HDTenEightyP/NetNews huggingface dataset:
From: rreed@mtwire.es.com (Rob Reed)
Subject: Re: Pipe Band drummers????
Organization: Evans & Sutherland Computer Corp.
	<1992Nov16.131324.1391@dct.ac.uk>
Date: Tue, 17 Nov 1992 01:04:50 GMT


Hello,


Kirk Potter writes:

>...and if you can play
>side-drum for pipe band...you can play drums for anything....ie. bugle bands,
>marching bands, kit drums etc.....
                 ~~~~~~~~~

I think I shall disagree with this statement about the kit drums, for
the mere fact that accurate timing, finesse, strength, speed, and the
rest that goes along with being a pipe band side drummer is still
insufficient to play a drum kit (I used to call them "drum set" -
shows how much I'm dated!) well.  I almost think there's a GIFT that
is involved with playing a drum set as well as some people play.
Involved with that gift is the ability to "breathe" the music, - a
real artistic touch of creativity.  Certainly playing a drum
kit well requires foundations that can be achieved as a side drummer,
but side drumming alone is insufficient.

>As for wearing a skirt....it's great fun!!!!

Well, it's a little cold here in Salt Lake City for St. Patrick's Day,
so, I shall see about that.



Rob Reed
Newsgroups: rec.music.makers.percussion
From: gtas1@pool.info.sunyit.edu (Terrance Stedman)
Subject: Promark Inconsistencies
Organization: State University of New York -- Institute of Technology
Date: Mon, 23 Nov 1992 21:06:24 GMT

	For the longest time, I have been using Promark 747 nylon tipped
American hickory sticks.  I recently picked up a new pair of these only
to find that they were much heavier, less tapered, and with a bigger, different
shaped nylon tip.  I don't understand why they've changed them so.
	On another note, can anyone recommend a stick that is similar to 
the 747 but another 3/4 to 1 inch longer?  I'm now using Vic Firth's Weckl
signature sticks, but they are even shorter than the 747's!

-- 
 I ) I I <~ I_I   Terry Stedman                          .sig copyright   
 I \ I_I _> I I   Internet: gtas1@pool.info.sunyit.edu   1992, T. Stedman 
--------------------------------------------------------------------------
From: cdkohn@tartarus.uwa.edu.au (Chris Kohn)
Newsgroups: rec.music.makers.percussion
Subject: Recordings...
Date: 17 Nov 1992 09:05:47 GMT
Organization: The University of Western Australia
NNTP-Posting-Host: tartarus.uwa.edu.au
X-Newsreader: Tin 1.1 PL5


Newsgroups: rec.music.makers.percussion
From: giltner@pogo.Colorado.EDU (Jon Giltner)
Subject: Re: Speed...
Keywords: Help me!!!
Organization: University of Colorado, Boulder
Date: Sun, 22 Nov 1992 20:55:43 GMT

>>Good point. I might also recommend buying BIG FAT HEAVY sticks for
>>practicing, exercise, and warm-ups. Switch over to light sticks for a
>>performance. This has the same effect on your wrist muscles as lifting
>>weights would.

>I forgot about that, Paul.  BTW, A friend of mine had these lead filled
>sticks that he practiced with on his pad.  Has anyone ever seen these
>and have an idea about where I can buy a pair.  After a few work outs on
>those, you can really feel the difference in strength!
>--Graham

No matter how heavy a stick you use, you will still tend to depend on the
bounce off the drum head. I recommend practicing on a very soft (down) pillow.
Alternate R-R-R-R L-L-L-L, gradually increase speed. This will go a long
way toward building both speed and endurance, and teach you the difference
between pulling the stick off the head and letting it bounce.

-- 
Jon Giltner
Computing and Network Services          University of Colorado 
(giltner@spot.Colorado.EDU)             Boulder
Newsgroups: rec.music.makers.percussion
From: pmartz@dsd.es.com (Paul Martz)
Subject: Re: Speed...
Keywords: Help me!!!
Reply-To: pmartz@dsd.es.com (Paul Martz)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Fri, 20 Nov 92 17:51:42 GMT

In article <1egjftINNk0q@agate.berkeley.edu>, c60b-3ho@web-3b.berkeley.edu (Graham Randall) writes:
> In article <1992Nov18.235512.27036@csi.uottawa.ca> u509274@csi.UOttawa.CA (U. N. derGrad) writes:
> >My major problem right now is that I still can't maintain a decently fast 8th
> >note beat on the cymbals (including hi-hat) without serious pain and cramps in my
> >forearm.
> >
> >Can anyone suggest some techniques or exercises for this particular problem.  As
> >an example, I still, to this day, have never been able to play Walk of Life by
> >Dire Straits completely at its quite decent speed of 176.
> 
> One other thing, when you play, make sure your wrists are doing the work and
> not your arms.

Good point. I might also recommend buying BIG FAT HEAVY sticks for
practicing, exercise, and warm-ups. Switch over to light sticks for a
performance. This has the same effect on your wrist muscles as lifting
weights would.
-- 

   -paul	pmartz@dsd.es.com
		Evans & Sutherland
Newsgroups: rec.music.makers.percussion
From: pmartz@dsd.es.com (Paul Martz)
Subject: Re: to autoco-ordinate or ... (advice to beginning drummers)
Keywords: drums
Reply-To: pmartz@dsd.es.com (Paul Martz)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Thu, 19 Nov 92 17:15:46 GMT

In article <1ecdhvINN49@agate.berkeley.edu>, c60b-3ho@web-3h.berkeley.edu (Graham Randall) writes:
> In article <1992Nov17.202703.14847@ncar.ucar.edu> kauff@neit.cgd.ucar.edu (Brian Kauffman) writes:
> >> = wonge@fraser.sfu.ca (Edmund Wong) writes:
> >------------------------------------------------------------------------
> 
> >  My mimimal must-have list is (the titles may not be exactly right):
> >  Jim Chapin     - Coordinated Independence for the Modern Jazz Drummer
> >  Carmine Appice - Realistic Rock
> >  George Stone   - Stick Control #1  (for general technique)
     ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> >  BTW, (to other drummers) how about some sharing your "must-have" lists.
> >-Brian
> 
> Must have: Drummers Cookbook by John Pickering
             ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> --Graham

I have went through both a number of times, they are excellent.
-- 

   -paul	pmartz@dsd.es.com
		Evans & Sutherland
Newsgroups: rec.music.makers.percussion
From: pmartz@dsd.es.com (Paul Martz)
Subject: Re: to autoco-ordinate or not to autoco-ordinate, that is the question.
Keywords: drums 
Reply-To: pmartz@dsd.es.com (Paul Martz)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Thu, 19 Nov 92 17:30:04 GMT

In article <1992Nov18.221322.26509@acuson.com>, brianc@acuson.com (Brian Cox) writes:
> wonge@fraser.sfu.ca (Edmund Wong) writes:
> >   Also, a point about the feet.  While tapping with the sticks on the
> >wouldbe snaredrum, what should I do with them?  I've noticed that if
> >I beat on an 'imaginary' snare drum, and tap my feet, my feet get
> >REALLY tired.
> > 
> Part of the reason you tire easily is that you don't have a big pedal
> spring to send your foot back!  The other (greater) part has to do with
> not having developed the muscles involved and using improper technique.
> My drum teacher (years ago) had me use my whole leg for the bulk of the
> motion and flex my ankle for control, and to help with double hits and
> other things.  (This is when playing heel-up)  I could never get enough
> volume with my heel down to have pursued that avenue...

Really?? My drum teacher always told me use my ankle only. He used to
give me total shit if he saw my knee so much as twitch...
-- 

   -paul	pmartz@dsd.es.com
		Evans & Sutherland
Newsgroups: rec.music.makers.percussion
From: craigman@casbah.acns.nwu.edu (Craig Anderson)
Subject: Re: China type and related cymbals
Keywords: cymbals
Organization: Northwestern University, Evanston Illinois.
Date: Fri, 20 Nov 1992 14:00:10 GMT


	I use the plain vanilla Zildjian 18" China Boy Low.  It actually sounds
pretty high if you ask me, but it's got that non-trash can construction (a
quality only Zil or Sab could evoke in a China).  It's mounted upside-down
with lots of felts to keep it from moving.  There's a sweet spot you have to
find to give it the gentler tonal quality you look for.  Mount it at different
striking angles to see which way you can best access the sweet spot.

Craig
From: klc@pirate.Corp.Sun.COM (Kevin Chu)
Newsgroups: rec.music.makers.percussion
Subject: PUREcussion drums
Date: 18 Nov 1992 01:34:59 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: klc@pirate.Corp.Sun.COM
NNTP-Posting-Host: pirate.corp.sun.com

Has anybody really used these PUREcussion drums?  I thought they
were just practice pads, but they're really shell-less drums.

Not to dis anyone who has one, but why would anyone want one of
these things?  Is there some advantage that I'm missing?

Thanks,

---
--Kevin Chu	klc@Corp.Sun.COM
From: wbj@ElSegundoCA.ncr.com (William Jones)
Newsgroups: rec.music.makers.percussion
Subject: Slingerland
Date: 17 Nov 92 20:05:47 GMT
Reply-To: wbj@ElSegundoCA.ncr.com
Distribution: world
Organization: Teradata/NCR

Is Slingerland Drum Co. (Niles, IL) still in business? If so, I'd appreciate it
if someone could provide a mailing address. If not, any info on their demise
would be appreciated.

Thanx,


bil


Newsgroups: rec.music.makers.percussion
From: petrop@vccsouth23.its.rpi.edu (Philip A. Petrocelli)
Subject: Re: PUREcussion drums
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Wed, 18 Nov 1992 19:27:30 GMT

In article <lgj7e3INN97r@jethro.Corp.Sun.COM> klc@pirate.Corp.Sun.COM writes:
>Has anybody really used these PUREcussion drums?  I thought they
>were just practice pads, but they're really shell-less drums.
>
>Not to dis anyone who has one, but why would anyone want one of
>these things?  Is there some advantage that I'm missing?
>
>--Kevin Chu	klc@Corp.Sun.COM

Being from New York City, I have noticed that these EXTREMELY PORTABLE drums
are the preferred choice among street corner and park jazz ensembles.  They 
actually sound pretty good, in a small group situation in which the guitars
are using minimal amplification, and/or an acoustic double bass (stringed) is
being used.  When played DYNAMICALLY (as most good jazz requires), they more 
than hold their own.  Volume doesn't seem to be something they respond to well,
so I doubt you'll be seeing any Slayer cover bands using them, but who knows -
it would sure be different!

I've been seriously considering picking up a set myself, and just playing out
on weekends with some random dudes.  That has always been a dream of mine -
playing in a street corner band, and having the bustling people applaud your
talents.  So cool - I'd take that over stadium playing ANY DAY (barring the
huge paycheck, of course...).

BTW, anyone know what a set of those things goes for nowadays?

Later.
Phil, petrop@rpi.edu
From: danmcd@cs.arizona.edu (Daniel L. McDonald)
Newsgroups: rec.music.makers.percussion
Subject: Re: Drumkit cost..
Date: 16 Nov 92 17:39:23 GMT
Distribution: na
Organization: U of Arizona CS Dept, Tucson

In article <1992Nov16.154247.20884@meaddata.com> robh@meaddata.com (Rob Hoeting) writes:
>|>> By the way, as a beginner you can go a long way towards learning to
>|>> play with just a snare drum and some beginner technique books.1z It's
>|>> not as glitzy and fun as a whole set, but a damn good way to learn the
>|>>basics.
>|> 
> I agree that learning technique, rudiments, etc. are crucial to
> developing talent, but I think if all I had was a snare and a beginner
> book for the first year, I would have probably quit. 

Both of the above quoted articles illustrate the two approaches to learning
ANYTHING, much less drums alone.  The "basics first, then the fun" can
frustrate some beginners, and stifle a potentially good player, likewise, it
can provide a rock solid foundation to build any style you'd like on top of it.

On the other hand, going in doing the "fun stuff first" can work, as long as
there is an acknowledgment of basics that need to be stressed.  (Mr. Hoeting
recognizes this fact, but I've seen many that don't.)

Let me step off my soapbox...

Two things I'd like to see a bit of discussion on:

	1.  Any mallet percussion players out there?  Granted, I haven't
	    touched a marimba in almost three years, but I'd like to hear from
	    people who have.

	2.  Any college/univ. drummers out there?  (I'm sure there are.)  As
	    an undergrad, I played at U. of Michigan, and I'd like to hear
	    from other current or former college/univ. drummers.  BTW, I don't
	    want this to degenerate into flamage, I just want to hear from
	    others.

Thanks for letting me spill my $0.02 worth.
--
Dan McDonald    |Internet: danmcd@cs.arizona.edu, UUCP: ..!uunet!arizona!danmcd
U. of Arizona   |BITNET: danmcd%cs.arizona.edu@arizona.BITNET
Computer Science| "We will pay the price,
Graduate Student|  but we will not count the cost." - Rush (N. Peart)
Newsgroups: rec.music.makers.percussion
From: umlehner@uxa.ecn.bgu.edu (Mike Lehnertz)
Subject: Re: Drum nevers
Organization: Educational Computing Network
Date: Sat, 21 Nov 1992 22:53:15 GMT

   You don't ride on a cymbal because it just builds and builds and then
you start to cover up other things that are going on in a band. The olny
(only) times I ever use a ride cymbal on a rock gig would be to accent
kicks with the band, almost like a crash but not really. Or, I use the
bell on the ride to play half-time. Keep time on a hi-hat man.



                                             - Mike -



Newsgroups: rec.music.makers.percussion
From: umlehner@uxa.ecn.bgu.edu (Mike Lehnertz)
Subject: Drum tuning...
Organization: Educational Computing Network
Date: Fri, 20 Nov 1992 22:27:51 GMT

   I tune my drums the "studio way." Right now I am using Remo clear
Emperors on the top and clear Ambassadors on the bottom. I use the
bottom heads to get the pitch that I want and the top heads to regulate
the amount of ring that I get. I have like 2 or 3 cotton balls sitting
in the drums also. No other muffles. The bottom heads seem really tight.
Dave Weckl tunes his drums the same way. Ooooooo! Really punchy drums. I
recorded with them a while back and they sound great. 


                                          - Mike -



Newsgroups: rec.music.makers.percussion
From: wes@ian.stx.com (John S.)
Subject: bass pedals (was: Re: double bass pedals)
Organization: STX, Lanham Maryland
Distribution: na
Date: Tue, 17 Nov 1992 18:03:40 GMT

Here's a question about pedals in general. Can anyone recommend a good
model that can provide a *LOT* of spring tension? I'm currently using
an old TAMA model (don't know which) that's been discontinued. The
threads on the doodad that holds the beater in place got stripped and
apparently the only place I can get a replacement is gonna be a
machinist shop. Thank God for duct tape. I haven't done any shopping
yet, but I'm thinking of getting a second bass drum. (In a fit of
financially inspired temporary insanity a few years ago, I sold one
bass drum after someone stole my second pedal. Now that I'm getting
back into playing, it's time to renovate the kit.) 

I'm sorry to discover my pedal's been discontinued (for more than one
reason). I can tighten the pedal so that with the full weight of my leg
on it, the beater is about half an inch from the head. The rest
position of the beater can be set at any angle. And its incredibly
durable (except for those goddamned screw threads).

Any one know if something like this is being made? Most of what I've
seen look as if they have pretty flimsy springs. I know the DW5000 is
pretty popular. I wonder if you can just put a heavier spring on it.

Sorry for the rambling. I'll shut up and see if I get any answers.

   
                                                                             \
==============================================================================>
         ______                 ____________________                         /
           /  __   _  _  _  _  /__   _  _  ___  __   _  _  ___  __   __  
       ___/  /_/ _/--/ _/\_/  ___/ _/--/ _/_- _/-' _/--/ _/_- _/-<,_/__>

         wes@ian.stx.com     (John Shepherd)    Hughes STX, Lanham, MD
Newsgroups: rec.music.makers
From: birkelan@cs1.sps.mot.com (Joel Birkeland)
Subject: Re: Wanted: DECENT accordian books/music
Reply-To: birkelan@cs1.sps.mot.com (Joel Birkeland)
Organization: SPS
Date: Mon, 23 Nov 1992 16:40:44 GMT

There is a new book from Oak Publications which looks really
good.  It contains zydeco, cajun, bluegrass (!) and a lot of
other types of cool music.  I am sorry that I cant remember the
name, but knowing that it exists should help.

Joel Birkeland
birkelan@cs1.sps.mot.com


Xref: sparky rec.music.makers:11037 rec.music.synth:18655
From: simmons@ittc.wec.com (Garry Simmons)
Newsgroups: rec.music.makers,rec.music.synth
Subject: LXP-5 Problems and Direct Box advice needed
Date: 19 Nov 92 12:54:12 GMT
Followup-To: rec.music.makers
Organization: Westinghouse Electric Corp., ITTC, Pgh. PA.

Has anyone else had their LXP-5 randomly switch between patches? I'm using an MRC
with version 4 software to setup/edit patches on the LXP-5. Occasionally, the
LXP-5 will change between the edited sound and the sound that corresponds to the
knobs on the unit. I'm currently using the MRC in one-way communication mode. I
have also noticed that the Learn LED will switch from green to red or visa versa
without touching either the MRC or the knobs on the LXP-5. I'm also getting
SYNC TIMEOUT messages once in a while even though I'm in one-way mode. Any help
or advice is greatly appreciated.

Also, anyone have advice on high quality direct boxes for recording? I've heard
good things about the Countryman, but what about other (maybe less expensive)
options (Symetrix, Whirlwind, Boss?). I will be primarily using it for recording
bass guitar. My current direct box (DOD 260) is probably a real cheap unit, and
I'm try to get more clarity and punch on my bass tracks.

Thanks in advance,

Garry Simmons
simmons@ittc.wec.com
Newsgroups: rec.music.makers,alt.emusic,rec.music.synth,rec.music.marketplace
From: sjs@netcom.com (Stephen Schow)
Subject: Re: TASCAM MS-16 FOR SALE
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Thu, 19 Nov 1992 19:12:54 GMT

There is a lot more to what makes analog sound so great besides just the
fact that recording engineers use the analog distortions that you are talking
about to their advantage.

Our current Digital recording technology is far from perfect.  44k is not really
adequate to capture the full warmth of the music.  There are many overtones
which are simly LOST.  Also, there is this tiny little bug in digital
recording called 'Quantization Error' which as to do with the fact that when
numbers are divided by the AtoD converter, the remainder is lost.  This
equates to distortion.  This is expecially bad if you have very many
conversions back and forth between analog and digital.

Don't get me wrong, I use a DAT to mixdown to simply for convienience.  I
am even considering an ADAT, again for convienience.  I am certain that the
quality of good analog and/or digital are both perfectly acceptable for most
commercial applications.  The point I am making is that the analog folks
have valid points, yet the digital domain doens't suck either!!
-- 
------------------------------------------------------------------
Steve Schow    | But you don't have to use the claw, if you
sjs@netcom.com | pick the pear with the big paw paw......
(415) 354-4908 | Have I given you a clue......?
               |                       - Baloo the Bear
------------------------------------------------------------------
Newsgroups: rec.music.makers
From: manes@magpie.nycenet.edu (Steve Manes)
Subject: Re: Performance Contracts  (rec.music.makers.biz ?)
Organization: Manes and Associates, NYC
Distribution: usa
Date: Mon, 23 Nov 1992 15:14:04 GMT
X-Newsreader: TIN [version 1.1 PL7]

timothy dwight fullerton (fullerto@mostaccioli.cis.ohio-state.edu) wrote:
: In article <1992Nov20.221109.6401@nsisrv.gsfc.nasa.gov> wes@ian.stx.com (John S.) writes:
: 	I have found that anyone, especially a bar owner, who will not commit
: in writing and with a deposit wishes to have the option to cheat me. I have 
: been burned enough times now to be very rigid about contracts and payment
: policies. If someone doesn't want to adhere to them, it is pretty predictable
: that they will be more trouble than they are worth.

I'm curious how much bar work you do. Around these parts, the only
club owners who sign musical engagement contracts are AFM
signatories that offer name talent only or Guy Lombardo music.  Show
a contract to any contemporary music club owner here and he would
laugh at you, before screaming at you for wasting his time.

-- 
Stephen Manes					   manes@magpie.nycenet.edu
Manes and Associates/Commontech-NoHo		   New York, NY, USA  =o&>o

Newsgroups: rec.music.makers,alt.emusic,rec.music.synth,rec.music.marketplace
From: macpherson@earvax.waisman.wisc.edu
Subject: RE: TASCAM MS-16 FOR SALE
Organization: Waisman Center, University of Wisconsin-Madison
Date: 20 NOV 92 15:02:33 CST



 sjs@netcom.com (Stephen Schow) writes:

>There is a lot more to what makes analog sound so great besides just the
>fact that recording engineers use the analog distortions that you are talking
>about to their advantage.

>Our current Digital recording technology is far from perfect. 44k is not really
>adequate to capture the full warmth of the music.  There are many overtones
>which are simly LOST.

	What overtones? The human auditory system simply cannot detect
	frequencies above 20 kHz, and the cutoff is significantly lower 
	than that for most adults. The amount of energy at these high
	frequencies is 10's of dB below the threshold of hearing.


>Also, there is this tiny little bug in digital
>recording called 'Quantization Error' which as to do with the fact that when
>numbers are divided by the AtoD converter, the remainder is lost.  This
>equates to distortion. 

	If the input to the ADC is dithered (a small amount of white noise is
	added), there is NO distortion. Most analog input stages generate
	enough noise internally to be self-dithering. A misadjusted DAC
	can produce distortion-causing glitches on playback, but this is not
 	a fault of quantization.

Ewan.

Ewan        | Hearing Development Research Lab    |
Macpherson  | Waisman Center, Rm. 310, UW-Madison | "You can't call me
 ph: (608)- | 1500 Highland Ave.                  |  'Man'! This is 1978!"
    265-2062| Madison, Wisconsin  53705-2280      |  - Robert Smith, The Cure
From: au462@cleveland.Freenet.Edu (Robert Drake)
Newsgroups: rec.music.makers
Subject: ADAT bug???
Date: 22 Nov 1992 06:42:32 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: slc10.ins.cwru.edu


i remember seeing messages about possible bugs with the Alsesis
ADAT 8track digital recorder.  i didn't pay attention 'cause i
wasn't in the market at the time--now i am.  can anybody fill me
in?  email appreciated, so's not to bore the rest of you with
old news...

thanx
luigi
Newsgroups: rec.music.makers
From: dks8475@u.cc.utah.edu (David Kenneth Slack/Music)
Subject: Re: Looking for Cakewalk FTP sites
Keywords: ftp sequences
Organization: University of Utah Computer Center Student Mail Machine
Date: Wed, 18 Nov 92 03:49:39 GMT

You might try ftping to ucsd.edu.  They have a substantial collection of
midi sequences and patches for various synthesizers.  I found a lot of
excellent patches for my Roland D-20 there.

Newsgroups: rec.music.makers
From: manes@magpie.nycenet.edu (Steve Manes)
Subject: Re: Shipping guitars?
Organization: Manes and Associates, NYC
Date: Mon, 23 Nov 1992 02:01:42 GMT
Followup-To: rec.music.makers
X-Newsreader: TIN [version 1.1 PL7]

Scott Evans (gse9k@uvacs.cs.Virginia.EDU) wrote:
: Hi everyone...I'm wondering what people have found to be the best
: way to ship a bass or a guitar in a hardshell case.  

If it's a valuable instrument, have it crated.  I had a P-Bass in a
hardshell case come out of TWA's baggage carousel with the neck
protruding 8" out of the side.  There's a good reason why road bands
use Anvil cases (and I even had one of THEM -- a Calzone, actually --
trashed by a baggage gorilla once!)
-- 
Stephen Manes					   manes@magpie.nycenet.edu
Manes and Associates/Commontech-NoHo		   New York, NY, USA  =o&>o