HDTenEightyP/NetNews huggingface dataset:
From: sennet@ocf.berkeley.edu (Sennet Williams)
Newsgroups: rec.music.makers.guitar.tablature
Subject: Re: (GIVE ME THAT) OLD TIME ROCK AND ROLL (SIMP/crd)
Date: 17 Dec 1992 10:02:00 GMT
Organization: U. C. Berkeley Open Computing Facility
Distribution: world
NNTP-Posting-Host: lightning.berkeley.edu
Keywords: SIMP Seger crd

I assume you mean "Old Time R&R by Bob Seger
Glen Macon posted it once this summer, I corrected the lyrics and here it is:
.PS:  If anyone else wants to trade reqs with me, send me a list.
I mostly have/want stuff like Cat Stevens, Billy Joel, Cheap Trick
_Eagles and misc 80s hits
(usually print out on one page, chords with every line, complete lyrics)
_
Most wanted: 
"Your Smiling Face" (JT) and 
"Do you believe in Love" (Huey Lewis)
Our house, Love the one you're with  (CSNY)
Gimme Some loving (Blues Brothers)
_
.
From: macon@cbmvax.commodore.com (Glen Macon)  (some changes by Sennet)
.
.                       OLD TIME ROCK AND ROLL
.
.                                   E
.       JUST TAKE THOSE OLD RECORDS OFF THE SHELF
.                                A
.       I SIT AND LISTEN TO THEM BY MY SELF
.                            B
.       TODAY'S MUSIC AIN'T GOT THE SAME SOUL
.                             E             B
.       I LIKE THAT OLD TIME ROCK AND ROLL
.
.                                  E
.       DONT TRY TO TAKE ME TO A DISCO
.                                A
.       YOU'LL NEVER EVEN GET ME OUT ON THE FLOOR
.                               B
.       IN TEN MINUTES I'LL BE LATE FOR THE DOOR
.                             E            B
.       I LIKE THAT OLD TIME ROCK AND ROLL
.
Chorus:
.                        E
STILL LIKE THAT OLD TIME ROCK AND ROLL
.                           A
THAT KIND OF MUSIC JUST SOOTHES MY SOUL
.                      B
I REMINISCE ABOUT THE DAYS OF OLD
.                   E           B
WITH THAT OLD TIME ROCK AND ROLL
.
.                                   E
.       WON'T GO TO HEAR EM PLAY A TANGO
.                                      A
.       I'D RATHER HEAR SOME BLUES OR FUNKY OLD SOUL
.                                    B
.       THERE'S ONLY ONE SURE WAY TO GET ME TO GO
.                              E             B
.       START PLAYING OLD TIME ROCK AND ROLL
.
.                                E
.       CALL ME A RELIC CALL ME WHAT YOU WILL
.                                      A
.       SAY I'M OLD FASHIONED SAY I'M OVER THE HILL
.                            B
.       TODAY'S MUSIC AIN'T GOT THE SAME SOUL
.                             E             B
.       I LIKE THAT OLD TIME ROCK AND ROLL
.
(CHORUS)
.
Chord fingering chart:
.       E A D G B E
A       0 0 2 2 2 0
B       2 2 4 4 4 2
E       0 2 2 1 0 0
(I usually use this for B:
.       2 2 x 4 4 2
.
_
_
George can pardon Caspar Weinberger, but who will pardon George?
Will he resign so President Quale (sp?) can do it?
_
"It's never too late to have a happy childhood" (Tom Robbins)
/8\)9&$%@/@*%!{\%$(#@      sennet@OCF.berkeley.edu    *(&#*@|&^?#$%"\&
_
From: btiffany@pbs.org
Newsgroups: rec.music.makers.guitar.tablature
Subject: Re: REQ: Rolf Harris - Tie me Kangaroo Down, Sport.
Date: 11 Dec 92 08:38:13 EST
Organization: PBS:Public Broadcasting Service, Alexandria, VA

In article <1g3sn5INNck2@frey.newcastle.edu.au>, alan@frey.newcastle.edu.au (Alan Hargreaves) writes:
> HCHA8904593X@LUST.LATROBE.EDU.AU (PERRETT, ANDREW) writes:
> 
>>yeh another good one that i can remember is (wobble board out)
> 
>>tan me hide when i die clyde 
>>tan me hide when i die
>>so we tanned his hyde 
>>when he died clyde
>>and thats it hanging on the fence
> 
> close, no bannana though:
> 
> tan me hide when i'm dead, fred
> tan me hide when i'm dead
> so we tanned his hide
> when he died clyde
> and thats it hanging on the fence

Still not right.  I haven't heard this since the 1960's, but I could swear
the last line of that verse is:

	"and that's it 'angin' on the shed"

altogether now  ...

-- Bruce Tiffany
Newsgroups: rec.music.makers.guitar.tablature
From: pmk@moliere.uucp (Peter Michael Klausler)
Subject: Re: REQ:Lovers Of A Dangerous Time,Bruce Cockburn
Organization: Lilydale DFL Refreshments Committee & Rhythm Section
Date: Thu, 17 Dec 1992 07:15:53 GMT

In article <1992Dec16.050604.22479@trdlnk.uucp> ants@trdlnk.uucp (Anthony Belcastro) writes:
>
>   Does anyone have Tabs Or Chords for "Lovers of A Dangerous Time"
>   by Bruce Cockburn?
>                                    ANTS

It's in the second BC songbook, RUMOURS OF GLORY, available from
the Ottawa Folklore Center (POB 4061, Station E, Ottawa OT K1S 4G3).
Good stuff.
-- 
________________________________________________________________________________

"Omit needless words."                 Peter Klausler - pmk%moliere@uunet.uu.net
Newsgroups: rec.music.makers.guitar
From: kcornett@erc.cat.syr.edu (Kenneth Cornett)
Subject: Strobo-tuner
Originator: kcornett@erc.cat.syr.edu
Organization: Electronic Resource Center, Syracuse
Distribution: usa
Date: Fri, 11 Dec 92 07:45:01 EST

I've got an old Strobotuner in perfect condition.  Have these things become
collector's items yet?  Does it have any value other than just a tuner? 
Newsgroups: rec.music.makers.guitar
From: fredh@cv.hp.com (Fred Handloser)
Subject: Re: Fender 210
Organization: Hewlett-Packard Company, Corvallis, Oregon USA
X-Newsreader: Tin 1.1.3 PL5
Date: Fri, 11 Dec 1992 18:06:02 GMT

Mike Kuindersma (mkuinder@cape.UWaterloo.ca) wrote:
:   While shopping for a new guitar combo unit, my buddy and I stumbled across
: something called a Fender 210.  It's a tube amplifier combo with (you guessed
: it) two 10" speakers.  It has channel switching and (if I remember correctly)
: a quite nice reverb effect.

What is channel switching?  I've heard the term here a lot but
don't really know what it means.

Is this Fender 210 a new amp or some older not well known amp?

  --------------------------------------------------------------------
  Fred Handloser
  Corvallis, Oregon
  fredh@cv.hp.com   
Newsgroups: rec.music.makers.guitar,rec.music.makers.bass,rec.music.makers.guitar.tablature,rec.music.makers.percussion,rec.music.makers.synth,alt.guitar,alt.guitar.bass,alt.guitar.tab
From: dave@jato.jpl.nasa.gov (Dave Hayes)
Subject: Rec.music.synth will still be carried.
Reply-To: dave@elxr.Jpl.Nasa.Gov
Organization: Jet Propulsion Lab - Pasadena, CA
Date: Sat, 12 Dec 1992 01:47:36 GMT

In rec.music.makers.synth you write:
>rec.music.makers.synth (was rec.music.synth)
>Charter: "Synthesizers and computer music"  [UNCHANGED FROM PREVIOUS]
>	This is simply a renaming of an existing group, in order to bring
>	it together with the other musicians' groups.

We at this site (and a few others) will still carry rec.music.synth
regardless. 
-- 
Dave Hayes - Network & Communications Engineering - JPL / NASA - Pasadena CA
dave@elxr.jpl.nasa.gov       dave@jato.jpl.nasa.gov         ...usc!elroy!dxh

   If your own vice happens to be the search for virtue,
                                  recognize that it is so.
Newsgroups: rec.music.makers.guitar
From: gaf@anasazi.com (Guy Finney)
Subject: Re: Blues radio shows
Organization: Anasazi, Inc.  Phoenix, Arizona USA
Date: Wed, 16 Dec 1992 22:26:44 GMT

>In article <1992Dec14.153345.10925@ferrari.nmc.ed.ray.com> mongeau@ferrari.nmc.ed.ray.com (Mike Mongeau) writes:
>>I'm trying to put together a list of Blues radio shows across the country.
>>If you know of any Blues shows in your area, please email to me the
>>specifics and I will post the list at a later date.   Here is an example
>>of the format I am using:
>>
>>City             Station/Freq  Day/Time          Show
>>-------          ------------  ------------      ------------------

  Phoenix, AZ	    KJZZ 91.5	 Sunday 6-11 pm    "Those Lowdown Blues"
-- 
Guy Finney                                   "Ah, this is obviously some
Anasazi, Phoenix AZ                          new usage of the word 'safe'
gaf@anasazi.com  -or-                        I was previously unaware of".
...!asuvax!anasaz!gaf                            --- Arthur Dent
Newsgroups: rec.music.makers.guitar
From: healy@nosc.mil (Mike Healy)
Subject: Re: strat hard case question
Keywords: strat
Organization: Naval Ocean Systems Center, San Diego
Date: Fri, 18 Dec 1992 22:40:02 GMT

In article <1992Dec17.234927.23262@murdoch.acc.Virginia.EDU> jks2x@holmes.acc.Virginia.EDU (Jason K. Schechner) writes:
>In article <1992Dec17.180245.11939@nosc.mil> healy@nosc.mil (Mike Healy) writes:
>>When I had an Ibanez locking tremolo (Floyd Rose type) installed on
>>my 74 strat, the tech highly recommended taking the arm off when
>>putting it in the case. Fortunately, my arm just pulls out.
>				      ^^^^^^^^^^^^^^^^^^^^^
>	Isn't that horribly painfull?  ;-)

	Naw, but getting my arm back into its socket is a real bitch :-)

>
>-JK

Mike Healy

healy@nosc.mil
Organization: Stanford Linear Accelerator Center
Date: Friday, 11 Dec 1992 13:28:00 PST
From: <WAUGH@SLACVM.SLAC.STANFORD.EDU>
Newsgroups: rec.music.makers.guitar
Subject: Re: Heritage != subsidiary of Gibson
 <1992Dec10.201902.5200@noose.ecn.purdue.edu>
 <92345.164911WAUGH@SLACVM.SLAC.STANFORD.EDU> <51607@seismo.CSS.GOV>

In article <51607@seismo.CSS.GOV>, denio@seismo.CSS.GOV (Dennis O'Neill) says:
>
>In article <92345.164911WAUGH@SLACVM.SLAC.STANFORD.EDU
>WAUGH@SLACVM.SLAC.STANFORD.EDU writes:
>
>> ... I do believe that both Fender and Gibson took a major turn back to
>> quality instruments in the mid 80s and are now producing guitars and
>> amps that rival anything they ever made.  The American Standard Strats
>> and Teles of the 90s are fine instruments that will have a place in the
>> hearts of the next century's collectors.  The new Les Paul Customs and
>> Standards as well as Gibson's Heritage line are all guitars that have
>> the transcendent quality that marks instruments for all time. ...
>
>I agree about the quality of current Fender, Gibson, and Heritage
>guitars.  But I want to point out that Heritage is *not* a subsidiary
>of Gibson.  Heritage comprises former Gibson employees who work in the
>former Gibson factory in the former Gibson hometown of Kalamzoo,
>Michigan.  As I understand it, these folks bought the Gibson works
>after Gibson abandoned Michigan for Tennessee.  Certainly there is a
>genetic relation of sorts to Gibson, but I don't believe that there is
>any corporate relation.

I did not mean to infer that Gibson is in any way connected with Heritage
guitars.  Heritage is indeed a seperate company.  Gibson does however market
an upscale line of instruments called their "Heritage" line and has done so
since 1981.

This line began when Gibson manufactured very accurate copies of their late
50s "flops," the Flying V and Explorer.  The Flying V Heritage was introduced
in 1981 and the Explorer Heritage and Moderne Heritage followed in 1982. These
remakes of some of the most sought after Gibson solidbodies are themselves now
collectable.

Gibson continues to make Heritage models of many guitars, most recently their
high-end jazz guitars like the L-5 and Super 400.  Typically the guitars use
highly figured woods and employ the most labor intensive construction methods,
like the five piece neck (three maple pieces with two ebony stringers) I saw
on a new Gibson Super 400 Heritage.

Sorry for the confusion.

Brian
From: mcl@bfomcl.enet.dec.com (Mark C. Leffler)
Newsgroups: rec.music.makers.guitar
Subject: strat hard case question
Keywords: strat
Date: 17 Dec 92 15:06:11 GMT
Reply-To: mcl@bfomcl.enet.dec.com (Mark C. Leffler)
Organization: Digital Equipment Corporation

I just bought an American Standard Strat w/hard case (black plastic
w/Fender logo
molded on the front). It looks like this case is used for several
guitars (strat, P-bass, etc.)
from the contours inside.

The strat was shipped with the vibrato arm un-attached. When I put it
on, the case doesn't
seem to close properly. If I finagle it into certain positions, I think
it's closing without putting
pressure on the vibrato arm, but I'm not absolutely sure.

I'm not thrilled with taking it off & putting it on every time I put the
guitar in the case. And, 
the owners guide mentions something about a spring being in the hole for
the arm, and if you
dont leave the arm on, you should put a piece of tape over the hole so
the spring doesn't
fall out. Is this a mistake? I can't see why there would be a spring in
a threaded hole.

What does anybody else do in this situation?

Thanks,
Mark
From: barothwe@floyd.cca.cr.rockwell.com
Newsgroups: rec.music.makers.guitar
Subject: ==> +30db GAIN Circuit for Your Guitar: $25 <==
Date: 18 Dec 92 21:17:13 GMT
X-Received: by usenet.pa.dec.com; id AA09363; Fri, 18 Dec 92 13:17:36 -0800
X-Received: by inet-gw-2.pa.dec.com; id AA19324; Fri, 18 Dec 92 13:17:34 -0800
X-Received: by floyd.cca.cr.rockwell.com (5.57/Ultrix3.0-C)
	id AA01218; Fri, 18 Dec 92 15:17:14 -0600
X-To: rec.music.makers.guitar.usenet
X-Mts: smtp


I wanted to make anyone who is interested aware...

	A local service tech has come up with a really slick circuit
that will add 30 db of gain to your signal!

		o  +30db og PURE GAIN
		o  DOES NOT change your tone

	He builds a kit that is already pre-wired and ready to install in
your guitar. It replaces your existing potentiometer(s). It is an active
circuit that operates on a 9v battery. The pre-wired kit includes:

		o  Potentiometer
		o  Toggle switch (toggles the gain function in and out)
		o  9v battery connector

	The discrete parts other than the three just mentioned are siliconed
to the back of the pot and switch... real nice handiwork.

	He wants to sell the pre-wired kit, ready for you to install for just
$25.00 each (1 required for each pot or you can add this kit and use it as a
master).

	If anyone is interested, email me directly and I'll be glad to put pass
along the particulars.

Later.

===============================================================================
  Bruce Rothwell                            \ /~~~~~~\     Opinions expressed
  barothwe@floyd.cca.cr.rockwell.com         X        )    are mine, but they
  Rockwell Int'l - CCA                      / \______/     might be shared by 
  Cedar Rapids, IA 	                                        multitudes !!
===============================================================================
Newsgroups: rec.music.makers.guitar
From: mbernar@erenj.com (Marcelino Bernardo)
Subject: Looking for pickup for Gibson L6-S + shielding question
Followup-To: rec.music.makers.guitar
Organization: Exxon Research & Engineering, Co.
Date: Tue, 15 Dec 1992 23:29:14 GMT

My Gibson L6-S had a DiMarzio in the bridge position when I bought it.  I
would like to install an original or equivalent pickup.  According to the
Guitar Player Book, it uses superhumbuckers designed by Bill Lawrence.  I
was told by a dealer that Seymor Duncan makes a number of models that
should fit.  I would appreciate hearing any recommendations others have to
offer.

Side question:  I read in the same book that it is unsafe to shield a
guitar by grounding the strings.  I checked my Gibson and found that it the
string is indeed grounded through the bridge.  I intend to correct this and
would appreciate any suggestions.  I intend to shield the pickup wires (not
currently shielded) and add more shielding in the electronics.  Would this
be enough?

Thanks.

Marcelino Bernardo
mbernar@erenj.com
Newsgroups: rec.music.makers.guitar
From: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Subject: Re: Fender 210
Originator: npstewar@c00723-239rd.eos.ncsu.edu
Reply-To: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Organization: North Carolina State University, Project Eos
Date: Mon, 14 Dec 1992 00:14:37 GMT


Fender has made several amps over the years available in different speaker
configurations.  I can't think of a 210 right now, but I'd be suprised if they
didn't have one.  I really don't think this is old though.  First, channel
switching is a fairly recent thing - on the time scale we use in Fenderology.
Second, old multichannel Fenders usually had two clean channels.  Third, I've 
never heard of a model called 'the 210.'  the name sounds pretty recent, along
the current 'The XXX' (Insert vintagish Fender term here) line of amps that
don't really sound much like the originals, nor were ever intended too.  A twin
with a shred channel indeed! (Not to say that it's not useful, but I'm still
miffed over somebody selling a 'Blackface Fender Twin' that was really a new
'The Twin' amp. In addition, they wanted more than they should have payed in the
first place for it.)

npstewar@eos.ncsu.edu
Nathan Stewart

See y'all after Christmas break!
From: david@cats.ucsc.edu (David Wright)
Newsgroups: rec.music.makers.guitar
Subject: Re: scales
Date: 12 Dec 1992 03:32:36 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: si.ucsc.edu


In article <1fong3INN2lj@MINERVA.CIS.YALE.EDU> shaffer-wendy@yale.edu (Wendy Shaffer) writes:
|Regarding the program GUITARRE, is there any version available that runs
|on a Macintosh?  Can anyone tell me where to find an ADA interpreter for 
|the Mac, or if one exists at all?
|
|-Wendy (shaffer@minerva.cis.yale.edu)

Before GUITARE, I used Excel to do scales and notes. It is not to hard
to use. Just copy, say, the first octave of the Sixth string to all the other 
positions on the the neck. This can be done using Octaves from the
Sixth to the fourth etc...Then, all you need is the 7 notes of the
scale, and it is all mapped out like a guitar neck. I have found that
you can pick up scales most anyplace that are written for the Piano.
These have the notes of the scale.

-- 
"There is nothing in the marginal conditions that     
    distinguish a mountain from a mole hill"            
                      Kenneth Boulding                             

					All comments  are mine---(David Wright) 
						david@cats.ucsc.edu.
Newsgroups: rec.music.makers.guitar
From: dhardma@hfglobe.intel.com (Dave Hardman)
Subject: Flamenco Guitar
Organization: Intel Corporation
Date: Wed, 16 Dec 1992 01:15:40 GMT

This is being posted by a friend:



I am looking for a Flamenco Guitar instructor
in the Bay Area or Sacramento (preferred).

Please respond to: aammari@pcocd2.intel.com

thanks
ali
Newsgroups: rec.music.makers.guitar
From: roger@nrc.com (Roger Goeb)
Subject: Re: Heritage != subsidiary of Gibson
Organization: Network Research Corporation
Date: 14 Dec 92 16:55:18 GMT

<WAUGH@SLACVM.SLAC.STANFORD.EDU> writes:

>In article <51607@seismo.CSS.GOV>, denio@seismo.CSS.GOV (Dennis O'Neill) says:
>>
>>In article <92345.164911WAUGH@SLACVM.SLAC.STANFORD.EDU
>>WAUGH@SLACVM.SLAC.STANFORD.EDU writes:
>>
>>> ... I do believe that both Fender and Gibson took a major turn back to
>>> quality instruments in the mid 80s and are now producing guitars and
>>> amps that rival anything they ever made.  The American Standard Strats
>>> and Teles of the 90s are fine instruments that will have a place in the
>>> hearts of the next century's collectors.  The new Les Paul Customs and
>>> Standards as well as Gibson's Heritage line are all guitars that have
>>> the transcendent quality that marks instruments for all time. ...
>>
>>I agree about the quality of current Fender, Gibson, and Heritage
>>guitars.  But I want to point out that Heritage is *not* a subsidiary
>>of Gibson.  Heritage comprises former Gibson employees who work in the
>>former Gibson factory in the former Gibson hometown of Kalamzoo,
>>Michigan.  As I understand it, these folks bought the Gibson works
>>after Gibson abandoned Michigan for Tennessee.  Certainly there is a
>>genetic relation of sorts to Gibson, but I don't believe that there is
>>any corporate relation.

>I did not mean to infer that Gibson is in any way connected with Heritage
>guitars.  Heritage is indeed a seperate company.  Gibson does however market
>an upscale line of instruments called their "Heritage" line and has done so
>since 1981.

I think Gibson now uses the designation "Historic Collection", probably
because of this confusion.  I almost got punched out at a concert by
pointing this out to someone...

-- 

Roger H. Goeb.				
Network Research Corp.
roger@NRC.COM
From: archer@elysium.esd.sgi.com (Archer Sully)
Newsgroups: rec.music.makers.guitar
Subject: Re: Need advice: microphone setup
Date: 18 Dec 92 19:59:43 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

In <lj24ubINN2ud@saltillo.cs.utexas.edu> borst@cs.utexas.edu (Christoph W. Borst) writes:

*I am about to buy myself a microphone and stand, and need opinions
*about what microphone will be best, and where it is cheapest.  I
*will be doing mostly guitar recording, with perhaps a small amount
*of vocals.  I need a stand to hold it in place, but don't need 
*anything fancy.  I already have cords/transformers/etc.  So far,
*my friends have recommended that I get a Sure Sm57 and the cheapest
*stand I can find.  I seek more advice about which mike o buy and
*about which distributor sells it least expensively . . .

If you are just doing demos, and also want to use the mic live, there's
probably nother seriously wrong with using a 57, if its all you can afford.
You might also want to look into the AKG Tri-Power series, which has gotten
rave reviews, and  aren't prohibitively expensive (US$200-350 list).

-- archer
Newsgroups: rec.music.makers.guitar
From: mgstrand@iastate.edu ()
Subject: Sperzel Locking Tuners
Summary: Question abt. locking tuners.
Organization: Iowa State University, Ames IA
Date: Fri, 11 Dec 1992 23:46:17 GMT

Maybe I've missed the obvious, but I don't understand how locking tuners
help to keep a guitar in tune. The purpose of a locking nut is to lock
the string right next to the nut, to prevent the strings from slipping
through the nut during tremelo action. But what do the tuners have to
do with this? Why would locking tuners prevent the string from sliding
through the nut and causing tuning problems?

Any opinions, and especially personal experiences, are welcome.
-- 
-------------------------------------------------------------------------------
Mark Strand  | mgstrand@iastate.edu
-------------------------------------------------------------------------------
Newsgroups: rec.music.makers.guitar
From: mbernar@erenj.com (Marcelino Bernardo)
Subject: Re: Looking for pickup for Gibson L6-S + shielding question
Followup-To: rec.music.makers.guitar
Organization: Exxon Research & Engineering, Co.
Date: Thu, 17 Dec 1992 00:59:06 GMT

In article <92350.170613WAUGH@SLACVM.SLAC.STANFORD.EDU>,
<WAUGH@SLACVM.SLAC.STANFORD.EDU> wrote:
> 
> In article <mbernar-151292182540@macnet2_03.erenj.com>, mbernar@erenj.com
> (Marcelino Bernardo) says:
> >
> >My Gibson L6-S had a DiMarzio in the bridge position when I bought it.  I
> >would like to install an original or equivalent pickup.  According to the
> >Guitar Player Book, it uses superhumbuckers designed by Bill Lawrence.  I
> >was told by a dealer that Seymor Duncan makes a number of models that
> >should fit.  I would appreciate hearing any recommendations others have to
> >offer.
> 
> When I bought the L-6S I have since sold it had Duncans in both bridge and
> neck positions.  The bridge pickup was a JB (Jeff Beck) and the neck a
> '59 Neck.  The original SuperHumbuckers are standard sized dual coils so
> anything should fit.  The stock pickups were potted units with no visible
> pole pieces.  I put them back in the guitar when I sold it.
> 
> Brian


Thanks for the reply.  How does the Duncans sound compared to the
originals?  Would it be ok if I stay with the original SuperHumbucker in
the neck position and use a Duncan in the bridge? I'm thinking about
matching impedance when using the middle positions of the 6-position
switch.

Marcelino Bernardo
mbernar@erenj.com