HDTenEightyP/NetNews huggingface dataset:
From: deal_j@apollo.HP.COM (John Deal)
Subject: Re: Volume (was Re: Query on practice amps...)
Date: Wed, 23 Dec 1992 15:06:28 GMT
Organization: Hewlett-Packard Company, Chelmsford, MA

In article <1992Dec22.213521.25486@ryn.mro4.dec.com>, rost@tecrus.dec.com (My name is Brian Rost) writes:
|> 
|> In article <1992Dec22.181053.12038@news.stolaf.edu>, richardr@mari.acc-admin.stolaf.edu (SnowDog) writes...
|> >Actually, practicing at stage volume can be a blast if you wear earplugs.
|> >You have to get good earplugs or else everything will sound muffled, but
|> >a good set will keep everything sounding clean and just reduce the volume.
|> 
|> Right, but then you need this huge PA just to hear your singer.  Think about
|> the logic of having to wear earplugs because the volume is hazardous to your
|> hearing...bad enough that live volume levels have to be so high.  Yeah, I like
|> it loud but not REAL F**KING LOUD.
|> 
|> 
I am with you Brian on this one.  I have fought so many volume battles that I
feel like a French soldier at Verdon in 1916.  In one of the bands I am 
currently in I finally got "The Marshall Man" to turn down and the drummer
not to mike his drums only now the lead vocialist who pumped his volume up
to get over the above, will not come down.  Now we have massive feedback
problems (now muliple singers with mikes everywhere).  We are considering
packing away our main PA and bring out the old Kustom.  We have already 
unplugged one of the 2 mains.  During this high volume time, IMHO our music
has suffered because one guitarist can not maintain his sweet Fender tone and
I can not maintain my non-compressed bass tone at this level and everybodys
nerves are on edge from the constant feedback.

Also, our rehearsal volume has been much louder than our STAGE volume since we
are playing in a much larger room with more people (hopefully !!) and the amps
/PA are not pointing at each other like in the rehearsal space.  And with our
current ratio of about 10 hours of rehearsal for every hour playing out, the
rehearsal volume is a much bigger factor in hearing damage than playing out.

Sorry for the long post but this is one of my hot buttons !!


-- 
********
Opinions of John Deal at deal_j@apollo.hp.com
********
Xref: sparky alt.guitar.bass:2196 rec.music.makers.bass:477
From: clements@stroke.Princeton.EDU (John Brinckerhoff Clements)
Newsgroups: alt.guitar.bass,rec.music.makers.bass
Subject: Re: Query on practice amps...
Date: 3 Jan 93 21:52:58 GMT
Distribution: all
Organization: Princeton University
Originator: news@nimaster

In article <1992Dec22.005453.17543@nmr-z.mgh.harvard.edu> shinh@nmr-z.mgh.harvard.edu (Shinjiro Hirose) writes:
>
>But, back to the practice amp thing.  For practice alone, I think 
>almost anything will do, unless you're trying to work out a specific
>sound for a live performance.  I've used stereos, boom boxes, amps
>specifically marketed as "practice amps," etc... As long as you can hear
>yourself, you're all set.  At the moment, I use a headphone amp with 
>a stereo input so I can practice with tapes/drum machine, etc.

	Perhaps this is just some peculiar form of deafness, but I
	find that when I try to practice through headphones and 
	4-track, I am often misled--i.e., I will mistake a low F for
	an E, and I have to play the octave a few times to straighten
	my ear out.  I don't have this problem playing through an
	amp, even an itty bitty one.  I'm sure this is just due to 
	the low-end response of my (semi-expensive Koss) headphones,
	but I do think it is worth considering.

john clements
21, hupp luptik
	
Newsgroups: alt.guitar.bass
From: nathan@laplace.csb.yale.edu (Nathan F. Janette)
Subject: Re: Query on practice amps...
Reply-To: nathan@laplace.csb.yale.edu (Nathan F. Janette)
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Tue, 22 Dec 1992 04:36:51 GMT

In article <1992Dec21.195734.14830@ryn.mro4.dec.com> rost@tecrus.dec.com  
(My name is Brian Rost) writes:

> I'll go on record as saying that practicing at stage
> volume is a drag unless you have a *large* space. 
> Otherwise it's just too loud, IMHO.  I'm probably in the
> minority here.   

I'll go you one even better: stage volume in any
situation, practice or performance, should be adjusted
to the size of the room and it's response
characteristics! 

--
Nathan Janette
PPP link from hilbert.csb.yale.edu

Please reply to: nathan@laplace.csb.yale.edu (NeXT)
From: rost@tecrus.dec.com (My name is Brian Rost)
Newsgroups: alt.guitar.bass
Subject: Re: Query on practice amps...
Date: 21 Dec 92 22:36:33 GMT
Organization: Digital Equipment Corporation


In article <1992Dec20.143306.21783@news.nd.edu>, fdeck@vyasa.helios.nd.edu (francis deck) writes...
>OK... enough about Peavey amps... here's a question for the
>group on "practice" amps:  How powerful does a practice amp
>need to be?  Suppose a practice amp had a built-in compressor/
>limiter, so it couldn't be pushed into clipping accidentally.
>Then, how little power could you get away with?  
> 
>This is more of an opinion poll than anything else.
> 
>f.deck
> 

OK, I'll bite:

For practicing *alone*, i.e. no drummers around  8^)  8^), 5-10 watts is
plenty.  

For practicing against a live band, *if* the band is mindful of volume, 20-50
watts can do the job if the speakers are relatively efficient (i.e. 20 watts
into an 8" aint going to do it, but 20 watts into a 15" might).

The above are from years of experience using amps of these wattage ranges:

	Silvertone (no model number, a tube guitar amp) 5 watts, 8"
	Crate B10XL (has limiter, solid state) 10 watts, 8"
	Traynor BassMate (tube) 20 watts, 15"

For practicing at stage volumes, you need whatever you use on stage...


					Brian Rost @tecrus.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************
Newsgroups: alt.guitar.bass
From: noah@Cadence.COM (Noah Ruiz)
Subject: LOOK.....BASS FOR SALE!!!!!!!!!!
Organization: Cadence Design Systems, Inc.
Distribution: ba
Date: Tue, 29 Dec 1992 15:20:30 GMT




	    **********FOR SALE********** 

	    85 Fender Jazz Special/four string  
	    All black
	    Original pj style pickups/passive  
	    Original neck
	    3 way switch for neck/bridge or both, pickup settings
            2 volume controls and 1 tone control
	    Comes with strap and Fender hard case
	    In good condition
	    Asking $350 firm

	    Reason for selling...
		 bought a new bass and never play the Fender
		 anymore.

            Call (408) 723-8225 leave NAME & NUMBER on machine...
	    Prefer Bay Area only...

	    =Noah=
From: Joseph.V.Kelly.Jr@dartmouth.edu (Joseph V. Kelly Jr)
Newsgroups: alt.guitar.bass
Subject: fretless tips...
Date: 1 Jan 93 07:58:22 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0b1@newshost.dartmouth.edu

I bought a Guild Pilot Fretless a year ago, and here are some random
hints I have come up with after a year of massive fretless playing:

Use flat wound strings instead of regular wound strings... this
prevents etching of the fingerboard which results in irregular play. If
you want a little slap or a crisp sounding pop buy a set of light gauge
round wounds.

Practice many scales over the length of the fingerboard... reliance on
fret markings or dot inlays is difficult to maintain while on stage...
with practice the fingering becomes very intuitive.

Classical vibrato sounds very beautiful... although I haven't had any
classical training I have finally come up with a good sounding vibrato.
I place my finger flat and perpendicular to the string and roll it back
and forth. Some fingers work better for me, but I'm doing lots of
practice on those fingers which are slower to pick it up. Again, it
seems vibrato is one of those things that becomes more intuitive after
a while.

Fretless sounds very warm, and adds a very unique sound to otherwise
common sounding basslines.

If anyone else has any fretless tips/comments/tricks etc please
comment.

demolition.joe@dartmouth.edu
Newsgroups: alt.guitar.bass
From: darkshot@rock.concert.net (Michael B Garrett -- Chudys)
Subject: Re: Query on practice amps...
Organization: Not much
Date: Wed, 23 Dec 1992 21:55:53 GMT

For a bass practice amp, minimum is 50 watts tube, 100 watts tranny.

As for practicing at loud volume, what I always do is just use the
monitor system for vocals- don't even hook up the mains, no matter
how big the space is. It keeps you a little quieter- plus, everyone
gets tired of hearing the singers bitching and turns down in self-interest.

Also, if your monitors make your ears hurt, you don't have enough power
driving them- good rule of thumb is 250W per slant. Anything less will
clip badly, and THAT's what makes your ears bleed- not the volume.

Plus, an old trick some folks may not be aware of- if you have some
guitar hero that just HAD to have a 100W Marshall (when everyone knows
the 50W's sound better) and can't get a good sound at less than top
volume, simply take out two of the tubes in the output stage. It's
designed to allow it, sounds just like a 50W, and now you have spare
tubes. 

'Shot



Xref: sparky alt.guitar.bass:2174 rec.music.makers.bass:446
From: rgonzal@gandalf.rutgers.edu (Ralph Gonzalez)
Newsgroups: alt.guitar.bass,rec.music.makers.bass
Subject: Should I buy a new Peavey/Ibanez or used Fender?
Date: 24 Dec 92 14:44:22 GMT
Followup-To: rec.music.makers.bass
Organization: Rutgers Univ., New Brunswick, N.J.


I've got $300-$400 to spend. Should I buy a new Peavey Foundation or
Ibanez CT-1, or should I look for a used bass?

Looking at the ads, I see that I can get a 1970 Fender Precision for
$400, or a G&L "precision-like" one for $275. Are these better than
newer Japanese Precisions? Are they likely to be better than a Peavey
Foundation, which Bass Player magazine rated very high for a $300
bass?

A couple of caveats: I'd like to get a "growly"-sounding bass with a
rich tone, and I may eventually get the frets removed.

Thanks a lot for any help! I'd like to buy asap...

-Ralph
rgonzal@elbereth.rutgers.edu
-- 
Ralph Gonzalez, Computer Science, Rutgers Univ., Camden, NJ
Phone: (609) 757-6122; Internet: rgonzal@elbereth.rutgers.edu
--
Newsgroups: alt.guitar.tab
From: doit@ihspb.ih.att.com (45261-Roeseler)
Subject: REQ: LED ZEP - In the Evening: Lyrics
Reply-To: a.roeseler@att.com
Organization: AT&T Bell Laboratories
Date: Wed, 30 Dec 1992 17:00:31 GMT
Originator: doit@ihspb


My band is currently working on this tune and the
singer can't figure out the lyrics.

Please post lyrics or give source where she can
find them.

Thanks,

Armin
Newsgroups: alt.guitar.tab
Subject: REQ: Twilight Zone, Batman Theme and Pipeline
From: dkryger@eis.calstate.edu (Dwayne Kryger)
Date: Wed, 23 Dec 1992 13:57:22 GMT
Organization: Calif State Univ/Electronic Information Services

Wipeout was posted here earlier.  A few other instrumentals that would
be great are thoses mentioned in the Subject Line.  Is you have these
please post.  I am just beginning to learn to play and these would
make great exercises.

Newsgroups: alt.guitar.tab
From: jamb0002@student.tc.umn.edu ()
Subject: Liberty Bell March
Organization: University of Minnesota
Date: Mon, 4 Jan 1993 03:23:42 GMT

Excuse me, but this looks like a good place to ask for music of John Philip
Sousa's "Liberty Bell March" (a la Monty Python's Flying Circus) or
better yet, if anyone has ever bothered to transcribe it for guitar, the
transcribed tablature...  ::]

Newsgroups: alt.guitar.tab
From: yy@cbnews.cb.att.com (alan.j.lapenn)
Subject: Re: Argh! I can't do G chords!
Organization: AT&T
Distribution: na
Date: Tue, 29 Dec 1992 12:32:40 GMT
Summary: pinky

In article <BzzHtB.EqM@ccu.umanitoba.ca>, umcarman@ccu.umanitoba.ca (Chris D. Carman) writes:
> The fingering given for the G major chord is correct, but it is much
> easier to make transitions from D to G (which you do quite often due to
> D being the Major Fifth of G) if you use your pinkie on the high E string,
> your ring finger on 3rd fret low e string, and your middle finger on
> second fret a string.
> 
> Comments?

I use both the pinky and third finger depending on which chord in the
progression will come next.

-- 
Alan LaPenn      att!mvuxd!yy          .signature not found!
Organization: Graduate School of Industrial Administr., Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar.tab
Date: Tue, 22 Dec 1992 13:33:02 -0500 
From: Bill Thomas <bt16+@andrew.cmu.edu>
Subject: Re: commercial tab books

>I just picked up a copy of the Robert Johnson transcripts from Hal Leonard
>publishing.  I'm pretty pleased with it and am pleased to see a music
>publisher finally doing a credible job on blues music.  I also saw they have
>Stevie Ray Vaughan, John Lee Hooker and a host of others.  Yeah.

I bought the Robbie Robertson book, which I believe is published by the
same people as the Robert Johnson book (it has the guitar symbol in the
upper left corner, right?) though I don't have it in front of me. It
looks excellent. It provides standard notation for the guitar line as
well as the melody line, and the tablature to go with the guitar line.
This is a real asset for those of us who are still slaves to tablature,
but are working on the standard notation.

A BIG extra advantage is the introduction of the book, which discusses
Robertson's style, including his important positions, and an explanation
for special techniques Robertson employs, such as hitting the string
with the pick, then dragging his finger lightly over the string on the
same movement to get a harmonic. You just don't find that kind of
information in most songbooks.

I saw the Stevie Ray Vaughan book, which also seemed excellent, and one
for U2 by a different published, but boasting many of the same features.

These books are pricey -- $18 for a fairly thin songbook of about 12
songs. But they are head and shoulders above most songbooks I've seen,
including books with tab. They seem to be written and published by
people who genuinely care about the musical information they contain.
With the Hal Leonard series, I'd say that's obvious just based on the
guitarists they picked: Robertson, Johnson, Vaughan, Hooker.
From: deadhead@ugcs.caltech.edu (stephen thompson)
Newsgroups: alt.guitar.tab
Subject: REQ: "tabs that have expired over the holidays"
Date: 2 Jan 1993 06:10:49 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: molest.ugcs.caltech.edu



Hey, all.

I could really use your help.  There are some tabs that were posted during
the holiday season and that have since expired.  I really would like to see
the following re-posted or sent to ftp.nevada.edu:

  Layla (unplugged) -- Eric Clapton    <---oh, please, please post this one!
  Me And My Monkey -- The Beatles
  Helter Skelter -- The Bealtes
  Sittin' On Top Of The World -- as performed by Bob Dylan

Thanks for you help!

Stephen


--
----                     And, like a fool, I mixed them,             
--------                     and it scrambled up my mind.            
----------------         Now people just get uglier, and             
-------------------------------- I have no sense of time. --Bob Dylan
Newsgroups: alt.guitar.tab
From: mack@anasazi.com (David MacKnight)
Subject: Chords: Me and Bobby McGee
Organization: Anasazi, Inc.  Phoenix, Arizona USA
Distribution: usa
Date: Tue, 22 Dec 1992 15:48:17 GMT


This is from memory but I've been playing it for a few months:
There's also the third verse that J. Joplin sang but I dont
know it.  These are the standard lyrics that were written by
Kris Kristofferson.  I usually lengthen the song by doing an
accoustic solo of a verse after the second refrain and work out
some sort of acceptable ending.

C
Busted flat in Baton Rouge - Headin for the trains
C                           G
Lookin nearly faded as my jeans
G7          
Bobby thumbed a deisel down - just before it rained
                             C
Took us all the way to New Orleans
      C 
So I took my old harpoon out of my dirty red bandana
          C7                                 F
Started blowin it hard while Bobby sang the blues
               F                                C
With those windshield wipers slappin time and Bobby clappin hands
            G
We finally sang every song that driver knew
-----------------------------------------------------------------------
   F                              C
Freedom's just another word for nothin left to loose
   G                          C - C7
Nothin aint nothin but it's free
  F                              C
Feelin good was easy lord when Bobby sang the blues
      G
And feelin good was good enough for me
 G7                               C 
Good enough for me and my Bobby McGee
-----------------------------------------------------------------------
          C
From the coal mines of Kentucky to the California sun
                                G
Bobby shared the secrets of my soul
  G7      
Standin right behind me lord through everything I've done
                                           C
And at night he'd(she'd) keep me from the cold
         C
Then somewhere near Salinas - I let him(her) slip away
   C7                                       F
Searchin for that home and I hope he(she) finds it
      F                             C
I'd trade all my tomorrows for a single yesterday
  G
Holdin Bobby's body close to mine
-----------------------------------------------------------------------
   F                              C
Freedom's just another word for nothin left to loose
   G                                     C - C7
Nothin - yeah thats all he(she) left for me 
  F                              C
Feelin good was easy lord when Bobby sang the blues
      G
And buddy that was good enough for me
 G7                               C 
Good enough for me and my Bobby McGee
-----------------------------------------------------------------------
From: barrett@dino.cs.utk.edu (Richard F Barrett)
Newsgroups: alt.guitar.tab
Subject: re: Hank To Hendrix.pro
Date: 30 Dec 92 15:03:22 GMT
Reply-To: barrett@dino.cs.utk.edu (Richard F Barrett)
Organization: University of Tennessee, Knoxville - Department of Computer Science
NNTP-Posting-Host: dino.cs.utk.edu

Ok, so the corrected version(s)...The way dang@well.sf.ca.us (Dan Goodin)
hears it and the previous claim are both included, the "controversial"
lines are listed at the bottom.  I haven't tried Dan's, and won't until
this evening, so in my quest to remedy my previous mistake as quickly as
possible, here goes. If I were a betting man, I would go with Dan. Wish
me better luck next time.


{title:Hank To Hendrix}
{st:Neil Young}

{c: Intro and verses are G Bm C Am, Em G C Am, in between verse and chorus is a
G then Chorus F C G}

{c:Intro Chords (same as verses)}

[G]From Hank to [Bm]Hendrix [C]I walked these streets with [Am]you

[Em]Here I am with this [G]old guitar [C]doing what I [Am]do

[G]I always ex[Bm]pected [C]that you would see me [Am]through

[Em]I never be[G]lieved in much [C] but I believed in [Am]you

[G]

{start_of_chorus}
[F]Can we get it together can we [C]still stand side by [G]side?

[F]Can we make it last [C]like a musical [G]ride?
{end_of_chorus}

[G]From Marilyn to Ma[Bm]donna [C]I always liked your [Am]smile
[Em]Now we're headed for the [G]big divorce, [C] California [Am]style
[G]I found myself [Bm]singing [C] like a long lost [Am]friend
[Em]The same thing that can [G]save you [C]can kill you in the [Am]end

{comment:Chorus}

[G]Sometimes its [Bm]distorted, [C] not clear to [Am]you
[Em]Sometimes the [G]beauty of love [C]just comes shining [Am]through
[G]New glass in the win[Bm]dow, [C] new leaf on a [Am]tree
[Em]New distance be[G]tween us, [C]you and [Am]me
{comment:Chorus}


Following are the lines from the "other" version:

{c: Intro and verses are G Bm C Am, in between verse and chorus is a G then Chor
us F C G}
[G]Here I am with this [Bm]old guitar [C]doing what I [Am]do
[G]I never be[Bm]lieved in much [C] but I believed in [Am]you
[G]Now we're headed for the [Bm]big divorce, [C] California [Am]style
[G]The same thing that can [Bm]save you [C]can kill you in the [Am]end
[G]Sometimes the [Bm]beauty of love [C]just comes shining [Am]through
[G]New distance be[Bm]tween us, [C]you and [Am]me
Newsgroups: alt.guitar.tab
From: mhoffman@encore.com (Mike Hoffman)
Subject: Re: Request Philosphers
Organization: Encore Computer Corporation
Date: Thu, 24 Dec 1992 14:17:03 GMT

bircsak@cmpass.mps.mlo.dec.com (John Bircsak) writes:


>Lyrics only, from memory, corrections welcome:

>And Lichenstein was a boozy swine
     Wittgenstein

>|  John A. Bircsak,  Digital Equipment Corp.        ++++++++
>|  Massively Parallel Systems Group                 ++++++++
>|  146 Main St., MLO1-5/U46, Maynard MA  01754  USA ++++++++
>|  bircsak@mps.mlo.dec.com  (508) 493-2572          ++++++++
>+---------------------------------------------------++++++++

---
Michael J. Hoffman, Mfg. Eng.            Encore Computer Corporation
mhoffman@encore.com                      100 N. Babcock Street
TEL: (407)255-8116 FAX: (407)255-8195    Melbourne, FL 32935
.signature: No such file or directory. Reformat hard drive? <y>:
Newsgroups: alt.guitar.tab
From: lrw@maggot.gg.caltech.edu (Len Wanger)
Newsgroups: alt.guitar.tab
Subject: Re: REQ: Cohen/Smiths/VU Chords
Date: 31 Dec 1992 10:30:22 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: maggot.gg.caltech.edu

Here is Femme Fatale by the Velvet Underground. For another
great version of this song check out Big Star's rendition.

Len Wanger
lrw@egg.gg.caltech.edu


---------------------------- cut here --------------------------

Femme Fatale
-------------

C        F
Here she comes
C                     F
You better watch your step
C              Dm7                 Bb
She's going to break your heart in two
     G
It's true

C                F
It's not hard to realize
C                                F
Just look into her false colored eyes
C                Dm7                Bb
She'll build you up just to let you down
       G
What a clown

Chorus:

G               C
Cause everybody knows
                 F
<she's a femme fatale>
                       C
The things she does to please
                 F
<she's a femme fatale>
                    C
She's just a little tease
                 F
<she's a femme fatale>
                Dm7
See the way she walks
                 Bb    G
Hear the way she talks

C                   F
Your written in her book
C                     F
Your number 37 take a look
C              Dm7               Bb
She's going to smile to make you frown
       G
What a clown

C                    F
She came in from the street
C                               F
Before you start you're already beat
C              Dm7            Bb
She's going to play you for a fool
         G
Yes it's true

Chorus twice:
Newsgroups: alt.guitar.tab