HDTenEightyP/NetNews huggingface dataset:
From: fredh@cv.hp.com (Fred Handloser)
Subject: Re: Fender tweed fabric?
Organization: Hewlett-Packard Company, Corvallis, Oregon USA
X-Newsreader: Tin 1.1.3 PL5
Date: Wed, 11 Nov 1992 00:44:57 GMT

Larry Huntley (larryh@cabezon.uucp) wrote:
:     Anybody know where to get tweed fabric like that used on the old
:     and re-issue amplifiers? 
--
I would like to locate a supplier that handles all the 
accessories for making speaker cabinets such as grille cloth
or metal grill covers,  corners, handles etc.   I've been told
that the material used on a lot of older amps and cabinets 
is called toulex.  Is this the right spelling of this material.
Has anybody used a particular supplier for building speaker
cabiniets?

  --------------------------------------------------------------------
  Fred Handloser
  Corvallis, Oregon
  fredh@cv.hp.com
From: pwai (Patrick Wai)
Newsgroups: alt.guitar
Subject: Passac Schematic
Date: 11 Nov 92 21:12:20 GMT
Followup-To: alt.guitar
Organization: Adobe Systems Inc.

Howdy:

My roommate recently bought a Passac pre-amp for his Martin Jumbo.  The
thing works like a charm.  

The only "problem" is that the manufacturer has gone out of business.  I
took the pre-amp apart and noticed how simple the circuitry is so I figured
I could probably rig one up myself.

Was wondering if anyone out there has the schematic to such a device.

Thanks.



Patrick
From: neal@cmptrc.lonestar.org (Neal Howard)
Newsgroups: alt.guitar
Subject: Re: Tube Emulator
Date: 11 Nov 92 17:50:09 GMT
Distribution: alt.guitar
Organization: CompuTrac Inc., Richardson TX

In article <BxIMnr.AvB@cup.hp.com> balon@cup.hp.com (Tom Balon) writes:
>	Perhaps op-amps from long ago had problems with slew rate, BUT
>	new op-amps are much faster. The AD827 I have in my CD player for
>	example has a 300V/us slew with a 120 ns Settling time bandwidth
>	is 50MHZ. If that ain't fast enough for ya, how about a AD9610 
>	high-speed op-amp, it has a 3500V/us slew ! 
>
Cool, I had no idea such fast op amps existed.

>	Personally I don't care about trying to build a solid-state device
>	that's "Just as good as a 12AX7", I'd prefer to just use a 12AX7.

  Ditto on the tube. For guitar amps, nothing else will satify me either,
  except for when I don't want to lug around my pair of modified Acoustic
  G-100T-112's (I'll use a 20 watt Marshall "Lead 20" solid state practice amp)
  or if I specifically need a solid state amp sound for a particular song.

  BTW, any other fans of the Acoustic tube amps from the early '80's out there?
  I know they're oddball amps, but they can be made to produce quite a wide
  variety of killer clean and dirty tones. Some even had a switchable clean    
  channel's front end preamp that you could select between tube and FET.
-- 
=============================================================================
Neal Howard   '91 XLH-1200      DoD #686      CompuTrac, Inc (Richardson, TX)
         "Let us learn to dream, gentlemen, and then perhaps
          we shall learn the truth." -- August Kekule' (1890)
=============================================================================
Newsgroups: alt.guitar
From: lka@cs.bham.ac.uk (Leonard Aye)
Subject: Wanted: Amplication with respect to room size + other things
Reply-To: L.Aye@cs.bham.ac.uk
Organization: School of Computer Science, Birmingham University, U.K.
Date: Fri, 6 Nov 1992 12:12:23 GMT


Howdy folks

I'll be doing a gig in London this coming Christmas for a cultural
evening and would like to know how much amplication will be needed.

The actual dimensions of the hall is not sure, but I was told that the
hall can hold about 400 people standing, or about 250-300 seated.

So how much power (i.e. watts) would I need to use so that the people
at the back of the hall can hear the music, at the same time without
blasting the ears of the people at the front who are sitting near the
speakers.

Thanks in advance.

Len Aye
 
-- 
----------------------------------------------------------------------------
Leonard Kyaw Soe Aung Aye
School of Computer Science, The University of Birmingham, Edgbaston,
Birmingham, West Midlands B15 2TT, England, UK. Tel: +44 21-414-3705
From: exubrst@exu.ericsson.se (Brad Steele)
Newsgroups: alt.guitar
Subject: Fender LaBrea
Date: 9 Nov 92 21:20:55 GMT
Reply-To: exubrst@exu.ericsson.se
Organization: Ericsson Network Systems, Inc.
X-Disclaimer: This article was posted by a user at Ericsson.
              Any opinions expressed are strictly those of the
              user and not necessarily those of Ericsson.

I just picked one of these up and I'm interested if anyone
else out in netland uses one.  What do you think of it?

Brad
From: dhi00@ccc.amdahl.com (mofo )
Newsgroups: alt.guitar
Subject: re: van halen's variac
Date: 9 Nov 92 22:12:02 GMT
Reply-To: dhi00@juts.ccc.amdahl.com (mofo )
Distribution: na
Organization: Amdahl Corporation, Sunnyvale CA

my dim recollections of the article are that eddie's variac was variable
between 0% and something like 150% of line voltage.  i dont know what the
typical variac range is but i'm sure something along these lines can be
purchased at an electrical supply house.  although lowering the input
voltage makes some sense in terms of an expectation of more clipping,
i got the impression eddie increased the voltage in order to get a "hotter"
sound, whatever that means.  

d
Newsgroups: alt.guitar
From: scott@festival.ed.ac.uk (Scott Larnach)
Newsgroups: alt.guitar,rec.music.misc
Subject: Re: Steely Dan questions
Date: 5 Nov 92 13:21:21 GMT

gompertz@sdd.hp.com (Ron Gompertz) writes:

>The great solos on the first couple of albums are by Jeff "Skunk" Baxter.

>Check out the licks on "My Old School"  (on Pretzel Logic, I think).

It's on "Countdown to Ecstasy". Other great solos from that album are
on "Boddhisatva" (sp?) and "The Boston Rag".

The music speaks for itself, but I wish I understood what most Steely
Dan song lyrics are actually talking about! I suspect living 3000
miles away might have something to do with that... though I did manage
to figure out that "Kid Charlemagne" is about Ken Kesey. I think.

S
Newsgroups: alt.guitar,rec.music.makers
From: sihd_ss@uhura.cc.rochester.edu (Dan Shimmyo)
Subject: Sale:Carvin DC200,Peavey Stereo Chorus.
Organization: University of Rochester - Rochester, New York
Date: Thu, 5 Nov 92 22:12:30 GMT

My Roommate is selling his Carvin DC200 guitar for $630.
Worth $850 new.            ====== =====
It's Pearl White with Mother of pearl block inlays,Kahler Tremolo system,
Mint condition. 
case included.

Also, 
PEAVEY STEREO CHORUS 
====== ====== ======
guitar amplifier 
2 channels ,168 watts per channel
each channel has it's own EQ,Presence,pre&post gain.
stereo chorus
variable reverb
lead channel has saturation distortion control
effects loop
foot pedal..
Asking $310

And one more thing
Stereo headphone amplifier:
HOT WATT II by Arion
=== ==== == 
Take your electric guitar anywhere to practice!!
Features:chorus/echo, overdrive,high/low tone control,stereo input for 
radio-cassete player or drum machine!
Bought new for $89
Asking $50

Leave me email if you're interested.
Dan.
Xref: sparky alt.guitar:9558 rec.music.misc:26941
From: lazlo@triton.unm.edu (Lazlo Nibble)
Newsgroups: alt.guitar,rec.music.misc
Subject: Re: Jay Graydon (was: Steely Dan questions)
Date: 5 Nov 92 23:19:07 GMT
Organization: None for me, thanks . . . I'm driving.

Janne.Salmi@hut.fi (Janne Salmi) writes:

> Jay Graydon has (produced/played on/written songs for) at least the
> following albums: 

I didn't see Jimmy Thudpucker's album on there anywhere . . .

--
Lazlo (lazlo@triton.unm.edu)
Newsgroups: alt.guitar
From: mrgreen@mullian.ee.mu.OZ.AU (matthew green)
Subject: Re: Edge is God...
Organization: Computer Science, University of Melbourne, Australia
Date: Thu, 5 Nov 1992 16:21:00 GMT

crmilton@mundil.cs.mu.OZ.AU (Christopher Robert MILTON) writes:

>Btw, loved the analogy and agree, fast != good

I prefer the one fast !-> good (does not imply) ..

..
Newsgroups: alt.guitar
From: META000 <META@UNB.CA>
Subject: Re: Tube Emulator
Organization: The University of New Brunswick
Date: Thu, 12 Nov 1992 22:22:47 GMT

In article <BxIF69.6D4@dcs.glasgow.ac.uk> dam@dcs.glasgow.ac.uk (David Morning) writes:
>neal@cmptrc.lonestar.org (Neal Howard) writes:
>
>[..about 12AX7 FET emulator]
>
>>There's one very important parameter that no known solid state device can
>>come close to what a tube amplification stage can do: the slewing rate.
>>Tube amps easily reach slewing rates of 75 to 100 volts per microsecond
>>and solid state devices (yes, even FETS) are hard pressed to reach 25 volts
>>per microsecond.
>
>Never one to miss a challenge.....Thyristors :-)
>
>>The high slewing rates (ability to "accelerate" from lower
>>frequencies within a complex waveshape to the higher frequencies -- my layman's
>>definition, if anyone else has a better or more descriptive one, please post)
>>of tube-type amps is one of the main reasons for their outstanding clarity over
>>solid state amps.
>
>Hang on a minute, isn't slew rate defined as the ability of a device to go from
>one voltage to another quickly, rather than from a low frequency to a high
>one?
>
>{Shuffles through his data book...}
>
>It's measured in Volts per microseconds, not Hz per micro second.
>
>
>Dave
>
>--
>.
>.
Darn right.  Slew rate is the rate at which an amplifying device can
produce a voltage swing.  The importance of slew rate is a function
of how much voltage swing the devicehas to produce, and what the
desired bandwidth is.  If the device doesn't have to cover a wide
bandwidth (we're generally talking a usable bandwidth of maybe 10khz
tops for a guitar), and ifthe amount of gain at each stage is not
particularly high (12AX7's are spec'ed ata gain of 100, which is
puny by many pre-amp standards), then even poor-spec slew rates will
likely be more than adequate.  My guess is that whatever limitations
this tube emulator circuit may have, very little will arise as a
consequence of slewing differences between solid state and tube
devices.M. Hammer

Newsgroups: alt.guitar
From: lee@Gwinnett.COM (Lee Reese)
Subject: Dating a Fender Musicmaster
Organization: Gwinnett Computer Services, Atlanta(Duluth), GA
Distribution: usa
Date: Thu, 5 Nov 1992 00:51:22 GMT


Thanks to those of you who answered my questions on amps amd shielding.
BTW, I think I am going to get a Fender Bassman.  How much do they go for
?  I am undecided if I want to puarcase a new or used one.

I have a Fender Musicmaster at home that I want to find out the date of
manufacture and value of.  The serial number is 701502 and the heel of 
the neck is stamped " 4900..1365 ".  I ask this because of the stamp at
the heel of the neck.  My '83 Strat is stamped " 1 3 83 ", which is 
unlike the Musicmaster.  My parents bought this guitar "as new" on March
29, 1978. If I remember it right, I got all the documentation with it 
also.  Might this guitar have been manufactured on 1-3-65?  I find it 
hard to believe that it had set in the store 13 years before I got it.

Thanks in advance,
Lee Reese
lee@gwinnett.com
From: jacobson_d@cubldr.colorado.edu
Newsgroups: alt.guitar
Subject: String Guages [what to use?]
Date: 12 Nov 92 00:57:57 GMT
Organization: University of Colorado, Boulder


   I have a question about string gauges for electric guitars.  I've been
using .10s on my Ibanez electric, but the other day I played a friend's 
Les Paul that was fitted with .09s.  It was incredibly easy to play!  Bending
notes was so easy [too easy?] and playing fast Van Halenesqe pull-off runs
was almost effortless.  I had no idea that a small change in string gauge
could have such a profound effect.  Finger tapping was also incredibly easy.
   Only problem is, I don't know if I should switch.  Is having mega-light
strings cheating?  Do other players like Van Halen use such light guages?
I know that Stevie Ray Vaughn used .13s [yikes!] and was somehow able to 
have incredible bending and vibrato technique.  Also, I was reading an Arlen
Roth book the other day and he said that .10s are the absolute lowest guage 
you should use.  
   I suppose one other aspect has to do with sound.  Do .09s generally sound
good?  Thanks in advance...

Darren

p.s.  I play Metal, Hard Rock, and Jazz, in case that has any bearing upon
the tone aspect... 
Newsgroups: alt.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: looking for info on Mesa's S.O.B.
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 10 Nov 1992 23:17:34 GMT

oper@Msu.oscs.montana.edu wrote:
: the local music shop has a new Mesa Boogie S.O.B. (Son Of Boogie). It's small,
: has one speaker (10 or 12"), 2 big tubes (el34's ?), and a light tan leather?
: covering. Anybody played through one of these? Care to comment??
: 
	Brand new ? So they make S.O.B reissue ? Are you sure that it was not
	a Mk I reissue ? The tubes are probably 6L6's. I've never seen S.O.B
	live, but have tried Mk I reissue. Hmmm...just remembered something...
	Mk I had 4 power tubes. Forget what I was saying two lines ago.
	I think that Mk I and S.O.B have similar controls, but Mk I has 60/100
	power switch and tweed power switch, at least reissue did. S.O.B is
	2 6L6's, 60W, right ? The speaker is 12", this S.O.B data sheet
	of mine states that speaker choices were Black Shadow and Celestion
	(std) or EV (add'l price).

	Pasi

--
 p a s i   k o r h o n e n             p k o r @ p h o e n i x . o u l u . f i


 saaristonkatu 3 A 6      90100 oulu     finland,europe     tel:358-81-377 81
Newsgroups: alt.guitar
From: balon@cup.hp.com (Tom Balon)
Subject: >>> Fender DiAquisto Jazz Guitar For Sale <<<
Date: Mon, 9 Nov 1992 18:05:37 GMT
Organization: Hewlett-Packard, Cupertino, CA


	Fender DiAquisto Guitar
	=======================

	Jazz Hollowbody Style with Single Pickup
	Natural Finish

	Condition : *Immaculate*

	Only $750.00  
	Complete with Hardshell Case

	Posted for a friend, if interested in this fine
	guitar, call Jim at (408) 356-0488


Newsgroups: alt.guitar
From: stevenra@feserve.cc.purdue.edu (Alex Stevens)
Subject: EvenFlow Tab
Organization: Purdue University
Distribution: na
Date: Mon, 9 Nov 1992 23:29:23 GMT


	A friend was wondering if any of the guitar magazines have
printed the TAB for Pearl Jam's "Even Flow".  Anyone know?
Howabout a FTP site with it?

Any help is greatly appreciated!

Alex
stevenra@feserve.cc.purdue.edu
From: dcovell@hfglobe.intel.com (David Covell)
Newsgroups: alt.guitar
Subject: Re: Know Anything About Matchless Amps?
Date: 5 Nov 92 16:30:54 GMT
Distribution: usa
Organization: Intel Corporation

>(steve.w.askew) writes:

>>... Four EL84 running pure class A. No reverb, no channel
> 	I got a chance to hear a Matchless this summer.  It also did 
> 	not sound like $2400!!!! IMHO. Cours I still think a Dual Showman 
> 	thru 2X15" Jensons/JBL's is a unbeatable clean sound. The old tried 
> 	and true Fender Twin also has a great clean sound. Not to mention a
> 
> 	The Mesa is probably a better buy for that kind of money. The MarkIV
> 	is one of the most versitile amps made. The Matchless is alot more 
> 	limited in its application. 
> 
As a MKIV owner I agree that the MKIV at $1575 is a better buy then the Match-
less if your need is for flexibility and lots of flavors of distortion. The
MKIV has a good clean tone also, but certainly not the best. I think it
is a tradeoff; all that flexibility comes at the expense of an optimized
clean tone.
For players who prefer the "perfect" clean tone, there is a cheaper alternative
to the Matchless: the THD. This is somewhat of a '59 Bassman clone but built
like a tank. The absolute best, liveliest clean tone I've yet heard. Extremely
bright but not piercing or nasal. If I'd heard this before I bought the MKIV
I probably would have bought the THD. About the same price, too. I haven't
yet opened up my MKIV to check the workmanship but I did examine the THD and
I've never seen a more rugged amp.
I own five tube amps and am learning that there simply is no single amp that
meets all my needs. The best amp for overdrive/distortion will never have the
best clean tone, and vice versa. I think you either pick the best affordable
comprimise or resign yourself to toting multiple amps and doing some fancy
mixing/switching. At >80 lbs. for the MKIV, >90 lbs. for the Twin w.JBL's,
and >60 lbs. for the Super Reverb I think I'm going to need a back brace.....
Wheels are fine, but they don't work too well on my stairs   ;^(
------------------------------------------------------------------------------
DAVID COVELL (dcovell@pcocd2.intel.com)|Abuser of acoustic, electric, and
INTEL FOLSOM (California)              |Midi guitars, basses, synths, CAD tools
DESIGN ENGINEERING, EPG GROUP          |and assorted other techno-beasties
Newsgroups: alt.guitar
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Subject: Re: Blues Soloing [help!]
Summary: That Blues RUT!
Organization: AT&T
Distribution: usa
Date: Fri, 13 Nov 1992 14:30:29 GMT

In article <1992Nov12.163455.1@cubldr.colorado.edu>, jacobson_d@cubldr.colorado.edu writes:
>    I've come to the realization that my blues soloing sucks.  I always play
> the same licks and phrases and never really ever play anything that I 
> consider "my own".  Basically, I'm wondering if there's any advice people


	Stuff 	deleted

>                                  I also have problems incorporating Major
> Pentatonic ideas without sounding incredibly corny.
>    Thanks in advance for any replies, and thanks to those who sent me mail
> regarding string guages earlier...
> 
> Darren
> 

	Your last statement regarding Major Pentatonic is very important.
	Most good blues players us a combination of minor and major notes
	within the context of a single solo.  The ability to slip between the
	two allows for mood change , angry to sweet. Try to incorporate double 
	stops with bends. These can make very powerful statements in a given 
	solo.

	Also, where are you playin, in your bedroom? If so, put that guitar
	in a case and go find some place to play! Nothing will kill your
	playing faster than jammin to records. Dont get me wrong at first
	its a great learning tool. But eventually the soul needs satisfying!
	and jammin with other people is were its at. Nothing will inspire
	your playin like a little competition. Not to mention you get to
	see someonelses idea of how it should be done. You may find out
	that your major scale may not be as corny as you think. There is
	nothin like realizing that your sqeezzin a note so hard that you
	you may have a vein in your neck rupture at any moment.

	Lastly expose yourself to other style of blues. If you like SRV
	, Clapton, and King thats great. But, which King? B.B, Albert,
	Freddie? Personally I lean toward Freddie. How bout Johnny Winter
	, early Almman bros, Gary Moore, Buddy Guy. The most important thing
	is to search for inspiration, and use that as a conduit to elevate
	your abilty to express your soul!


	Steve
	Doin That Blues ThAng!
	Yo-$
From: jpmakela@klaava.Helsinki.FI (J Pekka Makela)
Newsgroups: alt.guitar
Subject: Re: Gibson Explorer
Date: 11 Nov 92 19:30:14 GMT
Organization: University of Helsinki
X-Newsreader: TIN [version 1.1 PL6]

Dragon [David Fiedler] (david@infopro.com) wrote:
> jpmakela@klaava.Helsinki.FI (J Pekka Makela) writes:
> 
> >	I havend actually played one amplified, but the ones I've
> >	seen have had quite wide and flat fingerboard. Basically,
> >	that would make it perfect for slide, but the headstock shape
> >	makes me very suspicious about putting in heavy strings: *I*
> >	would not bet for its structural stability.
> 
> I don't know about his strings, but I saw Johnny Winter a week or so ago
> and he only played slide on his ancient Firebird...must mean *something*...
> the guy is certainly one of the top 5 slide players on earth...


	Yeah, but in recent Guitar Player interview he said that the
	said Firebird is in near-unplayable condition...anyway, a
	Firebird has a headstock of different shape than Explorer:
	F-bird's strings are nod bent sideways behind the nut, while
	in an Explorer the treble strings are bent and the bass strings 
	are not. To add to the potential structural problem, the truss
	rod cavity takes some wood off from a critical point of the
	neck.

	Of course, the problem is much worse with these modern guitars
	with similar headstocks: the necks are generally thinner, and
	there is the locking nut bolted right thru the headstock. Then,
	the people who use these don't usually use heavy strings.	



> -- 
> David Fiedler    UUCP:{netcomsv,utoday}!infopro!david               AIR: N3717R
> "The future is tekon."   Internet: david@infopro.com or david@utoday.com 
> USMail:InfoPro Systems, PO Box 220 Rescue CA 95672 Phone:916/677-5870 FAX:-5873
Newsgroups: alt.guitar
From: knapik@mdd.comm.mot.com (Jim Knapik)
Subject: Arch tops vs Flat tops
Organization: Motorola, Mobile Data Division - Seattle, WA
Distribution: na
Date: Tue, 10 Nov 1992 23:47:30 GMT


Never having had the opportunity to play an early model arch top acoustic,
I was wondering what their strong points were relative to flat top
acoustics in the same class or by the same manufacture.

I am interested in trying one out, say the L-5 or New Yorker, but with them
being a little bit hard to find, I was wondering if I should spend the time
to find one, or just  settle for another flat top.

I'm mainly interested in them for acoustic jazz stuff.

Any advice ?



Jim Knapik
Motorola - Mobile Data Division
knapik@mdd.comm.mot.com
From: jbasara@ssdc.UUCP (Jim Basara)
Newsgroups: alt.guitar
Subject: Re: Jackson Guitars - Rhoads especially
Date: 13 Nov 92 12:57:27 GMT
Organization: Sterling Software IMD, Vienna, Va.

tgilman@hotcity.COM (Tim Gilman) writes:
: I was wondering if anybody out there owns a Jackson Rhoads type guitar, and if
: so, how do you like it.   ie, are there any major design flaws that the odd
: body shape would produce, any major problems with the guitar.    I'm just
: wondering before I plunk down the money...
: 

When I was in california a few years ago, the Guitar Center was selling some
Jackson strats signed by Grover.  I bought one and am still in love with it.
Sex with strings!

I've tried that Rhoads model but didn't think it was as versatile as the 
strat.  Also, the neck was way to thick for me - Randy liked that Les Paul
(tree trunk) kind-o-neck.  However, it is one coooooool looking axe.

good luck on your purchase,

--
-------------------------------------------------------------------------------
Jim Basara
     uunet!ssdc!jbasara                "All the other nations are drinking
     jbasara%ssdc@uunet.uu.net         Ray Charles beer, and we are drinking
                                       Barry Manilow." - Dave Barry
From: don@ohm.york.ac.uk (Don Goodeve)
Newsgroups: alt.guitar
Subject: Fingernails...
Date: 9 Nov 92 09:53:38 GMT
Organization: Electronics Department, University of York, UK

OK, this is probably a FAQ, but...

I have recently started playing guitar exclusively using my
fingernails on my right hand. They have been growing stronger
(nature is wonderful) but they still do break quite frequently.

i) Is there any good way of strengthening them

ii) Is there a good method of protecting them

Cheers
	Don

don@ohm.york.ac.uk

-- 
 ---------------------------------------------
| Don --- Well why not? Someone has got to be!|
 ---------------------------------------------
Newsgroups: alt.guitar