HDTenEightyP/NetNews huggingface dataset:
From: rfries@telecaster.ub.com (Robert Fries)
Subject: Re: Fender Princeton Reverb Amp info?
Organization: Ungermann Bass
Date: Fri, 17 Apr 1992 17:03:26 GMT

In article <1992Apr17.060414.26082@news.media.mit.edu> mbl@media.mit.edu (Marc LoCascio) writes:

>it seems like we may have just gone thru this here not long ago, but what
>info can people give me on Fender Princeton Reverb amps?  i'm looking for a
>small tube practice/recording amp, and the Princeton seems about the right
>size.  my local used music store has three Princetons -- a new-ish one
>(silver face, "Princeton Reverb," with "pull to boost" on the volume knob)
>for $275, an older silver face ("Princeton Reverb Amp," no boost) for $275,
>and an old black face for $350.  is there any circuit difference between 
>these models?  are these decent prices?  they all have original Fender 
>speakers and are in roughly the same shape.  the blackface actually has a
>new-ish complement of Groove Tubes in it, so that should be worth some of the
>price difference in itself.

>there should be a Fender amp FAQ.  are there any other small-ish tube amps
>(20-50 watts, one 10" or 12") that i should consider for practice and 
>recording?

>thanks!

>Marc LoCascio  (mbl@media-lab.media.mit.edu)


I love Princeton Reverbs! Great practice amps. They don't have much
power (something like 12-14 watts), so you can crank 'em up. I prefer 
old ones WITHOUT master volume. Another great Fender amp is the
Deluxe Reverb, with ~20 watts, 1-12" spkr. The prices sound a little high,
but everything seems that way nowadays. The black-face may be a good
choice, as it's more collectible, especially if it says Fender Electric 
Instrument Co. on the front (pre-CBS).

Robert
From: ohumukin@spectra.com (Kawika Ohumukini)
Newsgroups: rec.music.makers
Subject: Where is it?
Date: 13 Apr 92 16:01:44 GMT
Article-I.D.: spectra.1992Apr13.160144.10343
Organization: Spectragraphics Corporation

What happened to rec.music.guitar?

Is there any action taking place or is it a dead issue?


Kawika
Xref: sparky rec.music.makers:5463 rec.music.synth:7565
From: d88-jwa@noir.nada.kth.se (Jon W{tte)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Re: MIDI clock & FSK
Date: 7 Apr 92 10:36:43 GMT
Organization: Royal Institute of Technology, Stockholm, Sweden
Originator: d88-jwa@noir.nada.kth.se

.ruu.nl> hjv@phil.ruu.nl (Hendrik Jan Veenstra) writes:

   I'm no sync-guru, but I guess I could give it a try...
   MIDIclock is *not* a counter. It's just a pulse-train, sent at a rate of 24
   pulses per quarter note. So when syncing e.g. a tape and a sequencer with
   MIDIsync, it's not possible to start the tape somewhere in the middle of a
   song and then having the sequencer chasing to the right time-stamp -

Yes, but MIDI has "song position" messages you could use. However,
I didn't see them very well implemented last I looked (which was
when the TR707 was new...)

-- 
h+@nada.kth.se; Jon W{tte, the Diplomat - NOT!
From: phil@mpd.tandem.com
Newsgroups: rec.music.makers
Subject: Quadraverb GT vs. Quadraverb+
Date: 6 Apr 92 23:26:02 GMT
Organization: Tandem Computers, MicroProducts Division

I have several questions for those of you who may be familiar
with the Quadraverb GT and the Quadraverb Plus.

I have used a Quadraverb+ and like several of the programs
basically as they are in the prom.  While I am interested in
the additional effects that the GT provides, I would like to
be able to duplicate some of the Quadraverb+ programs.

Is it possible to disable the GT preamp and effects,
essentially turning the Quadraverb GT into a Quadraverb+?

Also, even with the Quadraverb+, not all effects possess all
possible options in each configuration.  For example, in the
graphic equalizer configuration, the reverb effect options are
reduced.  You don't get all of the choices for reverb that
are available in other configurations.

Does the Quadraverb GT place additonal constraints on the
configurations beyond what the Quadraverb+ originally had?

Phil Webster       (phil@mpd.tandem.com)  (512)244-8138
Tandem Computers   14231 Tandem Blvd.     Austin, TX  78728
From: jerrymo@comm.mot.com (DX529 Jerry Morrow)
Subject: Any good porgrams for Yamaha FX500?
Reply-To: jerrymo@ecs.comm.mot.com 
Organization: Motorola, Inc.
Date: Thu, 16 Apr 1992 23:33:49 GMT

Most of the patches in my FX500 are interesting,
has anyone come up with anything unique sounding
using the Yamaha FX, or at least something that
sounds JUST LIKE something they have heard ?
If someone could list the actual parameters, that 
would be great!!         ?? 

Please reply to :

jerrymo@ecs.comm.mot.com

Always searching for new sounds, isn't it sickening!!

m 
Newsgroups: rec.music.makers,rec.audio.pro
From: darkstar@u.washington.edu (Alden Hackmann)
Subject: How to move the board from room to room?  
Organization: University of Washington
Date: Mon, 6 Apr 1992 21:25:32 GMT


I'm designing part of my new house to be a studio and control room.  I also  
plan to use the studio as a place for my band to practice, but I won't always  
have a sound-man type around to run the board and adjust levels in the  
monitors.  I conclude that I will need to roll the board out of the control  
room and put it in the studio for practices, but this presents the obvious  
hassle of unplugging everything and then plugging it back in again. 

Can anyone suggest a source for quick-disconnect multi-pin (24? 32? 48?)  
connectors that I could use in this application?   Or maybe point out another  
solution? 

Reply by email please.  


--

Alden F.M. Hackmann                             University of Washington
darkstar@u.washington.edu                       Department of Pathology

"You can know, even for a moment, that it's your turn, 
 that you can walk with the power of a thousand generations"  - Bruce Cockburn
From: gaf@uucs1.UUCP (Guy Finney)
Newsgroups: rec.music.makers
Subject: Where to look for lyrics?
Date: 10 Apr 92 19:03:25 GMT
Organization: UUCS inc., Phoenix, Az


I've found that, for me, a lyric sometimes suggests a tune to go with it.
Unfortunately I'm not much for writing lyrics, and actually I'm not
interested in developing lyrical chops right now.  I remain open to the
possibility that it will interest me someday, but for where I am now the
music is what I enjoy more.

But if I'm not writing them, where do I look for lyrics?  Okay, sure,
poetry books.  But I've scanned dozens of them and found that rhyming
seems to be out of vogue.  Lots of oh-so-serious introspective stuff,
but nothing ever rhymes, or has an implied meter to it.  I suspect that
someone really good could fit a tune around almost anything, but I'm not
there yet.

Don't get me wrong - I'm not bashing the non-rhyming, non-rhythmic kind of 
poetry.  I'm just looking for suggestions on where to find the kind that
more easily lends itself to music.  Practice material for tunesmithing,
you might say.
-- 
Guy Finney					"Ah, this is obviously some
UUCS inc.   Phoenix, Az				new usage of the word 'safe'
...!ncar!noao!asuvax!anasaz!uucs1!gaf		I was previously unaware of."
...!sun!sunburn!gtx!uucs1!gaf			   -- Arthur Dent
Newsgroups: rec.music.makers
From: dpm@msc.edu (David P. Mottaz)
Subject: Power Soak alternative
Organization: Minnesota Supercomputer Center
Date: Fri, 10 Apr 1992 15:05:14 GMT


I play guitar through a Bassman head into a Yamaha sealed cabinet
with 2 10's.  I love the sound of this when the volume is above 5
but with no master volume it is too loud.

So I found a variac.  A black ugly metal box about 6 inches high/
wide/deep with a huge bakelight knob over a metal plate notched
from zero to 100, a short cord to plug into the wall and a short
cord with a receptacle.  So I plug it into the wall, and I hook
up a digital multi-meter into the receptacle.  I find out that the
zero to 100 is percentage of input voltage transferred out.  120
volts at the wall is 72 volts at the receptacle.  This thing is very
accurate.

So I plug the Bassman into it with it dialed at 60 and... It sounds
great!  I set the volume to 6 or 7 and it's not nearly as loud as it was
and it really sounds nice!  We had a gig last Friday and it worked
like a champ all night long.

A few weeks back I was experimenting with this.  At 50% it is real quiet,
but the bass notes get too muddy and yucky.  I was able to turn the amp
up to 10 with a tolerable volume but the tone wasn't too good.  Anything
less than 45% and the pilot light goes out and the amp slowly gets quieter
and quieter and dies out completely.  Anything more than 70% and there
is no diference to it being plugged right into the wall.

I am really pleased with this setup.  Better than a master volume because
I get the real cranked up tone complete with the power tubes being driven.
No Power Soak worries and tone drain.  With the amp being fed less voltage
it is running cooler and will undoubtedly last longer.

This doesn't work as well with my Marshall tube amp though.  I would
guess that it is because of power supply design differences.  The
Marshall doesn't get much quieter until the variac is dialed down
to about 35% and by that time the pilot light is off and it sounds
crappy.  That's okay though.  I have a setup that works great at low
volumes for rehearsal and live performances which is what I really
want anyways.


-Dave Mottaz
 dpm@msc.edu                             o/    \  /    \ /     /      \o   
 Minnesota Supercomputer Center Inc.    /#      ##o     #     o##      #\
 1200 Washington Ave. South             / \    /  \    /o\    / |\    / \
 Minneapolis, MN 55415
From: ohumukin@spectra.com (Kawika Ohumukini)
Newsgroups: rec.music.makers
Subject: Music Theory
Date: 14 Apr 92 21:56:07 GMT
Organization: Spectragraphics Corporation


[stuff deleted....]
>
>  To use Music theory as a set of RULES is wrong.  If you do, you are
>moving the art of music from the artistic to the academic.  I have
>heard MANY pieces that follow these "rules" that sound awful.  On the
>other hand, I have listened to pieces that break the "rules" right and
>left that sound wonderful.

Theory is not a RULE it is a TOOL.


>  Basically, I agree with those who say that studying music theory is
>important...if only for the fact that you will begin to understand
>how other musicians have made their music.  But I feel strongly that
>a musician should learn them...then forget them.  Don't use them as
>rules.  Play what you want.  Have fun.  Entertain people with your 
>OWN music.  And please, don't lord it over everyone else just because
>you know every chord type known to man...that's just asinine.

I disagree with you here.  In a "theory obsessed" person trying to
improve feeling this may be true.  But by and large theory is a tool
that can provide direction when a roadblock is hit or when a serious
rut is encountered.  Musicians are not bound by any rules other than
those set down by nature (and even those are not fully understood 
thereby making them questionable) and the own persons ability (which
improves with each practice thereby constantly changing).

It is simply another road to take.  We each carve our own path on this
musical journey, and since we live in an analog world, no two paths
are purely alike.


Kawika
From: schuleg@pell23.alleg.edu (George Schuler)
Newsgroups: rec.music.makers
Subject: WANTED: CABINETS
Keywords: amplifiers, guitar
Date: 8 Apr 92 13:03:37 GMT
Distribution: usa
Organization: Allegheny College

I just bought a 100 watt Yamaha G100II head and I am looking for a speaker  
cabinet to go with it (relatively inexpensively).  I would really like a  
2x10 or 2x12 cabinet but I would also be interested in a good deal on a  
4x10 or 4x12.  Does anyone have one they want to sell?  Any information  
would be really appreciated.
From: phil@mpd.tandem.com
Newsgroups: rec.music.makers
Subject: Demo Tape Copyright Permissions
Date: 13 Apr 92 21:01:22 GMT
Distribution: usa
Organization: Tandem Computers, MicroProducts Division

I am planning to make a demo tape.  The question of copyright
permissions has arisen.  Some of the music on the demo tape
is original, some of it is not.  How does one go about obtaining
permission to utilize copyrighted material in a demo tape that
will not be sold for profit?

Phil Webster       (phil@mpd.tandem.com)  (512)244-8138
Tandem Computers   14231 Tandem Blvd.     Austin, TX  78728
Newsgroups: rec.music.makers
From: ccb@axemax.zk3.dec.com (Senor Bennett)
Subject: Keyboard Player Wanted/New England
Organization: Digital Equipment Corporation - Nashua, NH
Date: Wed, 8 Apr 1992 14:53:59 GMT

Please respond to the address listed in the posting.

ccb
    
    EXPERIENCED KEYBOARDIST/SINGER WANTED FOR CLASSIC ROCK BAND.

    The SHAKKERS are looking for an experienced keyboardist/singer to
    complete the band. 

   ********************************************************************
   *                                                                  *
   * We are looking for some combination of great keyboard chops/great*
   * voice.  That is, if you have great keyboard chops but sing only  *
   * backup, we want to talk to you.   If you have a great voice and  *
   * average keyboard chops, we still want to talk to you.            *
   ********************************************************************
   

    The goal of this band is to play some good music and have fun.   We
    plan to work club gigs about twice a month. (We billed our first club 
    gig as being the start of a world dive tour..)  We'll also take a GB
    gig if it fits the band. 

    We look at music as a fun hobby and have no desire to "make it," play
    lots of originals, or play full-time.  

    If you really want to work every weekend or make a ton of money, this
    is not the band for you. However, we have been together for three
    months and have already gigged twice.  This will *not* be a
    never-leave-the-basement band.
     
    Even though we want to play part-time and have fun, we also take a
    great deal of pride in our music and would not be happy just throwing
    songs together.  We are good at what we do, and it shows.  

    The current lineup includes:  

        lead vocalist/guitarist
        guitarist/backing vocals
        bassist/backing vocals
        drummer/knows all the words but doesn't sing

    We all get along great and like/respect each other.  No fights, no big
    egos, no prima donnas in this band. Egomaniacs need not apply!

    We don't have the rock star "look" and don't care if you do
    or not.  We are all 34+.

    We rehearse once a week in Westford, Mass.  Gigs will all be local to
    Westford, certainly within an hour's drive.

    You can reach me over the net kmcdonough@decwin.enet.dec.com or at home
    (508)957-0499 in Tyngsboro, Mass.
                      
    Kevin
    


-- 

The opinions expressed are those of the author and do not represent the
opinion of DEC's UNIX Engineering Group or Digital Equipment Corp.
-------------------------------------------------------------------------------
Charlie Bennett, UNIX Engineering	| "What the hail is that thing?"
Digital Equipment Corporation		|		- Steve Martin
110 Spitbrook Road, ZKO3-3/X18		| "Everybody needs somebody sometime"
Nashua, NH 03062	603.881.0360	|		- Dean Martin
-------------------------------------------------------------------------------
From: sprochi@cis.ohio-state.edu (Keith Sprochi)
Subject: how does a Vocoder work?
Originator: sprochi@phoenix.cis.ohio-state.edu
Organization: The Ohio State University, Department of Computer and Information Science
Distribution: usa
Date: Thu, 16 Apr 1992 11:06:44 GMT

How does a Vocoder work?  

I would guess that given two inputs, one input modulates the
other one.  But is it frequency modulation?  What exactly is
going on?

Also, is it possible to build one and get good results?  Has
anyone ever tried this?

-- 
-------------------------------------------------------------------------------
Keith D. Sprochi                Ohio State University CIS Hardware Staff
sprochi@cis.ohio-state.edu                        College of Engineering
-------------------------------------------------------------------------------
Newsgroups: rec.music.makers
From: dce@smsc.sony.com (David Elliott)
Subject: How to test (was Re: "Digital Is A Huge Rip-Off")
Organization: Sony Microsystems, San Jose, CA
Date: Thu, 16 Apr 92 16:01:51 GMT


In article <74117@netnews.upenn.edu>, bae@eniac.seas.upenn.edu (Kyung Nam Bae) writes:
|> I think he is right.  This is just my opinion.  Try this, get a CD and an
|> the same on album.  Play them both (of course you need a quality turntable)
|> next to each other.  You can tell a big difference (at least I can).  I
|> personally like the analog sound.

While this may sound like a reasonable method on the surface, it has a
lot of problems.

First of all, do you know that the people who did the CD mastering
didn't re-EQ, expand, or otherwise process the music in order to put it
on the tape?  Or, if the original recording was done with the CD in
mind, do you know that the album wasn't compressed and re-EQ'ed to
fit that format's dynamic range and typical response curve?

Secondly, how about the equipment?  You say you need a quality
turntable, but what about the quality of the CD player electronics?
Likewise, are your amps and speakers made to handle the extra dynamic
range of a CD?

Note that I'm not doubting that you tried to be fair, but it's
difficult.

How about this for an experiment:  Take an analog recording and make
two DAT recordings (32kHz and 48KHz) of it.  Play all 3 back in a
blind test, and compare.  Note that in order to keep the electronics
a bit more consistent, you need to play the original recording back
through the DAT machine in source monitor mode.

Are there any problems with this experiment?

--
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."Nobody believes a laughing person." -- Farkle
From: ti_hunt@vax.muskingum.edu
Newsgroups: rec.music.makers
Subject: Re: Percussion Q's
Date: 8 Apr 92 14:27:56 -0600
Distribution: world,public
Organization: Muskingum College

In article <JGJ.92Apr7160147@amber.ssd.csd.harris.com>, jgj@ssd.csd.harris.com (Jeff Jackson) writes:
> 
>>>How many drummers feel that sampled drum sounds and drum machines gives us l
>>>jobs in the industry today?
>>
>>Ironically, I thought that there was a global shortage of drummers, and that
>>in many cases drum machines are being used because no drummer is available.
> 
> I know that if I ever form a band (right now I just play with my 4
> track, drum machine, keyboards and guitar for fun), I have no desire
> to have a drummer on stage, unless he's willing to play an Octopad or
> equivalent.  Real drums are too large, too loud and too much bother.
> Don't take this as a flame against drummers.  I would rather have a
> real piano on stage, but I will almost certainly just use a synth
> instead (and probably supplemented with sequences at that).
> 

That's your opinion. Saying that drums are too much of a bother is
discrimination against drummers/percussionists and that's just my opinion!

Newsgroups: rec.music.makers
From: rfries@telecaster.ub.com (Robert Fries)
Subject: Re: Fender Pro Reverb Amp
Organization: Ungermann Bass
Date: Mon, 13 Apr 1992 17:47:56 GMT

...

>If it's a Pre-CBS blackface Pro Reverb (black face with white
>lettering under the knobs and a silver grillcloth -- no blue in it),
>it goes for $250 to $300 used, in good condition, in the NYC area,
>though collectors are trying to bring the price up.  In general, the
>price of all of the old blackfaced are going up for no good reason
>other than collectability.  The silverfaced amps go for a bit less.



>Len Moskowitz
>moskowit@tronsbox.xei.com

$250-$300 ? This is a lot less than I've been seeing here in the Bay Area.

Does anybody out there know how much a VERY GOOD CONDITION black-face
Deluxe Reverb would actually cost in the NYC area these days? I'll 
be going home to NY for a visit in May, and maybe I'll pick up an amp,
or several. These things are really expensive here.

Robert
Newsgroups: rec.music.makers
From: elambert@qualcom.qualcomm.com (Eber Lambert)
Newsgroups: rec.music.makers,rec.music.misc
Subject: Re: Eric Clapton's "After Midnight"
Date: 10 Apr 92 16:49:43 GMT
Article-I.D.: qualcom.elambert.702924583
Organization: Qualcomm, Inc., San Diego, CA

be0l+@andrew.cmu.edu (Brian S. Engel) writes:

>After Midnight is on Eric Clapton's self titled first album and his
>greatest hits, Timepieces.  Those are both the fast versions. 
>Crossroads, the boxed set, as was mentioned earlier, has both the fast
>and Michelob version.


Also try the original JJ Cale version... It has a cool layed back
groove to it but isnt as slow. Its on "Naturally"... along
with a lot of other Cale tune that were covered... Magnolia (covered
well by Poco) and Call me the Breeze (Lynyrd Skynyrd)... I just
think Cales layed back front porch sound is unmatchable... great live
too (when he does it....) . Very underrated IMHO...

el
--
From: dave@bradley.bradley.edu (David Vessell)
Subject: Re: Demo Tape Copyright Permissions
Organization: Bradley University
Distribution: usa
Date: Tue, 14 Apr 92 00:15:52 GMT

In <1585@devnull.mpd.tandem.com> phil@mpd.tandem.com writes:

>I am planning to make a demo tape.  The question of copyright
>permissions has arisen.  Some of the music on the demo tape
>is original, some of it is not.  How does one go about obtaining
>permission to utilize copyrighted material in a demo tape that
>will not be sold for profit?

At the very least, complete crediting would be in order.  If you formally
register a copyright, you may have to provide a copy that does not include
the covered material.  Past that, I'm speculating too.

As far as just concerning your original stuff, to encourage circulation
(but at the same time cover my rear) I include this claimer in my liner
notes:

"This tape may be copied freely, but all other rights are reserved, and 
any other use of the songs on this tape is prohibited."

I don't know if it helps, but it certainly can't hurt....
-- 
=========*davE*.....making the world safe for intelligent dance music.=========
As you're cleaning the orange carpet, you will hear a voice that says, "Fetch 
my cigarettes."  Another voice will say, "THEY'RE ON TOP OF THE REFRIGERATOR."
--(David Vessell)--(Bradley University Computing Services)-(dave@bradley.edu)--
From: david@thunder.mcrcim.mcgill.edu (David Gauthier)
Newsgroups: rec.music.makers
Subject: re: Pro Reverb and the Vintage Scam
Date: 14 Apr 92 01:08:07 GMT
Organization: McGill University, McRCIM

>In article <1992Apr13.163312.27357@hplabsz.hpl.hp.com>, enorwood@hplabsz.hpl.hp.com (Earl Norwood) writes:
> And a a flame about collectability of these things. Well they are not
> fine art, it is just a 'fair' guitar amp. I don't understand the craze
> these days that everything is a colectable item. From baseball cards
> to airplanes it drives me carzy. I meen I saw a Gibson Melody Maker
> ($100 guitar in 1975) on sale in a store in San Jose for $600.00!!! CRAZY!
> 
> FLAME OFF:
> 
> See ya'
> Earl Norwood
> 
> 
Maybe we're all just getting old. I recall tall stories from my dad
telling me how little things costed in the good old days =).

I recall buying used guitars in the mid 60's for $25. I bought my 64 strat
in 1972 for $250. That was the going rate at the time. I used to collect
vintage instruments but got rid of most of them because I've come to the
conclusion that the newer amps and guitars are much better than the originals.
Products like the reissue Fender, Gibson and Gretsch guitars, the 59 bassman, 
the marshall bluesbreaker, are all fantastic instruments. Although the
older instruments look neat, they are more trouble than they are worth.


david
Newsgroups: rec.music.makers