HDTenEightyP/NetNews huggingface dataset:
From: ebshen@athena.mit.edu (Eric B Shen)
Subject: Acoustic Guitar Pedal survey - HELP ME PLEASE!!
Organization: Massachusetts Institute of Technology
Date: Mon, 6 Apr 1992 20:44:13 GMT

Hi!  I'm doing a project in a class on a HYPOTHETICAL product I'd like
build a business around.  (Please don't flame me on the actual
feasibility of an 'acoustic guitar pedal.') I NEED YOUR HELP AND INPUT.
Everybody, PLEASE take a little time and read this and answer the quick
survey questions.  I'd like to get an idea of WHO out there would be
willing to buy this thing.  Please email your responses to me at

			ebshen@athena.mit.edu.

Thanks!  And if you have anything at all to add, criticize, or whatever,
please do!  Oh, and if you have friends who don't have access to alt.guitar, ask
them for their opinions, too.

The Acoustic Guitar Pedal

Features:

Basically a two function device.  The first function varies pick attack
sensitivity (along with appropriate harmonic spectrum generation).  Thus
you can have anything from 'nylon-sounding' strings to 'steel-sounding'
strings.

The second function is just a filter, to simulate the resonances of the
acoustic body.  There would be a control that would effectively vary the
'size' of the guitar.  More lower frequencies = bigger body and vice
versa.

Advantages:

-Lets you use your electric to simulate MANY different acoustic guitars.
-Would sound like an acoustic going direct into a mixer, eliminates need
	for microphones.
-easier to play the electric. (than to play an acoustic)

Survey:

1) Would you buy such a device?

2) How much would you expect to pay for it?  (how about $250?)

3) Any suggestions for features?

4) What is your age and occupation?


Thanks again.

Eric Shen
ebshen@athena.mit.edu
Newsgroups: alt.guitar
From: lrm28@cas.org ()
Subject: Re: Homebuilt amps?
Organization: Chemical Abstracts Service, Columbus, Ohio
Date: Mon, 13 Apr 1992 20:35:48 GMT

In article <1992Apr10.124431.25603@ryn.mro4.dec.com> rost@rgb.dec.com (My name is Brian Rost) writes:
>
>
>On epossible option is buying an old tube amp, a Fender or other, that's cheap.
>I see Bassman and Bandmaster heads all the time for $100-150.  Then hot rod it.
>The original Boogies were modified Princetons, it was only when demand went up
>that Mesa started building them from scratch.
>
>By modifying an existing amp, you have the advantage that the transformers
>and caps are mostly all there.
>
>                                       Brian Rost @rgb.enet.dec.com
>
Two things to add:

1)  Find a competent repairman who does tube amp repair.  One such guy in
the central Ohio area took a old Princeton reverb (great sound, but low
on power), added some extra stages of gain (read: more tube circuits),
upped the power tubes to 6550s (I think) and replaced the speaker with
a 12" EV SRO.  This is one kicking mule of an amp.  It will play loud and
clean for fusion or country, and bite your head off with distortion for
rock and metal.  Mods are available, but tricky.  Parts are indeed getting
hard to find.  They ARE out there, though.

2)  Don't give up on solid state amps.  Kustom has a new line of amps out
using power MOSFETs that sounds very good.  Many a tube die-hard has tried
this amp and looked at the back for filament glow.  Done right, the MOSFET
circuit can sound very, very good.

O.K.  One more thing.

Find a small practice amp (the AFTERBURNER is one) with a external speaker
or headphone out.  Hook this to your nearest 4x10 or 4x12 cabinet and turn
it all the way up.  This was a pleasant surprise to hear: 500mw pushing a
cabinet to rather loud levels.  Try it sometime.  Sometimes we get hung up
on power when 2 watts into a very efficient speaker is ear-bleed city.

No flames, please.  I'm a rookie at all this.
-- 
Luke Mayercin   lrm28@cas.org  "Why is there an ON/OFF switch on my U.P.S?"
Chemical Abstracts Service is not responsible for these comments.
From: greene@aelle.cs.odu.edu (Bradley Greene)
Newsgroups: alt.guitar
Subject: Other Instruments
Date: 13 Apr 92 00:10:36 GMT
Distribution: alt
Organization: Old Dominion University, Norfolk, VA, USA


I have been playing the guitar for 5 years now and Just recently I started 
playing around on some the other instruments (ie drums and bass) and 
amazing enough I found that that it improved my guitar playing.  In 
playing the bass I feel that it gives me a better sense of tone, and
feel for the songs I am playing,  Now I dont have to wander around
the fret board for an hour to figure what key a song is in.  In playing
on the drums, I have strengthened my wrists, and thus have been able 
to play at a much greater speed.

-Has anyone else had any similar experiences with playing on other
instruments?  If you haven't, then I really recommend that you try
it out.  You dont have to master the second instrument but just
use it improve your guitar playing.
Newsgroups: alt.guitar
From: fscll@acad3.alaska.edu (Chris Lott)
Subject: Re: Crazy Riff.(updated)
Organization: University of Alaska Fairbanks
Date: Tue, 14 Apr 1992 07:40:28 GMT

In article <2541@keele.keele.ac.uk>, csp55@seq1.keele.ac.uk (VaMpIrE) writes:
> From article <1992Apr9.225950.5409@cco.caltech.edu>, by julius@cco.caltech.edu (julius yang):
>> lonewolf@ecst.csuchico.edu (William Jospeh Bestor) writes:
>> 
>>>Here's a riff from Crazy Train:
> 
>  Well I 'll have to disagree with both of U .... 
> 
> I believe it is ... 
> 
>    A|-----4---5---4---2-------2------|
>    E|-2-2---2---2---2---5-4-5--5-4-0-| 
> 
>   
> All are  eigth notes ... 
> 
> 
> Vampire.

You are right vampire....
-- 
 __________________________________________________________
|  Christopher L. Lott  --- Poet and Pauper                |
|__________________________________________________________|___
|  fscll@alaska                | "And now what shall become of |
|  fscll@acad3.alaska.edu      |  us without any barbarians?   |
 ------------------------------|  Those people were a kind of  |
                               |          solution."           |
                                -------------------------------
Newsgroups: alt.guitar
From: ctso@wam.umd.edu (CT Shock)
Subject: Re: Fender Mustang
Organization: Workstations at Maryland, University of Maryland, College Park
Date: Fri, 17 Apr 1992 13:01:01 GMT

Jeffery.A.Schneider@dartmouth.edu (Jeffery A. Schneider) writes:
: I've got a student model Fender Mustang from Feb 1966 here and was
: wondering what it's worth if anything?  I'd the the condition is "good"
: to "very good".  Also what's the difference between it and other
: Fenders (size, quality, etc)?  Any help is greatly appreciated, thanks.
:
I used to have a '71 Mustang. The first trick is to make sure that what
you have is indeed a '66. (Just 'cus someone told you so doesn't make it
true...) The way to make sure on earlier Fenders is to pull the neck.
There's a month and year stamped on the neck where it joins the body.
It also never hurts to check the serial number on the metal plate where
the neck bolts on and see if it is reasonably low (because Mustangs were 
first made in '66, so your number should be way low). Everything that appears
after this is IMHO. (to borrow some of my favorite quotes, 
#include <std.disclaimer.h> and direct flames to /dev/null ....

The mustang was never regarded as highly as the other Fenders (Tele, strat, and
Jaguar etc...) It's basically a strat with a strange set of Pickups in 
different positions than on the strat. IMHO the bridge pickup is set too far
forward, but then again... Anyway, because of this, the prices aren't nearly as
good for them. Yours should be worth a little bit more if it is a '66, just 
because it is the first year of production. BTW, the red ones seem to bring
slightly more than the blue ones. I don't know what the difference is with
a 'student model' but the regular ones go for $450-600 if they're in good shape.

Hope this helps.
		-Todd
 
-- 
 ---------------------------------------------------------------------------
|	Carter T. Shock		|	"Democracy is but a thin veneer,    |
|	ctso@wam.umd.edu	|	 Feudalism is alive and well."      |
 ---------------------------------------------------------------------------
From: scogpw@thor.cf.ac.uk (Gordon Walker)
Newsgroups: alt.guitar
Subject: Re: Gerry Donahue
Date: 16 Apr 92 09:38:55 GMT
Organization: University of Wales College at Cardiff
X-Mailer: Cardiff Computing Maths PP Mail Open News Gateway

In article <1992Apr14.112501.13470@bradford.ac.uk> N.M.Gore@bradford.ac.uk (NM GORE) writes:
|
|Apparently Gerry Donahue has recorded an album called 'Telecasting'.
|
|I saw him playing, on his own, on a documentry on the guitar, called
|Equinox. He was pretty amazing ( to say the very least)!!
|
|Anyway, has anybody heard this album?  I have been led to beleive that it's
|all him doing this amazing stuff on his telecaster.
|
|It seems impossible to get a copy of the album in Britain.  Help!!!
|

Just an idea......(seeing as I haven't seen a reply to this yet)..is
that, as Gerry is a good friend of the Fairport Convention crowd, might
the record be distributed through Woodworm Records?
Gordon
Newsgroups: alt.guitar
From: yanoff@csd4.csd.uwm.edu (Scott A. Yanoff)
Subject: "one" chords (U2)
Keywords: inputs
Organization: University of Wisconsin - Milwaukee, WI
Date: Tue, 14 Apr 1992 06:48:21 GMT


 Here's what I come up with...sounds just like the record...anyone with
 corrections to ths?


U2  "One"

Verses/Intro:
 Am Dsus2 Fmaj7 G 

Choruses: ("One love, one life....")
 C Am Fmaj7 Am/A7?

Bridge: ("You say love is a temple..")
 C  Am  C  Am  C  G  G  Fmaj7  Fmaj7


 Chord Diagrams:
  C     x 3 2 0 1 x
  Am    x x 2 2 1 x
  Dsus2 x x x 3 2 x
  Fmaj7 x x 3 2 1 x
  G     x x 5 4 3 x


  The #'s above indicate frets, x's mean muted string, 0's mean open string.
-- 
 _/\ _ !\ _         @           Milwaukee, WI - A Great Place by a Great Lake
!  _! !! ! !_  ~~  @ ~  ~~         
! ! ! !! ! ! !~~__=||_~ ~~~          *** Computing Services Division ***
! ! ! _! ! ~~~ ~\____/  ~~~ yanoff@csd4.csd.uwm.edu    yanoff@convex.csd.uwm.edu
Newsgroups: alt.guitar
From: hamlet@cheshire.oxy.edu (David Dominic Papandrew)
Subject: Re: Music Theory
Followup-To: music theory
Summary: Clarification on the Theory Argument
Keywords: theory - sonata and sonata form
Organization: Occidental College, Los Angeles, CA  90041
Date: Tue, 14 Apr 1992 19:29:47 GMT

 This is just in response to Gavin who writes that
> Beethoven was certainly not a pioneer of the sonata form
in reference to the jester's comment that Beethoven was a master of the Sonata

Sorry Gavin...but you seem to have gotten your terms mixed up...while you are 
correct in noting Beethoven's novel use of the Sonata form in his symphonies
you forget that the terms "Sonata" and "sonata form" are two different things

Sonata in its simplest definition refers to a piece of music (most often in
3 movements) written specifically as an instrumental work.  The Sonata is most
often for a solo instrument...but isn't constrained to this limitation

Sonata Form refers to the thematic formula often used in Symphonies consisting
of an "A" theme a contrasting "B" theme and a development, followed by a 
recapitulation of the introduction and an extended coda (for a good example of
Sonata form, listen to Mendelsohn's 4th Symphony 1st movement)

In understanding Beethoven in the correct terms...he was indeed a master of the
Sonata - his piano sonatas are central to the repertory of any great pianist
-his revolutionary use of sonata form in his symphonic works are another topic
altogether

Just wanted to clarify minor misunderstanding...

	Dave (hamlet@cheshire.oxy.edu)
From: Jeffery.A.Schneider@dartmouth.edu (Jeffery A. Schneider)
Newsgroups: alt.guitar
Subject: Fender Mustang
Date: 16 Apr 92 19:17:13 GMT
Organization: Dartmouth College, Hanover, NH

I've got a student model Fender Mustang from Feb 1966 here and was
wondering what it's worth if anything?  I'd the the condition is "good"
to "very good".  Also what's the difference between it and other
Fenders (size, quality, etc)?  Any help is greatly appreciated, thanks.

Jeff

Jeff.Schneider@Dartmouth.edu
From: john-b@hsr.no (John Breiland)
Newsgroups: alt.guitar
Subject: TAB : Dire Straits
Keywords: DS
Date: 9 Apr 92 12:56:45 GMT
Organization: Rogaland University Centre

This is the TAB of the begining of "Walk of Life" by Dire Strates as I play the
song.



 E                  A           B                A                E

 0 0 -------------- 0 0 ------- 2 2 ------------ 0 0 ------------ 0 0
 0 0 ----  0 ------ 2 2 ------- 4 4 ----- 0 ---- 2 2 ----- 0 ---- 0 0
 1 1 --- 1 -- 1 --- 2 2 ------- 4 4 ------------ 2 2 ------------ 1 1 
 2 2 - 4 -----  4   2 2 -- 4 6- 4 4 - 4 6 - 6 4  2 2 - 4 6 -- 6 4 2 2
 -------------------0 0 --------2 2  ------------0 0 ----------------
 --------------------------------------------------------------------



Please tell me, if you play it different, or if you just did like it 

john-b@hsr.no
Newsgroups: alt.guitar
From: ctalbott@mksol.dseg.ti.com (christopher j talbott)
Subject: alt.guitar.tab, etc.
Keywords: tab flame
Organization: Texas Instruments
Date: Fri, 10 Apr 1992 14:35:56 GMT

Start cranking up the flame-throwers... :)

I've been monitoring this group for a couple weeks now, and I've watched the
Great TAB Controversy wax and wane.  Allow me to interject with a thought or
two....

I'm a beginning (read BAD) guitarist, and my chosen life's work is software
design.  Stick with me on this, it becomes relevant, at least to me.  I will
admit that I look forward to a new TAB posting just as much as the next person,
but I'll be damned if I'll ever make a request for one on this newsgroup.  But,
I don't necessarily think alt.guitar.tab is a great idea either, because then
we'd end up with requests for alt.guitar.my.fave.axe and alt.guitar.theory
and alt.guitar.I.know.the.most.chords, just to get rid of the "Great Fender
vs. ________ Debate", and all the other miscellaneous threads...what would be
left?

TAB serves a purpose: a convenient, easily readable musical notation.  On a 
piano, you get "one key, one note", so conventional notation is great.
But for a guitar, there are several different ways to play the same note, so
TAB allows for precision in the notation.  Now here's where my chosen
profession becomes relevant.  When I was learning software design, I'd get
stuck at a certain spot in my program, and not know quite how to approach it.
Looking at the way another person did it (be it a textbook example or a friend's
code) helped me understand the algorithm much better.  The same applies to
learning a particular song.  Some people have gifted ears for music, and some
people have merely ordinary ears.  Using TAB to work out the rough spots isn't
a subversion of Nature's design, it's a way of learning from what others have
done.

To the guitar gods who monitor this newsgroup, chuckling "What fools these
mortals be"...ease up guys...most of us will never be great guitarists, merely
competent.

To the guitar angels who keep posting interesting ways of improving guitar
skills...keep it up...I've learned more in the past few weeks than I have in the
last year.

To those of you who take offense at this post, flame me via e-mail...don't clutter
up the group with senseless personal attacks.

and to those brave enough to request TABs...I salute you.

-Chris
"The views expressed here are not those of Texas Instruments"

"This is a 100% matter product.  In the event that this product should contact
   anti-matter in any form, a cataclysmic explosion will result."

"While the manufacturer may be entitled to claim that this product exists in
   ten dimensions, the consumer is reminded that since the extra seven dimensions
   are "rolled up" into such a small "area" as to be undetectable, no rights are
   conferred other than those applicable to normal three-dimensional objects."
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Newsgroups: alt.guitar
Subject: Re: Steve Vai and guitar questions.
Summary: Cross-Roads and Jack Butler
Date: 9 Apr 92 16:03:58 GMT
Distribution: usa
Organization: AT&T

In article <22646@goofy.Apple.COM>, ksand@apple.com (Kent Sandvik) writes:
> In article <1992Apr1.012733.2829@galileo.cc.rochester.edu>,
> fkam_ltd@uhura.cc.rochester.edu (Kevin McFadden) writes:
> > 
> > In article <1992Mar31.142413.1@acad3.alaska.edu> fsmlw1@acad3.alaska.edu
> writes:
> Anyway, it's a matter of taste. I don't either think that Carlton would
> have been suitable for the role of Jack Butler in "Cross-roads" :-).
> 
> Cheers,
> Kent
	The only other Guitar Player I could amagine doing Jack Butler
	would be ----------------pause for effect-----------------

	That MOTOR CITY MADMAN      TED (eats raw meat) NUGENT.

	Even though Ted is a pretty conservitive guy, no drugs,drink,smoke
	Father of 4 and a avid conservationist not mention Staunch NRA
	supporter/Bow hunter expert. Scratch would have loved this mans
	attitude concerning the guitar. I also like that zebra striped PRS
	he plays with Damn Yankees.

	Steve
	Doin That Blues ThAng
	Come on down to the Sippin E-Z
Newsgroups: alt.guitar
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Subject: Fourplay First show
Organization: AT&T
Distribution: usa
Date: Mon, 6 Apr 1992 19:46:42 GMT


	Hey Jazz fans. I got a chance to see Fourplay last week.
	It was their first live gig as a group. I got to see them
	at the Rialto theatre in Joliet. The Rialto is a restored
	vaudville theatre. The acoustics are incredible, not to mention
	that its just a classy place, with all the marble, gold leaf relief,
	and Velvet.

	Lee Rittenaur(sp) is the only guitarist. Lee is dripping of talent. He 
	is very melodic and creative. He also is techneckly8^) gifted. I was 
	hoping for a great evening.

	We were very pleased with the performance as a whole, but fourplay
	is a pretty mellow group. There jazz is not what I would call overly
	aggresive. Each member is a virtuosso in his own right, and each was
	givin ample opportunity to cut loose. Of all four members Lee was
	the most conservative. This was the collective oppinion of about
	15 or so musicians who gathered at a blues/jazz club about two blocks
	away right after the show. We discussed all the options, we expected
	to much, first live show, not into it. There were four or five who
	had seen Lee before. They all felt that he had really held back.

	Personally I thought the show was great. Lee was very tastefull
	and melodicaly very creative. There were flashes of very technicaly
	demanding passages, but I think the music was formost in his mind.
	For myself it was a great night to see someone who was into it, 
	instead of trying to be above it.

	Steve
	Doin That Blues ThAng!
	Come on down to the Sippen E-Z
From: N.M.Gore@bradford.ac.uk (NM GORE)
Newsgroups: alt.guitar
Subject: Re: scales
Keywords: scales
Date: 13 Apr 92 12:23:38 GMT
Organization: University of Bradford, UK
Originator: 88872673@ccw101

In article <44463@mentor.cc.purdue.edu> jasdzews@mace.cc.purdue.edu (Gary James Jasdzewski) writes:
>Sometimes these major and minor scales sound to mainstream or
>something in my songs.  What can a person do?  How do you know if you
>can use a diminished scale over major and minor chords, etc.
>
>Make sense?

-----

Diminished scales don't work for me unless I play them at a silly speed
to shock somebody.

As you've discovered, Major and Minor scales don't work all the time unless
your prepared to work out the possibilities of various phrases being considered
as subtle key modulations.

I've found that the only way to approach solo's without spending days working
out what sounds right note for note, is to think in terms of MODES.

I could rattle on for ages, but to put things in the simplest terms...

Taking a 12 bar blues in C as an example (suprise suprise), you can use
a major scale starting on the root (ie C Ionian),  B-flat (ie B-flat Dorian)
and F (ie F Mixolydian I think).
The Dorian is basically the famous 'Blues Scale' of course.

Thinking in terms of Major scales starting on few decided frets allows great
freedom, ask John McLaughlin :-)  .  

Neil.
From: rozga@CS.ColoState.EDU (anthony a rozga)
Newsgroups: alt.guitar
Subject: Hook Me Up!
Date: 6 Apr 92 21:51:48 GMT
Organization: Colorado State University, Computer Science Department

Greetings,

  I hate asking ?'s like this at the local music store, so I thought I'd ask
  here.  

  Can someone "hook-up" the following items for me? 

	       - guitar
	       - pre-amp (includes effects)
	       - amp  w/ effects loop
	       - speaker cab.

  The main thing that puzzles me is what an effects loop is, but any comments
  would be appreciated.

  Thanks,
  Tony Rozga
From: jgllgher@unix1.tcd.ie (Macdara Gallagher)
Newsgroups: alt.guitar
Subject: Reggae guitar?
Keywords: reggae
Date: 6 Apr 92 13:58:45 GMT
Organization: Computer Science, Trinity College Dublin


	In a recent discussion about the 'blues' pentonic scale, someone
in the course of listing the musical styles that they play mentioned that
they played reggae. I've recently become interested in reggae/ska music
and have bought a few albums which I love. I was wondering if a thread
on playing reggae/ska could be started ( especially in relation to
guitar ).
	The closest I've come to playing reggae is playing those choppy
damped chords on the second and fourth beats on top of some four beat
baseline. Could anyone suggest other rhythms to play to?
	Unlike rock or blues where the guitar is probably the major
instrument, in reggae the guitar seems to be used mainly like a drum
as a rhythm instrument, or sometimes for short lead 'licks' ( or not ?
I'm only voicing an impression... ). I realise that to generalise reggae
in this way is fairly unfair, but you've got to start somewhere....

	Anyway any tips, opinions or information appreciated..

Dara.
--jgllgher@unix1.tcd.ie
Newsgroups: alt.guitar
From: larryh@cabezon.uucp (Larry Huntley)
Subject: Re: Scales and Music
Organization: Logic Modeling Corporation / Beaverton OR & Milpitas CA
Distribution: na
Date: Tue, 14 Apr 92 21:53:53 GMT

In article <1992Apr14.142831.880@galileo.cc.rochester.edu> fkam_ltd@uhura.cc.rochester.edu (Kevin McFadden) writes:
>
>	Someone back there a few messages said that music theory is not
>music, music comes from the soul.
>
>  [Good discussion deleted]
>
>Stepping of the pedestal,
>
>Kevin

    Nicely put, Kevin.  It is true that the music comes from the soul, but
    unless one has the chops to play the licks they hear in their head (or
    soul), ain't nobody gonna hear it but them.  This is (partly) where the
    theory comes in.

    If I play a chord at random, with just a little work I can work out what
    kind of chord that is and what sort of scale would work, played over the
    chord.  There may be some out there that can do this without having to
    learn about intervals, triads, scales, and modes, but probably not many.

    It's when you try to explain to SOMEONE ELSE how to do what you're doing
    or what you want them to do that the common language of theory begins to
    show value.  If we BOTH know what I mean when I say "Play A-Minor 6th and
    then a chromatic scale up to C-Sharp; play C#-Minor 9th for a count of six,
    then a big finish on E Augmented" (not real music, just example drivel), it's
    going to be a lot easier to learn from each other, and from others we
    encounter.

    Learning theory is, for the serious, practicing, musician an absolute
    requirement, along with tuning the instrument, learning the tunes, and
    carrying their weight.  I know there're players out there with very
    little theoretical background, but most anybody you hear playing has got
    some.  And, if they refuse to learn, they aren't going to get very far,
    because they're in a business where theory is part of the vernacular.

-- 

    Larry Huntley / Logic Modeling Corporation / Beaverton  OR
    Fire and Chains and/Fire and Chains and/Fire and Chains and...
                      [Stop Continental Drift!]