HDTenEightyP/NetNews huggingface dataset:
From: dif@bhprtc.scpd.oz.au (David Faulkner)
Subject: Re: Earplugs?
Organization: BHP Steel, Sheet & Coil, Research & Technology Centre
Date: Mon, 14 Sep 92 00:03:35 GMT

Well, I play drums and a couple of guitarists I play with just love to
crank the volume (typical, eh), so I tried using the foam
industrial-type earplugs, and even ear muffs, but they just cut the
highs right out, so I can't hear the vocals, and I feel very cut off.
Even trying to talk to people is a little difficult.
So I paid about Aust$45.00 (probably US $20 - 30) for a pair of off the
shelf musicians ear plugs. They are probably not as good as the plugs
you get molded to your ears, but they are a hell of a lot cheaper and
compared to the cheap foam plugs they are EXCELLENT!
I was jamming the other night with the mad Marshall men and they were
complaining they couldn't hear the drums ( their fault, not mine), and I
was playing in perfect comfort. Not a hint of ringing afterwards, and a
pretty good frequency response. I didn't feel like I was playing in a
glass cage.
I'm sorry, I can't remember off hand what brand name they are, but if
anyone is interested I can mail or post details.

  -dif-
-- 
Dave Faulkner, Research Engineer                    (dif@bhprtc.scpd.oz.au)
BHP Coated Products Division, Research and Technology Centre
Port Kembla, New South Wales, Australia.
Newsgroups: rec.music.makers
From: ia4@cunixa.cc.columbia.edu (Imran Anwar)
Subject: Anyone have or developed a Module for Yamaha B200 for Galaxy?
Reply-To: ia4@cunixa.cc.columbia.edu (Imran Anwar)
Organization: Columbia University
Distribution: usa
Date: Sat, 12 Sep 1992 22:11:29 GMT


Hi.  I got Galaxy and Vision and need to know if Anyone have or developed a Module for Yamaha B200 for Galaxy?

Imran
Newsgroups: rec.music.makers
From: dixon@sparky.se.hou.compaq.com (Dixon Dick)
Subject: Re: Query for brass players
Organization: Compaq Computer Corporation
Date: Sat, 12 Sep 1992 06:24:13 GMT

In article <1992Sep12.025912.8370@news.columbia.edu>, gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
|> Question for brass players:  How different is the technique for playing one
|> brass instrument over another?  i.e. can a trumpeter easily play a trombone,
|> or can a french horn player do anything productive with a tuba?  Is the
|> embouchure <sp?> of one instrument significantly different from that of
|> another?  Obviously the use of the valves will be different, but I'm curious
|> about mouth positions
|>

I play Trumpet (mainly), trombone and French horn some. The way that you
approach the instruments from the point of view of embouchure is completely
different. However, embouchure is not the whole story. The approach
to air is very similar between the trumpet and french horn, except the f horn
is much more exacting control. Getting over the differences in embouchure is
not so terribly difficult. 

The approach to embouchure for the trombone is different enough to be really troublesome (no "corners" for trumpet players to work with) and this transition is much more difficult to make than that of trumpet to f horn. The approach to air for the trombone differs mostly in that you need much more of it, but that's about all.
 
|> What about within the family?  Can a trumpet player play a bugle without
|> trouble?  Or a piccolo trumpet?  Or the cornetti used in Baroque music?
|>

Trumpet to bugle is straighforward. Trumpet to Picc is a little more subtle.
Here embouchure is (mostly) the same, but the approach to air is different.
Where with a trumpet your air "visualization" may be anywhere from 10 to
20 feet out from the horn, the Picc air "visualization" is right in front
of your face. If you were to take a trumpet idea of air and immediately
transfer it to a Picc, you'd get the sound "fwerr" and nary a note would
come out.
 
|> Just curious.  I tell people quite often that playing the organ or
|> harpsichord bears very little resemblance to playing the piano, so I'm
|> interested to know the situation w/brass.  Thanks.
|> 
|>
Well, now you've extended your remarks to matters of style. I'll let someone
else add their two cents worth first.
 
|> --
|> Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
|> gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
|> N2GPZ in ham radio circles        communication. The device is inherently of
|> 72355,1226 on CI$                 no value to us." -Western Union memo, 1877


dcd
-- 
%  Dixon Chan Dick  (dixon@compaq.com)   	 Compaq Computer Corp.	 %
%									 %
% "All dumb opinions expressed here are mine and not Compaq's etc. etc." %
Xref: sparky rec.music.makers:9538 alt.guitar:7997
From: exuptr@exu.ericsson.se (exuptr@exu.ericsson.se)
Newsgroups: rec.music.makers,alt.guitar
Subject: Re: Peavey Bandit 150 amp
Date: 14 Sep 92 13:41:46 GMT
Organization: Ericsson Network Systems, Inc.

In article <GATELEY.92Sep13230706@athene.rice.edu> gateley@rice.edu (John Gateley) writes:
>From: gateley@rice.edu (John Gateley)
>Subject: Peavey Bandit 150 amp
>Date: 14 Sep 92 05:07:06 GMT

>I am looking to buy a Peavey Bandit 150 amp (?) from a friend of mine
>and want to give him a fair price. It is about 6 years old, and plays
>fine except the reverb is getting a little sensitive. How much is this
>worth?

>E-mail please, and many thanks to all...

>j
>--
>gateley@rice.edu
>Si pots llegir aquest, m'agradaria si contestessis.


I forget, is the Bandit solid state?
 ----------------------------------------------------------------------------
    "This must be Thursday.  I never could get the hang of Thursdays"
                                                       - Douglas Adams
  - Patrick Taylor                                       (Arthur Dent)
    Ericsson Network Systems
    exuptr@exu.ericsson.se                       "Don't let the .se fool you"
    or exuptr@ZGNews.Lonestar.Org, exu.exuptr@memo.ericsson.se
Newsgroups: rec.music.makers
From: shelley@b30!b11.ingr.com (Shelley Read Heard)
Subject: Re: Show tips & tricks
Reply-To: shelley@heard.b30.ingr.com
Organization: Intergraph Corporation
Date: Tue, 8 Sep 1992 19:51:36 GMT

In article <pehei34@sgi.sgi.com>, daveh@xtenk.wpd.sgi.com (David Higgen) writes:
|> In article <92247.16192332GCHRG@CMUVM.CSV.CMICH.EDU>, 32GCHRG@CMUVM.CSV.CMICH.EDU writes:
|> > 
|> > A joke my band uses occasionaly (this might be old but...)
|> > 
|> > "We're gonna do a little Chinese song here, it's called
|> >  Tu Ning"  then tune your guitars.  Its good for a laugh.
|> > 
|> >                   Doc
|> 
|> Uurrgghhh. Good for a groan, IMHO.
|> 
My buddy told that one to the audience the other night and they actually
laughed.  Then I came back with "Hey, you ever try to Tune-a-fish?".  
THAT brought on the groans.  Won't happen again.

|> 
|> 		Dave Higgen (daveh@xtenk.wpd.sgi.com)

-- 
   ~ ~    Shelley R. Heard (shelley@heard.b30.ingr.com)
 ( o o )  Intergraph Corporation, Huntsville, AL
  ( ^ )   Disclaimer:  This is NOT my master's voice!
  / U \   Whoof!
From: kml21025@UXA.CSO.UIUC.EDU (""da Ken-ster"")
Newsgroups: rec.music.makers
Subject: U220 vs SC-55...Help me Quick!!!!
Date: 5 Sep 92 03:53:47 GMT


   I've been wanting to get a new tone module for some time, but haven't had
the cash...  Now that I have a little, I was wanting to get advice on two that
I've had suggested to me.    

   I was looking at the Roland SC-55 because it has so many sounds, good  
polyphony and multitimbrality.  

   However, I talked to a couple of people who said that the U220 would be 
better.  The only thing is that it doesn't have nearly the multitimbral       
capabilities that the sound canvas does, but it's expandable as far as sounds.
Does the 6 or 7 part multitimbrality of the U220 become limiting?  Should I just
save up a little more and get a sampler?  What I'm looking for is real, high
quality sampled sounds or synth'ed sounds that offer a high degree of realism to
the real ones.  (No offense to synth'ers, but I've already got a pretty good 
synth engine...D50...) Now, I really need good orchestral and pop. sounds in one
unit.  Again, the SC-55 seems to have what I would need, but would the U220 be
better?   Ah, that is the power shopper's question...

   I need recommendations on this very quickly as someone has one for $495, and
I'm very eager to buy it (if that's a good price, please let me know if it's not
very good dollars and sense).    

						Thanks,

						   Ken
                        
Newsgroups: rec.music.makers
From: beltran@ns.network.com (Tony R. Beltran)
Subject: Re: Please help me find this book!
Organization: Network Systems Corporation
Date: Fri, 11 Sep 92 13:55:42 GMT

In article <122130088@hpfcso.FC.HP.COM> mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:
[stuff deleted]
>things.  I recently completed a primer on jazz improvisation, and I included a
>fair amount of information on voicings, although I had to compress a lot into
>just a few pages.  I am planning to make this primer available via anonymous
>ftp in another week or so, and I'll post an announcement to that effect here
>and in rec.music.bluenote when that happens.
>
>-------------------------------------------------------------------------------
>Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
>marc@hpmonk.fc.hp.com

Marc:

I would be VERY interested in your primer.  Please do post when it is 
ready.

Thanks,

Tony


Newsgroups: alt.guitar.tab.alt.guitar,rec.music.makers
From: jamesb@nevada.edu (James Bender)
Subject: ** New at ftp.nevada.edu(131.216.1.11) for 9/10 **
Originator: jamesb@redrock.nevada.edu
Organization: University of Nevada System Computing Services
Date: Fri, 11 Sep 1992 06:32:31 GMT


Well, nothing new really...

	OK, stop sending the Garfunkle stuff. I was really just trying to make
a point. Before you send me mail telling me that there is a spelling error,
please check yourself. I know the correct spelling of Garfunkle, but the
mail I got went about 50/50 for each, with people on both sides swearing they
got the name right off the album.

	If I don't get any major objections, instead of posting a new at
ftp.nevada.edu post everyday, I will be dumping stuff in a NewThisWeek 
directory. I will post an INDEX of this every week.

	Sorry for the confusion...

*******************************************************************************
* From: James B     * "Life is a diamond you turn into dust."                 *
* jamesb@nevada.edu *                                       -- N. Peart       *
*******************************************************************************
From: rca@Ingres.COM (Bob Arnold)
Newsgroups: rec.music.makers
Subject: Re: Earplugs?
Date: 15 Sep 92 23:23:16 GMT
Reply-To: rca@Ingres.COM (Bob Arnold)
Organization: Ask Computer Systems Inc., Ingres Division, Alameda CA 94501

In article <1992Sep15.190125.6244@csi.com> mark@csi.com (Mark Kaplan) writes:
>In article <BuKsJp.85o@apollo.hp.com> you write:
>
>  >In general, I feel very much in the minority in this in that the whole
>  >industry seems to feed on more volume.  Clubs state what great sound systems
>  >they have where it seems that great = loud not necessarly quality of sound
>  >reporduction.
>  >
>  >Sorry to get carried away but this has been a bit of a battle for me.
>
>My band recently played at one club in Berkeley where I think they have
>gone too far in trying to keep the sound levels down.  They have a row
>of lights on the back wall which go from green on the bottom to red on
>the top.  It is basically a sound meter in which the higher lights
>get lit as the sound gets louder.  The have it set up so that if you hit
>the top red light for 3 seconds straight, the power on the stage gets
>temporarily shut off.  It was really annoying to have to stare at those
>lights during the whole set.  The worst thing was when we did hit the red,
>causing the power to go off and on, the patch on my amp got set back down
>to #1.  I spent the rest of my solo getting back to patch #86.

This club must be the Starry Plough.  My band has played there a number of
times, and we like those lights.  Maybe we're wierd :-) but here's why.

The meter lets us know when we're getting too loud.  We're a rock band,
but we're not into that "It's lousy unless it's LOUD" trip.  Another thing
is that we like the vocals to be heard and understood!  None of us like
going to a show and not being able to understand a word.  If the meter
starts to peak consistently we know the amps are turned up too loud.

The one time when we did peak the meter, it was a surreal experience.
It took me a couple of seconds to figure out where all the sound had gone.
The drums were still going, but nothing else was.  We just laughed it off,
explained it to the audience (the bar regulars knew anyway), and joked
that we were gonna do the whole song over again.  No sweat.  (Luckily we
don't have sequential patch selection to deal with on any of our gear.)

All that said, I think the attitudes of the new neighbors who forced
the Plough to install the meter suck.  It reminds me of someone who
moves next to an airport and then sues the airport for allowing planes
to actually take off.  The Starry Plough has been there for years doing
a good job of hiring good local and non-local bands.  It's a drag to
have someone disrupt that scene.

		Bob
--
  __   _    _   Bob Arnold		Ingres, An ASK Corporation
|/  \ / \  / \| 			1080 Marina Village Parkway
|    /    /   |				Alameda, CA, 94501
|    \__/ \__/| rca@ingres.com		510/748-2819
Newsgroups: rec.music.makers
From: djohna@TorreyPinesCA.ncr.com (John Ackerman 3568)
Subject: Re: Extra verse for "Friends in Low Places"
Organization: NCR (Torrey Pines Development Center)
Disclaimer: This posting does not neccessarily reflect the opinions of NCR.
Distribution: usa
Date: Thu, 10 Sep 92 22:48:28 GMT

acura@cbnewsi.cb.att.com (james.r.feeney) writes:
: Our band is going to do "Friends in Low Places" by Garth Brooks (sp?) but
: I understand there's an additional verse to the song that he does live.
: Does anyone have those lyrics?
: 
: Thanks
: 
: Jim Feeney
: 
: 
  I can't remember all of it but the last three lines are...

  I'll leave you where you are

    and head back to the bar

       And you can kiss my ass!

  Cause I've got friends...


  Regards.

  Johnny A.
Newsgroups: rec.music.makers
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: Problems with drummer's slang. How to translate?
Keywords: drum 
Organization: University of Iowa, Iowa City, IA, USA
Date: Tue, 8 Sep 1992 19:06:53 GMT

vep@polygon.spb.su (Vadim Prokofyev) writes:

>1. When a drumer beats the drum, what does he make? - Strokes,
>beats, blows, or hits, or something else?

I'll give examples with the key words in all caps:
"See Muff HIT the drum."
"He HIT the cymbal with a glancing BLOW."
"A crescendo means each STROKE should be louder than the previous STROKE."
"TAP the snare lightly."
"He really WHACKED the shit out of that one." (slang)
"Keep a steady BEAT on 2 and 4." (This word usually pertains to rhythm.)

>2. When a drummer makes the very fast drum beat, is it called a
>tap?

Like someone else said, "tap" is thought of as "hit lightly" or "softly".

>3. When a drummer makes a very heavy stroke on the drum,
>(BTW, is a stroke strong or heavy, what  difference?)
>the drum can react to the mechanical interference produced by
>the drum stand, sound from loudspeakers, etc.
>The overall sound would consists of two sounds: one is
>useful from the drummer stroke, the other is spurious from the
>interference.
>Can I say that the drum produces the "doubled" sound?

Noises from drum stands would be considered "unwanted rattles and noise". Or
are you using the word "stand" to mean "stage" or "drum riser"?
The sound that is being doubled from the speakers would be considered
a sort of ambient sound.

>4. How can I call two separate notes played together with very
>short interval between them, as closed as they sounded almost
>as one?

A "flam" is a basic rudiment that's played as one note: lR or rL.

Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: WANTED: Quadraverb
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Tue, 8 Sep 1992 21:57:48 GMT

>What is the difference between the Quadraverb and the Quadraverb+ ?
>Thanks.

The Quadraverb + is an upgraded Quadraverb with a few extra effects
thrown in.  From what I can remeber, theres a 1.5 second sampler, 
extra delay effects, and some other really neat stuff.  For $20 its
really worth it.

Myles
Xref: sparky rec.music.makers:9524 rec.music.classical:12723
From: dpelton@nyx.cs.du.edu (Dennis Pelton)
Subject: Re: Query for brass players
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Tue, 15 Sep 92 15:56:58 GMT

In article <1992Sep12.025912.8370@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>Question for brass players:  How different is the technique for playing one
>brass instrument over another?  i.e. can a trumpeter easily play a trombone,
>or can a french horn player do anything productive with a tuba?  

Much depends on your technique and your expectations.  When I played
in a rock band with horns, I regularly doubled trumpet and trombone
and there was no problem.  In a symphony there are different 
expectations.

To specifically answer your question, typically brass players do not
double on instruments of different ranges.  French Horn is a special 
case: one does not cross over to or from without lots of work.

>What about within the family?  Can a trumpet player play a bugle without
>trouble?  Or a piccolo trumpet?  Or the cornetti used in Baroque music?

Trumpet and bugle are the same instrument, really.  You just get more
options on the trumpet.  The others require some adapting, but are
close enough that most players (those who care) can manage.

>Just curious.  I tell people quite often that playing the organ or
>harpsichord bears very little resemblance to playing the piano, 

The difference is not as great as the organ/piano cross-over, but
enough that you really have to *want* to do it and practice on
each.

Dennis Pelton
dpelton@nyx.cs.du.edu
From: latta@scam.berkeley.edu (Craig R. Latta)
Newsgroups: rec.music.makers
Subject: Re: Anyone heard from the MUSENET CD project?
Date: 11 Sep 92 01:07:50
Organization: Experimental Computing Facility (XCF)
NNTP-Posting-Host: xcf.berkeley.edu
In-reply-to: jason@hpfcbig.SDE.HP.COM's message of 8 Sep 92 15:30:36 GMT



Jason Goldman (jason@hpfcbig.SDE.HP.COM) writes:

> Has anybody else gotten any response from Craig Latta on the MUSENET
> CD project.  Everything I've sent to him has disappeared into a black
> hole.  I'm just curious to see if anyone else has heard from him.

	Yikes! You're being a little strong. I have acknowledged the
reception of each MUSENET submission, but, like everyone, can take a
while sometimes. What do you mean by "everything"? By my count, you've
sent precisely one mailing to me! And why do you write to the universe
before writing to me? I resent that.

	I'm writing here now to allay any fears others may have of a
"black hole". Everything is progressing nicely. As announced recently,
an update on MUSENET is available via ftp as
anonymous@xcf.berkeley.edu:misc/netjam/doc/announcements/MUSENET/update,
or via email to musenet-request@xcf.berkeley.edu, with the subject
line "request for update". xcf.berkeley.edu has IP address
128.32.138.1.

	In particular, I'm thinking about layout and "look": a MUSENET
logo, etc. Ideas to musenet@xcf.berkeley.edu.


	Thanks,

-C

--
-----------------------------------------------------------------------------
Craig R. Latta           Experimental Computing Facility                (XCF)
Composer, Software and   ParcPlace Systems, Inc.        (latta@parcplace.com)
    Recording Engineer   NetJam, Berkeley                (netjam-request@xcf)
latta@xcf.Berkeley.EDU   Smallmusic OO music project (smallmusic-request@xcf)
(standard  disclaimer)   proof NL parsing project         (proof-request@xcf)
-----------------------------------------------------------------------------
Newsgroups: rec.music.makers
From: jamesb@nevada.edu (James Bender)
Subject: Re: ** New at ftp.nevada.edu(131.21.1.11) **
Organization: University of Nevada System Computing Services
Date: Sun, 6 Sep 1992 20:00:59 GMT

In article <1790037@hpfcmgw.FC.HP.COM> stevek@hpfcmgw.FC.HP.COM (Steve Kauder) writes:
>>In rec.music.makers, tmarvan@sdcc3.ucsd.edu (Thomas Marvan) writes:
>>    How does one get access to this music.  It is a mailing list....?
>Another question: What format is the music in?  Standard midi files
>(on my dos machine, with a .MID extension)?  If standard midi, I presume
>I can ftp to the files?  

	These files are in ASCII, and they are guitar/bass tablature. You can
ftp them from ftp.nevada.edu or 131.216.1.11 they are in the pub/guitar
directory.

*******************************************************************************
* From: James B     * "Life is a diamond you turn into dust."                 *
* jamesb@nevada.edu *                                       -- N. Peart       *
*******************************************************************************
From: jason@hpfcbig.SDE.HP.COM (Jason Goldman)
Date: Tue, 8 Sep 1992 15:30:36 GMT
Subject: Anyone heard from the MUSENET CD project?
Organization: HP SESD, Fort Collins, CO
Newsgroups: rec.music.makers

Has anybody else gotten any response from Craig Latta on the MUSENET
CD project.  Everything I've sent to him has disappeared into a black
hole.  I'm just curious to see if anyone else has heard from him.

Jason
jason@gibson.sde.hp.com
From: torsten@daimi.aau.dk (Torsten B. Hagemann)
Newsgroups: rec.music.makers
Subject: Re: Prices for DAT-Tapes (?)
Date: 7 Sep 92 22:40:01 GMT
Organization: DAIMI: Computer Science Department, Aarhus University, Denmark

henrik@mpci.llnl.gov (Henrik Klagges) writes:

>These puppies are expensive. 
>At a big store like the good guys, you pay around
>9.99 for 60
>11.49 for 90
>12.99 for 120 (sony)
>+ tax (in CA).

>Do you know of places with better prices ? We get ripped off.
>Cheers, Henrik

Yes, surely.


45.00 for 60 
incl tax.

Hope this helped.

Torsten

P.S. you are quite sparse on information. You ought to write something about
the currency, and where you are located, and what you actually want to know. My
price are in DDK (danish kroner), and it is about US$ 7.50. It is in a normal
grocery shop in Arhus, but I don't think they do mailorder. Was that of any
importance, or ... ?
--
The flesh is willing, and the spirit is weak. 
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: distribution of tapes
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Tue, 8 Sep 1992 22:19:38 GMT

>i think it's a good idea if it works.

Thanks for adding so much value to this whole concept.
I have the same attitude to politics and Indian food.

Myles
Xref: sparky rec.music.makers:9551 rec.audio.pro:1710 rec.music.synth:14840