HDTenEightyP/NetNews huggingface dataset:
From: rfries@telecaster.ub.com (Robert Fries)
Subject: Re: Fender Pro Reverb Amp
Organization: Ungermann Bass
Date: Mon, 13 Apr 1992 17:23:07 GMT

In article <19546@chopin.udel.edu> abby@chopin.udel.edu (Louis Abbruzzesi) writes:


>    Anybody out there know anything about this amp.  Theres one for sale
>nearby and it sounds pretty good.  Its obviously an old one with a silver
>face and regular and vibrato channels, two 12s--- I was wondering what the 
>going price is and how many watts it is.

>Thanks in advance

>Lou

>abby@brahms.udel.edu

These are about 40 watts, with 2 6L6 power tubes. I've played black-faced
ones (mid-sixties) that I really liked. 
I have no ideas on price for a silver-faced unit, but I saw a used black-face
Pro for $499 recently. Silver-faced should be less, all other things being 
equal.

Robert
From: little@cs.ucsd.edu (Glenn Little)
Newsgroups: rec.music.makers
Subject: microphones
Date: 7 Apr 92 22:13:13 GMT
Organization: =CSE Dept., U.C. San Diego


  I think this newsgroup has probably been through this before.  If so, 
  maybe someone can just send me basically what came up?  I'm looking
  for a microphone in the sm57 price range (is that still in the a-bit-
  over-100 dollars category?), but maybe a different mic for some variety
  in sound.  Is there a good general-purpose mic out there for that 
  price?  Or is the sm57 the one?  Are there any acceptable condensers
  in that range?  A mic with a fairly high output level would be great,
  but that's not the overriding concern.

  Thanks much.

		Glenn Little
		glittle@ucsd.edu
		little%cs@ucsd.edu

Newsgroups: rec.music.makers
From: daveh@phoenix.Princeton.EDU (David L. Herrington)
Subject: Re: Fender Pro Reverb Amp
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Date: Sun, 12 Apr 1992 04:14:08 GMT

In article <19546@chopin.udel.edu> abby@chopin.udel.edu (Louis Abbruzzesi) writes:
>
>    Anybody out there know anything about this amp.  Theres one for sale
>nearby and it sounds pretty good.  Its obviously an old one with a silver
>face and regular and vibrato channels, two 12s--- I was wondering what the 
>going price is and how many watts it is.
>
>Thanks in advance
>
>Lou
>
>abby@brahms.udel.edu

I have an old Pro Reverb and have always liked its tone, although I blew
the original speakers long ago.  The Pro is 40 watts RMS.  I can't tell
you what the current price for one is.  For the record, here are some
specs for Fender tube amps as listed in the Sept '70 issue of Guitar 
Player.  They appear in order by list price.

                    watts                 Special
Model Name          RMS       Speakers    Features
------------------- -----     --------    -----------------
Champ               5         1-8"
Bronco              5         1-8"        V
Vibro/Champ         5         1-8"        V
Music Master        12        1-12"
Princeton           12        1-10"       V
Princeton Reverb    12        1-10"       V,R
Deluxe Reverb       20        1-12"       V,R
Bantam/Bass         ?         ?           
Vibrolux            35        2-10"       V,R
Pro Reverb          40        2-12"       V,R
Super Reverb        40        4-10"       V,R
Bandmaster          40        2-12"       V,R
Bassman             50        2-15"
Twin Reverb         85        2-12"       T,R
Bassman             50        3-12"
Super Bassman I     100       2-15"       
Dual Showman        85        2-15"       V
Super Bassman II    100       4-15"
                                          -------------------
                                          V=vibrato, R=reverb
                                          T=tremolo ???
                                          ------------------- 
-- 
+---------------------------------------------------------------------+
|  David L. Herrington                                                |
|  Princeton University                daveh@Phoenix.Princeton.EDU    |
|  Instructional and Media Services    Voice: 609-258-2952            |
From: wells@hpfcso.FC.HP.COM (John Wells)
Date: Tue, 14 Apr 1992 15:10:14 GMT
Subject: Re: Re: Question about standard MIDI
Organization: Zanzor of the CLOUDS
Newsgroups: rec.music.makers

In rec.music.makers, greenejl@mentor.cc.purdue.edu (Jonathan Greene) writes:

> Could someone please explain the relationship of MPU401 to 6850 UART?

The MC 6850 'ACIA' Asynchronous Communications Interface Adaptor or usually
called a UART Universal Asynchronous Receiver Transmitter is an integrated 
circuit that is used to form 8bit computer data into a 1 bit stream of 
electronic pulses that other computers or teletypes or even MIDI equiped 
devices can understand given the correct speed and protocol of the bits
comming down the line.

The MPU401 is the model number of the circuit board that has some type
of a UART on it, more than likely a 6850.  
>
From: moskowit@tronsbox.UUCP (Len Moskowitz)
Newsgroups: rec.music.makers
Subject: Re: Fender Pro Reverb Amp
Date: 12 Apr 92 01:16:19 GMT
Organization: Xanadu Enterprises Inc.

In article <19546@chopin.udel.edu> abby@chopin.udel.edu (Louis Abbruzzesi) writes:
>
>    Anybody out there know anything about this amp.  Theres one for sale
>nearby and it sounds pretty good.  Its obviously an old one with a silver
>face and regular and vibrato channels, two 12s--- I was wondering what the 
>going price is and how many watts it is.

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.

The Pro was the Twin Reverb's little brother and a step up from the
Deluxe Reverb.  If I remember rightly it had the same output power as
the Super Reverb (4 -10" speakers) -- around 40 Watts.
-- 


Len Moskowitz
moskowit@tronsbox.xei.com
Newsgroups: rec.music.makers
From: bohdan.kiszczuk@rose.uucp (bohdan kiszczuk)
Subject: Usenet Tape depressio
Organization: Rose Media Inc, Toronto, Ontario.
Date: Sat, 11 Apr 1992 19:47:41 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.2)


Date Entered: 04-11-92 13:36



E(> Subject: Re: Usenet Tape depression sets in.
 
E(> jgj@ssd.csd.harris.com (Jeff Jackson) writes:
E(> 
E(> > True.  I'm one of those engineers, have lots of toys, could stand to
E(> > make a little more money (:-) and have difficulty playing barre cords.
E(> 
E(> I have a few expensive toys, and shun barre chords - which I don't need for
E(> folk music in the keys of D and G anyhow :-) - but I *can* play keyboards.
E(> 
E(> > I have an hypothesis about engineers and music, or at least software
E(> > engineers and music.  We spend our entire day thinking about and in
E(> > precise algorithms, tracing our way through deterministic (usually :-)
E(> > systems, dealing with life through non-emotional, scientific
E(> > objectivity.  In short, Computer Programmers/Software Engineers are
E(> > nerds.  And we despartely want to feel, to get away from silicon and
E(> > to our soul.  But it isn't easy.  And we approach it as a technical
E(> > problem.  What is the algorithm for playing with feeling?  Our
E(> > instinctual reaction to the problem is to throw hardware and software
E(> > at it.  But doesn't work (or at least it hasn't for me ... yet).
E(> 
E(> Sorry, and this isn't meant to be a flame, but I can't let you get away with
E(> that generalization without standing up as an exception to your rule.  As a
E(> software engineer I will accept, with some reservations, the appelation "nerd".
E(> However, I find music to be an intensely emotional experience, whether
E(> listening or playing.  I sometimes find it difficult to detach myself enough
E(> from a piece so that I can "practice the notes" properly.  Still, I agree
E(> that it isn't easy.  I can't say exactly when over the last 20 years I reached
E(> the point where the technical aspects of what-note-or-chord-to-play-when
E(> became second nature so I could concentrate on the emotional, "musical"
E(> aspects of my playing, but I do know that I haven't nearly reached that point
E(> on the guitar, and I sorely want to.  (I know, practice.  More time...)
E(> 
  For what it's worth:

           I know of one software company that has a policy of hiring 
only musicians or ex musicians. They find that individuals that have 
the talent and creativity to be musicians also make the best 
programmers. They will hire and train, if necessary, rather than hire 
a career software programmer. I don't work for this company but have 
been a client in the past. I also happen to be an ex professional 
musician that somehow found myself involved in data/voice 
communication design, and hardware capacity planning.(All this after 
many years). Yes software engineers usually don't make good musicians 
but musicians "tend" to make good software engineers.
---
   RR 1.60 R001028: Jesus Saves, Vishnu invests.
   RoseMail 1.70:
Newsgroups: rec.music.makers
From: larryh@cabezon.uucp (Larry Huntley)
Subject: Re: Pro Reverb and  the Vintage SCAM
Keywords: vintage, classic, overpriced, firewood
Organization: Logic Modeling Corporation / Beaverton OR & Milpitas CA
Distribution: usa
Date: Tue, 14 Apr 92 15:28:11 GMT

In article <73907@netnews.upenn.edu> sarisky@a.chem.upenn.edu (Mark J. Sarisky) writes:
>Ok.  Now this what I like to hear!  Just remember, in spite of the Blue Books
>that would like you to think differently, a item is only worth what someone
>will PAY for it.  My 1959 Champ is worth whatever I can sell it for.  Period.
>Now, if everyone would pay $500 for a 1959 Champ, then I could tell you it
>was worth that much.

    The scary thing about the 'vintage' market is that there are people who
    will pay hopelessly inflated prices for what is (and always has been)
    junk.  This is done out of a sense of nostalgia.

    Here in Portland (OR), I was in a used guitar store and saw genuine
    pieces of crap, stuff that they sold in K-Mart and S&H Green Stamp
    Redemption Centers when I was a kid.  (Does the name Teisco Del Ray
    ring bells for anyone?)  This stuff was ticketed and SELLING for
    prices in the $300-400 range.  The cat that owned the shop told me
    that people who had played in garage bands in the 60's and were now
    doctors or lawyers were buying these logs faster than he could find
    them at garage sales.

    I'm not suggesting that the serious working musician was buying the
    things, but the price was artificially high because of the nostalgic
    lawyers.

    At the same time, another shop in Portland has Barney Kessels hanging
    in the back of the store, collecting dust because nobody's interested.
    Mark's right - it's only worth what someone will pay; the sad part is
    that it is surprising what some folks will buy and how much they will
    pay.
-- 

    Larry Huntley / Logic Modeling Corporation / Beaverton  OR
    Fire and Chains and/Fire and Chains and/Fire and Chains and...
                      [Stop Continental Drift!]
From: defrain@en.ecn.purdue.edu (Paul D. DeFrain -- aka master guru)
Newsgroups: rec.music.makers
Subject: Re: digital Is A Huge Rip
Date: 15 Apr 92 20:03:56 GMT
Organization: Purdue Electrical & Biomedical Engineering

In article <1992Apr15.181144.3418@rose.com> bohdan.kiszczuk@rose.com (bohdan kiszczuk) writes:
>
>Date Entered: 04-15-92 13:12
>
>
>E > From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
>
>E > Subject: "Digital Is A Huge Rip-Off" (Neil Young)
>E >Digital, CDs - I hate them.  Digital is a disaster. This is the darkest age

I doubt Neil has an engineering degree and knows anything about what he is
talking about.  I doubt he's ever been in a controlled listening test and
is merely an advocate of anything old.

As it is, the human limit for perception of quantization noise is 13-14 bits
and digital systems use 16.  The non-linear aspects of the conversion
process are dissappearing with better IC process control as well as
with the use of PWM techniques for signal reconstruction. At present
any added non-linearity in a good system is not perceptable anyways. Besides,
your speakers are going to distort your sound by 5% so who really cares.
Digital can be copied indefinately w/o losses -- not so with analog where
losses are cumulative (digital bit errors are so rare in present systems
with good media that this is not an issue -- besides, "unrecoverable" bit
errors are generally "corrected" by the reconstruction process). Digital
recording allows for the possibility of seemless mixing and editing of
sound -- not to mention direct recording of inherently digital synthesized
sounds.

You too can think that digital is a farce and spend thousands of dollars 
more for an "equivalent" analog system  (I hope you find a way to make
copies of the master before it degrades).  You too can believe in things
you cannot hear. 
 
To think that digital is a scam... that statement is a scam.

My regards to Neil, at least he isn't doing Pepsi commercials...

Paul D.
Xref: sparky rec.music.makers:5490 rec.music.synth:7619
From: hjv@phil.ruu.nl (Hendrik Jan Veenstra)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Re: MIDI clock & FSK
Date: 7 Apr 92 21:38:42 GMT
Organization: Department of Philosophy, University of Utrecht, The Netherlands

d88-jwa@noir.nada.kth.se (Jon W{tte) writes:

>.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...)

Yep, y're right. But often you want to sync e.g. computer and tape - and
taperecorders don't output Song Position Pointer - so this is where it all
stops (and you switch to 'decent' SMPTE :).



--
Hendrik Jan Veenstra - Department of Philosophy
University of Utrecht - The Netherlands
USENET: hjv@phil.ruu.nl   * don't worry about life; it's not permanent *
Newsgroups: rec.music.makers
From: stahl@neptune.iex.com (Kevin Stahl)
Subject: Re: Pickguard Needed
Originator: stahl@neptune.iex.com
Organization: iex
Date: Thu, 9 Apr 1992 22:08:39 GMT


In article <1992Apr2.215643.10551@miavx1.acs.muohio.edu>
scduncan@miavx1.acs.muohio.edu (Sean C. Duncan, Idiot) writes:
|> 
|> Anyone have any information on a good place to get a Fender Jaguar pickguard?
|> You see, I am about to buy a vintage '64, but I think it's got a white
|> pickguard -- I'd like a nice tortise-shell pickguard.  How much would this
|> cost, considering that Fender doesn't make Jags anymore?
|> 

Try a company called  AllParts.  Sorry I don't have the address but they've always
got an ad in Guitar For the Praticing Musician.  They carry replacement parts for
all sorts of guitars, from pickguards to volume knobs to tuning pegs, etc. in numerous
colors and styles.
-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 Kevin Stahl                  | 
 IEX Corporation              |            I Heart My Dog Head
 {uunet,att}!iex!stahl        |
From: garyr@hpspdla.spd.HP.COM (Gary Rosen)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 17 Apr 92 01:55:23 GMT
Organization: HP Stanford Park - Palo Alto, CA

There are two important, related points to remember when comparing
LPs and CDs:

  1.  The recordings of the last forty years (or prior to the time
  CDs took over, at least) were optimized to sound good on *LPs*.
  Much of the lore of recording techniques built up over this time
  depended on this.  Motown Records, for example, had its own small
  pressing plant at or near the studio so they could test the sound
  of different mixes *on the vinyl*.
  This is significant because of point 2.

  2.  The *analog* amplification of CDs is entirely different from
  that of LPs.  The signal from an LP has to be amplified with a
  low-frequency rolloff to match the signal from the phono cartridge.
  Old records ('50s and early '60s) often had a little blurb on them
  saying something like "For best results use phono preamp with RIAA
  equalization curve etc."  The preamp is built into most receivers;
  some audiophiles buy it as a separate component.  The CD "preamp",
  on the other hand, is built into the CD player, which sends a 
  *line level* signal to the receiver that needs no such equalization.

In other words, when you compare a CD to an LP, even on the same sound
system over the same speakers in the same room, you are comparing
*vastly* different analog circuitry.  And this does not even take into
account the process of remastering the recording for digital (some 
*vinyl* remasterings of the same recording can sound different from one
another).  It is wrong to conclude from such comparisons that there is
something inherently inferior about digital sound, even if the CD does
not sound as good, because there are so many other variables.
CDs should *theorietically* be able to perfectly capture the audio
range, down to quantization noise (as low or lower than the noise level
of the best analog amplifiers).  Implementations may be flawed, but this
is true of analog technology as well.

- Gary Rosen
Newsgroups: rec.music.makers
From: bill@verdix.com (William Spencer)
Subject: Re: MISC MUSICAL GOODIES FOR SALE
Organization: Verdix Corp.
Distribution: usa
Date: Mon, 6 Apr 1992 22:28:52 GMT

sells@husc9.harvard.edu (Bryan Sells) writes:

>Ibanez Bass Compressor/Limiter pedal - $10

Sounds like a good deal. Too bad. I won't buy anything from 
someone obnoxious enough to post 5 for sale ads in a row.

COMBINE ADS INTO ONE ARTICLE!!! HOW STUPID CAN ANYONE BE!!!!

And don't buy anything from this person either!


bill
Newsgroups: rec.music.makers
From: garncarz@fraser.sfu.ca (dAREK G.)
Subject: dv8 preview !!!
Summary: the  dv8 - preview / info
Organization: Simon Fraser University, Burnaby, B.C., Canada
Date: Wed, 8 Apr 1992 17:52:47 GMT



there's a new industrial-house-but-not-acid-house band out named "dv8".
i have heard a few songs, but their stuff is still in the studio - unreleased.
they  really kick butt. they're like 242 with house... the only song with a
name so far is "evil.2.work".  i kinda got my hands on a demo tape.  if anyone
wants to know more...ask.
they're a mix of 242/njoi/tricky-disco/front line assembly !!!

dAREK


From: gwatts@hpcvia.CV.HP.COM (gary_watts)
Date: Mon, 6 Apr 92 12:57:08 PST
Subject: Klipsch PA for sale!
Organization: Hewlett-Packard Co., Corvallis, Oregon
Newsgroups: rec.music.makers


Klipsch KP-301 front end cabs.  I owned a retail music store
for the last 3 years and since returned to the womb of Hewlett-
Packard.  These cabs are one of the last remaining pieces of
merchandise I have left.  If you haven't looked at Klipsch lately
they're amazing.  Their cabinets are NOT horn loaded on the bottom 
end any more!  These are their largest self-contained cabinets.
From these you move up to the flying system Kp-600's.  

	*9 ply birch plywood cabinet with Texture-lac finish.
	*250W continuous power handling
	*built in passive crossover
	*all Neutric locking connectors.
	*35-19K +/-3db
	*resonsible size and weight(I don't have those
		numbers right in front of me)
	*Front loaded with Port for the bottom end
	*3 way design with 15" cast frame driver,horn mid and 
	 horn highs.

	*Full metal grills with heavy cloth cover     

	*Retail is $800.00 each
	 Your price $795.00 for the pair.  

	These are new speakers with a full factory warranty.
	The sound is very good particularily when compared
	to similiar models in EV and JBL.  You have to get to
	the Concert JBL's to exceed these in terms of punch
	and smoothness.

Please E-mail or call (503)750-3130 if interested.  

Gary Watts
Hewlett-Packard
Corvallis, OR 


Xref: sparky rec.music.makers:5604 rec.music.misc:14192
From: jaz@icd.ab.com (Jack A. Zucker)
Subject: Re: MISC MUSICAL GOODIES FOR SALE
Organization: Allen-Bradley Company, Inc.
Distribution: usa
Date: Tue, 7 Apr 1992 12:48:02 GMT

In article <1992Apr6.222852.21630@verdix.com>, bill@verdix.com (William Spencer) writes:
|> sells@husc9.harvard.edu (Bryan Sells) writes:
|> 
|> >Ibanez Bass Compressor/Limiter pedal - $10
|> 
|> Sounds like a good deal. Too bad. I won't buy anything from 
|> someone obnoxious enough to post 5 for sale ads in a row.
|> 
|> COMBINE ADS INTO ONE ARTICLE!!! HOW STUPID CAN ANYONE BE!!!!
|> 
|> And don't buy anything from this person either!
|> 
|> 
|> bill

And I wouldn't listen to anyone stupid enough to post a followup
article like yours...Or mine :-)

-Jaz
-- 

                       (Chasin' the Trane)

| Jack A Zucker                              {uunet}!jaz@icd.ab.com |
| Allen-Bradley Company, Inc.                    or  ICCGCC::ZUCKER |
| 747 Alpha Drive                                                   |
| Highland Hts., OH 44143 Phone(216) 646-4668   FAX: (216) 646-4484 |
From: jaywb@juliet.caltech.edu (Bromley, Jay W.)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Summary: does anyone know a good psychiatrist?
Keywords: I need some therapy...
Date: 17 Apr 92 05:43:00 GMT
Organization: California Institute of Technology
News-Software: VAX/VMS VNEWS 1.40

In article <1992Apr16.230946.625@wri.com>, andre@rurutu.wri.com (Andre Kuzniarek) writes...
>In article <1992Apr16.210605.17130@verdix.com> bill@verdix.com (William  
>Spencer) writes:
>> Interesting comment about "thereaupuetic value"[sp?] though.
> 
>I guess he means if you're going to raise plants on music. Of course, if  
>you played Neil Young, they would wilt anyway.
> 
Does anyone know of a good psychiatrist?  I listen to CD's all of the 
time, and I even make music which I intend to record digitally, and yet,
I sense there's something wrong in my life.  Something missing deep down
to challenge and sooth my soul.  I don't know... :)
Regards.
########################## Making time in a low rent highrise, no place
jay bromley, space cadet | to go downtown, crushing crucifixion, particles
jaywb@juliet.caltech.edu | harmful descent, take a shot and hide
From: rgp39716@uxa.cso.uiuc.edu (Rahul G. Patwari)
Newsgroups: rec.music.makers
Subject: Tears In Heaven
Date: 9 Apr 92 15:11:52 GMT
Organization: University of Illinois at Urbana

Someone earlier had wanted the music to "Tears In Heaven," I figured it out
to the best of my ability (some parts are too hard to hear on my tape
player), and have written out the music. I, however, do not know how to 
give sheet music over the network--I'm new at this...


-- 
Rahul G. Patwari         
rgp39716@uxa.cso.uiuc.edu
University Of Illinois  
At Urbana-Champaign    
Xref: sparky rec.music.makers:5557 misc.forsale:13692 wi.forsale:147
From: bold@astroatc.UUCP (Jeff Beck)
Newsgroups: rec.music.makers,misc.forsale,wi.forsale
Subject: FOR SALE: Anniversary edition banjo
Keywords: banjo, forsale, mint
Date: 10 Apr 92 20:22:11 GMT
Reply-To: bold@astroatc.UUCP (Jeff Beck)
Distribution: na
Organization: Trilogy Musical Group

For sale:

1976 Eagle Anniversary model Kay banjo
     - beautiful eagle engraved on back
     - mint condition - barely used
     - includes case
     - brand new skin and strings.
     - includes assorted picks

Price:  $150.00 negotiable - email the below address or call (608) 221-9001

--
******************************************************************************
Jason Bold - Madison, WI:                 +===+   o    +===+  Yeah, but two  *
bold%astroatc.uucp@spool.cs.wisc.edu      |   |  /|\   |   |  amps can go    *
                                          |~~~|  Co-"= |~~~|  up to 22.      *
"With this amazing new "knife"...         |___|  / \   |___|  So there!      *
******************************************************************************