro.au (Brian May)
Subject: Re: Getting a Label to Listen
Organization: CSIRO DIT (Melb.)
Date: Tue, 29 Sep 92 00:09:30 GMT


In article <1992Sep28.153024.1@plato.lsvl8.stortek.com>, v034292@plato.lsvl8.stortek.com (A Steaming Swedge of Chocolate Squidloaf) writes:
|> 
|> Is it true that you will absolutely _not_ get a demo listened to if all you do
|> is mail it out?  Anybody out there have thoughts on the best way to generate
|> the attention of a label?  A friend of mine thinks the best way is to make a

Even small labels have more demos sent per week than their staff can usually handle.
Your best bet (IMHO) is to deliver, package (or both) your demo in some way
that the relevant person can't ignore it.  Even tacky variations on singing
telegrams will at least get you noticed!

A signed & released band here in Australia caused a minor stir recently (actually
it was their label (Volition/Sony) that caused the stir).  Whilst promoting
their new single, the label sent out letters written on fake government EPA
headed paper to the tune of "you have been using your incinerator too much,
please call [tel. no] to resolve ...blah blah]   The letter got into the wrong
hands and the EPA are taking the matter to court.  The band's song is called
"incinerator", BTW.  The number contained a recorded version of the band's
(Falling Joys) song.

Whilst the outcome is 'undesirable', everyone concerned paid attention!

Create some kind of disturbance.  It'll be fun too if you put thought into it.
Good luck.

brian
--
| Brian.May@mel.dit.csiro.au |           Open Systems Program           |
| CSIRO/DIT, 723 Swanston st | TEL +61 3 282 2613 -- FAX +61 3 282 2600 |
|Carlton, VIC 3053, Australia|          Experimental Scientist          |
From: cooper@kdx200.enet.dec.com
Newsgroups: rec.music.makers
Subject: Re: Guitar Amp Tube Recommendations Wanted
Date: 2 Oct 92 13:20:23 GMT
Reply-To: cooper@kdx200.enet.dec.com ()
Organization: Digital Equipment Corporation


Tubes ??

I've had good luck with Audio Glassic "premiums".  I also think that 
Groove Tubes aren't worth the price for matched (Gee, these tubes are 
both bad, so we'll rate them as "soft" and sell 'em at a lofty price).  
:)

jc
Xref: sparky rec.music.makers:9854 alt.guitar:8381
Newsgroups: rec.music.makers,alt.guitar
Subject: Re: String damping device
From: Michael.Bremford@comp.vuw.ac.nz (Mike Bremford)
Date: Sun, 27 Sep 1992 00:54:37 GMT
Organization: Dept. of Comp. Sci., Victoria Uni. of Wellington, New Zealand.


In article <1a2n89INNppa@darkstar.UCSC.EDU>, darkman@cats.ucsc.edu (Axeman) writes:
|> 
|> My friend used to have a little clamp-like thing that hooked onto his strings
|> and dampened them.  You clamp it down to the guitar by sandwiching the 
|> strings (right after the nut and before the tuning pegs) and it has a piano
|> felt thing that folds down on top of the first fret.  It is used for two-
|> handed tapping and stuff that would otherwise leave the strings resonating.
|> I'm wondering if anybody has seen these marvels of guitar wizadry in any
|> mail-order catalogs.  Apparently they run ~$50, (gosh for a >guitar accessory<?
|> What am I thinking..), and damping is the only thing for which they're used.
|> 
|> _jq


I Think Jennifer Batten uses them a bit.
Just as good though - Tie an old sock around the end of the guitar - If you can
stand the smell... :-)

	Cheers.. Mike

PS. If you want send me the $50 and I'll mail you an old sock...
Newsgroups: rec.music.makers
From: g_house@goes11.enet.dec.com (Greg House)
Subject: Re: Where to get 1/4" Phono Cables Cheaply?
Reply-To: g_house@goes11.enet.dec.com (Greg House)
Organization: Digital Equipment Corporation
Date: Thu, 1 Oct 1992 22:58:53 GMT


I asked for "Switchcraft mono 1/4 plugs" when I called and got that price.  I
didn't realize Switchcraft made different quality of the same style componant. 
What are the differences?

FWIW, a couple of friends of mine are into electronic projects and they've both
told me that most of DigiKey's prices are outrageously high.  One of them found
the componants he needed for a project at a local retail store for well under
half of DigiKey's price.  He says they have a few things that are priced
competativly and a lot of things that are way over the normal market price.

Greg
From: mrk@gvgspd.GVG.TEK.COM (Michael R. Kesti)
Newsgroups: rec.music.makers
Subject: Re: Singing and playing simultaneously
Date: 27 Sep 92 22:18:16 GMT
Organization: Grass Valley Group, Grass Valley  CA

In article <5295@gold.gvg.tek.com>
                        chrisc@gold.gvg.tek.com (Chris Christensen) writes:

>Pull out the practice pad and play patterns while watching T.V., while
>talking to your SO,  etc.

While I disagree with watching TV, which is far too passive to be of any
use in developing this skill, I agree that, as others have said, the key
here is to practice.  Nothing else will help.

I've been singing and playing guitar for so long that I had forgotten that
it is supposed to be difficult.  Recently, though, I had occasion to learn
about it again.  I play some keyboards, but mostly guitar, in my band, and
and we recently set out to learn a song for which I having trouble memorizing
the lyrics.  There's a small, but I felt important, piano lick in this tune,
and, because I am not nearly as proficient on keys, I found that I had a
great deal of difficulty dividing my mental processing time between the piano
part and remembering those lyrics.  The answer?  I went home and used my
sequencer and multitrack to provide the other band member's parts, and played
this song about 50 times in a row.  Now I can do it at will.

Practice, practice, practice.

>I can sing, talk and play at the same time.  It's just like the
>cordination required to get hands and feet to do different things.

I know Chris, and, while he is a bit funny looking, there's no external
evidence of his having dual vocal tracts, as would be required to be able
to sing and talk simultaneously.  Will you demonstrate this for me when we
next see each other, Chris?  And maybe let me have a look down your throat?
I'm sure it would be very interesting.

Hey, Chris:  8-)

-- 
============================================================================
Michael Kesti  Grass Valley Group, Inc. | "And like, one and one don't make
    mrk@gvgspd.GVG.TEK.COM              |  two, one and one make one."
    !tektronix!gvgpsa!gvgspd!mrk        |         - The Who, Bargain
From: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Newsgroups: rec.music.makers
Subject: Re: FINALE vs MOSAIC?
Date: 29 Sep 92 17:35:44 GMT
Organization: University of Tennessee, Knoxville - Department of Computer Science
Distribution: world
Reply-To: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
NNTP-Posting-Host: cupid.cs.utk.edu

In article <Aem70IG00WB2BZd18l@andrew.cmu.edu>, lv0e+@andrew.cmu.edu (Lisa Laverne Vaughan) writes:
|> I've just recently heard about a simplified version of FINALE called MOSAIC

Finale is by Coda, Composer's Mosaic is by Mark of the Unicorn,
and there is a very enthousiastic review (tho rather short) of it
in EM.

Victor.
Xref: sparky rec.music.makers:10001 rec.music.industrial:11292
From: gingeric9178@iscsvax.uni.edu
Newsgroups: rec.music.makers,rec.music.industrial
Subject: Aint it dead yet vocals
Date: 2 Oct 92 08:48:26 GMT
Article-I.D.: iscsvax.1992Oct2.134827.7286
Organization: University of Northern Iowa
From: gingeric9178@iscsvax.uni.edu
Newsgroups: rec.music.synth
Subject: Aint it dead yet vocals.....
Date: 2 Oct 92 11:24:47 -0500
Organization: University of Northern Iowa

HEllo,
   Some one out there should know this.  Everyone else I have asked has said,
"Oh yeah it is one of those, um, give me a second....".  What the hell is the
vocal effects processor Ogre is using in Skinny Puppy's Aint it Dead yet?
Video\CD?  Is it possible to get a hold of one or of something that does
something similar.  I saw the Butthole Surfers awhile ago and the singer
(Gibbyy) was using what acted like the same thing but I could not really make
out any name or anything distinguishing.  This thing seems to grab the vocals
virtually instantaneously and loop\echo them at speeds varying from regular
echoing to lightining fast.  I know this is a pretty lame explanation, but I am
doing this from work and have to hurry.  I guess my best bet for an answer
while come from people that have seen the video...
Thanx,
Not GINGERIC9178 at all, but Rob Williams.
From: williams@ab.wvnet.edu (Tom Williams)
Newsgroups: rec.music.makers
Subject: Re: Singing and playing simultaneously
Date: 28 Sep 92 02:57:44 GMT
 <90495@netnews.upenn.edu> <1992Sep26.170136.27936@news.columbia.edu>
Organization: Alderson-Broaddus College


          At the risk of beating a dead horse, here are some more
          anecdotic reinforcements for the (Practice)**3 line.

          I am primarily a keyboardist, doing solo concerts live with
          sequenced bass and drums behind my own playing.  After years
          of observing other musicians playing and singing, I found
          out that they almost *never* play a complex part while
          singing.  It's easier to go on autopilot when playing
          something simple.  Save the impressive lines for those times
          when your brain can be devoted more fully to them.

          Typically, I spend about 10 hours to get a three-minute song
          together.  Of those, probably 4 go into setting up the
          background sequence, 4 for getting my playing together, and
          2 for integrating the singing.

          Here's the part that almost makes me sick: In an interview
          with Keyboard magazine, jazz pianist Richie Berach conducted
          the interview (i.e., conversed) while playing a little etude
          -- seven notes per beat in the right hand, six per beat in
          the left.

                                                -Tom Williams
                                                 Alderson-Broaddus College
Newsgroups: rec.music.makers