HDTenEightyP/NetNews huggingface dataset:
From: samulski@esrican.uucp (Jungle-John)
Subject: Noisy amp power down
Organization: ESRI Canada
X-Newsreader: Tin 1.1 PL4
Distribution: na
Date: Mon, 23 Nov 1992 17:13:01 GMT


I just bought a early - mid 80's Marshall 5210 combo (50w solid state, 
1 12" driver).  I love this amp - BUT - whenever I turn it off it makes a
*very* loud bang/pop type sound which is both unsettling to my cat and 
is probably damaging the driver.  

There is one thing which may be the obvious problem - the ground prong in the
power cord is missing.  I suspect this is it, but I'd rather not spend $
on a new power cord if that's not it. It seemed ok at the store (although
like most music stores, the noise level would have made the problem seem
relatively minor). I've decided not to risk turning it on again until I 
get an idea what's wrong.

Any advice?  Feel free to flame if this is obvious; asbestos suit at the ready.
-- 
===============================================================================
      This blank space represents a profound lack of imagination.  
                                                       jsamulski@esri.com
===============================================================================
From: afcondon@dsg.cs.tcd.ie (Andrew Condon)
Newsgroups: alt.guitar
Subject: Re: Tremolo system -- HELP !!!
Date: 21 Nov 92 14:10:03 GMT
Organization: DSG, Dept. of Computer Science, Trinity College Dublin

In <1992Nov19.204007.21919@awdprime.austin.ibm.com> ken@batman.austin.ibm.com (Ken Goach) writes:
[interesting tremolo-tuning discussion deleted]

All this talk of spring-based tremolo systems, plus a hankering for a new
guitar which has one, leads me to ask: Whatever happened to the Washburn 
Wonderbar trem system? I always thought the torsion bar was a good attack on 
the tuning problem, but no-one ever seemed to use one (except Robbie Robertson, and the guy in the Durutti Column). 

What was the fatal flaw? Or was it a marketing failure? 

--
Andrew
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Newsgroups: alt.guitar
Subject: Re: Too late to learn?
Date: 23 Nov 1992 06:22:44 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, miles@ms.uky.edu (Stephen D. Grant) says:

>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".

  I too would be interested in hearing people's views on this -- I'm in
much the same boat as you, Mr. Grant. Although I've stumbled upon many
interesting chords and changes (especially in the past 2-3 years), I feel
as if I've reached the limit of what I can do on my own. Another factor
which has been troublesome is that many of these interesting chords cause
me to write tunes which are nearly physically impossible for me to play,
mainly because my endurance is lacking. I could honestly use a measure of
discipline and a set regimen of practice, which I'm sure lessons from the
right instructor would provide... but for some reason I dread actually
taking that first step (deep-seated psychological trauma In Re the
student-teacher relationship, I suppose  :)). 
  Being a staff member at Morehead State (just up the road from you),
and hearing so many good things about MSU's main guitar instructor (not
to mention the dozen or so *burning* players I've heard come out of the
program in the four years I've been here), I should be eager to take a
class. Couple that with the fact that I get one free class a semester,
and I suppose it'd be foolish for me to waste anymore time thinking 
about it (well, there *is* the matter of the $115-worth of unpaid parking
tickets I'd have to take care of first, but...). Can anyone "push me
over the edge" here?  I'm afraid... help!!!  ;)

  Jeff

-- 
| 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: lginzb@ccat.sas.upenn.edu (Lionel Ginzburg)
Newsgroups: alt.guitar
Subject: Re: ...Ceramic or Alnico?....
Date: 18 Nov 92 04:36:56 GMT


In article <kf2K0=O00iV405gZQ3@andrew.cmu.edu> jt3c+@andrew.cmu.edu (John Tampubolon) writes:
>I have 3 questions:
> 1. anyone know what type of magnets (ceramic/alnico) Gibson used on their   
>     PAF's?
> 2. what do they use on their humbuckers now? (post-PAF).
> 3. what do you people prefer?
>
>thanks,
>
>john.

1. Alnico.  Ceramic magnets didn't come into wide use until much later,
if I'm not mistaken.

2.  I would imagine that the re-issues are alnico, though alnico is a
tricky substance that is very inconsistent.  (Al=aluminum, ni= nickel,
co=cobalt.) The cobalt in them is much desired by the DoD (or was
desired) for making nuclear weapons, so say, early 50's alnico magnets
had more cobalt than say, '70's alnicos.

3. Alnico magnets are much more expensive than ceramic, but they sound
warmer.  Ceramics have a much stronger field, size by size, so a lot of
high-output humbuckers and such use them.  I think Alnicos sound better,
but expense and size make the difference somewhat akin to the whole
tube/transistor controversy.  Also, some people (and some equipment
manufacturers) won't use Alnico magnets because much of the metal and
some of the magnets themselves (or is it most of the magnets? I haven't
kept up with my politics) come from South Africa.



-- 
Lionel Artom-Ginzburg
EMail to: Lionel@BWH.Harvard.edu
or, just autoreply.

Newsgroups: alt.guitar
From: crounse@fred.Berkeley.EDU (Great Rumpuscat)
Subject: guitar pricing  
Organization: UC Berkeley, University of California Berkeley
Date: Mon, 16 Nov 1992 23:49:05 GMT


Hi all!  I've been looking into buying a Gibson Epiphone PR-5
(why?!?, you ask, well i'm not sure but that's not the point here)
and can't figure out what amount is reasonable to pay.
Everybody I call in this area asks what other prices people 
have quoted before telling me what they will sell it for.
How frustrating!  Any comments on how much this instrument is
really worth?

Thanks,
ken


-- 
,,,,,,,,,,,,,,,,,crounse@fred.berkeley.edu,,,,,,,,,,,,,,,,,,,,,,,
Kenneth R. Crounse,      -  UC Berkeley
King of                  -  And, At Last, Something To Cheer About. 
Randomness and           -  Dept. of EECS
Chaos                    -  Nonlinear Electronics Laboratory
Xref: sparky alt.guitar:10015 rec.music.makers.guitar:240
From: jkiparsk@reed.edu (Jonathan Kiparsky)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: Re: Cry Baby or Hendrix Wah?
Date: 19 Nov 92 00:07:57 GMT
Organization: Reed College, Portland, Oregon

In article <1992Nov18.225313.26292@hpcvusn.cv.hp.com> fredh@cv.hp.com (Fred Handloser) writes:
>I've seen CryBaby pedals that say "The Original" but they are
>made by Duncan or some such company.  The CryBaby I bought
>in 1971 or 1972 says  "Thomas Organ Company" on the bottom
>plate.  Is this the model Hendrix used?

I don't know about you folks, but I've found that it's pretty safe to assume 
that anything labelled "the original" probably isn't.
-jon
Newsgroups: alt.guitar
From: jkiparsk@reed.edu (Jonathan Kiparsky)
Subject: Re: FOR SALE [from Fance]
Keywords: guitar, ibanez
Organization: Reed College, Portland, Oregon
Date: Mon, 23 Nov 1992 23:37:28 GMT

In article <1992Nov23.154101.10916@imag.fr> pistien@imag.imag.fr (Yannick Pistien) writes:
>Vends GUITARE ELECTRIQUE Ibanez Roadster Series II
>	Noire, plaque de protection blanche, 3 micros simples
>	Copie de stratocaster. Etat neuf.
>	Livree avec bandouliere, caisse de transport rigide, bottleneck,
>	cordon, partitions diverses.

Hey, I didn't know I could read French...
You learn something new every day, I guess.
-jon
Newsgroups: alt.guitar
From: blave@netcom.com (David W. Blevins)
Subject: Re: Joe Satriani/Dallas show
Organization: Netcom - Online Communication Services (408 241-9760 guest)
Distribution: usa
Date: Mon, 23 Nov 1992 18:04:30 GMT

I saw Joe in San Jose two Fridays ago.  Overall, it was a great show with
a good mix (but too loud as all concerts seem to be) except during "Surfing"
in which the lead part was pretty lost in the wall of sound.

He did a mixture of stuff from everything except the first album, with lots
of songs from "The Extremist".  He didn't do "Rubina's Blue Sky Happiness"
which is probably my favorite off the new disc but that song (mandolins,
etc.) may not lend itself to a live arrangement.

The band, consisting of the Bissonette Bros. and some keyboard player, was
pretty good; the drummer (Greg B.?) was incredible.

I missed the Flying tour so I can't make comparisons, but I was REALLY 
looking forward to this show and I wasn't disappointed.  But take earplugs...

Dave Blevins
Newsgroups: alt.guitar
From: spray@convex.com (Rob Spray)
Subject: Re: Gibson Oddity
Organization: CONVEX Computer Corporation, Richardson, Tx., USA
Date: Mon, 16 Nov 1992 21:12:21 GMT
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

In <1992Nov16.160246.2044@qualcomm.com> dweber@lark.qualcomm.com (Dan Weber) writes:

>         mine who does guitar repair says he remembers seeing 
>         something similar in the early 80's.
>          What it is; is a Arctic white Explorer with three P-90
>         pickups, two 3-way toggles, and one volume & one tone
>         control. The serial no. is 83394523 and it says MADE IN
>         USA beneath the serial on the headstock. Does any one know
>         anything about this? I just love this guitar! ( And I'm

It was the 24th guitar given a serial number in the Nashville plant 
on December 4th 1984.

--Rob   spray@convex.com

Newsgroups: alt.guitar
From: pedwards@Csli.Stanford.EDU (Paul N Edwards)
Subject: GREAT instruction books
Organization: Stanford University CSLI
Date: Sun, 15 Nov 1992 20:04:20 GMT

I want to recommend Bill Edwards' instruction books Fretboard Logic,
vols. I and II. I've been playing guitar for almost 20 years and
have never encountered anything as clear, rational, helpful, and
generally fantastic as these books. 

The subtitle of the series is "The Reasoning Behind the Guitar's
Unique Tuning System," and that really is what they're about. Edwards
explains the interaction of chord _forms_ with _chords_ (they're
two different things) and scales using the entire length of the
fretboard, showing how the patterns repeat themselves, giving you
half a dozen ways to orient yourself anywhere on the fretboard, and
generally dealing with the guitar as a physical instrument rather
than a device for applying abstract music theory.

These books will help any guitarist with any style, except people
who aren't interested in anything outside open position.

The chord book is better than the scale book, though.

I got these at Manny's in New York City - haven't seen them 
elsewhere, though that doesn't mean much since I haven't looked.

They're self-published: Edwards Music Publishing, 305 St. Augustine
Ave., Temple Terrace, FL  33617 is the address.

Disclaimer: despite my last name, I am not related to Bill Edwards.
I've never met him, I don't sell his books, and I'm not getting a
kickback.

Enjoy.

-- Paul Edwards
Newsgroups: alt.guitar
From: acs@leland.Stanford.EDU (Alexander Caldwell Schneider)
Subject: Scratchy Switch
Organization: DSG, Stanford University, CA 94305, USA
Date: Sun, 22 Nov 92 03:20:08 GMT


What's the best way to fix a scratchy/intermittent Strat-type 5-position
pickup selector switch?  The problem just developed recently.  Is a cleaning
probably good enough?


Thanks,
Alex
Newsgroups: alt.guitar,rec.music.makers.guitar
From: jrpg8255@uxa.cso.uiuc.edu (Jeremy Payne )
Subject: Re: Marshall Cab (followup)
Organization: University of Illinois at Urbana
Date: Fri, 20 Nov 1992 23:10:53 GMT

mike@vm1.mcgill.ca (Mike Woo) writes:


>      Thanks to all the replies I received regarding the weight of a 4x12
>Marshall cab.  Various estimates put it in the neighborhood of 90-100 lbs.
>Considering the size of it, that puts it in the "major hernia" category for
>a single-I-can't-afford-a-roadie player like myself!  This brings me to 
>my next question:  any recommendations as to 2x12 cabs (slant-top 
>preferred)?  Anyone with experience running a 2x12 versus a 4x10?  
>Oh well, back to the search for the ultimate tone...I know it's out there
>somewhere! 
>                                          

I use a 1936 2x12 cab -- really like it a lot.  It's just about as heavy
as anything I'd want to lug around, but it's reasonable.  The other player
in my band uses a 4x10 cab, and I like mine better :-)  Course he likes his
more than mine...  I get a bit richer tone out of it I think, but of course
you should hear for yourself.  There was a discussion a few weeks ago about
4x10 vs 2x12, and I think the consensus was "it depends on which you think
sounds better".  Of course it also depends on your amp...

Cheers,


---------------------------
Jeremy Payne
UIUC Neuroscience program /
College of Medicine
jrpayne@uiuc.edu
(217)244-4478
---------------------------
Newsgroups: alt.guitar
From: doktor@halcyon.com (Don't hate me because I'm beautiful...)
Subject: Strat Year I.D. please
Organization: The 23:00 News and Mail Service +1 206 382 MAIL (382-6245)
X-Newsreader: Tin 1.1 PL4
Date: Fri, 20 Nov 1992 06:41:27 GMT


Newsgroups: alt.guitar
From: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Subject: Re: Bridge adjustments
Originator: npstewar@c00725-239rd.eos.ncsu.edu
Reply-To: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
Organization: North Carolina State University, Project Eos
Date: Tue, 17 Nov 1992 20:19:43 GMT


Not all harmonics are in tune with reality, thanks to our equal? temperment sys.
Intervals which are called perfect intervals, ie. perfect fourths, would be
except a fourth isn't a low numbered harmonic.  If a fifth is a perfect interval,
then the 3rd harmonic is in tune.  The second harmonic is in tune, as an octave
is also a perfect interval.  A true fourth harmonic should be in tune at two
octaves, but if it isn't its because of the tension and size effects of the
string (mostly size I think for the case of a guitar) detune the harmonic.
(I'm pulling a lot of this from memory so correct me if I'm wrong.)  I think
this effect increases as the harmonic number (ie. 2nd, 3rd, etc.) increases.
It doesn't really matter though, because the 5th harmonic isn't a note on our
scale, nor is the 7th, 10th, 11th, 13th, 14th, etc... I do know that on a piano
the string tension is so high that many of the harmonics are not in tune with
mathmatical theory (ie. the 7th harmonic isn't quite 7 x fundamental freq, etc.)

The reason the bridge saddles are set in their usual pattern isn't really to
compensate the tension difference, but primarily because of the effect of the
string size and density contributions.  A really large solid string behaves more
like a rod in it's modes of vibration.  I'm not sure the exact relationship with
intonation, but this is the reason you see the stair step saddle setup.  A
wound string is more flexible than a solid string of the same diameter, and so
behaves more like a string should than it's solid counterpart.  In addition, the
densities of the two strings would be different, and density also figures into
the equation for the fundamental frequency of a vibrating string.

A strings diameter to length ratio is the primary factor (I think) in whether it
behaves like a string or a rod.(its flexibility is also a factor, but for a
given string, say a D'Addario 0.052", that is pretty fixed.  If you play your
low E string very high up the neck, you'll notice that it's tone changes as well
as being rather hard to intonate the thing all the way to the 22nd or 24th fret.
This is caused by the diameter to length ratio effect. 
Newsgroups: alt.guitar
From: karl@dixie.com (Karl Klingman)
Subject: Re: What does Mark Knopfler use?
Date: Mon, 16 Nov 92 16:18:40 GMT
Organization: Dixie Communications Public Access.  The Mouth of the South.

uh311ae@sunmanager.LRZ-Muenchen.DE (Henrik Klagges) writes:

>chrisb@lynx.ps.uci.edu (Chris Barrus) writes:
>>Strats, a Tele (used on "Walk Of Life"), a Les Paul ("Money For Nothing"),
>>a head and bodyless guitar (couldn't ID the make from the lawn section :-( )

>It's a Steinberger.

What about the rest.  What effects and amplifiers does he use to create
that unique sound?

-- 
He who would trade his liberty for  |  Karl Klingman
short-term security deserves        |  American Research Group, Inc.
neither...   Ben Franklin           |  emory!slammer!arg!karl
From: pwhite@borabora.corp.sgi.com (Peter White)
Newsgroups: alt.guitar
Subject: Marshall For Sale
Date: 16 Nov 92 20:15:58 GMT
Organization: Silicon Graphics, Inc.

Marshall Artist solid state/tube hybrid guitar head for sale. This amp
packs an extremely loud 30 watt tube amp power section with a dirty solid
state preamp section. Not the best clean sound but an excellent chunky
shred tone on the distortion channel. This amp comes with a footswitch for
channel switching and reverb. Amp is in great condition. Asking $400 but
will consider other offers. Please respond to my email address or direct
phone line if interested.

-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Peter White  		415/390-5861	Systems Administrator
pwhite@corp.sgi.com		M/S 14L-132	NAFO Information Services
From: jhalvers@plains (Jon Halverson)
Newsgroups: alt.guitar
Subject: Peavey Triumph=Problems!
Date: 22 Nov 92 00:09:55 GMT
Organization: North Dakota Higher Education Computing Network
X-Newsreader: Tin 1.1 PL4


anyone?
From: Lerxst@qube.OCUnix.On.Ca (Lerxst)
Newsgroups: alt.guitar
Subject: RE: Improvisational focus...
Distribution: world
Date: 20 Nov 92 22:29:02 EDT
Organization: The QuBE BBS

I don't mind improvising my soloing.  That's all I do actually!  It has
never bothered me who was looking/listening on, I just go off into my own
little world and jam away.  To be honest I don't know any scales and I
never bothered to learn them, I found them boring.

I was once jamming with a guy and we were playing Comfortably Numb by Pink
Floyd I believe and I started in on the end solo and lost my place so I
just winged it for about 5 mins until I could remember the rest, even after
the usual fade out I kept it going.  When we finally finished the song,
this guy asked what scale/key I was playing in, 'cause it sounded really
good.  I said I didn't know, I was just playing by ear.  He was amased.  I
don't know, maybe it just comes naturally for me, to be able to pick up the
flowof the tune and go with it.

There are some guitarists reading this thinking what kinda guy is he, he
dosen't know any scales or keys, he can't be a real guitarist.  Sorry guys,
eleven years  and I've had no problems not knowing them (except when
someone says "okay, let's play blues in A minor"  and I have to say,
"great...what are the chords).  Oh well.  Win some, lose some.

David Gilmour seems to be a true improvisor.  Have you ever heard the solo
for On The Turning Away?  That solo was done in one take, he just started
the tape and just went with it and it was a keeper.  No wonder all the live
versions you hear are never the same twice!!  :-)

Whew...enough for now....
_don

-- Via DLG Pro v0.992

Don Douglas
Lerxst@qube.ocunix.on.ca
Moslem or Christian Hullah or Pope,
Preacher or poet who was it wrote,
Give any one species too much rope
And they'll F*%#K it up...
From: css1rs@arda.ee.surrey.ac.uk (Russell Smithers)
Newsgroups: alt.guitar
Subject: Test
Date: 19 Nov 92 10:24:03 GMT
Organization: University of Surrey, Guildford, England
X-Newsreader: Tin 1.1 PL4

Why don't I get any response from this group....
Newsgroups: alt.guitar,rec.music.makers.guitar
From: Daniel.Parmet@launchpad.unc.edu (Daniel Parmet)
Subject: Re: Cry Baby or Hendrix Wah?
Organization: University of North Carolina Extended Bulletin Board Service
Date: Fri, 20 Nov 1992 14:33:36 GMT

In article <mike.4@vm1.mcgill.ca> mike@vm1.mcgill.ca (Mike Woo) writes:
>>Which is a better Wah Wah?  The Hendrix costs $75 whereas
>>the CryBaby costs $59.  
>>Thanks in advance.
>
>     Neither one is really "better"...they just sound different.  The
>Hendrix version is a vintage model so to speak and is narrower in 
>range.  You can definitely cover Jimi or SRV with one of these.  The
>CryBaby sounds more-notched and has a wider range.  I use it for songs 
>like the guitar wah-intro in Supertramp's BLOODY WELL RIGHT.  One thing
>to consider is that the pedal travel on both are the same, so it's a
>little more difficult to home in on a particular frequency with the 
>CryBaby due to its wider range.  Like anything else, it takes practice.
>You should definitely try both before you buy.  

I have the the Original CryBaby, and while I like it for playing clean sounds
and hard rock, it doesn't sound good when playing heavy metal or just really
heavy stuff.  It really loses its range under heavy distortion or overdrive.
If you like playing heavy metal, you might want to check out one of the Morley
wah pedals, although they're a bit more expensive than the Dunlops.

- Dan

--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
From: boutin@verbosa.ncd.com (Paul Boutin)
Newsgroups: alt.guitar
Subject: Looking for ways to lower Marshall volume
Keywords: marshall amplifier
Date: 18 Nov 92 17:07:53 GMT
Organization: Network Computing Devices, Mt. View, CA, USA


I want to get a Marshall Super Lead 100 to sound as much 
like it does on 10 without the fighter-jet sound level.  This has 
probably been Marshall FAQ #1 since 1969, so I figure there must be
a known reasonable solution by now; in fact I saw a couple of postings
on the topic recently but didn't get a chance to read them.

I'm not interested in physics lectures; I'd like to hear from people 
who are actually playing some sort of setup about what works and what 
doesn't work in real life.  Email replies to me and I'll summarize if
it hasn't been done already.

-- 
Paul Boutin      User Interface Software      Network Computing Devices
boutin@ncd.com                                350 North Bernardo Avenue
415 691-2115                                  Mountain View, California 94043
Newsgroups: alt.guitar