HDTenEightyP/NetNews huggingface dataset:
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Newsgroups: alt.guitar
Subject: Re: Bridge Pickup Alignment
Date: 23 Nov 1992 00:40:03 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: bt979@cleveland.Freenet.Edu (Jeff Preston)
NNTP-Posting-Host: hela.ins.cwru.edu


In a previous article, Daniel.Parmet@launchpad.unc.edu (Daniel Parmet) says:

>I am curious.  On a lot of guitars, why is the bridge pickup on a diagonal
>and not strictly vertical like the other(s)?

  You usually only see this on American-made guitars; the Luthier's Union
has negotiated as a term of their contract with Gibson, Fender, et al, that
second and third-shift workers be entitled to six beers per shift (due to
extremely hot conditions in the plants, and the fact that having to work
these shifts has a significant negative impact on one's social life). By
the middle of of a shift, all kinds of minor flaws are overlooked; as long
as the guitar is playable, it goes out the door.

  Jeff

  P.S. --  ;')

-- 
| Jeff Preston - owner and moderator of | "We don't  get  many requests |
| the  Allan Holdsworth discussion list |  for recent history."  -- Mr. |
| *** To subscribe, send e-mail to: *** |  Atoz, from the '69 Star Trek |
| <atavachron@morekypr.morehead-st.edu> |  episode _All Our Yesterdays_ |
From: floyd@starsend.chbrk.pa.us (Floyd Miller)
Newsgroups: alt.guitar
Subject: Re: Frampton Talkbox Schematic (Other Performers)
Date: 15 Nov 92 06:18:22 GMT
Reply-To: floyd@starsend.chbrk.pa.us (Floyd Miller)
Organization: Just Me

In a previous article bk233@cleveland.Freenet.Edu (Jack W. Weinmann) wrote:

>
>There used to be a steel (slide) guitarist in the '50's that used one to
>make his steel guitar talk.  I can't remember his name, but I remember that
>one of the songs that he did was something like:
>
>"I'm just a guit-ar.... why does ever-y-body pick on me!"
>
>He really made it sound good, and with a steel guitar he got more constant
>tone and less percussive effects.  It was the clearest, most understandable
>talkbox usage that I have ever heard.
>
>If anyone remembers who he was I'd appreciate hearing from you.  I'd like
>to find some of his recordings.     AHHHHH nostalgia - ain't it great?
>

   It was Alvino Ray.  He used to appear regularly on the "King Family Show"
   sometime in the mid-sixties.

   He played pedal steel guitar and made it sound as it it was talking
   but he didn't use any effects or "talkbox".  It was all technique.

****************************************       ****
 ** Floyd Miller ***************************     ***
  *********************************************    **
   *** floyd@starsend.chbrk.pa.us ****************  **
    ************************************************  *
Organization: Arizona State University
Date: Friday, 13 Nov 1992 18:49:39 MST
From: <AUJGH@ASUACAD.BITNET>
Newsgroups: alt.guitar
Subject: Re: String Guages [what to use?]

i know what you mean about such a small change making such a big difference.
even better is going from playing acoustic for a week then going back to
electric. it's like butter. anyway.
10's will also give you more sound (more output from the pickups) especially
on the top where it's noticable.
   greg
Newsgroups: alt.guitar
From: robin@uhunix.uhcc.Hawaii.Edu (Robin Amano)
Subject: Re: Electronic definition of sprong!
Organization: University of Hawaii
Date: Tue, 17 Nov 1992 04:26:57 GMT


In article <1992Nov10.215058.22727@ncsu.edu> npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART) writes:
>
>I've played a lot of different amps, and some have a better feel than others.
>With my current amp, an '84 CARVIN w/ 6L6's, even if I set up a fairly low gain
>setting (and it's not much by modern standards on 10), I get a good sound, but
>the amp doesn't play as dynamically as I'd like it to.  I have played different
>amps that had different amounts of sponginess/touch/feel/Sprong! or whatever its
>proper term is - that the amount of distortion and especially the sound of the 
>amp changed dramatically with my touch.  This is what I crave in an amp.


Isn't this amp a hybrid?  I don't know about these days, but I'm pretty 
sure back then they used a solid state preamp section and tube output.
That could be the problem right there!!  Check out a Boogie!



--
--------------

rob

Newsgroups: alt.guitar
From: etxpell@mega.ericsson.se (Pelle Arvinder)
Subject: Bridge adjustment #2
Reply-To: etxpell@mega.ericsson.se
Organization: Ericsson Telecom, Stockholm, Sweden
Date: Tue, 17 Nov 1992 07:40:40 GMT

Hi there!

Having followed the discussion about intonation adjustments, I have a question
about action adjustments:
On my Ibanez "Licensed under Floyd Rose..." bridge, it's possible to adjust
the action on each sadle individually. 
There are also two screws on the upper and lower side of the bridge, that I 
suppose would adjust the action of all strings.
Correct? Is there any difference in using the two big screws, or using the
ones on each sadle?

I have just changed gauge from .009 to .010 + tuned down 1/2 step, to get a
new sound from my guitar (and it makes it easier to steal Nuno's licks :-),
so I'm trying to summon enough courage to start fixing the action and 
intonation.

Since I have a chromatic tuner that tells me that the harmonic and fretted
notes at the 12th bar now differ 5-10%, I would think that if I can get the 
open string AND the fretted 12th AND the harmonic to the same pitch, 
that's it?
Or should I call my local music store and not start playing around with the
bridge myself??

Cheers,
       Pelle
_______________________________________________________________________________
Pelle Arvinder      |     ____                  ____
Ericsson Telecom AB |    /   /_____  __  ____  /   /__ _  _____  ____  _______
AXE Systems Design  |   / / / __/ / / / / __/ / / /   | |/ / / |/ /  |/ __/   |
S-126 25 Stockholm  |  / __/ _// /_/ /_/ _/  /   /   /|   / /    / / / _//   /
SWEDEN              | /_/ /___/___/___/___/ /_/_/_/|_||__/_/_/|_/___/___/_/|_|
____________________|__________________________________________________________
Phone: +46 8 719 77 68    MEMO: ETX.ETXPELL    E-mail: etxpell@mega.ericsson.se
From: stefan@ntg.com (Stefan Biskup)
Newsgroups: alt.guitar
Subject: Re: Effect Ordering and Effect Loops
Date: 18 Nov 92 18:57:17 GMT
Organization: New Technologies Group, Inc.  Palo Alto CA

In article <Bxu0w7.8oF@cup.hp.com> balon@cup.hp.com (Tom Balon) writes:
>
>	I would like to query some of you who use effect loops and
>	effects in general. (ie. most of us) Some people like their 
>	effects in a definite order, others could care less. 
>
>	Person A's effect chain might be:
>
>	   guitar -> distortion -> outboard reverb -> guitar amp input 
>
>	Person B's same effects might be ordered:
>
>					 |----effect loop---|
>	   guitar -> guitar amp input -> reverb -> distortion 
>
>			     - OR -
>					 |----effect loop---|
>	   guitar -> guitar amp input -> distortion -> reverb 
>
>	Do you folks find a significant difference in your sound as a
>	result of the ordering of the effects you use ? Do you find
>	the effects sound different in and out of the effects loop (if
>	you have one) ? Just curious.


      In your examples above I would use the distortion first because that
way you would get the effect of a distorted signal in a reflective space as
opposed to a reflective space that is distorted.  The benefit of an effects
loop is that the send out of the amp is usually after the eq section of 
your amp so you can gain the advantage of useing your amp's soundshaping
capabilities before the signal is effected. fx loops are also generally
quieter.  I personally belive in tonal effects(distortion, Eq) before
spacial ones(chourus, delays reverbs) as a base because this continues the
thinking expressed above witch I guess is the closest I can give to a rule
to follow. BUT from there on I would say experimentation is essential!!!!

          Hope it helped

              -Stefan 

      
Xref: sparky alt.guitar:10045 rec.music.makers.guitar:259
From: larryh@cabezon.uucp (Larry Huntley)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: Re: Identifying a Les Paul
Date: 19 Nov 92 16:31:44 GMT
Article-I.D.: cabezon.1992Nov19.163144.28067
Organization: Logic Modeling Inc of Beaverton Oregon

In article <1992Nov18.005856.3755@wam.umd.edu> khisanth@wam.umd.edu (Mike Donovan) writes:
>
>	I've been hearing about identifying years of guitars by their serial
>number. Well, I want to try. It is a fairly new Gibson Les Paul and the 
>number is: 92750358 . It says Studio on the headstock truss rod cover. But this

    The serial no is fairly easy.  It was built on the 275th day of 1990,
    in Kalamazoo, and it was the 58th instrument marked that day.  The
    8-digit serial numbers break down like this:

	YDDDYPPP

	The first and fourth digits are YY, the year of manufacture;
	DDD is the day of that year
	The first P is the factory code (0-4 Kalamazoo, 5-9 Nashville)
	and the other two PPs serialize the instrument on that day.

    I don't know about the physical appearance discrepancies.  Truss
    rod covers are easy to change.

    Perhaps Pasi can add something more...

    - Larry Huntley
-- 
         (larryh@lmc.com)         |         --TALK.BIZARRE-- 
     Logic Modeling Corporation   |      The Suppurating Abcess
          Beaverton,  OR          | of the INTERNET - Dr. Donald Wildmon
Newsgroups: alt.guitar
From: holtslander@skyfox.usask.ca
Subject: RE: Harmonicas
Organization: University of Saskatchewan
Date: Thu, 19 Nov 1992 17:01:18 GMT

A keyed harp is called a diatonic harp.  It only has all sharps and
flats for the key it is in.  The reason for this is too make it easier
to play.  If you are playing in a particulat key you don't need all
those extra sharps and flats that aren't used in that key.ie a diatonic
(or keyed harp) only has 8 notes over a single octave range, it makes
things very simple as long as you play in the key of the harp. Any note
played on the harp will be in the scale of the key you are playing.  If
you goof up you won't sound really bad.

A chromatic harp has all the notes on one harp, ie the full range of
sharps and flats (12 notes over a single octave range).  Since it
can play the full range of sharps and flats you can play in any key,
but it is much harder to play.  There will be a lot of notes that
you simply won't use depending on what key you are playing in and
they will sound really bad if you goof up.  In order to play this
harp you would have to learn the scales of each key that you are going
to be playing in (Not all that difficult, about as hard as learning all
your guitar chords, depends on how bad you want to learn).  If you were
playing a song in the key of G you pick out notes from the G scale on
the harmonica, not all that difficult, but you have to know your scales
cold.

Another alternative is to play cross harp.  You can use a harp that is
a 4th above the key your are using.  ie when I play in G on the guitar I
use a C harp, when I play in D I Use a G harp.  By playing normal and
cross harp you can play in G,C & D with a C & G harp.

Hope this helps. If only I could play guitar and harmonica at the same
time, then I'd be really happy - its like patting your head and
rubbing your stomach.

Gord Holtslander                When you dance to the blues
Holtslander@skyfox.usask.ca     The drummer owns your soul
Xref: sparky alt.guitar:9918 rec.music.makers.guitar.tablature:66
From: 880126b@dragon.acadiau.ca (Chris Butler)
Newsgroups: alt.guitar,rec.music.makers.guitar.tablature
Subject: CRD: Asia - Don't Cry
Date: 15 Nov 92 23:03:53 GMT
Article-I.D.: dragon.1992Nov15.230353.23950
Organization: Acadia University


I've gotten a lot of music from this group, and I figured it was
about time I put some back in.  Here's _Don't Cry_ by Asia.


Don't Cry - Asia
----------------

C                             Am
Hard times you had before you, I knew when I first saw you
Dm                               G        E/G#
You, girl, you've always been mistreated, cheated
C                          Am       
So leave it all behind you, it took so long to find you
Dm                         G     E/G#     Am  G/B  Dm    G
I know that we can last forever, ever and more,    more, oh

Chorus:
C     G/B     F/A          G/B      C
Don't cry, now that I have found you
      G/B      F/A      G/B       C
Don't cry, take a look around you
      G/B         F/A         G/B
Don't cry, it took so long to find you
Dm              C/E   F              G            Bb
Do what you want, but little darling please don't cry

2nd verse:
I knew I'd never doubt it, I was so sure about it
Don't think of all that's been before, -ore
I'll hear you when you're calling, I'll catch you when you're falling
Don't worry, I will always be there like never before, -ore, oh

Chorus (same as above except:
Dm             C/E    F              G            Am    /    /
Do what you want, but little darling please don't cry
/G/B      /        /Dm        /         /F        /         /
(then return to start of chorus)

Chords used:
C      032010
Am     x02210
Dm     xx0231
G      3x0003
E/G#   4x2400 (but 022100 sounds OK)
G/B    02x033 (but 3x0003 sounds OK)
F/A    x03211
C/E    002013 (but 032010 sounds OK)
F      003211

-Chris

-- 
Chris Butler                                   chris.butler@dragon.acadiau.ca
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
      "Copywight 1992 Elmer J. Fudd Entewpwises - All Wights Wesewved."
From: exuptr@exu.ericsson.se (Patrick Taylor)
Newsgroups: alt.guitar
Subject: Re: van halen's variac
Date: 13 Nov 92 21:34:19 GMT
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.

In article <1dgk0rINNs7o@usenet.INS.CWRU.Edu> bk233@cleveland.Freenet.Edu (Jack W. Weinmann) writes:
>In a previous article, dhi00@ccc.amdahl.com (mofo) says:

>>i've read the same article regarding variac'ing an amp to a higher 
>>line voltage.  it also said most if not all manufacturers frown on
>>this.  it may not blow out the amp on the spot, but running it 
>>higher than normal line voltage stresses the power supply by
>>forcing higher heat dissipation.  this effectively reduces your
>>mean time between failures meaning your amp will crash sooner
>>than it should have.  
>>
>>but if youre van halen you just call marshall and tell them to
>>ship another one.  i'm sure marshall is more than happy to
>>oblige...
>>
>>d
>>
>As an electronic technician I must agree that this is NOT a good idea for
>the average guitarist.
>     First of all, when you overvoltage electronic equipment you take a 
>chance on exceeding the ratings of the transformers, rectifiers, filter
>capacitors, etc.....

>     Second, many of the newer electronic devices have "safety related"
>components which are rated for FIRE safety.  You may exceed the ratings on
>these and burn out your amp.

>     Third, van Halen has the kind of money to keep things like "spare
>amps, etc...."  - DO YOU?

>     Exceeding the ratings on any electric/electronic eqipment is
>DANGEROUS!


>Jack Weinmann

Not only that, but if the amp has regulation on the power supply, it won't
even do you any good.  Should not be attempted on any amp with solid state 
parts.
 ----------------------------------------------------------------------------
 PEROT IN '96!

  - Patrick Taylor, Ericsson Network Systems
    exuptr@exu.ericsson.se                    "Don't let the .se fool you"
    exuptr@ZGNews.Lonestar.Org  <SLOW!>
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: sympathetic vibration
Date: 19 Nov 92 21:12:58 GMT
Followup-To: alt.guitar
Organization: Univ. of Arizona

In article <Nov.19.01.26.31.1992.24642@gauss.rutgers.edu>,
hanford@gauss.rutgers.edu (Bonzo) wrote:
> 
> when I pick the high-E, B, or G strings my low E and A strings vibrate, thus 
> creating a really annoying sound.  Can I do anything??????  

	Block them - use left hand or right hand, depending upon what's free.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: alt.guitar
From: miles@ms.uky.edu (Stephen D. Grant)
Subject: Too late to learn?
Date: Sun, 22 Nov 1992 17:58:06 GMT
Organization: University of Kentucky, USA. -5 GMT

Hi.
Well, I have played guitar for 19 years. I started in 1974 my freshman year
of high school. I only took 3 semesters of guitar there and mainly learned
chords and a couple picking styles.
Over the years I have dabbled in bands and continued to pursue guitar only
as a hobby> As in, I didn't take the time to learn theory. Although I can
"read" music, I cann't "sight read". I do read tablature.
My question is: Has anyone started late (age 30 or so) in learning theory?
If so, how difficult was it to grasp new concepts (and/or discard old ones)?
I guess what I really want to know is will it be a *lot* harder for me to
learn at a decrepit 32? ;)
Also, any tips on where to begin would be appreciated. My ultimate goal
would be to be able to "sight read".
From: napier@cs.ucsd.edu (Jim Napier)
Newsgroups: alt.guitar
Subject: Recording yourself over albums
Date: 23 Nov 1992 20:34:14 GMT
Organization: AMES Dept., UC San Diego
Distribution: world
NNTP-Posting-Host: sierra.ucsd.edu




I'm trying to set up a practice room for jamming with records in a way
that will allow me to record myself over the top of some other music.
My intent is to develop my improvisational skills by jamming with
albums and taping the whole session to see how well what I'm playing
sounds. In a nutshell what I'd like is to take the signal from my
stereo and the signal from my electric guitar and feed them both
through a single box so that the output is mixed and I can then tape
the output on my cassette deck. I tried to build something like this many
years ago from a project described in Guitar Player but the design was
poor and the guitar overdub sounded terrible against the recorded
material coming from the stereo. I'd like to hear from anyone who has
suggestions about how to do this. If it takes building something of my
own that's fine and I'd also consider buying something if there are
manufactured boxes out there that provide this capability. I'd also
would like to hear from people who have alternative suggestions for my
ultimate goal of jamming with records and playing back what I've done.
Thanks for your help.

=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
Jim Napier
Systems Administration
Applied Mechanics & Engineering Sciences Dept.
UC San Diego
(619)534-5414
napier@ames.ucsd.edu

"Shut up before I have to tell you to shut up."
=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
From: dcd30@yellowjacketcd.amdahl.com (Dan C. Devou)
Newsgroups: alt.guitar
Subject: Power Amp info request
Date: 17 Nov 92 17:51:25 GMT
Distribution: ca
Organization: Amdahl Corporation, Sunnyvale CA

I'm looking at buying a used rack mount stereo power amp.  It is a Rolls
Reference Amp model RA2100A, 100 watts/ch @ 4 ohms, 75 watts/ch @ 8
ohms.  Does anyone out there have any information about this amp that
might help me to make an informed purchase decision.  Thanks in
advance.

Dan
Newsgroups: alt.guitar
From: edwards@andy.bgsu.edu (Bruce Edwards)
Subject: Re: Improvisational focus (WAS: Re: Blues Soloing [help!])
Organization: Bowling Green State University B.G., Oh.
Distribution: usa
Date: Thu, 19 Nov 1992 21:55:02 GMT

In article <1992Nov17.213326.24418@col.hp.com>, rstern@col.hp.com (Richard Stern) writes:
> 
> 2) Almost all guitarists get in ruts, but we get in *our own* ruts.  The
> first time I realized this was when I got complimented by a guitarist
> whom I respected and considered way better than myself.  We got to talking
> and come to this important fact:  we all get somewhat bored with our own
> playing, since we hear ourselves over and over.  But those same licks may
> sound fresh to someone else.  And that player is probably sick of his/her
> licks, but they sound fresh to you.
> 
> Richard Stern
> rstern@col.hp.com

Man ... ain't it the truth. I don't know how many times I've been playing with
someone and beating my fingers to a pulp trying to pick something up that
they're doing thinkin' this is great stuff, I wish I had more stuff like this.
Then I start to fire off some tired old licks of mine and it's, "Hey, stop man,
what's that you're doin' there?!" I'm thinking, "What? This little thing? It
ain't nothin'!" We used to what we play and familiarity breeds comtempt.  That's
why you have to play with as many people as you can.  Particularly the blues.
The blues is more like an oral tradition would be in a non-literate culture.
Its bits and pieces of this and that, licks, tricks, scams, posturing and
tone, tone, tone, tone, tone. I get to play with Big Jack Reynolds every
once in while (I won't go into his 'blues pedigree' but he used to blow harp
riffs back and forth cross the street before supper with Sonny Boy in Detroit
and John Lee Hooker mentions him on the liner notes of his new album). Big
Jack's guitar playin could be described as incredibly monotonous if you
weren't listening very carefully, you watch him play and say to yourself
I see every single note he's playin, it ain't no big deal .... until you
try to make that sound then you realize it ain't how many notes, or how
fast you play um it's tone, tone, tone. And as I heard Big Jack say to a
young wanna-be poking around Jacks stuff after a gig ... "It ain't the
amplifier son" ;-)

edwards@andy.bgsu.edu

-- 

edwards@andy.bgsu.edu

Newsgroups: alt.guitar
From: rstern@col.hp.com (Richard Stern)
Subject: Re: Improvisational focus (WAS: Re: Blues Soloing [help!])
Date: Tue, 17 Nov 1992 21:33:26 GMT
Distribution: usa
Organization: HP Colorado Springs Division

napier@cs.ucsd.edu (Jim Napier) writes:
> One problem I have always had is that as soon as I'm with others
> or playing in front of people my mind goes blank. I'm so focused on where
> I am that any creative improvisational ability is washed away and I find
> myself repeating stiff phrases and groping for the right notes (or any
> notes that sound like anything related to the song). I've never mastered
> the art of centering myself on the instrument while improvising with other
> musicians. I have no problem when I play by myself or to albums and quite
> enjoy the freedom of expression that improvisation provides. I guess for me
> the main problem is that the freedom of thought necessary to improvise
> properly is at odds with the fact that I'm completely aware that others
> are observing me. How do others deal with such distractions? Is this just
> a case of plain old stage fright?

I think your problems are fairly common.  We all want to impress other
guitar players, whether they are people we're jamming with or just happen
to be in the audience at a gig.  And it always seems like our playing is
at it's worst in these pressure situations.

Here's some thoughts:

1) Don't worry about some hot guitarist watching you.  Everyone was a
beginner at some point.  Most excellent guitarists can relate to us lesser
types.  They've been there.

2) Almost all guitarists get in ruts, but we get in *our own* ruts.  The
first time I realized this was when I got complimented by a guitarist
whom I respected and considered way better than myself.  We got to talking
and come to this important fact:  we all get somewhat bored with our own
playing, since we hear ourselves over and over.  But those same licks may
sound fresh to someone else.  And that player is probably sick of his/her
licks, but they sound fresh to you.

The more you play, the more you'll realize how true these things are, and
the more comfortable you'll become in front of others.  And then your
best playing will happen more often, and the cycle continues ...

Richard Stern
rstern@col.hp.com