HDTenEightyP/NetNews huggingface dataset:
From: META <META@UNB.CA>
Subject: RE: Albert King RIP
Organization: The University of New Brunswick
Date: Wed, 23 Dec 1992 15:29:24 GMT

In article <1992Dec23.133346.1781@bmerh85.bnr.ca> mleipe@bnr.ca (Mike Leipe) writes:
>Folks,
>
>Some sad news in this morning's paper... Albert King passed away yesterday
>in Memphis at the age of 69.
>
>Guitarists and blues and rock fans everywhere owe a huge debt to this great
>man, who generated such standards as "Born Under A Bad Sign" and "Oh Pretty
>Woman", as well as some of our favourite guitar licks.
>
>I recall reading an interview with Stevie Ray Vaughn in 1984 in which he
>remembered a TV gig with King.  They were set up to do a guitar "duel",
>and during a break King went around asking all the ladies if he could
>borrow a nail file from one of them.  Vaughn thought this was a bit weird
>but ignored it.  Later in the show when they were performing together,
>Albert did a killer solo and passed it off to Stevie.  SRV did what he
>figured was one of the hottest solos of his life, looked over to King
>with a "Hah! Got you!" type look, and there's Albert filing his nails,
>going "Oh, you mean you're done?"  To quote SRV - "Albert's a heavy cat".
>
>Thanks, Albert.
>
>MIKE
>
He surely will be missed.  Not only for his playing (one of the most
distinctive blues styles around, in terms of sound and phrasing),
and not only for his influence (is it my imagination, or did this
guy invent the bend that went farther than you thought it would, the
3 fret one), but for his sweet singing and gentlemanly style.  Most
guitar player tendto think of blues greats as pickers primarily, but
most of these guys are terrific singing stylists.  While not as much
of a vocal showman as the late Muddy Waters or (still kicking) B.B.
King, Albert could still make you forget that there was a solo
coming up, or not mindso much that there wasn't one coming up.
Still, I know that whenever I bend my B-string from an A on the 10th
fret up to a B on the 12th, and down to a G on the 8th, that's
Albert making my hand do that, and I'm grateful.

Mark Hammer

Xref: sparky alt.guitar:11064 alt.music.alternative:18908
From: tom@cpac.washington.edu (Tom)
Newsgroups: alt.guitar,alt.music.alternative
Subject: Something for Praxis fans to check out
Date: 29 Dec 92 00:39:58 GMT
Organization: Center for Process Analytical Chemistry, UW
NNTP-Posting-Host: bailey.cpac.washington.edu

A while back, someone in alt.guitar (I think) said check out Praxis,
so I did.  I found it remarkably similar in feeling and philosophy to
Black Flag's instrumental album, The Process of Weeding Out (SST CD
037, SST Records, 1985).  The assertion in the liner notes that "straight
pigs show little ability in decoding intuitive data" fits nicely with
Praxis' "campaign of poetic terrorism," and I don't think the music
will disappoint Praxis fans.
--
Tom
From: Benjamin.Littenberg@dartmouth.edu (Benjamin Littenberg)
Newsgroups: alt.guitar
Subject: Possible old Gibson L-37
Date: 28 Dec 92 22:13:29 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a6@newshost.dartmouth.edu

A friend just showed me his old Gibson.  It is a maple (?) arch-top
f-hole no-cutaway acoustic with the old style of headstock lettering
and dot markers.  The headstock has straight sides near the pegs rather
than the curved style of post-war Gibsons.  It has a floating one-piece
rosewood bridge and mahogony (?) binding.  There is no interior label
and no stamped serial number.  Looking through "American Guitars,"  it
seems to be either an L-37 or L-50.  There is some minor damage to the
finish, but it sounds fine and plays well.

Does anybody have an idea of how to confirm this lovely old thing's
identity?  Any guesses about its cash value?

Thanks.

Benjamin Littenberg
From: dstuart@desire.wright.edu
Newsgroups: alt.guitar
Subject: Re: Alternate tunings, what's the point?
Date: 30 Dec 92 16:49:53 EST
Organization:  Wright State University 

In article <1992Dec29.184127.16794@ntg.com>, stefan@ntg.com (Stefan Biskup) writes:
> In article <1992Dec17.223241.14784@athena.mit.edu> juggle@athena.mit.edu (furious axe demon) writes:
>>
>>Forgive my ignorance, but other than playing slide guitar, is there
>>any reason other than basic laziness why one might want to use an
>>alternate tuning other than the standard EADGBe?
>>
>>I would imagine that creative tunings can be used to greatly faciliate
>>fingering some otherwise hard but interesting chords, like ninths, but
>>that can't be all there is to it, is there?
>>
>>
>>	Sincerely,
>>	Joe G
> 


	
	Absolutely that is not all there is to it.  In alterred tunings it
does make some chording easier, but it also allows allows a greater degree
of complexity to be allowed in a song.  For example, you might try tuning
you higher 4 strings to a chord, lets say a major for simplicity. Then you
can strum this chord open, let it ring, and while it is ringing play a bass
line over it with the fingers you don't have to use for chording.
	This can and does get quite complicated as you can tune the bottom
three strings to one chord, and the top three to another and alternate between
the two chords by strumming only three strings at a time (this takes some
practice).  For instance strum the top three strings, let ring, and place a
base line over it with your free fingers.  Then switch and strum the bottom
three strings, while soloing on the high strings.
	Also, alterred tunings allow for great sounds on you 12th, 5th, and 
7th fret harmonics as you can effectively play an entire harmonic chord.
	The best example of this type of technique is a musician by the
name of Micheal Hedges. I highly recommend that you acquire his albums
(either Live on the Double Planet or Aeriel Boundaries would be a first good 
album by him).  In tracks on these albums notice the layers sound and realize
that for the most part there is only one person playing guitar, without the 
benefit of overdubs or second guitar tracks.
	Have fun experimenting with different tunings and if you happen
upon some interesting sounds or different techniques, let me know.



						STU
Xref: sparky alt.guitar:11060 alt.guitar.bass:2180
From: krste@ICSI.Berkeley.EDU (Krste Asanovic)
Newsgroups: alt.guitar,alt.guitar.bass
Subject: Re: is it possible to plug guitar into stereo (no special amp)?
Date: 28 Dec 1992 18:28:41 GMT
Organization: International Computer Science Institute, Berkeley, CA, U.S.A.
Distribution: usa
NNTP-Posting-Host: icsib43.icsi.berkeley.edu

In article <1992Dec28.161127.12543@advtech.uswest.com>, ken@advtech.uswest.com (Kenny Chaffin) writes:
|> In article <1992Dec27.143740.16704@ryn.mro4.dec.com> rost@tecrus.dec.com (My name is Brian Rost) writes:
|> >
|> >Yes it is possible.  Use the "aux" input.  Play at low volumes.  The one thing
|> >that can be damaged doing this is your speakers.  So use phones if you want to
|> >crank, they're at least cheaper to replace.
|> >
|> >
|> 	Wait, why would this be any more damaging than playing a cd or 
|> anything else????
|> Doesn't make sense to me.
|> 
|> KAC

Normal stereo sources (CD/cassette/tuner/LPs) have limited dynamic
ranges compared to a live electric bass input. When turned up to a
reasonable listening level, you're much more likely to generate a
speaker destroying transient with a live bass twang, than with a
prerecorded rock song (most of which are heavily compressed).

Also, a clipped bass signal is one of the worst things to send a
speaker - it requires a large excursion followed by a rapid
deacceleration.

I speak from sad experience having destroyed a couple of speakers
myself doing exactly this.

I remember also that some people blew their speakers when CDs first
came out because they judged recording volume by the hiss before the
track started...

I'd recommend saving up and buying a small, secondhand practice amp -
instrument speakers are designed to take the abuse. I find headphones
work OK for short sessions, but without some reverb, a dry bass signal
is irritating when piped direct into ones ears. Also, even the best
headphones cause physical discomfort when worn for a while.

If you do go ahead and use an aux input on a normal stereo, you may
have impedance mismatch problems (weak, dull signal). Try putting a
pedal effect or preamp (onboard active should work fine too) in series
between your bass and the aux input. Many pedal effects do tend to
compress signals somewhat so will also give you a little more
protection.

-- 
Krste Asanovic,                   Computer Science Division, 
email: krste@cs.berkeley.edu      c/o 571 Evans Hall
phone: +1 (510) 642-4274 ext 143  University of California at Berkeley
fax:   +1 (510) 643-7684          CA 94720, USA
From: v128nld6@ubvmsb.cc.buffalo.edu
Newsgroups: alt.guitar
Subject: INFORMATION NEEDED : on my electric guitar and amp
Date: 28 Dec 92 00:17:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41


	About a year ago, I bought a used amp and electric guitar from a 
friend (who knows nothing about either).

	I'm curious to know how much they are worth and any historical and
statistical background on them (they are both pretty old- about 20-30 years-
I think).  Also, being a beginner, still:(, I was wondering if my equipment
was considered top of the line or bottom of the barrel.

	The amp is a vacuum tube amp which contains 6 vacuum tubes.  It looks 
pretty old.  It stands about 2 feet up and 3 feet wide and is made by
"Wurld Musical Instruments"- the spelling is correct.  I can't find a date
anywhere on it.  And also, if anyone can give any information on where I 
could find tubes on this, I would be grateful.

	The guitar is also an older model with two pickups and two dials
(one for volume and one for tone).  There is a metal sticker on the head 
which reads "Prestige" which is the name of the guitar.  Once again, I can
find no clue about how old it is.

	If anyone could help give information on either, I would be very
grateful.  If you need more information on either, just e-mail me and
I'll do my best.

	Post responses to this group or e-mail me.

	Thanks in advance :)

					Lee
Newsgroups: alt.guitar
From: dab@donner.cc.bellcore.com (ballard,david a)
Subject: gibson necks
Organization: Bellcore, Livingston, NJ
Date: Tue, 29 Dec 92 20:15:40 GMT



Hey now-  A friend of mine has a Les Paul copy and wants to get a Gibson
neck to put on it.  I was thinkin' about getting him one for his
birthday, where's a good place to start looking?

thanks
dab

=========================================================================
dave ballard	
dab@cc.bellcore.com 
=========================================================================

Newsgroups: alt.guitar,alt.guitar.bass
From: nasiatka@anhep3.anl.gov.bitnet (Jim Wylde)
Subject: Re: is it possible to plug guitar into stereo (no special amp)?
Organization: Argonne National Laboratory 
Date: Tue, 29 Dec 1992 19:05:10 GMT

krste@ICSI.Berkeley.EDU (Krste Asanovic) writes:
> ken@advtech.uswest.com (Kenny Chaffin) writes:
>|> rost@tecrus.dec.com (My name is Brian Rost) writes:
>|> >
>|> >Yes it is possible.  Use the "aux" input.  Play at low volumes.  The one thing
>|> >that can be damaged doing this is your speakers.  So use phones if you want to
>|> >crank, they're at least cheaper to replace.
>|> >
>|> >
>|> 	Wait, why would this be any more damaging than playing a cd or 
>|> anything else????
>|> Doesn't make sense to me.
>|> 
>|> KAC
>
>Normal stereo sources (CD/cassette/tuner/LPs) have limited dynamic
>ranges compared to a live electric bass input. When turned up to a
>reasonable listening level, you're much more likely to generate a
>speaker destroying transient with a live bass twang, than with a
>prerecorded rock song (most of which are heavily compressed).
>
>Also, a clipped bass signal is one of the worst things to send a
>speaker - it requires a large excursion followed by a rapid
>deacceleration.
>

There was a string on this a little while ago.  I personally wouldn't want
to play through my stereo 'cause you can blow it out real easy (see above)

HOWEVER, Last time this was discussed someone posted a schematic for a
cheapie circuit to bridge the gap between the axe and aux.  I'll see if
I can find it and re-post it.

I think your best bet is to go and spend $100 on a practice amp, or you'll
prbably wind up spending $$$$ on a new stereo.

Hippie Jim


*******************************************************************
  ______________                        Bigotry is NOT Rebellion!
  \            /                    Hate is NOT a Family Value!
   \          /  Rough Boys!         
    \        /    Wild in the Streets                       
     \      /    Rough Boys!                        
      \    /      Under the Sheets                               
       \  /                           
        \/   Gonna fight to miss ya... Gonna fight to kiss ya!

                               GATEWAY::"Nasiatka@ANHEP3.ANL.GOV"
******************************************************************


Newsgroups: alt.guitar
From: guy@harlqn.co.uk (Guy Snape)
Subject: REQ:URGENT!YouWereAlwaysOnMyMind
Organization: Harlequin Limited, Cambridge, England
Distribution: alt
Date: Mon, 21 Dec 1992 10:29:52 GMT

Hi!  Please could someone mail me the lyrics to the old Elvis song
"You were always on my mind" as soon as possible please?

Cheers,

-------------------------	           Guy Snape
-------------------------       
------------------0------              guy@harlequin.co.uk
-----------0-2-------2-0-
-----0-h-2---------------       #|My opinions, Not my employer's|#
--3----------------------
Newsgroups: alt.guitar,rec.music.makers.guitar
From: mleipe@bnr.ca (Mike Leipe)
Subject: Albert King RIP
Reply-To: mleipe@bnr.ca (Mike Leipe)
Organization: Bell-Northern Research Ltd.
Date: Wed, 23 Dec 92 13:33:46 GMT

Folks,

Some sad news in this morning's paper... Albert King passed away yesterday
in Memphis at the age of 69.

Guitarists and blues and rock fans everywhere owe a huge debt to this great
man, who generated such standards as "Born Under A Bad Sign" and "Oh Pretty
Woman", as well as some of our favourite guitar licks.

I recall reading an interview with Stevie Ray Vaughn in 1984 in which he
remembered a TV gig with King.  They were set up to do a guitar "duel",
and during a break King went around asking all the ladies if he could
borrow a nail file from one of them.  Vaughn thought this was a bit weird
but ignored it.  Later in the show when they were performing together,
Albert did a killer solo and passed it off to Stevie.  SRV did what he
figured was one of the hottest solos of his life, looked over to King
with a "Hah! Got you!" type look, and there's Albert filing his nails,
going "Oh, you mean you're done?"  To quote SRV - "Albert's a heavy cat".

Thanks, Albert.

MIKE

-- 
 -----------------------------------------------------------------------------
| Mike Leipe             | "This world is a comedy to those that think, a     |
| S/W Designer           |  tragedy to those that feel."                      |
| Bell-Northern Research |                              - Horace Walpole      |
| Ottawa, Canada         | ---------------------------------------------------
| (613) 765-3206         |             My opinions, not BNR's                 |
 -----------------------------------------------------------------------------
Newsgroups: alt.guitar
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Subject: Re: Tube swapping/amp question
Summary: Tube swapping
Organization: AT&T
Distribution: usa
Date: Mon, 21 Dec 1992 16:26:18 GMT

In article <BzGywo.yE@acsu.buffalo.edu>, gebo@acsu.buffalo.edu (Tom Gebo) writes:
> 
> 
> 	kew@cbnewsg.cb.att.com (steve.w.askew) suggested swapping the stock
> tubes in an amp for certain different tube types.  My question is how do you 
> determine which tubes are acceptable alternates for the stock tubes?  Could
> using the incorrect tubes possibly fry some other components in the amp?  I
> have a Carvin X100 that came with Groovetube EL84 and 12AX7's.  The amp is
> a few years old and I have noticed more hiss coming from it.  Is this the
> tubes? Is there a way that I could test them to see if they are shot?  Besides

	No! the old TV tube testers give only limited applicable data for
	tubes used in guitar amps. Buy a couple of 12AX7's the can be had
	for under $10 each.  If the amp is a few years old the more than
	likely need replacing.
> the stock tubes, what would be some replacement choices?  Finally, there is a
> power selector switch on the back of the amp (25%, 50%, 100% of 100W), how does
> this work?  Does it actually lower some voltages or something, or is the amp
> running at full output all the time and it just "soaks up" the extra power 
> somehow?  I know this is a lot of questions, but if someone has the time to
> reply I would appreciate it.
> 
	In the Carvin Im not sure, but in Marshall and Fender amps you could
	always remove the 2 outside power tubes to reduce the power by 50%.
	But you had better change the Impedence selector to compensate.
> Thanks,
> 		Tom
> 
> gebo@artemis.eng.buffalo.edu   

	Well this is what I understand. In the preamp section a 12AX7 is
	rated at a gain of 100. The other 2 tube types that I am familar
	with are the 12AT7 rated a gain of 75, and the 12AY7 rated at a
	gain of 50.

	As Far as Power Tubes 5881 are replacement for 6L6's but unless
	your going from a matched pair to a matched pair I would rebias.
	All other Power tube substitions are a mod, unless you own a modern
	amp has a switchable bias for EL34/6L6/6550/5881/6V6.


	For a excellent laymans explanation pick up Aspen Pittmans "Tube
	Amp III" this is a great book for the novice. Its not a bad book
	for the more experienced  either.

	Steve
	Doin That Blues ThAng!
From: pagel@loria.fr (Pagel Vincent)
Newsgroups: alt.guitar
Subject: Re: The Edge Effects
Date: 2 Jan 93 13:25:41 GMT
Organization: CRIN (CNRS) Nancy - INRIA Lorraine


Hi, I don't know all the effects that the Edge uses, but I can describe some of
the sounds I've manages to reproduce :


	He likes long delays being played in a way to double the tempo. Just take
a rather long delay ( let's say 400 ms = d ). And then play two notes regularly
at a tempo t suchthat t=1.5*d=600 ms ; you'll ear twice as many notes as you
actually play. Let's make a sketch:

    E and B: notes being played.   e and b : echo of E and B

	------- -------
	|     | |     |
	V     V V     V
    E . B e E b B e E b B e E b B  and so on.
    ^     ^ ^     ^
    |-----| |-----|

	If you've have managed to play this, perhaps you have recognized the
introduction of "where the streets have no names". With a little training, you
can play it all by playing E and B on the 12th fret, while you play the bass with
your thumb.

	You can use this technique while you are playing chords in arpeggios, and
make that way lovely backgrounds.



	In a song like Bullet the blue sky, he uses nothing but a bottle-neck and
a heavy saturation. Bluesmen usually use this technique with a clear sound, the
result here is very original, reminding you of "those fighter-planes". You just
have to slip from the 12th fret forward the 1st.

	Happy new year from Nancy ( france )

		Vincent PAGEL.
From: pvallado@sdcc13.ucsd.edu (Paolo Valladolid )
Newsgroups: alt.guitar
Subject: Re: Please define fusion...
Date: 21 Dec 92 23:46:58 GMT
Organization: University of California, San Diego

Tough question. Di Meola, McLaughlin, and Metheny can all be called
fusion guitarists, but what about Bill Frisell and John Scofield?
They play music that is very jazz related, but often with
distortion, but its not the same approach as the aforementioned
three. John Scofield's _Grace Under Pressure_ is a good showcase for
both players. Other players worth checking out are Scott Henderson
of Tribal Tech (any of their albums), Allan Holdsworth (get _Metal
Fatigue_ or _Atavachron_),Mike Stern, Andy Summers (get _Charming
Snakes_), and David Torn(_Cloud About Mercury_).

Another album worth checking out is _Smash and Scatteration_ by Bill
Frisell and Living Colour's guitarist Vernon Reid. A challenging
listen, but very rewarding...

Paolo 
pvallado@sdcc13.ucsd.edu
Newsgroups: alt.guitar,rec.music.makers.guitar
From: jpmakela@klaava.Helsinki.FI (J Pekka Makela)
Subject: Re: single coil hum cancelling idea...opinions?
Organization: University of Helsinki
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 21 Dec 1992 22:40:14 GMT

> 
>    Recently, I bought a Strat Elite and opened it up to take a look at the
>    guts of the thing.  Lo and behold, there was a fourth pickup in it! 
>    This one had no polepieces, and was just stuck there under the pickguard.
>    I gathered from the low noise of the guitar that it was reverse wound,
>    reverse polarity, and always connected to the output--in this way, it helps
>    reduce hum quite a bit.  
> 
> Yes, it's called a "Dummy Pickup" and it was an advertised feature of the
> Strat Elite.  The first instrument that I know of to incorporate a dummy
> pickup is the Alembic bass.


	I've seen some Paul Reed Smith basses with a dummy pickup on the
	*underside* of the body (that is, there where the thing touches 
	your belly); that way the dummy don't affect the actual sound,
	it just cancels hum.
> 
-- 
jP M{kel{ ({'s are a's with umlauts)			jpmakela@cc.Helsinki.fi
-------------------------------------------------------------------------------
			THIS PRIME ADVERTISING SPACE FOR RENT!
-------------------------------------------------------------------------------
From: raimo@think.com (Bill Raimo)
Newsgroups: alt.guitar
Subject: Wood
Date: 28 Dec 1992 06:43:29 -0500
Organization: Thinking Machines Corporation

This may have been asked before, but I missed it if it was...

Is there a great difference in the sound of guitars made from different
types of woods?  I'm sure there is some difference, but exactly how much I
don't know.  I figured the only thing that should have a big part on how a
guitar sounds is the type of pickup being used.  Is the type of wood used
mainly associated with the quality of the manufacturing of the guitar or
does it really play a big role in the sound? 

For example, the Les Paul Standard is made of one type of wood while the
Les Paul Studio is made up of the same type of wood for the body but a
different type for the neck.  What big sound differences would be noticed
if both guitars are utilizing the same pickups?

Thank you for any input at all.

-Bill
From: sotoc@cdl02.me.msu.edu (Ciro Soto)
Newsgroups: alt.guitar
Subject: SALE: TR-626 RHYTHM COMPOSER
Keywords: sale, tr-626,roland,drum
Date: 27 Dec 92 18:48:31 GMT
Organization: College of Engineering, Michigan State University
NNTP-Posting-Host: cdl02.me.msu.edu


 SALE//SALE//SALE//SALE//SALE//SALE//SALE//SALE//SALE//SALE//SALE//SALE//

WHAT:   RHYTHM COMPOSER  (MIDI)
MAKER:  ROLAND
MODEL:  TR-626


CHARACTERISTIC:
48 PRESET RHYTHIM PATTERNS
48 USERS PROGRAMMABLE RHYTHIM PATTERNS
40 TO 240 BEATS PER MINUTE
6 TRACKS
1 TO 16 STEPS
ACCENT (-3 to +3)
PITCH  (-7 to +7)
LEVEL (0 to +5)
DRUM VOICES: 	bass drum 1,2;snare drum 1,2,3; low,high timbale;
		low,mid,high tom 1,2; open high conga, low conga;
		open,closed hi-hat;crash,ride,china cymbal;
		cup; rim shot; hand clap; claves; mute hi conga;
		shaker; cowbell; tambourine; low,high agogo;
REAR PANEL:	Mono/Stereo out jack (R) & (L)
		Headphone jack
		Multi out jacks
		Start/Stop Jack
		Trigger Out Jack
		tape in/out jack
		Tape sync in jack
		Tape sync out jack
		MIDI IN connector
		MIDI OUT connector
		Memory Card Slot
		AC Adaptor Jack (9V)
DIMENSIONS:	400x194x55 mm
WEIGHT:		2 lb and 14 oz
ACCESORIES:	MEMORY CARD M-128D !!
		MANUALS
(NO AC ADAPTOR)

CONDITIONS:   	AS NEW



MAKE OFFER DIRECTLY TO   sotoc@egr.msu.edu
Newsgroups: alt.guitar
From: dang@well.sf.ca.us (Dan Goodin)
Subject: tunings on a few songs off of N. Young's Harvest Moon
Keywords: tunings, Neil Young
Organization: Whole Earth 'Lectronic Link
Date: Tue, 29 Dec 1992 03:37:12 GMT


Forgive the hell out of me if I'm asking commonly sought out info, but ever
since listening to Harvest Moon last month, I'm dying to know the tuings to
"War of Man," "You and Me," and "Natural Beauty."  Feel free to email me and
I'll post a condensed version of what I find.  Thanks a million.

dang@well.sf.ca.us