HDTenEightyP/NetNews huggingface dataset:
From: tmis1692@altair.selu.edu
Newsgroups: rec.music.makers
Subject: WANTED: Bar band set lists - your area 
Date: 27 Jan 93 12:37:26 -0600
Keywords: bar band, set lists
Distribution: world
Organization: Southeastern Louisiana University

I am interested in the set lists for the bar band scene from your area.  Please
list the your band name, geographical area, average age group that you cater to
and your set list that you perform.  For example:

Band                   Style     Location              Age group 

"Shaken Not Stirred" - Variety - Southeast Louisiana - 30 something.

Strokin - ?
The Freeze (If You Don't Want Me Too) - Ronnie Milsap
Harlem Shuffle - Stones
Matilda - Who the hell knows?
Shameless - Garth Brooks
When A Man Loves A Woman - Percy Sledge
etc.

You get the idea,

Thanks for participating,

Kevin Calmes - TMIS1692@selu.edu

Newsgroups: rec.music.makers,rec.music.makers.guitar
From: jhd@rabid.bellcore.com (John D'Elia)
Subject: Equipment For Sale
Organization: Bellcore, Livingston, NJ
Date: Tue, 26 Jan 93 17:49:26 GMT

For Sale:

- Digitech "Twin Tube" rack-mount preamp, $375.
- MosValve "Tube Works" rack-mount stereo amp, $250.
- Marshall "Lead 12" guitar amp, $120.
- Randall RG100HT rack-mount guitar head, $300.
- 2 Randall 4x12 Celestion cabinets, $300 ea.

All exec. condition, all prices firm.

John 
(908)699-5903
From: flloyd@l1-a.West.Sun.COM (Fred Lloyd [Phoenix SE])
Newsgroups: rec.music.makers
Subject: Re: Strat set-up ?'s
Date: 27 Jan 1993 16:47:52 GMT
Organization: Sun Microsystems, Phoenix, AZ
NNTP-Posting-Host: l1-a.west.sun.com

In article <9301271412.AA13299@deepthought.cs.utexas.edu> ISTS024@UABDPO.DPO.UAB.EDU (Leonard Watkins) writes:
>Anyone want to share some set-up pointers on a Strat. It's a 72 with the
>infamous micro-tilt crap on it, i need to know about truss-rod adjustment,
>and pretty much anything to improve the action. I have to have the action
>at least a meduim height because of the neck radius it will "fret-out" when
>bending......Any suggestions...ists024@uabdpo.....L.W.


Hmmm, what's so "infamous" about the micro-adjust neck?  I've got
a 1972 Telecaster Thinline which has never given me a moments trouble
in the last 15 years.

It's been my experience that there's nothing magic about adjusting 
guitar necks.  If you visualize the mechanical structure it becomes
apparent how the thing works.  Sounds to me like your neck is bowed,
something you can easily see if you sight up the neckline (from
the bridge end).  If it's concave (bowed down), then tighten the truss
rod.  If it's Convex (bowed up) you loosen it.  If it's warped
or irregularly bowed, then you'll either need a new neck, a fret
job, or perhaps just a fret filing.

The micro-adjust at the neck attach point sets the neck-to-body
angle.  This has a gross net effect on the action and is very useful
for making action adjustments when there is nothing wrong with the
neck itself.  

There's a lot of interaction in all the adjustments.  For example,
if the neck is perfectly straight then you tend to leave the truss
rod alone.  You can then do the micro-adjust to raise the action.
You can then adjust the bridge to bring it back down, etc.

I had some fret buzzing on my new Strat Plus and found that it was
caused by an improperly adjusted bridge, the neck was fine.  One
thing that some folks don't realize is that a bridge has to follow
the neck radius.  In the case of my Strat the bridge pieces were
adjusted in more-or-less a flat top way which cause the trouble.
It only took two or three small adjustments to correct all of it.

Don't get me wrong - I will take my guitar to the shop if it needs
woodwork or a fret job, but IMHO, I think that most guitar players
should know how to do the mechanical adjustments themselves.

-fred


-- 
[ Fred Lloyd, AA7BQ                             Fred.Lloyd@West.Sun.COM ]
[ Sun Microsystems,           Southwest Area Solaris Transition Manager ]
[ Phoenix, AZ                                            (602) 275-4242 ]
Newsgroups: rec.music.makers,rec.music.misc
From: cbw@alex.com (Chris Ward)
Return-Path: <news@alex.com>
Subject: DAT Master duplication 
Keywords: DAT Master duplication
Organization: Alex Technologies Ltd, London, England
Apparently-To: mail2news@demon.co.uk
Date: Thu, 21 Jan 1993 11:40:56 +0000


Hello World,

I'm looking for prices for getting a demo tape, mastered on DAT, duplicated onto
quality cassettes.

Our previous work have been reel to reel and sometimes the resulting copies
weren't so good.  We're trying DAT this time and I'm looking for someone to do
the copies.

This is required a.s.a.p.

Regards,

Chris Ward
"innuendo"
From: archer@elysium.esd.sgi.com (Archer Sully)
Newsgroups: rec.music.makers
Subject: Re: Gibson Widget MIDI Guitar Converter
Date: 22 Jan 93 23:22:16 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

In <16566@auspex-gw.auspex.com> daveh@Auspex.COM (David Higgen) writes:

*In article <1993Jan21.040516.22754@panix.com>, kmorton@panix.com (Ken Morton) writes:
*> 
*> 	The MIDI output is horrible though.  Night and day difference,
*> night and day.
*> 
*> 				Ken
*
*That's really odd. Given that to make the internal sounds work well 
*(in terms of fast tracking) one would think it must be able to rapidly 
*acquire the pitch, how long should it take to spit out a MIDI message once 
*that info's there?
*
*Just plain rotton programming? Or deliberate crippling, for some reason?
*

There's potentially a lot of reasons.  One is dealing with delays on the
synth that you are triggering.  Another is that with the internal module
they can automatically mix in some of the raw guitar attack so that you 
don't notice the length of time that the sound takes to trigger (an old
alternate controller trick).  

-- archer
Newsgroups: rec.music.makers
From: awkerr@zia.aoc.nrao.edu (Alan Kerr)
Subject: Re: Musical Notation Questions
Organization: National Radio Astronomy Observatory, Socorro NM
Date: Mon, 25 Jan 93 15:52:25 GMT

In article <1993Jan24.142823.1@acad.drake.edu> seh003@acad.drake.edu writes:
>
>"Accidentals are usually interpreted as affecting only notes on the particular 
>line or space on which they are written, not notes in other octaves."  
>
>_Basic Materials in Music Theory_  7th Ed.  Harder and Steinke.  1991.
>
>This should be proof enough, accidentals DO NOT affect the note in other
>octaves.  Alan, if you have sources that say otherwise, I'd like to know. 
>Perhaps there is a discrepancy between texts.  This above book is currently
>used in Drake University's 1st semester music theory class (I just completed
>the course last term).

Well, I looked up a few things..... we're both right.  You're
reference is dated '1991' and apparently that *is* the rule *now*.
I've made some transcriptions from Medieval and Rennaissance music.
My 'rule' was in effect back then.  I don't know when the 'transition'
started but obviously it is now complete.   ...and I prefer it.

Also, remember that a *modern* publishing house, will make all these
changes "for you".  The original manuscript may be marked differently.
And it varied from composer to composer.  Also, music based on Folk
tunes or that are modal were written down (**IF** they had been
written down) in the 'notation style' of that area.  So music notation
has *never* been very exact.

I do remember that back in the '70s, while playing a piece, we had to
stop while the conductor looked at the score for a while.  This piece
used the "old rule"!  We were told to used the old rule and the
harmony suddenly worked...... unless it was *supposed* to sound like
12-tone music :-)

Alan

-- 
Alan W. Kerr                               awkerr@aoc.nrao.edu
National Radio Astronomy Observatory       awkerr@nrao.bitnet
Socorro, NM, USA                           uunet!nrao.edu!awkerr
From: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Newsgroups: rec.music.makers
Subject: Re: Musical Notation Questions
Date: 21 Jan 93 23:10:34
Organization: /pearl/homes/eijkhout/.organization
NNTP-Posting-Host: cupid.cs.utk.edu
In-reply-to: jonb@Ingres.COM's message of 21 Jan 93 23:38:34 GMT

In article <1993Jan21.233834.16031@pony.Ingres.COM> jonb@Ingres.COM (Jon Berger) writes:

   In article <1jn8b5INN3pc@west.West.Sun.COM>, flloyd@l1-a.West.Sun.COM (Fred Lloyd [Phoenix SE]) writes:

[questions and correct answers deleted]

   It just occured to me that you _might_ be referring to something else,
   though: in choral music, a lot of times you'll see small type used to
   indicate notes that go with some of the verses but not others, like when
   one verse has a syllable in a particular measure that another doesn't
   have.  If you're reading choral music, that might be what you're seeing,
   otherwise, yup, grace notes.

And then there are 'cue notes' if you are playing in an ensemble:
after you've rested for 25 bars it is truly helpful if the
engraver has supplied what you're supposed to be hearing right
before you enter again. Often it is also noted what instrument
plays that line. These cue notes are also written in smaller type.

--
Victor Eijkhout ................................ `There are also a few bugs,
Department of Computer Science .......... though not as many as I've come to
University of Tennessee ............... expect in new [MS]Windows products.'
Knoxville TN 37919 ................................ (from a software review)
Newsgroups: rec.music.makers
From: manes@magpie.nycenet.edu (Steve Manes)
Subject: Re: Band Partnership Agreement
Organization: Manes and Associates, NYC
Distribution: na
Date: Thu, 28 Jan 1993 13:27:23 GMT
X-Newsreader: TIN [version 1.1 PL8]

45261-Roeseler (doit@ihspb.ih.att.com) wrote:
: My band is now at a stage where we are gigging on a regular basis
: and draw some money. To have legal aspects of our `business' covered,
: we are thinking of drafting a partnership agreement. It is our
: understanding that a partnership agreement makes us eligible to receive
: a band SS#. We then can legitimately write-off expenses, etc., and make 
: sure that the IRS is happy.

A partnership agreement in itself won't convince Uncle Sam.  You will
also need to register a business name with the local town/county,
obtain a tax id and open a bank account in the business' name.  With
a registered business name you will probably have more luck deducting
large joint expenses used in the course of business, like a truck.  But
if you're currently making money gigging you can already write off
personal expenses from your earnings, just like a professional plumber.
The downside to writing off company purchases means that the company
must own it which could cause problems, especially if the band's
personnel changes.  If you buy a PA personally only you are entitled
to the business deducation.

If you choose the partnership route, be aware that the the gubmnt will
expect you to keep clean records of earnings and expenses and, most
of all, (in most states) will require you to charge your clients sales
tax which you will also be required to report quarterly.  You will
also need to pay everyone from the partnership account.  Failure to
do so in the opinion of the tax people may bring civil penalties
depending on local general business laws.

I'm not sure what you mean by a "band SS#".

: In addition, we would like to protect the `business' from liability
: issues, i.e., what happens if the drunk stumbles over our equipment
: and breakes his leg? Typically, the bar owner should be covered. But
: if he/she is not, or turns around and goes after us, what is there we
: can/need to do to prepare for such an event?

If a drunk fell over your amp in a nightclub his lawyer would more
likely go after the club's owner, who's got assets and insurance, than
a lowly band of musicians.  If you're really concerned about this, have
an attorney draw up a liability waiver for the club owner to sign.  You
might as well throw in the club's responsibility for the health and
well-being of your equipment while in his/her club.
-- 
Stephen Manes					   manes@magpie.nycenet.edu
Manes and Associates/Commontech-NoHo		   New York, NY, USA  =o&>o

Xref: sparky rec.music.makers:12111 rec.music.makers.synth:1788 rec.music.synth:20301
From: ee154fbk@sdcc15.ucsd.edu (MC)
Newsgroups: rec.music.makers,rec.music.makers.synth,rec.music.synth
Subject: Keyboard stand out of plastic tubes project
Date: 24 Jan 93 18:56:03 GMT
Followup-To: rec.music.synth

I while back I read an article in either EM or Keyboard that
desrcibed how to make a cool keyboard stand out of plastci tubes
without having to dish out the ridiculous amounts these stands go
for comercially.

The problem is that I can't seem to find this article.  Anyone
remember what mag and issue this was in??

Didn't some punter post something similar a while back??? Maybe a
repost would be of interest to many sould who checks out this
newsgroup.....


mc
From: shaffer-wendy@yale.edu (Wendy Shaffer)
Newsgroups: rec.music.makers.guitar
Subject: Ibanez soundtank effects
Date: 21 Jan 1993 23:09:59 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

Has anyone out there tried the Ibanez "soundtank" line of effects, particularly
the super chorus effect.  They're a lot cheaper than most of the other effects
pedals I've seen for sale, and I was wondering how they compared in quality.

----Wendy
shaffer@minerva.cis.yale.edu

Newsgroups: rec.music.makers.guitar
From: jftheysm@descartes.uwaterloo.ca (Jef)
Subject: Re: INFO needed on HAGSTROM guitar please...
Organization: University of Waterloo
Date: Wed, 27 Jan 1993 21:55:36 GMT

> > 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)
> 
Granted, maybe I judged it to soon, but let me describe to you what it looked like.
the body was either plastic, or a really light wood, I couldn't tell because the body was covered in fake, snakeskin vinal.
Need I say more.

i liked it, I'd be interested in owning a guitar that's that bad, maybe there are good ones, i have yet to see one.

-Jef-

Xref: sparky rec.music.makers.guitar:1633 alt.guitar:11696
From: rcass@kean.ucs.mun.ca
Newsgroups: rec.music.makers.guitar,alt.guitar
Subject: Re: Listing of Rock+Blues cds
Date: 28 Jan 93 00:51:03 GMT
Distribution: rec.music.makers.guitar
Organization: Memorial University. St.John's Nfld, Canada

In article <1993Jan22.184856.2130@murdoch.acc.Virginia.EDU>, bss2p@kelvin.seas.Virginia.EDU (Brent S. Stone) writes:
> writes:
 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.

 One blues album that always blew me away was the John Mayall and the 
bluesbreakers album. That's Mayall's and Clapton's (blues) best by far.
	Also an obvious choice would be Muddy Water's effort with Johnny 
Winter : Hard Again. That version of "Mannish Boy" is enough to rate it.

	PS. while probably not a contender my favorite guitar album in a 
long while has to be Sonny Landreth's Latest: Outward Bound. Before I leave 
this I'd like to see some Peter Green and Santana up there too.
 
Xref: sparky rec.music.makers.guitar:1629 alt.guitar:11683 rec.music.makers:12147
From: rogers@calamari.hi.com (Andrew Rogers)
Newsgroups: rec.music.makers.guitar
Subject: Re: Ovation Preacher?
Date: 25 Jan 1993 12:45:06 -0000
Organization: Hitachi Computer Products, OSSD division
NNTP-Posting-Host: calamari.hi.com

In article <gfN1A7S00aPC0882kQ@cs.cmu.edu> Thomas.Sullivan@cs.cmu.edu writes:
>...Other Ovation solid bodies
>in that line included the Viper (single cutaway, kinda like Gibson L6) with
>two single-coil pickups and maple fingerboard, the Preacher deluxe (gold
>hardware and pearl-block inlays), the Deacon (weird shape) 12-string.

The Deacon was the deluxe version of the Breadwinner, not necessarily the
12-string.  I've owned both Deacon and Breadwinner 6-strings at various
times, and thought pretty highly of both.  They were among the first
production electrics with on-board electronics, which may have been part
of the reason why they were never very popular (I never had any problems
with mine, but I've heard that the electronics were troublesome in general).

As far as the "weird shape" goes...  check out the recent Steve Klein
guitars, which claim to be "designed for perfect balance in either sitting
or standing position".  They sure look familiar...

Andrew Rogers
From: mbl@media.mit.edu (Marc LoCascio)
Subject: Re: The Best Midi Foot Controller
Organization: MIT Media Laboratory
Date: Fri, 22 Jan 1993 22:07:20 GMT

In article <provostp.727713594@eole.ERE.UMontreal.CA> provostp@ERE.UMontreal.CA (Provost Paul) writes:
>>In article <C15tK1.8yu@csn.org> plyall@teal.csn.org (Pete Lyall) writes:
>>>I too use and love the Lake Butler RFC-1 MIDIGator...
>
>Regarding this thing...  Can you have it send a message on switch closure 
>and another one on switch release?

you can do this with note on's and off's in keyboard mode, using it to play
synth pads or whatever.  it don't think that it can do it with any other
kind of MIDI message, though.

Marc LoCascio		(mbl@media-lab.media.mit.edu)
Newsgroups: rec.music.makers.guitar
From: soh@gdstech.grumman.com (Scott O'Hare)
Subject: Re: rattling in neck of guitar
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury
Date: Fri, 22 Jan 1993 15:10:04 GMT

In article <1jnru0INN34i@MINERVA.CIS.YALE.EDU> shaffer-wendy@yale.edu (Wendy Shaffer) writes:
>Last night I noticed this strange rattling sound in my guitar...It sounds like 
>it is coming from the neck, near the headstock.  The only thing that I can
>figure is that part of the truss rod or something came loose and is rattling
>around or something.  Can anybody tell me what this is, if it is a serious  
>problem, and what the best way to get it fixed is?  

Unlikely that it's your truss rod, unless it's been loosened a couple turns
past maximum... in this case, try tightening it until it's no longer loose 
(but not beyond, unless you want to flatten out your neck).

MUCH more likely is a loose screw or nut on one or more of your tuning
gears! Especially the large nuts on the front of your headstock. Try going
over it with a screwdriver and small wrench, tightening everything that 
seems loose. Should help.

soh

-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
From: Steve Wyrick <sjwyrick@csa3.lbl.gov>
Newsgroups: rec.music.makers.guitar
Subject: Re: rattling in neck of guitar
Date: 22 Jan 1993 15:46:59 GMT
Organization: Lawrence Berkeley Laboratory
Distribution: world
NNTP-Posting-Host: 131.243.210.26
X-UserAgent: Nuntius v1.1.1d9
X-XXMessage-ID: <A78557B0DB02D21A@b75b-ehs9.lbl.gov>
X-XXDate: Fri, 22 Jan 93 07:50:08 GMT

Subject: rattling in neck of guitar
From: Wendy Shaffer, shaffer-wendy@yale.edu
Date: 21 Jan 1993 23:07:28 -0500
In article <1jnru0INN34i@MINERVA.CIS.YALE.EDU> Wendy Shaffer,
shaffer-wendy@yale.edu writes:
>Last night I noticed this strange rattling sound in my guitar...It
sounds like 
>it is coming from the neck, near the headstock.  The only thing that I
can
>figure is that part of the truss rod or something came loose and is
rattling
>around or something.  Can anybody tell me what this is, if it is a
serious  
>problem, and what the best way to get it fixed is?

It could be a loose or broken truss rod.  Yes, it could be serious.  Hard
to know without more info.  The best way to get it diagnosed and fixed is
to take it to a competent guitar repair person.
From: pw14@prism.gatech.EDU (WALKER,PETER G)
Newsgroups: rec.music.makers.guitar
Subject: Gibson guitar take 2
Date: 28 Jan 93 18:49:50 GMT
Organization: Georgia Institute of Technology

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.

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?
 
Ta.
  
Peter 

-- 
WALKER,PETER G
Georgia Institute of Technology, Atlanta Georgia, 30332
uucp:	  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!pw14
Internet: pw14@prism.gatech.edu
Newsgroups: rec.music.makers.guitar
From: walsh@rcf.rsmas.miami.edu
Subject: Re: 57 strat
Reply-To: walsh@rcf.rsmas.miami.edu
Organization: RSMAS
Date: Thu, 21 Jan 93 14:58:19 GMT

In article <C15szK.JI2@acsu.buffalo.edu>, v201lrxa@ubvmsb.cc.buffalo.edu (L'Angelo Misterioso) writes:
>
>	I tried out a 57 strat (Reissue) at Jackson Music (Grand Island, NY) 
>on Monday, and I'm looking for opinions on others who have tried them or who 
>own one. The one I played seemed to have a problem with the ground - it hummed
>until I touched the strings. The neck also felt very slow and sticky. Has
>anyone else encountered these problems? Has anyone else dealt with Jackson 
>before? 
>
>mike
Mike,
I own one of these and am generally very happy with it. The 57 and 62 reissues
are American made, and they started this reissue back in the mid to late 80s.
The idea was that a number of people were unhappy with the generally poor
quality, or perhaps the perception of poor quality, when Fender went through
all those owner changes, Japanese debacles, etc. I have not had the grounding
problem you spoke of, and this may be more a function of the particular amp
set up you were playing through. The sticky neck feel may be because the 57 has
a solid maple neck, and the maple does tend to feel less fluid. Try the 62
as this comes with a rosewood fingerboard on top of the maple neck, if the
stickyness really bugs you. Two things to consider: (1) If you get one of these
with the tremlo, get the dealer to install (or do it yourself) a "TremSetter"
by Hipshot. The trems on these old guitars make the tuning a bit unstable. The
tremsetter is a fancy extra spring with special stops on it that really
stabilizes the tuning. (2) Keep in mind that the vintage reissues will only
give you that pure good old strat sound (fine for me as I embellish with
effects). You can probably get a whole host of other sounds if you opt for one
of the newer strats. From all accounts, the newer American made strats are
pretty much up to snuff again, and you can get all manner of pickups/sensors.
Hope this info is useful. Cheers. Pat Walsh.