HDTenEightyP/NetNews huggingface dataset:
From: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Newsgroups: rec.music.makers
Subject: Re: Cassettes at half speed for transcription
Date: 5 Oct 92 13:49:46 GMT
Reply-To: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Organization: Control Data Corp., Arden Hills, MN

In article <1992Oct3.134636.16679@sun1.ruf.uni-freiburg.de>,
wyneken@sun1.ruf.uni-freiburg.de (Matthew Wyneken) writes:
|>While paging through an old number of Guitar Player
|>(Sept. 1990 to be precise) I ran across an ad for a
|>"2-Speed Music Study Recorder" from Workshop Records
|>in Austin, TX.
|>
|>Does anybody out there have one? Does it do the trick?
|>How much does it cost? Are there any other machines
|>that play cassettes at half speed?
|>

I've had access to half-speed portables made by Marantz and
Superscope (older but also made by Marantz) and yes, they
do help. I figured out one fast keyboard lick after two passes
that I could do only full speed one note at a time, at best.
Though be warned, it sounds funny because slowing down to half
the speed drops all notes by an octave. These portables also
had a pitch control so I could get it in tune to my instrument.

If I had to find something for myself (which I've been thinking
through lately), I'd probably look for a used 2 speed reel-to-reel
with a pitch control, since I'm more interested in ruggedness
and durability than portability (I'd only use it in my rehearsal
studio).

Alex.

----------------------------------------------------------------
A. T. (Alex) Stagg/ARH215      | INTERNET: ats@udev.cdc.com
Control Data Systems, Inc.     |
4201 Lexington Ave.N.          | fax:      01-612-482-4455
Arden Hills, MN USA 55126-6198 | Voice:    01-612-482-4718
Newsgroups: rec.music.makers
From: oper@Msu.oscs.montana.edu
Subject: anybody have any info on OLD Fender Concert amp?
Reply-To: oper@Msu.oscs.montana.edu
Organization: Montana State University
Date: Thu, 1 Oct 1992 06:19:36 GMT

A friend of mine has an OLD (probably 60's something) Fender Concert guitar amp
laying around. It has dark brown leather covering the wood casing and has a
grill cloth with several swirly (kinda like paisly) colors and black squiggly
lines. It has 4 10 inch speakers, 2 power tubes, 6 ? smaller preamp tubes.

Is this a predecessor of a super reverb?

I didn't get to play through it yet, but he says it sounds fine. 

Just wondering if it would be worth retubing, etc., if needed.

What's one of these puppies worth? $300.00 ?

thanks,

Terry (looking for TUBULAR tone) Koral
From: lv0e+@andrew.cmu.edu (Lisa Laverne Vaughan)
Newsgroups: rec.music.makers
Subject: FINALE vs MOSAIC?
Date: 29 Sep 92 15:02:44 GMT
Organization: Psychology, Carnegie Mellon, Pittsburgh, PA

I've just recently heard about a simplified version of FINALE called MOSAIC
(perhaps that's not quite right).  Any recommendations for/against it?
Who makes it?  And, in the world of music notation progs, what else exists
besides Finale?  lots o' questions today... lisa
Newsgroups: rec.music.makers
From: dkmiller@unixg.ubc.ca (Derek K. Miller)
Subject: Re: Singing and playing simultaneously
Organization: University of British Columbia, Vancouver, B.C., Canada
Date: Tue, 29 Sep 1992 03:50:16 GMT

In article <20892@drutx.ATT.COM> dvac@druwa.ATT.COM (Daniel Vachon) writes:
>In article <1992Sep25.182940.12086@leland.Stanford.EDU>, jay@cmn19.Stanford.EDU (Jay Kadis) writes:
>> I am now able to sing my own songs and play rhythm guitar at the same time.   
>> The secret for me was to write songs in which the lyrics and rhythm guitar  
>> parts are rhythmically locked.  I still can't do covers...(that's OK), but  
>> I'm getting pretty comfortable with my own stuff.  
>
>Well, all this talk about being able to sing and play at the same time makes
>me think back about how it has become somewhat easy for me to play drums and
>sing at the same time....  I got forced into singing in the garage bands I was
>in during high school and college, as finding someone who could sing worth a
>darn was hard to do back then....so I ended up having to sing quite a bit 
\
I'm in the same position. In one (cover) band I'm in, each of the 4 members
sings about 1/4 of the songs, and I've learned to sing and even have
conversations while playing fairly complex (for me) drum parts. I can't quite
do as well on the guitar yet, but I can sing and play some things there.
The situation is similar in the other (original) band I'm in, where 3 of
the 4 members both sing and play. We're going to get our bassist in on it too.

      :=:=> Derek K. Miller                 dkmiller@unixg.ubc.ca
      Researcher, Alma Mater Society        thegrodd@tz.ucs.sfu.ca
      University of British Columbia, Canada


From: tnguyen@hpcc01.corp.hp.com (Thinh Nguyen)
Date: Wed, 30 Sep 1992 23:41:57 GMT
Subject: Keyboard D-10, R-R Multitrack FOR SALE
Organization: the HP Corporate notes server
Newsgroups: rec.music.makers



   FOR SALE:

    1/ Roland D-10 Midi Multi timbral Synthesizer.
        - LA sound, 128 preset, 64 programmable tone, and 64 preset
          rhythm tones.
        - Build in effect such as revert, pan , room effect....
        - Free Music Quest editor/library for PC, D10 drum programming
          book, PD software & sounds ...
       price: $550. 

    
    2/ DOKORDER-1140 R&R Multitrack Recorder.

         - 4 track R-R recorder, using both 10.5" and 7" reel.
         - Ping/pong'able between tracks
         - Punch in/out, tape editing feature.
         - Make by Onkyo (same as Akai) for professional use.
         - It's old (over 10 yrs old) but elec.&mechan. is in good cont.
         - Can be rack mounting, wood grain, and look beautiful(IMHO). 
         - Come with manual, and about 20 of 10.5" pre-record reels.
        Price: $300.

   
     Email mail me if you're interested, shipping is not include.
      
     Email address: tnguyen@hpuxps.cup.hp.com
Newsgroups: rec.music.makers
From: wyneken@sun1.ruf.uni-freiburg.de (Matthew Wyneken)
Subject: Cassettes at half speed for transcription
Organization: Rechenzentrum der Universitaet Freiburg, Deutschland
Date: Sat, 3 Oct 92 13:46:36 GMT

While paging through an old number of Guitar Player
(Sept. 1990 to be precise) I ran across an ad for a
"2-Speed Music Study Recorder" from Workshop Records
in Austin, TX.

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

Thanks in advance.

Matthew Wyneken

-------------------------------------------------------------------
Deutsches Seminar I          |   Tel.: ++49-761-2034897
Linguistische Informatik     |
Universitaet Freiburg        |   e-mail: 
Friedrichstr. 50             |   mpw@supreme.coling.uni-freiburg.de
W - 7800 Freiburg            |
Germany                      |
-------------------------------------------------------------------

-- 
Matthew Wyneken

Deutsches Seminar I          |   Tel.: ++49-761-2034897
Linguistische Informatik     |
Newsgroups: rec.music.makers
From: djohna@TorreyPinesCA.ncr.com (John Ackerman 3568)
Subject: CowTown Bass Player
Organization: NCR (Torrey Pines Development Center)
Disclaimer: This posting does not neccessarily reflect the opinions of NCR.
Date: Tue, 29 Sep 92 21:21:22 GMT

  Hello All.

  I'm trying to locate a friend of mine named Terry Henson.
  He lives in the Columbus Ohio area. The last band I know
  of him working with was Black Leather Touch (B.L.T.) 
  circa '85-'90. Plays bass mostly but as I recall he also
  plays sax. I moved. He moved. And like any smart musician,
  has an unlisted phone. I think he's still hangin' around
  Columbus.

  Any help would be appreaciated.

  Thanks in advance.

  Johnny A.

###########################################################################
                John Ackerman     AT&T/NCR Division   (619) 597-3568
                MIS Technical Staff                    Dept. 9641
                john.ackerman@torreypinesCA.ncr.com    (djohna)
###########################################################################
From: shunter@sdcc3.ucsd.edu (Dark Star Crashes)
Newsgroups: rec.music.makers
Subject: recommendations on keyboard speaker system
Keywords: just don't say Cerwin Vega!
Date: 7 Oct 92 01:05:21 GMT


I'm in the market for keyboard speakers. I've been using Cerwin Vega
12s with horns, forget the model number, and they basically suck. I
mean, they're okay, but they've got too much muddy bottom end and
they're really shoddily constructed. The crossover is a joke, just a
bunch of capacitors and inductors wired point-to-point and held
together in a mass of hot-melt glue, as if that's going to last for
long.

Anyway, I've always been a big JBL fan, but I've heard really good
things about Bag End speakers, which I'll probably listen to later
this week. I'd prefer 12s with horns, though I might go with 15s if
the overall cabinet was small enough. I'm hoping to spend under
$1000 for the pair, if possible. Does anyone have any suggested
speakers I should look at?

They'll mainly be used for electric piano (powered by a Crown
MicroTech 1200, so I've got plenty of zots).

Please answer via email, and I'll forward a summary to anyone who
wants it.

Dave
-- 
***************************************************************************
*                           Dave Chesavage                                *
*                      shunter@igrad1.ucsd.edu                            *
Newsgroups: rec.music.makers
From: marck@nwu.edu (Jater & Co.)
Subject: Re: Singing and playing simultaneously
Followup-To: rec.music.makers
Organization: NU ACNS
Date: Wed, 30 Sep 1992 14:12:37 GMT

one key is to work on one aspect at a time, and run that aspect into the
ground.  when i've written a new song, after i have it all down and know
where the arrangement is going, i cease singing it for a couple of days and
concentrate entirely on the guitar part until that guitar part is so
ingrained in my head and fingers that i no longer think about it.

(a good test is to see if i can play it while carrying on a phone
conversation.  i often practice difficult passages quietly [sometimes just
running the fret hand without picking the notes] while talking on the
phone.  if i can do that, then singing is hardly going to be a problem.)

William was right -- it's all up to practice.  but you don't have to
practice *both* at the same time at first.  the singing can be approached
later, after you have one-half of the performance down cold.

In article <1992Sep29.160601.24699@cci632.cci.com>, wac@cci632.cci.com
(William Christiano) wrote:
> 
> Bass Players like Geddy Lee or the guy from Level 42.
                                 ^^^^^^^^^^^^^^^^^^^^^

for the record, it's Mark King.

mlb

*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+* marck@nwu.edu +*+*+*+*+*+*+*+*+*+*+*+*+*+
m l bailey                           || Zorg: "I don't see the connection
flagrant poseur                      ||        between demolition and 
northwestern university              ||        writing."
looking for wide open spaces         || Betty: "I'm not surprised."
high above the kitchen               ||
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Singing and playing simultaneously
Date: 26 Sep 92 20:47:55 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Sep24.131121.1@plato.lsvl8.stortek.com> v034292@plato.lsvl8.stortek.com (A Steaming Swedge of Chocolate Squidloaf) writes:

Playin the drums and singin too!

>I am interested in this, too.  Can it be learned?  I am a drummer who for 15
>years just have not been able to do this.  I can sing well, and can play well
>but can't get it to work together, except with the most basic of both.  If I
>pull off the vocal part, my meter goes completely to Hell,  and if I am able to
>maintain the playing,  I forget words or can't find or remember my note.

I think that you are trying to hard!  Sit back and relax.  What you
have to be able to do is put the playing in a background mode and
learn to switch proirities on a bar by bar basis.

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

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

Not to sound to pompus........

I do have a problem that bugs me, I have a bit of a problem keeping my
kick at a steady volume.  When I am distracted I lighten up on the
right foot power.........
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Newsgroups: rec.music.makers
From: ars1@cunixa.cc.columbia.edu (Sinn Santos)
Subject: Re: Singing and playing simultaneously
Keywords: bane, my, existence
Reply-To: sinn@woof.music.columbia.edu (Sinn Santos)
Organization: Columbia University
Date: Sat, 26 Sep 1992 17:01:36 GMT

In article <90495@netnews.upenn.edu> ron@central.cis.upenn.edu (Ron Miller) writes:
>In article <92268.154328LPR100@psuvm.psu.edu> LPR100@psuvm.psu.edu writes:
>>In article <1992Sep24.175542.19094@pony.Ingres.COM>, jonb@Ingres.COM (Jon
>>Berger) says:
>>>
>>>I'm always amazed at people who can do this.  I can't even play and talk
>>>at the same time; it was years before I could even so much as say "One
>>>more time" or something on that level while playing.  I can sing and play
>>
>>It's my opinion that it's harder to talk and play than sing and play...
>>at least sing most music. In general, even if the vocal line is different
>>than the bass line, at least there's a common tempo to hold on to.
>>It takes some practice to get the rhythm right, and the fingering has to
>>be almost automatic for me to keep my voice in tune. I think the key word
>>is Practice....play the same part over and over, at half speed if it's
>>tough.
>
>Same here.  
>      Talking and playing is far more difficult than singing and playing.
>I think too much while talking to move my hands over the fretboard accurately.
>It took me a while to learn to play Bass and sing harmony at the same time.
>I used to listen to the melody intently, concentrate on my fingerings (had
>to look at the fretboard back then), AND try to harmonize. Not likely :-) 

I play and sing at the same time, and it always worries me to no end when I
try to learn a new song.  But the strategy I use (and the one that seems to
work for me) is:
	1) Learn the bassline extremely well.  Be able to play without ever
	   thinking, "Jeez, now what riff comes next?"
	2) Learn the vocal line.  (I know, I seem pedantic in these posts,
	   but I can't help it.)
	3) When you try to play them together, don't concentrate so much on
	   the bass - concentrate on the words.  I find that my fingers
	   go into automatic pilot and pretty much take care of themselves.
Needless to say, this take pRaCtIcE and it may not work for everyone, but
I figured it was worth a try.

						-Sinn Santos
From: daver@felix.filenet.com (Dave Richards)
Newsgroups: rec.music.makers
Subject: Re: Making your voice sounds like it really does
Date: 7 Oct 92 00:39:48 GMT
Reply-To: daver@fritz.filenet.com (Dave Richards)
Organization: Costa Mesa, CA

In article <marck-300992092748@mac153.acns.nwu.edu> marck@nwu.edu (Jater & Co.) writes:
>wow, really?  i've been sitting here at work experimenting with this, and i
>can't seem to make it work.  i'm not perceiving much of a difference at
>all, either way.  maybe i'm doing it wrong.  someone else, please mention
>if you get this method to work.

The technique was used a lot in the old days by radio announcers who wanted
to hear how they sounded as they were talking.  If you've ever seen the old
TV show "Rowan and Martin's Laugh-In", it was Gary Owens' standard pose when
announcing.  Here's a better description of it:  hold your hand up and to the
side of your face, with the heel of your hand directly in front of your
mouth, and the fingertips slightly behind the rim of the ear.  The hand is
slighty curved, not flat.  Fingers should be together, not spread out.  The
fingertips may pull the tip of the ear forward slightly.

When you have the right position, your voice will sound quite a bit brighter
and louder.  You will find a similar effect if you stand fairly close to the
corner of a room and talk/sing into the corner.  You get a reflection coming
right back at you.  Even better is a room with a hemisphere for a wall or
ceiling.  Stand at the focus, and you can hear a reflection of yourself that
comes from everywhere and is so loud, you'll think God is talking to you.
 
Dave
Newsgroups: rec.music.makers
From: paul@maunakea.Data-IO.COM (Paul Brownlow)
Subject: Re: Getting a Label to Listen
Organization: Data I/O Corporation
Date: Tue, 29 Sep 1992 17:43:51 GMT

In article <1992Sep28.153024.1@plato.lsvl8.stortek.com>, v034292@plato.lsvl8.stortek.com (A Steaming Swedge of Chocolate Squidloaf) writes:
|> 
|> Is it true that you will absolutely _not_ get a demo listened to if all you do
|> is mail it out?  Anybody out there have thoughts on the best way to generate
|> the attention of a label?  A friend of mine thinks the best way is to make a
|> catchy demo and mail about 6 krillion of the suckers out.  I disagree, I always
|> thought your chances were better if you could create a major disturbance in
|> your general area, and a label would get wind and send someone to check it out.
|> 
|> Any thoughts or experiences would be, you know, swell.

I have a couple points of reference:

1)  I had a friend whose roommate was working A&R for Warner in L.A.  There
	were boxes of demo tapes in my friend's apartment that I know never
	got listened to by anyone at Warner.  We spent part of one afternoon
	listening to tapes ('cause it was raining outside), and I could see
	why the A&R folks don't spend massive amounts of time listening to
	unsolicited demo tapes.  The hit rate is very low, and there are
	more efficient ways of spending time than playing the lottery with
	demo tapes.

2)  I have another friend (amazing, isn't it!) who owns his own record
	company, PopLlama Records, here in Seattle.  I'm over at his house
	or in his studio at least a couple of times per month.  He receives
	demo tapes, and is pretty consistent about listening to them or
	having someone listen to them for him.  However, he doesn't have
	the kind of money Warner does for developing bands, so he generally
	doesn't use the unsolicted demo route for finding new bands for his
	label.

I'd say that you are more on the right track than your friend.  However,
you can take it one step further - "create a major disturbance in your
general area", and work on the label to send someone out.  If you are in
a major metro area, find out who label people are and find out how to
contact them - usually through management they are comfortable with.  Make
them want to get interested.

Of course, I don't have a record deal, but a number of my friends:
- own a record label
- produce and engineer bands which perform at national level and above
	(Heart, Soundgarden, Mudhoney, etc.)
- work for management companies
- run recording studios
- work for major labels

Good luck!

-- 
Paul Brownlow				|         Visualize 
Data I/O Corp.  Redmond, WA		|	   Whirled
paul@data-io.com			|	    Peas
					|
From: kimple@vax.muskingum.edu
Newsgroups: rec.music.makers
Subject: Re: Speaker question
Date: 6 Oct 92 17:17:19 -0600
Distribution: usa
Organization: Muskingum College

In article <1992Oct6.144909.24477@cbfsb.cb.att.com>, kew@cbnewsg.cb.att.com (steve.w.askew) writes:
> In article <1992Oct5.224240.26788@news.weeg.uiowa.edu>, smills@news.weeg.uiowa.edu (MuffinHead) writes:
>> kimple@vax.muskingum.edu writes:
>> 
>> >I have a small 2-10 speaker cabinet that I'd like to use for my bass...
>> >maybe even as it's primary speaker cabinet, because I want to get a small
>> >but powerful package instead of this monster I've been lugging around.
>> >Anyways, I was thinking of loading it with a pair of 10" "subwoofers," 
>> >the same speakers that are being used in the car/truck speaker boxes
>> >(y'know, the grey fuzzy ones?). they seem to push a good deal of sound
>> >out in the car/truck, so I thought they might work well with my bass.
>> 
>>    Don't do it. Speakers made for music *playback* are quite different than
>> the speakers made for music *production*. If you were to use speakers made
>> for playback in a bass cabinet, you'd blow them apart and it would sound
>> like crap. Only use speakers specifically designed for musical instruments.
>>    Also, there is a VERY good chance that your 2-10" box is the wrong
>> dimensions for audio speakers.
> 
> 	I use to think this also "BUT!" I got a 17 year old boy who's
> 	into BASS! Not bass guitar, but the car/truck bass thAng! His
> 	favorite tape is a digital test tape that goes down to 1hz. I
> 	think he's searching for the resonet freq of my sphincter. Any
> 	way we talk about cabinet specs & driver specs. At first I told
> 	him I didnt think these drivers could take the transient attack.
> 	But these drivers are rated at 400 watts RMS FREE AIR! Some are 
> 	101db @1watt @ 1m. Thats a decent SPL. The point here is these
> 	car/truck speakers compare favorably with JBL/EV/Eminance/Gausse
> 	Bottom line is .If a dual 15 cabinet running 1000 watts rms in a 
> 	Chevy S10 can produce 120db at 32hz and can rattle the window in my 
> 	house from 150+ feet,,I think they will take a wimpy 150-300 watt bass 
> 	guitar that goes down to about 40hz.
> 
> 
> 	Steve
> 	Doin That Blues ThAng!


Exactly what I was talking about, Steve! Most of the car/truck speaker boxes 
are small, and my 2-10 cabinet is pretty small, as well. My brother has some of
these in his car, and, yeah, we're talking BASS! That's what gave me the 
initial idea! So, what do the rest of ya think?

jd
doin' the do, whatever it may be
Newsgroups: rec.music.makers,ne.general
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Pennington Registers Big Success With Twin Operas at Lowell
Organization: Mail to News Gateway at Wang Labs
Date: 28 Sep 92 17:51:23 EST

LOWELL, MA--September 28, 1992--The Boston Conservatory's Bradley
Pennington registered a big success Sunday with his twin Lowell
Opera production of Cavalleria Rusticana and I Pagliacci.

The large audience particularly enjoyed the performance of Priscilla
Rush and Baritone Peter Aldrich, especially in their duet.

Another shining star was Yu-Xin Li as Turrido, demonstrating quite a
powerful voice.  He is under contract with New York City Opera to sing
Don Jose on tour.  Other impressive performances were turned in by
Ricardo Martino, Daniel Fusconi, Leonard Keirstead, Florenza Azzone
Small, Gladys Miles Rodriquez and Virginia Bomil.

Mr. Pennington, both a teacher and accompanist, is in his 17th year
on the faculty of the Boston Conservatory and in his fourth
teaching at Northeastern University in Boston.  His performance on
the piano was another highlight of the afternoon.

by Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.makers