HDTenEightyP/NetNews huggingface dataset:
From: dnj@kauai.verity.com (Dave Johansen)
Subject: Re: Strat Plus  
Reply-To: dnj@kauai.verity.com (Dave Johansen)
Organization: Verity, Inc.  1550 Plymouth Ave, Mt. View, CA 94043
Date: Thu, 21 Jan 93 21:53:43 GMT

In article <1993Jan21.165932.159@bmerh85.bnr.ca>, wolski@bmera252.bnr.ca
(Will Wolski) writes:
> I have a solid coloured Strat Plus (1989 model) and was wondering if
anyone out
> there knows what type of wood is used for the BODY of this model. Please post
> a reply, I don't have email access.
> Thanks, Will.   
> 
> 
> ------------------------------------------------------------------------
> ----------  
> Will Wolski wolski@bnr.ca.  (613) 763-2117
> Bell Northern Research Ltd., Ottawa, Ontario, Canada
>  
> The opinions expressed are my own, that's my story an I'm sticking by it. 
> ------------------------------------------------------------------------
> ----------

I believe that they are either alder or ash depending on the 
finish, opaque finishes get alder, transparent get ash...
I could have this backwards...

This whole wood thing cracks me up.. I have seen the walnut craze,
the rosewood craze, the mahogany craze and the koa craze...
It gets down to the point of "grain" craze. Tight grain is good,
and loose grain is bad, NO, but wait!! now loose grain is good, tight grain
is bad.... You can get such a range of quality on the same type
of wood, that it will end up driving you nuts trying to keep up... 
All of which boils down to: "Get what you like (sounds good to you)
and forget about what is ever hip this week"..... This isn't
addressed at Will (see above), it's just an observation from 
an old dinosaur about all these "distractions" from what is 
really important, getting to know your instrument and having 
FUN!!!!...............

A funny antecdote, I had a piece of Honduras mahogany that I 
had gotten from my grandfather, it was a solid piece that
was a couple of feet across and a foot or so thick, and several
feet long. I had luthier friends of mine that offered me serious
money for this piece of wood.... The really funny part about this
was that it was a piece of "junk" wood that was used for drayage
on a freighter in the 1930's, that they paid my grandfather
to haul away.... This was a popular opinion at the time, so tell them
next time down at the store that the flame-top '59 L.P. Standard
you have your eye on, is made with "junk" wood!!! ;-) ;-) ;-)
Who knows maybe they'll realize the error in their ways and sell it 
to you for $150.... or better yet pay you to haul it away...

Strummin' and grinnin'

-dnj  
Newsgroups: rec.music.makers.guitar
From: kurt@ods.com (Kurt Taylor)
Subject: Fender Esquire ???
Organization: Optical Data Systems, Inc.
X-Newsreader: TIN [version 1.1 PL8]
Date: Mon, 25 Jan 1993 19:49:21 GMT

Does anyone know anything about the Fender Esquire ???

I just found one. It looks just like a Tele, but has a humbucker.
There wasn't a serial number on it, and it had the old fender style logo.
Also, on the back, the neck heel plate had FENDER in block letters.

How old is this ? It played/looked great, is it worth $350.00 ??

Anyone ? Anyone? ...

 - 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.
Organization: Stanford Linear Accelerator Center
Date: Thursday, 28 Jan 1993 13:39:49 PST
From: <WAUGH@SLACVM.SLAC.STANFORD.EDU>
Newsgroups: rec.music.makers.guitar
Subject: Re: Gibson guitar take 2

In article <82240@hydra.gatech.EDU>, pw14@prism.gatech.EDU (WALKER,PETER G)
says:
>
>What does everybody think about this offer for a guitar.
>
>The guitar is 1984 Gibson Les Paul Custom Shop Edition.
>Its a two piece maple with clear finish.  The hardwar is
>gold plated.  Every year Gibson puts out a very limited
>number of its Custom Shop Edition.  In 1984 I understand
>they put out 500 of them.  Mine is the first in the series.
>In the back of the neck, there is a Custom Shop Edition logo
>and  a serial number 84-001.
>
>The guitar is in like-new condition.  I haven't touch it in
>6 years.  Now here comes the hard part- the price.  I think
>that the price of a brand new Les Paul Custom (regular kind)
>is around $600.  So I am asking for around $600.

Are you confusing a Les Paul made in the Custom Shop with a production Les
Paul Custom?

The current Gibson list price for a Les Paul Custom in either Ebony or Ivory
hovers close to $1800.00.  Add $200 for Honeyburst, Heritage Cherry Sunburst,
etc.  If you want a LP Custom Deluxe with a highly figured maple top add
another $200 or so.  These normally are discounted by most major retailers.
I paid $1350 for my Honeyburst Les Paul Custom with Gibson hardshell case,
tax included, at San Jose's Guitar Center last October

I am unfamiliar with Les Pauls made in Gibson's Custom Shop.

Without my copy of Gruhn's "Vintage Guitars" handy I can't verify a Custom Shop
serial number or the history of your instrument.  Most Les Pauls have a two
piece maple cap over a solid mahogany body except the LP Studio Custom which
often has a three piece maple cap.

>If you think the price is too high, make an offer. Let me
>know what you think.  Thanks.
>
>I want to by my first electric guitar. Is this a good deal?

From your post it seems you already have an electric guitar.  And a damn nice
one to boot.  Keep the Les Paul.
>
>Ta.
>
>Peter

Brian
Newsgroups: rec.music.makers.guitar,alt.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: Adding master volumes
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<TILL.93Jan23184145@acid-rain.lucid.com>
	<TOM.93Jan24020127@bailey.cpac.washington.edu>
Date: 24 Jan 93 10:43:22

   From: tom@cpac.washington.edu (Tom May)
   Date: 24 Jan 93 10:01:27 GMT

   (Don Tillman) writes:

      Sure, any amp that uses feedback around the power amp can have a presence
      control added.  Selecting values for the parts might take some trial and
      error though.

   Feedback reduces gain and distortion.  If you add a presence control
   by adding a feedback loop, you will reduce the overall gain.

No, a presence control doesn't add a feedback loop; just the opposite, a
presence control shunts the highs off of the existing feedback, thereby
increasing the gain of the highs.

(The phrase "Presence Control" is being used in the Fender/Marshall/Boogie
context; it's a high boost in the power amp section.  Some modern amps use
the term differently.)

   Since I have also seen the feedback loop only in phase-splitter
   push-pull circuits (granted, I've only been looking at tube circuits
   for a month and haven't seen everything), and since the feedback goes
   to the input of the phase-splitter more or less, I have assumed its
   primary purpose is to reduce asymmetry in the phase-splitter, and then
   somebody figured out that they could throw an active tone control into
   the loop and call it presence.  But, since the feedback comes from the
   output side of the transformer, maybe the feedback is really to reduce
   distortion in the whole phase-splitter / power tube / transformer /
   speaker system.  

You can find the feedback loop on both push-pull and single-ended amps.
The feedback loop has always been used in tube designs as a way to reduce
distortion and frequency response variations and decrease output impedance
(ie., increase damping factor).

(In the Fender/Marshall/etc. designs, the feedback signal is also used to
implement the current source for the diff-amp phase splitter.)

Not all guitar amps have feedback loops; Voxs and some early Gibsons for
example. 

		    But if the transformer and speaker are contributing
   to distortion, why don't the single-tube class A amps use feedback, too?
   Anybody know?

They do, see the Fender Champ for example.

  -- Don
Newsgroups: rec.music.makers.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Fender Esquire ???
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 25 Jan 1993 22:52:26 GMT

Kurt Taylor (kurt@ods.com) wrote:
: Does anyone know anything about the Fender Esquire ???
: 
: I just found one. It looks just like a Tele, but has a humbucker.
: There wasn't a serial number on it, and it had the old fender style logo.
: Also, on the back, the neck heel plate had FENDER in block letters.
: 
: How old is this ? It played/looked great, is it worth $350.00 ??


	Humbucker ? I always thought that Esquire has a single-coil pickup ? 
	Spaghetti logo ? Any serial# ? Any PAT numbers under 'Fender Esquire'
	in the headstock ? How many ? 

	Probably worth $350.00...

	Pasi

--
 p a s i   k o r h o n e n             p k o r @ p h o e n i x . o u l u . f i


 saaristonkatu 3 A 6      90100 oulu     finland,europe     tel:358-81-377 81
Organization: Graduate School of Industrial Administr., Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.makers.guitar
Date: Tue, 26 Jan 1993 09:55:56 -0500 
From: Bill Thomas <bt16+@andrew.cmu.edu>
Subject: Floyd/Gilmour revelations


Anyone interested in Pink Floyd and David Gilmour should pick up the
latest Guitar World. It's usually a useless magazine, but the Pink Floyd
features are great. Some of it is reprinted, especially the long article
about Syd Barrett, but there's a new interview with David Gilmour and a
lot of tab, including all of Comfortably Numb, and a number of classic
licks. Gilmour reveals that he likes to use a VERY non-standard tuning
(including non-standard strings), which supposedly makes a lot of his
more complicated stuff "easy." He also said that he records a lot of
guitar solos, then sort of cuts and pastes them together. This makes
some of them virtually impossible to recreate, and he says he doesn't
bother trying in concert. You also get the idea that Gilmour and Waters
have been at each other's throats from the start. How they put out so
many great albums, I don't know.
Newsgroups: rec.music.makers.guitar
From: tim@unislc.uucp (Tim Morrison)
Subject: HIWATT 50 - Available
X-Newsreader: TIN [version 1.1 PL6]
Organization: Unisys Corporation SLC
Date: Thu, 21 Jan 1993 23:00:35 GMT

Did someone post an article looking for a Hiwatt 50? Tom Balon?
I lost the post but I have a friend who has a whole load of tube
amp equipment available for sale/trade, including a very good condition
Hiwatt 50 (early 70's model). He fixes/mods tube stuff and has a 
decent inventory (not as a business, more of a hobby). He may be
interested in making deals from one-tube-amp-dude-to-another if 
anyone's interested. Contact my email directly if interested in 
the Hiwatt or other tube-related stuff.

tim@unislc.slc.unisys.com
From: cde@mulka (Colin Entwisle)
Newsgroups: rec.music.makers.guitar
Subject: sustainiac
Date: 25 Jan 1993 00:22:38 GMT
Organization: University of Melbourne
NNTP-Posting-Host: mulka.ph.unimelb.edu.au
X-Newsreader: TIN [version 1.1 PL8]




	had a fiddle on a sustainiac on saturday
	(in the shop - it was priced out of practicle use)
	which is an axe with a built in string vibrator
-rather like an eboe (with a couple of freqs).
	bloody good fun
	anyone know if you get the driver on its own and add
to an existing axe - and if so how much it would cost?
					CE
From: lehe@lulea.trab.se (Lennart Hedenstr|m)
Newsgroups: rec.music.makers.guitar
Subject: Re: INFO needed on HAGSTROM guitar please...
Date: 27 Jan 93 09:29:31 GMT
Organization: Telia Research AB, Aurorum 6, 951 75 Lulea, Sweden
X-Newsreader: TIN [version 1.1 + PL8]

Jef (jftheysm@descartes.uwaterloo.ca) wrote:
> In article <C1GuCr.Ls0@news.udel.edu>, walt@diusys.cms.udel.edu (Walt
> Dabell) writes:
> > Anybody know if Hagstrom guitars (made in Sweeden) have any value to them
> > or are they one of the dime-store guitars? I have one I picked up at a yard
> > sale cheap and it needs a little work. I'm just currious if it's worth it
> > or not. It looks sort of like a Gibson 335.
>
> A friend of mine hafd borrowed a Hagstrom bass for a while. It was a peice
> of shit. I loved it.  In fact if you decide that you don't want this guitar,
> I think I am interested in it. (I search out bad guitars).  if you want to
> get rid of it, mail me and we'll talk turkey.
>
> -Jef-

First of all it's spelled Sweden and not Sweeden. Since I am a Swede
I am familiar with Hagstrom guitars. They've been around for a long
time. Pay no attention to that Jef fellow. Hagstrom has put out
many quality guitars series. I can't answer for all their guitars of
course, but saying it's a "piece of shit" just because it's a
Hagstrom is just nonsense. I have no idea if it is worth anything
as a collector's item though. (probably not)

--
===================>LENNART HEDENSTROM<==========================
		Lennart.Hedenstrom@lulea.trab.se
 Collector of records and live tapes with Gary Moore & Thin Lizzy. 
 I'm willing to trade. Interested? --> e-mail right away !!!
From: tjehl@sedona.intel.com (Timothy Jehl)
Newsgroups: rec.music.makers.guitar
Subject: Re: Electronic Tuners
Date: 21 Jan 1993 18:48:58 GMT
Organization: Intel Corporation.
Distribution: world
Reply-To: tjehl@sedona.intel.com
NNTP-Posting-Host: july.intel.com
Originator: tjehl@sedona


   Just a quick word on a semi-required capability.  I play with a piano
accompaniment, and it is, of course, next to impossible to tune the piano at
performance time.  The guitar tuning therefore has to match whatever the piano
is, so you needa tuner whose frequency recognition can be modified.

TJ
Newsgroups: rec.music.makers.guitar
From: thole@cs.rulimburg.nl (Johan Thole)
Subject: Music of ``One for my baby, one more for the road''
Organization: University of Limburg, Maastricht
Date: Wed, 27 Jan 1993 08:48:55 GMT

---------- posted from a friend's account ------------
I'm searching for the music and lyrics from the song "One for my baby, one
more for the road". I don't know the original writer and performer(s) of
this song. I know only one version. It's on the Rob Wasserman' Duets album
(sung and played by Lou Reed). Frank Sinatra has once sung it too. Any
information on other versions from other artists is also welcome.

Don't be shy and please "call" me. I will be very grateful and will thank
you forever.

Rob Hoveling
------------------------------------------------------
Please reply to thole@cs.rulimburg.nl. He will take care that the answers
reach me.
--
--------------------------------------------------------------------------------
Johan Thole (thole@cs.rulimburg.nl) | This species has amused itself to death!
University of Limburg               | (Roger Waters)
Dept. of computer science           | #include <std/disclaimer.h>
Organization: Freshman, H&SS general, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.makers.guitar
Date: Thu, 21 Jan 1993 12:41:35 -0500 
From: "Andrew W. White" <aw37+@andrew.cmu.edu>
Subject: sonic youth mailing list


did someone post about a sonic youth mailing list?  i tried to write you
but it didn't work and now i lost your address because i'm a bonehead. 
if you get a mailing list going drop me a line.  thanks much
aw37@andrew.cmu.edu
freak out
andy
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers.guitar
Subject: Re: Lesson a week (NEW)
Date: 25 Jan 93 20:29:32 GMT
Article-I.D.: network.1k1ijcINNqlb
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

Referring to articles posted *below* (gee, what a novel idea):

I felt someone would certainly extrapolate Omar's idea out as Tom has.
Here's something else I can add:
Take Tom's last idea and do some advanced-level fingering, like so:

---------4-|
-------5---|
-----4-----|
---6-------|
-7---------|
-----------| (open)
 4 3 1 2 1 <- fingerings

Note that the fingerings below are small finger = 4, pointer = 1.
This involves a three-string barre at the fourth fret, but provides you
with a wide open E chord that sounds way different than either "normal"
barre (E-position or A-position).  I call this a "D-position" barre.  It
works all the way up (and down) the neck if you ignore the open E
(or like it "over" all your chords, like Tom).
You can also "modulate" this by lifting the first finger to get the open
notes Tom (and I) like.  Try just opening the high E or G string, for
giggles.

Have fun...it's a real finger-stretcher!

Michael Breen
singing and philosophizing
(and stretching the edge of the envelope)

In article <TOM.93Jan22210441@yang.cpac.washington.edu> tom@cpac.washington.edu (Tom May) writes:
>In article <1993Jan20.173451.26901@wuecl.wustl.edu> omar@wucs1.wustl.edu (Omar El-Ghazzawy) writes:
>
>>Here is *my* tip for the week (for you acoustic players especially):
>
>>D Major Chord <==> ROOT + Major 3rd + perfect 5th <==>  D + F# + A.
>>It is usually fingered like this:
>>X X O
>>___________
>>|_|_|_|_|_|
>>|_|_|_o_|_o
>>|_|_|_|_o_|
>>|_|_|_|_|_|
>>|_|_|_|_|_|
>>|_|_|_|_|_|
>>|_|_|_|_|_|
>
>
>>But let's make the D a little more interesting:
>>Take your regular C chord and move it up 2 frets:
>
>>X   O O   O
>>___________
>>|_|_|_|_|_|
>>|_|_|_|_|_|
>>|_|_|_|_o_|
>>|_|_o_|_|_|
>>|_o_|_|_|_|
>>|_|_|_|_|_|
>>|_|_|_|_|_|
>
>>Now we have added a major 9th (or M2nd, whichever you prefer) and a perfect 4th.
>>So I don't know what you would call the chord, maybe a D9add4, but to me it
>>is a cool sounding D.  So, my advice is to use this chord as a D to add a
>>little flavor.  BTW, this is how Neil Young plays the D in Sugar Mountain.
>
>Don't stop at the third fret.  I use this chord at the fifth fret as an E
>variant with a nice dissonance between the G# on the 4th string and the
>open G string.  It also makes a nice G6 at the 8th fret and A7 at the 10th
>fret.  In fact, it sounds cool at most frets.  Try repeating this pattern
>a few times and you'll see what I mean (well, at least I like music that
>sounds like this -- I think I'll stick this in a song sometime):
>
> e e e e h   e e e e h
>---------0-|---------0-|
>-------6---|-------5---|
>-----0-----|-----0-----|
>---7-------|---6-------|
>-8---------|-7---------|
>-----------|-----------|
>--
>Tom, whose second favorite note is open E.
Newsgroups: rec.music.makers.guitar
From: wolski@bmera252.bnr.ca (Will Wolski)
Subject: Strat Plus  
Reply-To: wolski@bnr.ca
Organization: Bell-Northern Research
Date: Thu, 21 Jan 93 16:59:32 GMT

I have a solid coloured Strat Plus (1989 model) and was wondering if anyone out
there knows what type of wood is used for the BODY of this model. Please post
a reply, I don't have email access.
Thanks, Will.   


------------------------------------------------------------------------
----------  
Will Wolski wolski@bnr.ca.  (613) 763-2117
Bell Northern Research Ltd., Ottawa, Ontario, Canada
 
The opinions expressed are my own, that's my story an I'm sticking by it. 
------------------------------------------------------------------------
----------
Newsgroups: rec.music.makers.guitar,alt.guitar
From: bss2p@kelvin.seas.Virginia.EDU (Brent S. Stone)
Subject: Listing of Rock+Blues cds
Organization: University of Virginia
Distribution: rec.music.makers.guitar
Date: Fri, 22 Jan 1993 18:48:56 GMT

I posted a question to alt.guitar:  What is the name of a SMOKING cd 
(their best cd) from each blues/rock artist that you know of.
SRV is covered, BTW.  I'm looking for cd names
for some of the Kings (Albert, Freddie), and Howlin' Wolf, etc.

Here's what people have suggested so far:

Roy Buchanan        - When A Guitar Plays The Blues
Albert Collins      - Don't Lose Your Cool
Jeff Healey         - See The Light
John Hammond        - Got Love If You Want It
John Lee Hooker     - Mr. Lucky
Robert Johnson      - The Robert Johnson collection
BB King             - Live At The Regal
Johnny Winder       - Let Me In
SRV                 - Texas Flood (my fav)

I'll be happy to repost a list with more suggestions,
providing a get a few more good ones.


Thanks,



BS
From: stevep@snowhite.cis.uoguelph.ca (Steve Portigal)
Newsgroups: rec.music.makers.guitar
Subject: Using MuTex for lessons?
Date: 27 Jan 93 19:52:01 GMT
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu


 There was a mention of MuTex lately in context of the lessons which we
may see going here sometime.  I"ve got an early MuTeX FAQ which might
help out someone there...

note: little guitar content here:

From cdr  Wed Nov 27 11:07:05 1991
Return-Path: <cdr>
Received: by stolaf.edu (4.1/SMI-4.1)
	id AA06968; Wed, 27 Nov 91 11:07:05 CST
Date: Wed, 27 Nov 91 11:07:05 CST
From: cdr (Craig D. Rice, St. Olaf College)
Message-Id: <9111271707.AA06968@stolaf.edu>
To: mutex
Subject: FAQ - Frequently Asked Questions


Looks like now is a good time for the initial version of FAQ.


FAQ 911126: Frequently Asked Questions pertaining to MusicTeX and MuTeX

-------------------------------------------------------------------------------

NOTE: This is a bare bones beginning of what will constitute a more substantial
	"Frequently Asked Questions" for MuTeX and MusicTeX.

	Please mail your contributions to this to "mutex@stolaf.edu"

-------------------------------------------------------------------------------
TABLE OF CONTENTS
-------------------------------------------------------------------------------

01	What is MuTeX?
02	Where can I get MuTeX and MusicTeX?
03	Where are the archives of MuTeX mailing list?

-------------------------------------------------------------------------------
01 	What is MuTeX?

The MuTeX package is a set of macros allowing TeX to typeset beautiful music.
It is the outcome of a Master's thesis at the Rheinische Friedrich-Wilhelms
University.

01	What is MusicTeX?

Here are the tools to write music with MusicTeX under TeX.
The useful macros are MUSIC*.TEX.

-------------------------------------------------------------------------------
02	Where can I get MuTeX and MusicTeX?

MuTeX and MusicTeX are available from many sites, including:
	ftp.stolaf.edu:/pub/TeX/MuTeX.tar.Z
	ftp.stolaf.edu:/pub/TeX/MuTeX_doc.tar.Z
	ftp.stolaf.edu:/pub/TeX/MusicTeX.tar.Z
	ccadfa.cc.adfa.oz.au:/pub/tex/MuTeX.tar.Z
	clouso.crim.ca:/pub/MuTeX.tar.Z
	alfred.ccs.carleton.ca:/pub/tex/MusicTeX.tar.Z

-------------------------------------------------------------------------------
03	Where are the archives of the MuTeX mailing list?

Archives for the MuTeX mailing list are available via anonymous FTP from:
	ftp.stolaf.edu:/pub/mutex/archive

-------------------------------------------------------------------------------


Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 663-3631		1520 St. Olaf Avenue
+1 507 663-3549 FAX	Northfield, MN  55057-1098   USA
-----
-- 
+-------------------------------------------------------------+
|  Steve Portigal  University of Guelph  Guelph, Ontario      |
|  stevep@snowhite.cis.uoguelph.ca (519) 824-4120 x 3580      |
|  "Oh Andy Capp, you wife-beating drunk!" - Homer Simpson    | 
+-------------------------------------------------------------+