HDTenEightyP/NetNews huggingface dataset:
From: cczdvh@unicorn.nott.ac.uk
Newsgroups: alt.guitar
Subject: Kings X guitar sound..
Date: 4 Nov 92 23:18:01 GMT
Organization: Cripps Computing Centre, University of Nottingham
Originator: cczdvh@unicorn.nott.ac.uk


Just a quickie. Ive not seen this mentioned in this group yet so, how or
what gear does Ty Tabor use to get that FABULOUS sound. I know they multi
layer like mad in the studio but.... what a beautiful noise. Any info on
this ( and Doug P's setup too if poss) much appreciated.

Dave Valentine-Hagart.    

................................................................................
  _____   __               .       CCZDVH         .   My Guitar wonders why
 /     \_/ /           __  .   @uk.ac.nott.vme    .    Its not easy to fly
| []| | LLLLLLLLLLLLLL|__| .   ~~~~~~~~~~~~~~~~   .    Exept if your name
 \_\___/\_\                .  I can't play this!  .  Ends in Holdsworth or Vai !
....\...........................................................................
From: egras@ohstpy.mps.ohio-state.edu
Newsgroups: alt.guitar
Subject: Re: Weird Theory Question...(intervals)
Date: 5 Nov 92 11:21:25 EST

In article <14540.2af67ba2@ohstpy.mps.ohio-state.edu>, egras@ohstpy.mps.ohio-state.edu writes:
> 
> 
> 	Serious musicians usually speak in terms of intervals rather than
> things like b3 or b7 when spelling chords.


	I have been told that the above statement could be considered
disdainful and offensive.  That was not my intention.  I'm really sorry if
I offended anyone.  I apologize.  I should have chose better wording.

BrianE
Xref: sparky alt.guitar:9718 rec.music.makers:10840 rec.music.beatles:5603 misc.forsale:30780
From: stevenra@feserve.cc.purdue.edu (Alex Stevens)
Subject: Choosing a Wah Wah
Organization: Purdue University
Distribution: na
Date: Fri, 13 Nov 1992 01:20:58 GMT


	Can anyone give me pointers on any Wah pedals they feel are
exceptional?    I've tried the Dunlop Cry BAby, and it seems, well, just kinda
plain.   While it can easily handle the type of Wah in something like
"Yankee Rose"  it just doesn't sound "excited" I guess.  I loved the
Wah Wah   Kurt uses in Metallica's "wherever I may roam" although I don't play
thrash(no arguments about metallica's label, I don't care).  Are
there big differences between the Original Cry Baby and the Hendrix Cry Baby?



Alex
stevenra@feserve.cc.purdue.edu

Newsgroups: alt.guitar
From: larryh@cabezon.uucp (Larry Huntley)
Subject: Re: Weird Theory Question...(intervals)
Organization: Logic Modelling Inc of Beaverton Oregon
Date: Mon, 9 Nov 1992 21:43:28 GMT

In article <14559.2af903b5@ohstpy.mps.ohio-state.edu> egras@ohstpy.mps.ohio-state.edu writes:
>In article <14540.2af67ba2@ohstpy.mps.ohio-state.edu>, egras@ohstpy.mps.ohio-state.edu writes:
>> 
>> 	Serious musicians usually speak in terms of intervals rather than
>> things like b3 or b7 when spelling chords.
>
>	I have been told that the above statement could be considered
>disdainful and offensive.  That was not my intention.  I'm really sorry if
>I offended anyone.  I apologize.  I should have chose better wording.
>
    Awwwwww.  Did the nasty man make the sensitive serious musicians cry?
    Wake up, people.  This is the terminology.  Learn it.  Use it.  When you
    decide you're tired of playing I-IV-V7, and ask someone a question about
    chord construction, scales, or modes you better be prepared to hear a lot
    of terms like Brian used in his answer.

    "Disdainful and offensive"?  Come now.  Be glad that someone treated you
    like a professional, whether you are or not.  If he says something you
    don't understand, mail him or ask the net, but don't go flaming someone
    who has done a great job answering a question in formal terms because he
    talked to you like an adult.

    Go 'head on, Brian.

    - Larry Huntley


-- 
         (larryh@lmc.com)         |         --TALK.BIZARRE-- 
     Logic Modeling Corporation   |      The Suppurating Abcess
          Beaverton,  OR          | of the INTERNET - Dr. Donald Wildmon
From: mds@hpfcmgw.FC.HP.COM (Mark Schulz)
Date: Fri, 6 Nov 1992 16:53:12 GMT
Subject: Re: lowering action
Organization: HP Fort Collins, CO
Newsgroups: alt.guitar

In>alt.guitar, "Harold S. Lessure" <hl0t+@andrew.cmu.edu> writes:


>   anyone willing to give me advice on lowering the bridge and adjusting
>   for pitch change afterwards? Is a good procedure described in a book
>   that I might get at the library? I figure I can always take the guitar
>   into a shop if I can't seem to get is fixed up the way I want on my 
>   own...

>   the bridge is pretty much standard I suppose...there are independent 
>   adjustments for string height using 2 set screws and a round head screw
>   that is spring loaded to adjust effective string length (ie. moves the
>   bridge segment closer or further from the neck)...

	 So it sounds like you've got an electric guitar where the bridge
    can be adjusted individually for each string.  Assuming this is true,
    lowering the bridge and re-adjusting pitch is fairly simple. 

    1.  First, lower the bridge to get the string down where you want it.
    This is called adjusting the action.  Use the same type of strings for
    adjusting that you plan to use regularly.  Make sure that the strings
    aren't buzzing when you fret them.

    2.  Once you have the action where you want it, you can reset the pitch.
    The trick is to get the fretted pitch at the twelfth fret to be the same
    as the chimed pitch at the same location for each string.  The chime is
    the sound you get when you pluck the string while lightly toucing the
    string, rather than pushing it down on the fret board, immediately above
    the twelfth fret.  You compare the chimed pitch to the fretted pitch at
    the twelfth fret and adjust the string length until they are the same.
    You may want to use a tuner to insure accurate pitch.

    The object of this adjustment is to locate the true halfway point of
    the string immediately above the twelfth fret. Since the twelfth fret
    is supposed to be where the octave is, and cutting a string in half raises
    its pitch by an octave, it makes sense that the halfway point of the
    string should be where the twelfth fret is. 
    
    When the string is too long the mid point will be above the twelfth
    fret and the fretted pitch will be flat relative to the chime. When the
    string is too short, the mid point will be below the twefth fret and the
    fretted pitch will be sharp relative to the chime.

     THIS ISN'T THE WHOLE STORY.

    Unfortunately adjusting your action can be more complicated that
    just adjusting the bridge. Undesirable action can be the results
    of several other componets. These include 1) a neck out of adjustment 2)
    unevenly worn frets. 3) Fret that are not personally appealing for your
    type of playing i.e. too wide, too narrow, too high, too low. 4) The
    wrong type of strings. In fact strings are the easiest thing to fix, so
    before you do anything else make sure you've got a set of strings that
    works for your playing.
    




>   any help is appreciated. email me or post either way. thanks. harold

Organization: Pittsburgh Supercomputing Center, Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Tue, 10 Nov 1992 17:04:02 -0500 
From: Christopher Kalevi Nuuja <cn09+@andrew.cmu.edu>
Subject: Re: Edge is God...

>Edge IS God.  Enough said.

Edge is DOG, Vai is POO, Clapton is BAD

Yamasuka Eye plays better guitar with his lungs, technique can only make you
weak.
From: efrank@upenn5.hep.upenn.edu (Ed Frank)
Newsgroups: alt.guitar
Subject: Guitar repair:  where to go in Philadelphia
Keywords: repair, request
Date: 5 Nov 92 17:09:46 GMT
Distribution: phl
Organization: University of Pennsylvania

I need to have some simple repairs done on my guitar (replace the
nut and set the action).  Can someone suggest a place in or around
Philadelphia that is competent in guitar repair?

        -Ed

p.s. I've restricted distribution of this note to philadelphia,
but it'll probably leak out.  Sorry in advance.

----
Ed Frank
efrank@upenn5.hep.upenn.edu
From: rmurphy@usc.edu (Bob Murphy)
Newsgroups: alt.guitar
Subject: Solo Acoustic Guitar
Date: 6 Nov 1992 16:20:43 -0800
Organization: University of Southern California, Los Angeles, CA
Distribution: world
NNTP-Posting-Host: aludra.usc.edu

My favorite music is usually just solo acoustic guitar.
I unfortunately don't know of many albums like this.
I have occasionally bought albums which seemed to contain only guitar
but would in reality have lots of other instruments as well.
Could someone post a list of possibilities with the type of music(i.e.
jazz, folk, blues, etc.) and short reviews included?
I prefer instrumental but feel free to include those with a single
voice as well.

                         Thanks,
                            Bob Murphy (rmurphy@aludra.usc.edu)

p.s. There is no need to include classical guitarists in this list.
     rec.music.classical.guitar contains plenty of suggestions.

Newsgroups: alt.guitar
From: johnr@tvnews.tv.tek.com (John Reynolds)
Subject: Re: Frampton Talkbox Schematic (Other Performers)
Organization: Tektronix TV Measurement Systems, Beaverton, OR
Date: Mon, 9 Nov 1992 22:31:25 GMT

In article <1dglj8INNt6n@usenet.INS.CWRU.Edu> bk233@cleveland.Freenet.Edu (Jack W. Weinmann) writes:
>
>There used to be a steel (slide) guitarist in the '50's that used one to
>make his steel guitar talk.  I can't remember his name, but I remember that
>one of the songs that he did was something like:
>
>"I'm just a guit-ar.... why does ever-y-body pick on me!"
>
>He really made it sound good, and with a steel guitar he got more constant
>tone and less percussive effects.  It was the clearest, most understandable
>talkbox usage that I have ever heard.
>
>If anyone remembers who he was I'd appreciate hearing from you.  I'd like
>to find some of his recordings.     AHHHHH nostalgia - ain't it great?
>
>Jack Weinmann
>bk233@cleveland.freenet.edu

 I think I remember this guy.  He was a regular on "The King Family" which
 was an early '60s musical variety show, not unlike "The Lawrence Welk
 Show".  The show opened every week with this musical number where they
 introduced everybody and his introduction would be (with the talkbox effect
 engaged), "Alvino Ray...and his singing guitar...".  I too would be curious
 to know more about how this particular talkbox worked, because it was
 definately cleaner than the Peter Frampton/Joe Walsh effects.

 Nostalgicly yours,
 
 John Reynolds
 Tektronix TV Divison
 Beaverton, OR
From: abubakar@eniac.seas.upenn.edu (Zulhisham B Abubakar)
Newsgroups: alt.guitar
Subject: Re: Guitar repair:  where to go in Philadelphia
Keywords: repair, request
Date: 6 Nov 92 02:06:45 GMT
Distribution: phl
Organization: University of Pennsylvania

In article <96301@netnews.upenn.edu> efrank@upenn5.hep.upenn.edu (Ed Frank) writes:
>I need to have some simple repairs done on my guitar (replace the
>nut and set the action).  Can someone suggest a place in or around
>Philadelphia that is competent in guitar repair?
>        -Ed

Have you checked out the guitar store downton?  It's called the 8th St
music store.  It's a pretty decent store( although I don't have any idea
why it's namd that, since it's on 11th St.  I don't have the address or
phone no. of the store, but you can look them up in the Yellow pages. 
I'ts under "8th St. ...".  Check that out and see.  Good Luck.




"To each his own, but to own is sweet..."
Zul.
Xref: sparky alt.guitar:9606 rec.music.misc:27049
From: shinh@nmr-z.mgh.harvard.edu (Shinjiro Hirose)
Newsgroups: alt.guitar,rec.music.misc
Subject: Re: Steely Dan questions
Date: 6 Nov 92 19:46:07 GMT
Distribution: all
Organization: Mass General Hospital NMR Imaging Center


>
>The great solos on the first couple of albums are by Jeff "Skunk" Baxter.
>
>Check out the licks on "My Old School"  (on Pretzel Logic, I think).
>
>The guy is great. He later left the Dan to play with the Doobie Bros.
>
>Ron.

I thought Denny Dios did "My Old School"....
-Shin

-- 

Shin Hirose						1980 CB750-F
shinh@nmr-r.mgh.harvard.edu                         	1970 Porsche 914
DoD # 0670
From: gwaldron@csugrad.cs.vt.edu (Glenn Waldron)
Newsgroups: alt.guitar
Subject: Bridge adjustments
Date: 9 Nov 92 17:51:23 GMT
Organization: Virginia Tech Computer Science Dept, Blacksburg, VA
X-Newsreader: Tin 1.1 PL4

On the bridge of the guitar, each string has two small Allen screws
for adjusting the action of the string.  But what are the Phillips
screws behind the brigde for?  I know they move the individual
bridge pieces (don't know the terminology) forward and backward,
but what does this accomplish?

- Glenn.


-- 

Glenn A Waldron                                  gwaldron@csugrad.cs.vt.edu
Computer Science - Virginia Tech                aq078@cleveland.freenet.edu
---------------------------------------------------------------------------
Newsgroups: alt.guitar
From: david@infopro.com (Dragon [David Fiedler])
Subject: Re: Gibson Explorer
Organization: InfoPro Systems: Writers, Consultants, and Dragons
Date: Tue, 10 Nov 92 05:39:45 GMT

jpmakela@klaava.Helsinki.FI (J Pekka Makela) writes:

>	I havend actually played one amplified, but the ones I've
>	seen have had quite wide and flat fingerboard. Basically,
>	that would make it perfect for slide, but the headstock shape
>	makes me very suspicious about putting in heavy strings: *I*
>	would not bet for its structural stability.

I don't know about his strings, but I saw Johnny Winter a week or so ago
and he only played slide on his ancient Firebird...must mean *something*...
the guy is certainly one of the top 5 slide players on earth...
-- 
David Fiedler    UUCP:{netcomsv,utoday}!infopro!david               AIR: N3717R
"The future is tekon."   Internet: david@infopro.com or david@utoday.com 
USMail:InfoPro Systems, PO Box 220 Rescue CA 95672 Phone:916/677-5870 FAX:-5873
From: tm8025a@american.edu
Newsgroups: alt.guitar
Subject: GSP 21-Pro
Date: 12 Nov 92 22:55:44 GMT
Reply-To: Infinite Guitar
Organization: The American University Computing Center

I am not sure if this was posted or not so here is a possible repost

Does any one know how much $$$ the following are:

GSP 21-pro legend
GSP 21-pro
GSP RP-1

All are by Digitech

Also if you have had experience with any of the three your knowledge on how  
they perform would be helpful.

Send replys to News Group or tm8025a@american.edu
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Newsgroups: alt.guitar
Subject: Re: Know Anything About Matchless Amps?
Date: 5 Nov 92 22:56:59 GMT
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]

bg (cc.swarthmore.edu) wrote:
: 
: 	Hey!  Has anyone heard of the company that makes Matchless amps?  I'm

	Received some specs today. They have 30w model w/EL84 and was it
	85w model w/EL34. Don't have the paper right here. 1*12 combo
	2*12 Vox lookalike, 4*10 combo, amp head, ext spkrs 1*12, 2*12
	4*10. Vox-like stands for combos and head/spkr. Heads available
	rackmounted. Haven't seen those live yet, but heard from Helsinki
	that a known diehard-Vox-dude thinks that Matchless is excellent.
	
	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
Newsgroups: alt.guitar
From: jacobson_d@cubldr.colorado.edu
Subject: Blues Soloing [help!]
Organization: University of Colorado, Boulder
Date: Thu, 12 Nov 1992 23:34:55 GMT

   I've come to the realization that my blues soloing sucks.  I always play
the same licks and phrases and never really ever play anything that I 
consider "my own".  Basically, I'm wondering if there's any advice people
can give my on going beyond those stale licks.  Are there any good books
on blues improv.?  My favorite blues players are SRV [surprise], Clapton,
King, etc., if that makes any difference as to your recommendation.
   Basically, right now, I mostly use the box position with the root on the
E string and slide up to the second box for higher notes.  [I hope you know
what I mean... I'm talking about the minor pentatonic box]  Sometimes I
use another pattern that has its root on the 5th string and slides up to
the aforementioned "box".  Is this good procedure, or do the big boys pull
other tricks out of their hats?  I also have problems incorporating Major
Pentatonic ideas without sounding incredibly corny.
   Thanks in advance for any replies, and thanks to those who sent me mail
regarding string guages earlier...

Darren
From: darryl@berlioz.nsc.com (Darryl Williams)
Newsgroups: alt.guitar
Subject: test
Date: 6 Nov 92 22:36:10 GMT
Distribution: usa
Organization: National Semiconductor Corporation

This is test
From: Michael.P.Colburn@dartmouth.edu (Michael P. Colburn)
Newsgroups: alt.guitar
Subject: Re: Frampton Talkbox Schematic (Other Performers)
Date: 13 Nov 92 00:30:01 GMT
 <1992Nov5.042925.22653@hubcap.clemson.edu> 
 <weyJsna00WBNE3kmkF@andrew.cmu.edu> <1dglj8INNt6n@usenet.INS.CWRU.Edu> 
  <12NOV92.18752643.0050@UNBVM1.CSD.UNB.CA>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

In article <12NOV92.18752643.0050@UNBVM1.CSD.UNB.CA>
META000 <META@UNB.CA> writes:

> I believe the gent's name is Aldo Ray, if memory serves.

I thought Aldo Ray was an actor (and I use the word "actor" loosely)...

Mike Colburn                         =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Dartmouth-Hitchcock                  "Pulu-see-ba-goomba" -- Gilligan 
Medical Center                       =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Lebanon, New Hampshire  03756        :-):-):-):-):-):-):-):-):-):-):-)
From: stevenra@feserve.cc.purdue.edu (Alex Stevens)
Newsgroups: alt.guitar
Subject: Re: GSP 21-Pro
Date: 13 Nov 92 01:31:33 GMT
Organization: Purdue University

In article <1992Nov12.225544.24350@paladin.american.edu> Infinite Guitar writes:
>I am not sure if this was posted or not so here is a possible repost
>Does any one know how much $$$ the following are:
>GSP 21-pro legend
>GSP 21-pro
>GSP RP-1
>All are by Digitech
>

	I've got two catalogs near me, so here are the quotes.  One is
from Musician's Friend, and one is from Suncoast, a mail-order house I 
loyally stick to, with great prices.


ITEM			MUSICIAN'S FRIEND		SUNCOAST
------			-----------------		---------
21-pro Legend		$599				$575
RP-1			$429(with gigbag)		$365
	
	Neither had the regular 21-pro, since the Legend is basically
an upgrade of that, making it "obsolete."

Suncoast carries a 5% shipping charge, that's it.

Musician's Friend would charge you $15 for the Legend, and $11 for the RP-1.


Alex
stevenra@feserve.cc.purdue.edu
From: ken@advtech.uswest.com (Kenny Chaffin)
Newsgroups: alt.guitar
Subject: Re: Tube Emulator
Date: 10 Nov 92 22:58:05 GMT
Distribution: na
Organization: U S WEST Advanced Technologies

In article <BxIF69.6D4@dcs.glasgow.ac.uk> dam@dcs.glasgow.ac.uk (David Morning) writes:
>neal@cmptrc.lonestar.org (Neal Howard) writes:
>
>[..about 12AX7 FET emulator]
>
>>There's one very important parameter that no known solid state device can
>>come close to what a tube amplification stage can do: the slewing rate.
>
>Never one to miss a challenge.....Thyristors :-)
>
>Hang on a minute, isn't slew rate defined as the ability of a device to go from
>one voltage to another quickly, rather than from a low frequency to a high
>one?
>
>{Shuffles through his data book...}
>
>It's measured in Volts per microseconds, not Hz per micro second.
>
>
>Dave
	Yeah, but it's the same thing when you are talking about amplifying
analog signals.
	A tube amplifier must change its output voltage to match the input
changes. Since the changes are in cycles per second the faster the cycles--
(the higher the frequeny)--the greater the slew rate.


KAC
>
Opinions? Can anyone actually _have_ opinions or are they no more 
than dust motes floating in the sunlight of collective intellect.

Kenny A. Chaffin                      {...boulder}!uswat!ken
U S WEST Advanced Technologies         ken@dakota.uswest.com
4001 Discovery Drive  Boulder, CO 80303	     (303) 541-6355
 
>-- 
Newsgroups: alt.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Tube Power Amp Recommendations?
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Sat, 7 Nov 1992 14:36:49 GMT

Mike Woo (mike@vm1.mcgill.ca) wrote:

: about the Mesa-Boogie 50/50, 295 and 395.  I'd really appreciate any and

	There was a new Mesa power amp mentioned in Guitar Players JMP-1 vs.
	Mesa TriAxis test. I heard that it's a two unit Simulclass power amp
	with some of the SwitchTrack features of Mesa 395/500. It was named
	2.90 in Guitar Player, as far as I can remember.

	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
Newsgroups: alt.guitar
From: plw@sgfb.ssd.ray.com (White)
Subject: Hot Tuna - Water Song
Organization: Raytheon Company
Date: Thu, 12 Nov 1992 18:23:48 GMT

Okay, I'm about 8 bars into this song.  Yep, I believe it's in 
an open G tuning on a 12 string.  Is there a transcription that
I may have not found somewhere?  Has anyone got it figured out yet?

If I can figure out the riff where Jorma does all of that stuff
on the 5th and 6th strings around frets 1 through 5 (E & A strings
tuned down to D & G, respectively), I might be able to get the 
rest of the song by myself.  

I can come close, but it doesn't sound right when I play it when
I'm not playing with the recording.  Methinks that it might be that
Mr. Kaukonen has been sneaky and tuned the 6th string all the way down
to a C.

Sorry, all I have is a clue.  Anybody have the answer?


Paul
plw@ray.com

Safety in numbness