HDTenEightyP/NetNews huggingface dataset:
From: burris@epcot.spdc.ti.com (Jim Burris)
Subject: Re: Rehearsal Space?
Organization: TI Semiconductor Process and Design Center
Date: Fri, 4 Sep 1992 19:03:59 GMT

In article <1863i1INN6u5@network.ucsd.edu> mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>In article <1992Sep3.204911.15778@murdoch.acc.Virginia.EDU> thrash@virginia.edu (Scott Evans) writes:
>>Ah, as the school year starts, I go in search of rehearsal space for
>>our band.  We're loud.  I'm wondering if anyone's got any success
>>stories on what they've done in a college area to get rehearsal space.
>>Any ideas are welcome.
>>
>>scott
>
>Ask around at the provost or dean's offices at your campus.  Here at
>UCSD at least two of the 'colleges' (Revelle, my alma mater, and Muir)
>let bands play in empty lecture halls late at night.  We played *very*
>loud most times we practised on campus.  The schedule fills up in about
>an hour every Monday AM though.
>
>Look for outdoor electrical plugs away from the beaten path.  If your
>any good (good and loud, as opposed to 'bad' and loud...), most students
>living on campus won't complain.  We used to do this at public parks here
>in San Diego, and people actually came by, drank beer (or whatever), and
>on rare occasions, even *clapped* at the end of songs.  Imagine that?
>Of course, that turned practise into showtime, but we had a hell of a
>lot of fun.  We did this behind elementary schools (using outdoor plugs)
>all over town late at night.  "Guerilla" jams.
>
>Michael Breen
>singing and philosophizing
>(and building a garage studio...no more of that public place crap for me!)

From my vast (in)experience, practice is time to work on new material and
polish the older stuff. This does not jibe well with attempting to entertain a
crowd. 

As for rehearsal space, with the many empty strip centers and office complexes
around, you might find a deal on a small room.

Jim Burris
Newsgroups: rec.music.makers
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: Re: HOW ABOUT a REC.MUSIC.DEMO group?
Organization: NCAR, Boulder CO
Date: Tue, 1 Sep 1992 18:00:25 GMT

>> I think that the problem here is that although I know of a bunch of 
>> underground tapes and can comment on them, nobody will have any
>> empathy with my posts until they have heard the tapes that I am 
>> talking about.  Therefore they will have nothing to say.  Nothing to
>> say = no messages.  Not a good position for a new newsgroup.
>
>so what's the problem with making r.m.promo/r.m.demo a place where people
>can make their tapes AVAILABLE?  

I think r.m.promo, if it comes into being, should be about how
musicians promote themselves & their music, which is obviously very
important to many musicians and yet is largely disconnected from 
composing or performing music.  Obviously making demo tapes is one 
important part of this process.  Actually exchanging tapes, listening
to them, and providing feedback could be a result of such a group, but is 
hardly necessary for meaningful dialog about promotion in general.

- Brian
From: crowe@steamers.Eng.Sun.COM (Robert Crowe)
Newsgroups: rec.music.makers
Subject: For Sale: GSP-21 Guitar Effects Unit
Date: 3 Sep 1992 00:53:55 GMT
Organization: Sun Microsystems
Distribution: ba
Reply-To: crowe@steamers.Eng.Sun.COM
NNTP-Posting-Host: steamers


For sale: GSP-21, excellent condition, still in the box, including manual
 
        --> $350 <--

The GSP-21 is a rack mounted guitar effects unit (Guitar Signal Processor
is where the GSP comes from).  All effects are digital except for the
distortion, which is analog.  Fully MIDI.

It includes a *very nice* foot controller, and the user interface is the
best I've seen.  You don't really need to read the manual to use the thing.

The effects include:

        64 preset sounds, and 64 user-definable sounds
        Analog distortion, 4 kinds
        Digital compression
        Digital noise gate
        Digital graphics equalizer
        Digital stereo chorus
        Digital flange
        Digital stereo delay, several kinds
        Digital reverb, several kinds
        Speaker simulator, several kinds

If you're interested, contact me at Robert.Crowe@Eng.Sun.COM

Newsgroups: rec.music.makers
From: mnknews%apgraph@ap542.UUCP (Monika Kreuz)
Subject: Re: information on banjos
Reply-To: Monika.Kreuz@graphics.sniap.mchp.sni.de (Monika Kreuz)
Organization: Siemens Nixdorf Informationssysteme AG
Date: Wed, 26 Aug 92 06:25:30 GMT


Hallo,

I have a question about the various notes of the banjo-strings. The violin has four strings, too. Their are in the notes e, a, d, g (the first are the higher one). Has a four string banjo the same? And which are the notes of the strings of a five string banjo?

Excuse me my English, please.
Thanks for advance,
Monika.

------------------------ Monika Kreuz ------------------------
Siemens Nixdorf Informationssysteme AG, Muenchen  (SNI AP 153)
Tel.:   + 49 (89) 636-43061
E-mail: Monika.Kreuz@graphics.sniap.mchp.sni.de
Organization: Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.makers
Date: Sat, 29 Aug 1992 23:26:20 -0400 
From: Tom Lord <lord+@andrew.cmu.edu>
Subject: 99 Year Blues


Hot Tuna recorded `99 Year Blues' which begins:

   I said bring me my pistol
   and three round balls
   i'm gonna shoot everybody
   i don't like at all

Just the other day i heard this same verse in a different song.  The other
song had a pick similar to Jorma's electric line, but many different verses.
Can anyone tell me what this other song was, who recorded it, and what the
rest of the lyrics are?
Newsgroups: rec.music.makers
From: deal_j@apollo.HP.COM (John Deal)
Subject: Question on Sun Alpha-4 amp/mixer 
Date: Tue, 1 Sep 1992 13:53:51 GMT
Organization: Hewlett-Packard Company, Chelmsford, MA

I have a little Sun Alpha-4 4 channel 100/watt mono mixer/amp and have a
question on speaker connections.  It has 2 1/4" speaker connections in the
back and a label that states "100 watt max at 4 ohms".  Now, is this 4 ohms
per speaker jack or 4 ohms total for both?  The reason I want to know is
that I plan on hooking up a main 8 ohm cab. + a inline 8 ohm monitor on each
jack (paralell connection) which would be 4 ohm per jack or 2 ohm system total.

The person I bought it from did not know since he always used one 8 ohm. cab
per jack.

Thanks for any info.

			John

-- 
********
Opinions of John Deal at deal_j@apollo.hp.com
********
Newsgroups: rec.music.makers
From: sdavis@laforge.ksc.nasa.gov (Steve Davis)
Subject: Re: Show tips & tricks
Organization: NASA
Date: Tue, 1 Sep 1992 14:38:28 GMT

Paul Hagstrom writes
> Foetus has a show that more bands should strive for.  Act as though you are  
> unequivocally far superior to everyone present--be a complete ass; you are,  
> after all, the show--who likes to watch boring people stand in one place and  
> stare at their instruments, even if the music IS really good?
> 
> Now, THAT's an opinion, so feel free to disagree.

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

  Just my 4.7473E-12th of the national debt.  (Yep, that's about $0.02 at the  
time of this writing... :-)

--
+----------------------------------------------------------------+
| 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>     |
+----------------------------------------------------------------+
From: rodseth@apple.com (Richard Rodseth)
Newsgroups: rec.music.makers
Subject: Piano Advice Wanted
Date: 25 Aug 92 22:28:08 GMT
Distribution: us
Organization: Apple Computer, Inc.

I'm interested in buying one of the smaller grand pianos (under 6ft), and would
appreciate any advice. If you've bought a piano recently, and could tell me what
you paid, that would be very helpful, as it's clear the list and even "sale"
prices are somewhat meaningless.

A friend of mine bought a Kawai KG1E (5'4") which he highly recommends. He
bought it new a few years ago for $5800, and sold it recently for $6000. He said
he thought the going rate for new ones is about $6500. My friend said the KG1E
has an action copied from Steinway, whose patent on it expired a few years ago.
The Kawai brochures only show a KG1. I assume this replaces the KG1E.

My local dealer says he doesn't sell KG1's because their price is within a few
hundred dollars of the KG2. But his "sale" price on the KG2 is $9850. I'm hoping
for a great "recession deal" but the dealers of course claim that the prices
they pay are still going up. What's a good price to pay for a KG2?

The Yamahas seem to cost more than the Kawais. I've also looked at a Schiedmayer
which is supposedly a German/Japanese collaboration built by Kawai.

Thanks in advance for any advice

Richard Rodseth
e-mail: rodseth@apple.com
Newsgroups: rec.music.makers,alt.guitar.bass
From: ADCBB@VM.CC.LATECH.EDU (C. Brian Batey)
Subject: Re: Opinions wanted on Peavey TNT-160, Combo 300, DataBass.
Organization: LOUISIANA TECH UNIVERSITY
Date: Wed, 02 Sep 92 13:52:59 CST

In article <6828@tekig7.PEN.TEK.COM>
alh@tekig1.PEN.TEK.COM (Al Hooton) writes:
 
>
>Folks,
>	Any opinions on the relative merits of the following Peavey bass gear?
>
>	- TNT-160 (new for $320, 92 model)
>	- Combo 300 (new for $500, 92 model)
>	- DataBass, with 15" driver (new, for $400, 90 model?)
>
>
I have a 92 Combo 300 that I've been very pleased with.  I've never played
through a TNT or a DataBass, but have been thoroughly pleased with my
combo.  The Combo 300 is a really solid amp and has a lot of features that
I like.  I particularly like the two effects loops (pre and post eq) and
the automatic compressor (which only kicks in to eat distortion).  The amp
has all the headroom that I'll need for a while (much more than I need for
church gigs).  I'd say $500 is an good deal, I got mine for $450, which
the guy said was "cost".  Also, when looking at the TNT-160, be sure that
it has a Black Widow 15 and not a Scorpion.  I've never played through a
Scorpion, but I've heard that there is a considerable quality difference
between them and the BW.  I'm looking at adding a Carvin 2x10 cabinet
to complete my "stack" as soon as I can get the cash.  Playing through
one 15 tends to be a bit dark for my taste.
 
brian
adcbb@vm.cc.latech.edu
Xref: sparky rec.music.makers:9303 rec.music.synth:14269
From: gwestern@icaen.uiowa.edu (Gary Edwin Western)
Newsgroups: rec.music.makers,rec.music.synth
Subject: --SURVEY--
Date: 2 Sep 92 01:32:45 GMT
Distribution: usa
Organization: Iowa Computer Aided Engineering Network, University of Iowa

Newsgroups: rec.music.makers rec.music.synth
Subject: --SURVEY--

Survey-
	I am posting this survey here to gather information from as large a baseof working musicians as possible.  If you currently play or work for a band,    please take a couple minutes to fill out this survey.  Thank you.

Do you use MIDI in live performance?
	For what applications?

Do you use a personal computer in live performance?
	For what applications?
	Brand and Model?

How many lights do you use? 
	Brand and Model?

Would a computer controlled light show benefit your performance?

What would you consider a "fair" price for a computer interface for controlling your current light configuration?

Please mail responses to gwestern@icaen.uiowa.edu.  If you would like more info
on this survey and its purposes, contact:
	Gary E Western			gwestern@icaen.uiowa.edu
	319 353 1702
--------------------------------------------------------------------------------
Newsgroups: rec.music.makers
From: patti@hosehead.intel.com (Patti Beadles)
Subject: Yamaha digital piano problem(?)
Originator: patti@hosehead
Reply-To: patti@hosehead.intel.com
Organization: Intel Development Tools Operation, Hillsboro, OR
Date: Fri, 28 Aug 1992 20:32:43 GMT

I'm not sure if this is a problem with what I'm doing, or my piano.  The
manual is pretty vague about this.

The other day I tried to hook it up to my stereo system.  No problem ...
aux out to one of the inputs of my stereo, and play, right?  Nope.  What
I got was a really scratchy, tinny sound.  It was like part of the signal
was getting through, but not all of it.  (I'm using 15' cables, but I
don't think they should have that much signal loss.)

Am I screwing up, or is the piano bad?  (It's a model CLP-300.)
-- 
Patti Beadles  503/696-4358 | I don't speak for Intel, nor vice-versa.
   patti@hosehead.intel.com |
   75555.767@compuserve.com | Practice random kindness and
or just yell, "Hey, Patti!" |                  senseless acts of beauty.
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: MOOG Taurus
Date: 3 Sep 1992 23:11:05 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

I'd love to get one of these (I believe there's 'Taurus I' and 'Taurus II'.
Well...are there?  What's the diff(s)?).  If anoybody knows where I can
get one, even (especially?) in not-working condition (I own a soldering
iron and an ego to match), I'd love to find out.

Michael Breen
singing and philosophizing
(and still buzzing from Chris Squire's Amazing Grace solo at the 90125 tour)
Newsgroups: rec.music.makers
From: dhardma@intelhf.hf.intel.com (Dave Hardman)
Subject: Re: REC.MUSIC.DEMO
Organization: Development Tools Operation, Intel Corp., Hillsboro  OR
Date: Tue, 25 Aug 92 17:48:06 GMT

ireland@iccgcc.decnet.ab.com writes:


>Yeah, sounds like a good idea to me. REC.MUSIC.DEMO - I like that. It's
>be nice to be able to exchange promotional ideas, too.

You've got my vote as well!
From: mayer@osiris.cso.uiuc.edu (James Mayer)
Newsgroups: rec.music.makers
Subject: Re: Show tips & tricks
Date: 4 Sep 92 20:24:52 GMT
Article-I.D.: news.Bu2M1H.JCC
Organization: University of Illinois at Urbana

The best band leader in everyone in the band. The whole is greater than the
sum of its parts.
'
	-jim.
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: Re: Show tips & tricks
Date: 3 Sep 1992 17:06:04 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <1992Sep3.012739.13969@news.weeg.uiowa.edu> smills@news.weeg.uiowa.edu (MuffinHead) writes:
>dcampbel@timshel.austin.ibm.com (David L. Campbell) writes:
>
[other good advice left out for brevity]
>>   9.  Be friendly with club owners even if they are slime.
>
>   Wrong. If they're complete assholes that try to stiff you, treat them
>the way they've treated you. You don't need to play there again.
>
>Muff

Sadly, there aren't enough good venues, even in a large town like San Diego,
the we pro players can get away with this.  I had a group that wanted to play
'the best rooms in town'.  We actually got into two out of three of the top
places for 'local' acts to play.  And it took some 'brown-nosing' to do it.
It was worth it in the long run, as we didn't really pay-to-play, or anything
as insulting as that.  We did get ripped off a couple times, and, man can
promoters be losers.  We did have to smile at some slime.

Michael Breen
singing and philosophizing
(and done with clubs in San Diego...I'm on my way to the Bay!)
Newsgroups: rec.music.makers
From: merk@unislc.uucp (John Merk)
Subject: RE: Show tips & tricks
Organization: Unisys Corporation SLC
Distribution: usa
Date: Tue, 1 Sep 1992 18:09:27 GMT

[ Jim Bogard writes: ] 

> Well, the band is finally rolling... after a few preliminary jobs, we
> have 5 in the month of Sept and expect more.  What I would like to hear from
> you are 'gig tips'...  Those little things you have picked up over the 
> years that make everything go smoothly and contribute to a better show.

Well, I'm no expert, but here are some ideas that have helped me:

1) HAVE FUN!!  If you aren't enjoying yourself it will be obvious to your
   audience.  Have a blast and your audience will want to join in.

2) Try to learn something from every gig.  Keep an open mind and take
   advantage of "learning experiences."

3) Do not expect perfection.  You won't get it.  Learn to cover your
   mistakes and those of your bandmates.

4) Play every gig as though it were your last.  Pull out all the stops,
   take chances, etc.  This is no time for mediocrity.  Avoid "auto-pilot".

Good luck,
John

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
John C. Merk                                 E-mail: merk@unislc.slc.unisys.com
Unisys Corporation                          
322 N. 2200 W.                                             Voice: (801)594-6756
Salt Lake City, UT 84121                                     FAX: (801)594-6708
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
From: burris@epcot.spdc.ti.com (Jim Burris)
Newsgroups: rec.music.makers
Subject: Re: Hotel California solo: who's playing?
Date: 27 Aug 92 15:07:17 GMT
Organization: TI Semiconductor Process and Design Center

In article <1992Aug26.141813.1892@gdstech.grumman.com> soh@gdstech.UUCP (Scott O'Hare) writes:
>In article <1992Aug26.055804.1685@nntp.uoregon.edu> levitin@darkwing.uoregon.edu writes:
>>Jim Lynch asks who Joe Walsh is, in the context of The Eagles. Walsh
  .....................................................................

>Another song on the original "James Gang" album, called "Tend My Garden" 
 ........................................................................
>soh

One of my favorite Walsh/James Gang performances was on "James Gang Live"; the
song, "Stop", was from one of their first 2 or 3 albums (forget which). BTW,
does anyone out there in netland have a copy of this album they'd like to sell?
Can't find it in the used record bin anywhere?

Jim Burris

burris@spdc.ti.com
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: Re: Hotel California solo: who's playing?
Date: 26 Aug 1992 18:33:22 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <1992Aug26.055804.1685@nntp.uoregon.edu> levitin@darkwing.uoregon.edu writes:
>Jim Lynch asks who Joe Walsh is, in the context of The Eagles.  Walsh
>is considered by many to be one of the great guitarists of the 60s and
>70s.  His first group, the James Gang, out of Ohio, made some great
>guitar rock and is considered an important and influential Americn
>rock band.  One of their well=known tunes is "Funk #49."  He has had a
>sporadic solo career with some radio hits "Life's Been Good To Me So
>Far") and a recent solo album on Epic.  He was with the Eagles for two
>studio albums, Hotel California and The Long Run.  His guitar playing
>style is distinctive.  There's a fantastic cut featuring his soloing
>on the B.B. King album "LA Midnight" in which Walsh and King trade
>solos with the Reverend Davis on slide.

I heard that the members of the Eagles, when responding to rumours of a
reunion (which they denied), said of Joe Walsh:
"He's a nice bunch of fellows"
No opinion, just an anecdote.

Michael Breen
singing and philosophizing
(I've worked with a few musicians like that...they can fill a room in more
ways than one!)
From: corman@Ingres.COM (Anthony Corman)
Subject: Re: Giant Steps
Reply-To: corman@Ingres.COM (Anthony Corman)
Organization: Ask Computer Systems Inc., Ingres Division, Alameda CA 94501
Date: 26 Aug 92 15:31:22 GMT

On the subject of Maj7#5 chords: rather than treat them as the 3rd mode
of melodic minor, consider the Symmetric Augmented scale; it yields
some wonderful material. The scale is constructed as min 3rd, half-step.
Built on C, it would look like this:

C	Eb	E	G	Ab	B	C
  m3       hs      m3      hs      ms       hs

Uses for the scale:

The C Sym Aug scale can be applied to C maj 7, A min 7 (or A min maj),
D7 (#11). Note that it's a symmetric scale (like the whole step-half step
Symmetric Dimished scale). In this case there are 3 scales; in other
words, the same notes appear in the C, E, and Ab S.A. scales.

Also note that this scale can be thought of as 2 augmented chords (B and
C aug in the preceding example). Interesting sounds: 

Diatonic thirds: C E Eb G E Ab G B Ab C etc
Diatonic triads
The Oliver Nelson cliche (descending): AB G E C   B Bb G Eb  E Eb C Ab

Maj 7 #5 yields some slightly outside notes while retaining the basic
flavor of the chord; we're hearing a lot of it these days in the playing
of guys like Bob Berg.

Tony Corman
From: bw@hpcvxgmr.cv.hp.com (Bill Wilhelmi)
Newsgroups: rec.music.makers
Subject: Re: Re: acoustic pianos versus digital pianos/keyboards
Date: 31 Aug 92 18:26:02 GMT
Article-I.D.: hpcvusn.1992Aug31.182602.9419
Reply-To: bw@hpcvlx.cv.hp.com
Distribution: usa
Organization: Interstate 5

In article <1992Aug27.150747.24753@morrow.stanford.edu>, AS.TLK@forsythe.stanford.edu (Timothy Kaufman) writes:
|> mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
|> >
|> >>If you are going to perform for a live audience, I doubt that your $1000 piano
|> >>will do.  If all you intend to do is sit at home and play for fun, you don't
|> >>need a performance-grade piano.
|> >
|> >But I rarely worry about live audiences in my home.  The person who does not
|> >plan to play the instrument he buys anywhere but at home can consider all
|> >three of these points as "If you need to have a good sounding instrument
|> >outside the home, get a portable digital; if all you care about is playing at
|> >home, get the best acoustic you feel like paying for".
|> 
|> 
|> You've summed up my sentiments exactly, Marc.  If logistics are not a
|> factor, I'll take the real beast every time.  But I have to settle for
|> something I can schlep around, not to mention control all the other myriad
|> keyboard sounds.

In fact, you should start by looking for the real beast unless considerations
start creeping in as to why it isn't practical.  But I would encourage anyone
wanting to get a piano to get the real thing if they can swing it.  If you 
don't care how it sounds, you won't have to pay over $1200.

|> 
|> The Yamaha Electric Grand was a potentially interesting solution
|> in its day, although it's still a monster (I think it broke down into two
|> pieces, each about as heavy as a Rhodes).  Still a different sound from an
|> acoustic, but real strings!  I suppose it would go out of tune all the
|> time if it were constantly being moved.  Anybody use one?
|> 
|> 
|> >-------------------------------------------------------------------------------
|> >Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
|> 
|> Is that with or without the beard?  I'll say this, nobody ever mistook my
|> *playing* for Bill Evans.
|> 
|> 
|> -Timmer

-- 
 Bill Wilhelmi    
 Hewlett-Packard - User-interface Technology Division CV
 1000 NE Circle Blvd.  Corvallis, OR 97330
 bw@hpcvlx.cv.hp.com
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Mon, 24 Aug 1992 23:33:07 GMT
Subject: Re: RE: `The Annotated "American Pie"'
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.makers

In rec.music.makers, bw@hpcvxgmr.cv.hp.com (Bill Wilhelmi) writes:

> It makes me wonder if McLean wrote the song without fully realizing what
> he was writing.

Then there is the legendary story of Kurt Vonnegut taking a class incognito and
being assigned to write a paper on one of his previously published stories -
and not getting a very good grade - the teacher's comment was supposedly
something like "you missed the point entirely".