HDTenEightyP/NetNews huggingface dataset:
From: tgerman@vax.muskingum.edu
Newsgroups: rec.music.makers.guitar,alt.rock-n-roll.metal.gnr
Subject: Re: Sounding Like Slash
Date: 17 Nov 92 23:05:37 GMT
Organization: Muskingum College

In article <1992Nov15.182307.26077@noose.ecn.purdue.edu>, kls@thebe.ecn.purdue.edu (Kerry L Sylvester) writes:
> In article <1992Nov10.154756.21791@lmt.mn.org> alexa@county.lmt.mn.org (Alex Alexander) writes:
>>A while back, someone posted on alt.rock-n-roll.metal.gnr a response to
>>a question about how to sound like Guns N' Roses' Slash when you play the
>>guitar.
>>
>>A fairly knowledgeable guitar player answered that you need a Gibson Les
>>Paul blasting through a huge Marshall stack and play using only the
>>pentatonic blues scale (or something like that).
>>
>>Not being a guitar player, this sounds forumlaic to me. Is it really that
>>easy to sound like Slash? Mind you, I don't think Slash is the best guitar
>>player in the world or anything. I just *really* like his style.
>>
>>People like Vai and Van Halen and Malmsteen and Satriani make me say: "WOW!"
>>
>>But Slash kinda melts me in the same way that Santana does. Any knowledgable
>>guitar players or music theorists out there care to try to explain this to a
>>non-music reading, scale brain dead drummer?
> 
> It's not that difficult to attain the sound he has...granted a REAL Les Paul
> and a Centennial Marshall stack are the best way to achieve this but the
> biggest thing you need to do is tune down your guitar a half step (assuming
> standard E tuning...All of the songs on UYI I & II are played this way on
> all guitar parts.  He's not real big on effects...a wah here and there,
> a Boss EQ pedal, and maybe a flanger.  Otherwise, not much.
> 
> Just a non-music reading, mediocre guitarist.
> 
> Kerry L. Sylvester
>>
>>
>>_________________________________________________________________________
>>Alex Alexander           |    The thoughts expressed here are my own, 
>>LaserMaster R&D          |    and in no way reflect those of my company
>>7156 Shady Oak Rd.      G|R   (which would no doubt disavow everything
>>Minneapolis, MN 55344    N'   I have ever said on the net or in person).
>>(612) 943-9314          G|R   ------------------------------------------
>>---------------------    |   "Your only validation is in living your
>>alexa@county.lmt.mn.org  |      own life; vicarious existence is a
>>CIS -- 71005,506         |       fucking waste of time." -- Axl Rose
>>-------------------------------------------------------------------------
> 
> 
I read somewhere a while back that Slash doesn't rely on a huge Marshall Stack  
at all (at least not on "Appetite")  He gets his tone from 200w amp, I believe.
As far as the notes he cranks out, he has a love for improvisation and uses
genuine emotions when playing music, which leads to some very expressive stuff. 
The whole band is very honest and committed to their music, which also helps. 
If you want to get a good idea of Slash's philosophy, get a hold of the
magazine "Guitar for the Practicing Musician" November '92 (I think)
Newsgroups: rec.music.makers.guitar,rec.music.makers.bass
From: rost@tecrus.dec.com (My name is Brian Rost)
Subject: Re: Clicking [was Speaker Simulator Boxes for Recording]
Organization: Digital Equipment Corporation
Date: 20 NOV 92 10:30:10    


>>I have this problem a lot and haven't found an adequate solution.  The
>>click, as far as I can tell, is caused by the string hitting the first fret
>>(the one next to the one you are playing).  The obvious solution is to have
>>the action (string height at saddle and neck relief) adjusted FOR HIS
>>PLAYING STYLE.  Next is to try to find the click "frequency" and EQ it out.
> 

I find that these noises usually get buried in the mix and are only a problem
when the bass is exposed (i.e. other instruments not present).

Another source of clicking noises is that some basses tend to make small
electric "pops" when a metal part (like a string) is touched if you are not
touching any other metal part.  For instance, when you play an open string and
then fret a note.  This noise can be avoided by always keeping in contact with
a metal piece (i.e. resting a finger on a non-vibrating string) or using a
grounding strap.

					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: rec.music.makers.guitar
From: ray@eecs.nwu.edu (Jim Ray)
Subject: Re: On tubes vs. transistors; a few misconceptions revealed
Organization: EECS Department, Northwestern University
Date: Sun, 22 Nov 1992 04:40:45 GMT

In article <114240001@hpfcso.FC.HP.COM> khe@hpfcso.FC.HP.COM (Keith Erskine) writes:
>In a recent copy (~11/1) of Electronic Engineering Times, there is a
>fascinating article "Chip sounds like an old Fender".  It describes
>the Tube Emulator by Eric Pritchard of Berkeley Springs, W. Va.

Has anyone done emulation of tubes in the digital domain?  Any sample
code out there that runs on a 56001?

*****************************************************************
*                                                               *
* Jim Ray                                      ray@eecs.nwu.edu *
*                                                               *
* If the thunder don't get you, then the lightning will. jg     *
*                                                               *
*****************************************************************
Newsgroups: rec.music.makers.guitar,alt.rock-n-roll.metal.gnr
From: kls@thebe.ecn.purdue.edu (Kerry L Sylvester)
Subject: Re: Sounding Like Slash
Organization: Purdue University Engineering Computer Network
Date: Sun, 15 Nov 1992 18:23:07 GMT

In article <1992Nov10.154756.21791@lmt.mn.org> alexa@county.lmt.mn.org (Alex Alexander) writes:
>A while back, someone posted on alt.rock-n-roll.metal.gnr a response to
>a question about how to sound like Guns N' Roses' Slash when you play the
>guitar.
>
>A fairly knowledgeable guitar player answered that you need a Gibson Les
>Paul blasting through a huge Marshall stack and play using only the
>pentatonic blues scale (or something like that).
>
>Not being a guitar player, this sounds forumlaic to me. Is it really that
>easy to sound like Slash? Mind you, I don't think Slash is the best guitar
>player in the world or anything. I just *really* like his style.
>
>People like Vai and Van Halen and Malmsteen and Satriani make me say: "WOW!"
>
>But Slash kinda melts me in the same way that Santana does. Any knowledgable
>guitar players or music theorists out there care to try to explain this to a
>non-music reading, scale brain dead drummer?

It's not that difficult to attain the sound he has...granted a REAL Les Paul
and a Centennial Marshall stack are the best way to achieve this but the
biggest thing you need to do is tune down your guitar a half step (assuming
standard E tuning...All of the songs on UYI I & II are played this way on
all guitar parts.  He's not real big on effects...a wah here and there,
a Boss EQ pedal, and maybe a flanger.  Otherwise, not much.

Just a non-music reading, mediocre guitarist.

Kerry L. Sylvester
>
>
>_________________________________________________________________________
>Alex Alexander           |    The thoughts expressed here are my own, 
>LaserMaster R&D          |    and in no way reflect those of my company
>7156 Shady Oak Rd.      G|R   (which would no doubt disavow everything
>Minneapolis, MN 55344    N'   I have ever said on the net or in person).
>(612) 943-9314          G|R   ------------------------------------------
>---------------------    |   "Your only validation is in living your
>alexa@county.lmt.mn.org  |      own life; vicarious existence is a
>CIS -- 71005,506         |       fucking waste of time." -- Axl Rose
>-------------------------------------------------------------------------
From: inde7lo@jetson.uh.edu (BOB ABRAHAM)
Newsgroups: rec.music.makers.guitar
Subject: Steve Vai interview
Date: 19 Nov 1992 23:54 CST
Organization: University of Houston
Distribution: world
NNTP-Posting-Host: rosie.uh.edu
News-Software: VAX/VMS VNEWS 1.41    

I unfortunately missed the recent ROCKLINE interview with Steve Vai.  Did
they play any new material from Steve?  Did he play anything "unplugged"
during the interview?  If anyone made a recording of this interview, I
would certainly appreciate someone mailing me a copy if it's not blatant
copyright infringement.  I will pay for p/h and the cost of the cassette.
If anyone can help me, you can let me know by personal email.

Thanks
Bob
INDE7LO@JETSON.UH.EDU
From: dxk21@po.cwru.edu (Dave K.)
Newsgroups: rec.music.makers.guitar
Subject: Your advice...
Date: Mon, 16 Nov 1992 05:22:15 GMT
Organization: Case
NNTP-Posting-Host: b63535.student.cwru.edu



   Suppose a person who is a fan of rock n roll/heavy metal came up
to you and said that they just bought a new electric guitar and amp.
What would be you advice for this person in terms of what to work on/play
first?

dk

Newsgroups: rec.music.makers.guitar
From: templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon)
Subject: Tremolo Setups: an analysis
Summary: trem strat springs
Keywords: trem strat springs
Organization: NIKHEFK
Date: Thu, 19 Nov 1992 17:22:40 GMT



There was some discussion a week ago about tremolo setups.
This ended in a discussion about what the difference
was between changing string gauges, tightening the trem
screws (accessible on a Strat from behind the guitar),
or adding more trem springs (also accessible from behind).

I did a short analysis of the problem.  My assumptions
were

	1) you want the trem in a certain position relative to
		the guitar body ("setup position")
	2) Hooke's law holds, i.e. pull of spring is proportional
		to how much it is stretched ( F = -k*x )
	3) you are using a certain gauge of strings

I'll not write the details, but ... in this situation, the
difference between adjusting the number of springs vs.
adjusting the screws is that the fewer springs you have,
(and thus the more you've cranked on the trem screws)
the "spongier" your trem action will be.  That is, it will
take less force for you to change the pitch of the strings
by a given amount.  This goes for both ways, either raising
or lowering the pitch!  It is easy to see why this works
with lowering the pitch (then you pull against the spring),
but I was surprised about getting the same answer when
raising the pitch.

A related effect is that if you choose the few-spring option,
then your guitar will be more apt to go out of tune when
you bend notes.  I don't mean "lose tune" so that you must
retune, I mean that if you play one open note and bend another
at the same time, the open note will go out of tune because
you've moved the bridge by increasing string tension with
your bend.

The effect of the string gauge, as someone noted, is to
increase the string tension; thus if you have your
trem setup and you put on heavier strings, you'll either
have to tighten the trem screws or add more springs to
keep your same trem setup position.

A final note: the number of springs may affect your guitar's
tone!  You are changing the way that the string vibrations
are transmitted to the wood of the body when you add
or remove springs.  A professional player told me once
that's why he doesn't use a non-tremolo strat, even though
he hardly ever touches the tremolo bar ... "you've got
this hollowed-out area in the wood with all this metal
in it ... that's why a Stratocaster sounds like it does."

Hope you enjoyed this, it was fun to work out.
I'll add a more concise version to the StratoFAQ.

					JT

p.s. one thing i don't know (which might help make the
analysis more informative) is how a _guitar string_
changes its tension when the length is changed --
i.e. if the tension is nine lbs (yes I know that's
not really a tension, but you see it written on
the string packages...) at "hands-off-trem", what
happens to the tension if I pull back on the
whammy bar enough to increase the string length by
1 mm?  Or decrease??  Anybody know?
From: wfsq_ltd@uhura.cc.rochester.edu (Billy the Kidd)
Newsgroups: rec.music.makers.guitar
Subject: Re: Replacing pickups.
Date: 16 Nov 92 23:20:16 GMT
Organization: University of Rochester - Rochester, New York

In <jgllgher.721932708@unix1.tcd.ie> jgllgher@unix1.tcd.ie (Dara Gallagher) writes:

>At the moment I'm overhaulding my cheapish Hohner strat copy
>( I added shielding to the cavity and replaced the 5 position
>switch as well as adjusting the trussrod, intonation and 
>action ) and I've started thinking about replacing the 
>single coil neck pickup that came with it with something
>better. I love the sound of the neck pickup as it is, but
>it can be noisy so I was thinking of getting something a
>less noisy. The one thing that worries me is losing the
>rounded, and at the same time bright, sound that I get at
>the moment with the single coil.
>	Could anyone recommend good single coil pickups?
>Alternatively has anyone replaced the neck pickup on their
>strat with a humbucker? If so could you describe the change
>in the sound ? Are there any books on these sort of guitar
>issues or books on guitar repair/electrics that anyone would
>recommend ?

>Thanks in advance.
>Dara.

	I can definately suggest one of the hottest lines of single-coil
pickups available today ....  SEYMOUR DUNCAN rails.  The 'Hot Rails'
especially is one of my favorites, especially for a beefy humbucker sound
with that warm single-coil tone.  Also, they have a 'Cool Rails' which is
somewhat thinner, but along the same lines.

			Billy Kidd
From: kimple@vax.muskingum.edu
Newsgroups: rec.music.makers.guitar
Subject: Re: Question about recording a guitar track...
Date: 20 Nov 92 18:46:00 GMT
Organization: Muskingum College

In article <1992Nov18.220541.4969@nntpd2.cxo.dec.com>, g_house@goes11.enet.dec.com (Greg House) writes:
> 
> I think a big part of being able to get a good guitar sound on tape directly
> from a preamp is using some sort of speaker simulator.  I know someone that
> records all his stuff direct using Soldano and ENGL using a speaker 
> simulator (sorry, I've forgotten the brand) and it sounds excellent.
> 
> You might try something like an H&K Red Box, which is a line or speaker level
> direct box that has speaker emulation.  I've heard nothing but good things 
> about them from a lot of different people.
> 
> Greg


I'll have to second the RedBox statement. I've been getting fantastic results
using the direct out (with Amp/Cabinet/Mic circuitry) on my ART POWERPLANT.
It's so much easier than micing up my amp - the amp has to be fairly loud,
in order to avoid weird phase-cancellations on some cabinets. And Mic 
placement takes a long time. So  my ART makes me real happy

And for those sceptical of it, I can send ya a tape. Fair 'nuff?

jd
Newsgroups: rec.music.makers.guitar,alt.guitar
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: Poor Man's Studio: What to do?
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Wed, 18 Nov 92 17:43:55 GMT

In article <1992Nov18.125134.1026@cis.ohio-state.edu>, chhabra@pike.cis.ohio-state.edu (Tall Cool One) writes:
|> THE SITUATION:
|> Ok, here's the deal... I need to record some songs(Acoustic) for someone I
|> know.. I have a SONY dual cassette recorder with a jack for a mic. What I
|> have done is record the guitar part(since its an acoustic-electric, I simply
|> plug it into my sony. Once I have the guitar part on tape I put that tape
|> on the play side and put a blank on the record side. I have this cheap
|> 5-10$ microphone from radio shack which I plug into the the jack. I wear a set
|> of headphones to listen to my guitar part and I sing on my cues and record
|> using the tape-to-tape dubbing switch which all dual-decks have... What I get
|> is a quality recording of my guitar and my voice on the blank.
|> 
|> THE PROBLEM: 
|> The guitar part is crisp and clear. But I have to almost yell in
|> the microphone to raise my voice over the guitar. This doesn't sound too good
|> because I'm not no heavy metal singer or anything and with the acoustic I want
|> to sing more lightly and to be heard. You think buying a better microphone
|> ($50-$75) would inrease the amplitude of the vocals?? Any other suggestions??
|> Need help....
|> 
|> -Asshole


You could try getting better equipment ! :-)
See if you can beg, borrow, or rent a 4-track portastudio. Then you
can record the parts on seperate tracks and adjust the levels.

With your existing setup, you could try lowering the recording level
of the guitar tracks.
|> 
Newsgroups: rec.music.makers.guitar
From: META000 <META@UNB.CA>
Subject: Re: On tubes vs. transistors; a few misconceptions revealed
Organization: The University of New Brunswick
Date: Thu, 19 Nov 1992 16:13:47 GMT

There have been several comments regarding reliability of tube amps.
I'd like to clarify something.  I've stated that, in real world
circumstances, tubes are not necessarily that much less reliable
than solid state devices.  Several people have commented on the
inherent possibility to electrical failure of tubes due to
mechanical problems (shaking the stuff inside the bottle).

I suspect I'm a bit older than most users on this line, so I'll give
a bit of social history to clarify and qualify my position.

If you owned a TV in 1965, chances are you took a trip to the drug
store about once a month to replace, or check, a faulty TV tube.
Tube based TV's were THAT BAD that your run of the mill corner
pharmacy usually had a tube checker and stock of tubes on the
premises.  And when one considers that these are the same pharmacies
that probably didn't even sell lightbulbs or extension cords, I
think this says a great deal aboutthe common experience of tube-base
TV owners.  When one considers that these tube-behemoths just sat in
the corner, with no one jiggling them, or tossing them into a van,
and they STILL broke down with great regularity, it's no wonder that
there is a strong association between tubes and unreliability.  When
solid-state TV's first starting arriving on the scene, the
difference in dependability was remarkable.  So much so, that
solid-state became synonymous with quality ineveryone's mind.

Although I have treated my amps with respect, their mistreatment far
exceeds what the average tv received, and they have managed to work
flawlessly over the years.  Yes, it is probably true that the
potential for failure is greater in tube designs, but short of
serious abuse, I suspect that many of us can go for VERY long stretches
of time without the need for repair or maintenance of tube amps.
Indeed, there is probably more to worry about with regard to lousy
jacks, blown speakers, noisy controls, and loose switches, than
there is to worry about things pertinentto tube-based designs.

Let me put it another way.  If your tube amp "broke down" once every
6-8 years, and your transistor amp broke down every 9-10 years,
would that measurable difference in reliability make a real
difference to you in terms of repair costs, inconvenience, and fear
of failure?  Is it more inconvenient than the maintenance required
for your guitar? or your effects?
Nuff said.  Mark Hammer
From: kevin@sherman.pas.rochester.edu (kevin mcfadden)
Newsgroups: rec.music.makers.guitar
Subject: Bela Fleck and the Flecktones
Date: 18 Nov 92 18:55:14 GMT
Distribution: usa
Organization: University of Rochester

Well, Bela Fleck is out touring after releasing his third album under
the Warner Bros. label, UFO TOFU.  If you have to see one concert
all year, this is the one.  The talent level here way above anything
I have encountered.  They played for 2.5 hours straight and the
tickets only cost 13 bucks!!!!!  At the end Bela walked out into the
crowd playing his banjo and was standing just 6 feet from me.  It
was an incredible experience.  The bassist, Victor Lamonte Wooten,
displayed more skill on the bass than any other player I have seen.
Maybe it was just shock value but it was amazing!!!  Future Man,
who knows what his real name is, plays percussion on a synthaxe.  It
is basically shaped like a guitar but has a whole bunch of pressure
sensitive buttons on it.  Like he says "It's a drum!".  Howard Levy
did an equally amazing job on harmonica and the other wind instruments
he played as well as on keyboards.

Once again, go see Bela Fleck and the Flecktones.

Promo mode off,

Kev
From: wfsq_ltd@uhura.cc.rochester.edu (Billy the Kidd)
Newsgroups: rec.music.makers.guitar
Subject: Re: Which Fender?
Date: 16 Nov 92 03:18:26 GMT
Organization: University of Rochester - Rochester, New York

In <1e6l1pINN9f0@golem.wcc.govt.nz> watson_mj@med.wcc.govt.nz writes:

>I considering buying a new elecric guitar to replace my existing one, 
>I can't afford an origanal strat, so I'm looking to buy either a 
>japanese or mexican, version. I played a mex in a shop, and was impressed, 
>but I haven't had an opportunity to try a japanese strat, yet...

>Basically, I'd like to know your opinions of these guitars, and what some
>of the differences between them are(if any)...

>My friend reckons that the problem with mex. strats is there often quite
>a variation in playing quality between individual guitars, ie the
>quality is inconsistent... 

>Any opinions whould be appreciated...

>Thx in advance,
>Matt

	I have been shopping for a new guitar for quite some time now, and 
in the process have tried MANY Fenders.  Specifically, The American Standard
guitar and the new Classic Floyd.  In both of these cases, I hnever even 
considered buying the Japanese versions of these guitars, for the simple reason
that they suck!  

	The New 'Fender Floyd Rose Classic Strat' isn't all it's cracked up to
be first of all, but the Japanese version is such a production-line piece
of junk, that I definately urge you to 1. Try the originals 2.  buy Amercican.
The difference in price is definately not worth the lack of quality, unless
you're a beginner.  

	Personally, I think the best way to go, is to go to a store with a 
good selection of guitars, and play all of them!  Then, without even plugging
them in, decide which neck you like best, which body, etc.  Then, run them 
through a rig similar to your own, and decide which pickups sound best.  

	The only way you will be completely satisfied with ANY guitar is if it 
is either customized, or you are willing to make a few sacrifices (but hopefully
not in money).  I chose to buy an American Standard, because of the PHENOMENAL
neck on the thing, and in addition, you are buying the REAL Fender quality.
I then routed it for DiMarzio's and an original Floyd System.

	In fact, your friend is right.  However, occasionally you can get a
decent 'production-line imitation.'  So don't rule it out until you play it
a lot.

-- 
/--------------------------------------------------------------------------\
|  \  /                                                              \  /  |
|  /  \               From the Desk of Billy the Kidd                /  \  |
|   /\                                                                /\   |