HDTenEightyP/NetNews huggingface dataset:
From: mrk@gvgspd.GVG.TEK.COM (Michael R. Kesti)
Newsgroups: rec.music.makers
Subject: Re: Insuring home studio equipment?
Date: 29 Jul 92 20:56:08 GMT
Organization: Grass Valley Group, Grass Valley  CA

In article <122130075@hpfcso.FC.HP.COM> mjs@hpfcso.FC.HP.COM
						(Marc Sabatella) writes:

>As everyone has observed by now, insurance is straightforward as long as you
>don't make any money from your equipment.  If you do plan to play
>professionally, though, you need "commercial" insurance, at least that is how
>State Farm categorizes it.  If I had to guess why, I'd say they might have to
>fork over more on a payout to cover "loss of livelihood" or something like
>that.  Otherwise, I can't say that I understand why the distinction.

It's simple, really.  All insurance rates are set based on risk (*), that is,
the potential one presents for the insurance company to be communicating with
you for purposes other than sales calls and premium payments (I'm talking
claims!).  Music professionals are orders of magnitude more likely to be in
a loss situation than amatuers, because they move their gear from site to site
more frequently, often leaving that gear in their vehicles and venues,
bringing the attention of the public to the fact that you do own some nice
toys, etc.  This leads to a higher incidence of damage and theft, resulting
in that most dreaded end of their business; to wit: having to pay money out
to you!

>               ...most of this stuff stays in my car all the time...
>                  The pile of stuff in my back seat is probably worth more than
>my car now...

My point, exactly!

One more thing:  I don't recommend purchasing insurance on the basis that
you are not using your gear professionally, when, in fact, you are.  The
insurance companies are not stupid, and if you make a claim, they will make
an effort to determine whether everything is as you said.  If not, they are
off the hook, claims-wise, and you have been spending your money on absolutely
nothing.

(*) I can hear, in my mind's ear, many of you ready to point out the unfair
    practices you have experienced when dealing with insurance companies,
    that prove that risk has nothing to do with insurance pricing.  Please
    spare me these stories, or, at least, spare the group's readership by
    mailing them directly to me (That way, I can simply delete them and be
    done with it.).

-- 
============================================================================
Michael Kesti  Grass Valley Group, Inc. | "And like, one and one don't make
    mrk@gvgspd.GVG.TEK.COM              |  two, one and one make one."
    !tektronix!gvgpsa!gvgspd!mrk        |         - The Who, Bargain
Xref: sparky rec.music.makers:8588 alt.music.progressive:1530 alt.rock-n-roll.metal:9020
From: gse9k@holmes.acc.Virginia.EDU (Scott Evans)
Newsgroups: rec.music.makers,alt.music.progressive,alt.rock-n-roll.metal
Subject: Re: Will the real ALT.MUSIC.PROGRESSIVE please stand up!
Date: 28 Jul 92 14:24:29 GMT
Reply-To: thrash@virginia.edu (Scott Evans)
Organization: or lack thereof

c60a-zg@volga.Berkeley.EDU (Martin Guerrero-LabA) writes:
>Personally, I don't think Kansas, Genesis, Queensryche, etc. belong
>in the alt.music.progressive.
>
>Why was this newsgroup created in the first place?

There's a FAQ for alt.music.progressive that you should probably
read.  In that group, "progressive" != "alternative".  The group
is dedicated to the discussion of bands such as Genesis, Marillion,
Yes, Kansas, and many lesser known progressive bands.

As for Queensryche and other progressive metal bands, the new
newsgroup alt.rock-n-roll.metal.progressive has been created.


Once again, "progressive" != "alternative".


s
Newsgroups: rec.music.makers
From: gse9k@holmes.acc.Virginia.EDU (Scott Evans)
Subject: Re: Insuring home studio equipment?
Reply-To: thrash@virginia.edu (Scott Evans)
Organization: or lack thereof
Date: Wed, 22 Jul 1992 18:19:22 GMT

> The cost of the insurance vs. the cost of the equipment ratio
> (for me) is 37.5:1. 

Chris, I hope you meant this to be the other way around :)



s
From: jclesius@bbn.com (Jeff Clesius)
Newsgroups: rec.music.makers
Subject: Guitar Amp for sale
Keywords: Yamaha
Date: 21 Jul 92 13:29:23 GMT
NNTP-Posting-Host: bbn.com

Yamaha G100-212 Guitar Amplifier for sale:

   100 Watts R.M.S.
   2 12" speakers
   2 channels (one with overdrive)
   Parametric EQ
   Reverberation
   Leather cover
   Foot switches for reverb and overdrive

   5 yrs old, excellent condition.  I've been using a P.A. system and
doing direct recording for the guitar, so it's time to sell the amp.

Make me an offer...

Jeff Clesius (jclesius@bbn.com)
BBN Systems & Technologies
50 Enterprise Center
Middletown, RI 02840-5202
(401) 849-2543
From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.makers
Subject: Re: Insuring home studio equipment?
Date: 27 Jul 92 12:46:55 GMT
	<1992Jul23.174229.17987@ils.nwu.edu>
	<1992Jul23.201410.14221@news.media.mit.edu>
Organization: Naff Green Shorts Dance Co.
In-reply-to: mbl@media.mit.edu's message of 23 Jul 92 20:14:10 GMT

In article <1992Jul23.201410.14221@news.media.mit.edu> mbl@media.mit.edu (Marc LoCascio) writes:

   as soon
   as i bought a house, though, coverage for my gear suddenly became no problem
   for them.  according to my present agent, my gear is covered by my homeowner's
   policy in and out of my house for a dollar amount up to half the value of my 
   house.

That's what I was doing as well. In this case, I was insured, with "amateur"
status, so long as I didn't make any money out of it. Finding an insurer
when I turned semi-pro was a problem - there aren't that many. One company
required that I install a burglar alarm wired to the nearest police station.
The company I ended up with (Hencilla Canworth) seem friendly enough. The
premiums for the amount of gear I have are quite high though: $800 a year or
so.

Nick.
--
  Nick Rothwell, LFCS, Edinburgh | "Say, how many contemporary dancers are
               nick@dcs.ed.ac.uk |     there in this bar?"
CASSIEL Contemporary Music/Dance | "Dunno; count the Dr. Martens and
     cassiel@cix.compulink.co.uk |     divide by two..."
Xref: sparky rec.music.makers:8379 rec.music.bluenote:5772
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.music.makers,rec.music.bluenote
Subject: Re: Berkeley
Keywords: Berklee
Date: 21 Jul 92 14:50:23 GMT
Article-I.D.: bit.375
Reply-To: grego@bit.UUCP (Grego Sanguinetti)
Organization: BIT  Portland, OR

In article <10080@baird.cs.strath.ac.uk> cc@cs.strath.ac.uk (Chris Conway) writes:
>Can anyone tell me about the Berkeley Acadamy (?) of Music. I've heard of it
>on several occasions and am curious. In particular, I am interested in the
>following:
>
I assume you are referring to Berlee in Boston as opposed to Berkeley in Cal.?

I went to the Berklee College of Music (Boston) in the very early 70's. It
was an inspiring experience. I had a great bass teacher, John Nieves (sp?)
but I have since heard that he has died, sigh. I was an arranging and
composition major. They had a lot of opportunity to write for just about
every kind of ensemble, with good (and some not so good) players. The jam
sessions and proximity of so many musicians was worth the price of admission.
There were 500 musicians in my dorm!

>	1) Is it a general Music academy, or does it concentrate
>           on specific instruments, idioms etc.
They concentrate on modern/pop/jazz music. There are (or I should say were
since I was there some 20 years ago, [oh gawd!]) three basic programs:
a) instrumental major (guitar, piano, bass, drums, horns,...)
b) arranging and composition (with a primary instrument minor)
c) general music ed (for folks that want to become music teachers)

>
>        2) What is taught there? Theoretical/practical courses etc. I'm 
>           particularly interested in guitar tuition.
Excellent place for a guitarist. You won't be alone. When I started there
(1972) there were 600 guitarists enrolled that year! ALOT dropped out in
the first semester however.

>        3) What famous and/or accomplished musicians have graduated from there?
>
Vai, Scofield, Corea, Hancock, Gary Burton, ....

>        4) How do you get in ? 
>
sign a check and audition. In it's earlier days Berklee had a reputation
for taking anyones money, then weeding them out in the first semester. The
tuition was not refundable. I think they are on better financial grounds
now and may be harder to get in.

>
>Thanks.
>Chris.

The name, by the way, is a concatonation of the two founders names
Berk and Lee. One is a musician and the other a lawyer. The confusion
is quite common. I transferred from Berklee to Berkeley! You can imagine
the confusion that caused!!
-grego

-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
Newsgroups: rec.music.makers
From: shelley@b30!b11.ingr.com (Shelley Read Heard)
Subject: Mixdown to stereo casset - Metal tapes
Reply-To: shelley@heard.b30.ingr.com
Organization: Intergraph Corporation
Date: Thu, 23 Jul 1992 15:15:54 GMT

I have a Yamaha 4 track (MT100II) and a Yamaha 2 track (moderately 
expensive one carriage home hi-fi unit - model # escapes me. )  I've
been mixing down to Type II CrO2 tape and was wondering if there is
an advantage (or disadvantage) to mixing down to a Type IV Metal
tape.  Any suggestions?  Warnings?  Tips?

Thanks.  Shelley

-- 
   ~ ~    Shelley R. Heard (shelley@heard.b30.ingr.com)
 ( o o )  Intergraph Corporation, Huntsville, AL
  ( ^ )   Disclaimer:  This is NOT my master's voice!
  / U \   Whoof!
Newsgroups: rec.music.makers
From: lnz@lucid.com (Leonard N. Zubkoff)
Subject: Cassette Tape Duplication
Organization: Lucid, Inc.
Date: Fri, 24 Jul 92 06:56:38 GMT

Does anyone have any recommendations/horror stories about cassette tape
duplication facilities local to the San Francisco Bay Area?  Who has the best
prices and sound quality?  Thanks for any info.

		Leonard
From: bottom@hawk1.enet.dec.com
Newsgroups: rec.music.makers
Subject: Re: Waxing pickups to stop feedback
Date: 30 Jul 92 12:30:34 GMT
Reply-To: hedron::daveb
Organization: ASO IM operations


Waxing pickups:

take the  pickup out of the guitar and take it as far apart as you can. If it's
a humbucker carefully unsolder the two coils (remember what goes where) and 
remove them from the backing plate and magnets. Single coils are easy, just
remove them from the guitar and dip 'em. Heat some parrifin or the wax of 
your choice up (caution parrifin burns, I use a double boiler approach to keep
from being directly on the heat) and then dip the coils for 20-30 seconds, too 
long in the hot wax CAN ruin your pickups, too short of a time and the wax \
will not penetrate the coils sufficiently. After the wax has cooled clean up
the coils and rebuild the pickup and install it. Works fine!

--
/dave

+---------------------------------------------------------------------------+
| ESP, Steinberger, Fender, Kitty Hawk, Rivera, Rocktron, Alesis, Tascam,   |
|          Metaltronix, EMG, Semour Duncan, D'Addario rock on!              |
|	         Midi rack pukes do it with 16 channels 		    |
|      You make my life and times a book of bluesy Saturdays...             |
+---------------------------------------------------------------------------+ 
Newsgroups: rec.music.makers
From: poirier@bnr.ca (Daniel Poirier)
Subject: Thanks to all who responded re. Peavy service address...
Organization: Bell-Northern Research, Ottawa, Canada
Distribution: na
Date: Wed, 29 Jul 1992 15:52:39 GMT


I would have liked to personally thank everyone who sent me
email to answer my query about Peavey's service address, but
too many people responded. I would like to hereby thank
everyone for providing hints, suggestions or hard facts. All
the responses were greatly appreciated. I now have the address
I was looking for.

Thanks again.

-- 
-----------------------------------------------------------------
 Daniel Poirier  * * * *  e-mail: Daniel.Poirier@x400gate.bnr.ca
 Standard disclaimers... - BNR does not own or share my opinion!
-----------------------------------------------------------------
Newsgroups: rec.music.makers
From: robmacf@dep (Robert Macfarlane)
Subject: Wanted: info on Rhodes Mark I Stage Piano (Seventy-Three)
Keywords: electric piano Rhodes 
Reply-To: robmacf@philo.mcgill.ca
Organization: McGill University, Montreaql, Canada
Date: Thu, 30 Jul 1992 19:55:03 GMT

Hi all,

I just picked up a Rhodes Mark I 'Stage Piano' (73 keys), and I'm
looking for any info I can find on it.  I don't even know how old it
is; the last person who owned it bought it used in 1977.  It's in 
pretty good shape, but a couple of the keys don't sound quite right.

It's a pretty nifty device; it's electric, but takes no power.  It has
a great mellow sound, and the keys feel pretty good.

Does anybody have a service manual for one of these?  Attempts to track
down Rhodes Inc. have been fruitless.

Thanks,
Rob Macfarlane

Newsgroups: rec.music.makers
From: lem7266@ritvax.isc.rit.edu
Subject: Opinions about A.R.T
Reply-To: lem7266@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Tue, 21 Jul 1992 01:32:37 GMT

Hello,
	I am interested in buying some new gear for my rack and 
home studio.  I have heard about A.R.T. (Applied Research and Technology)
and wondered what you netters think of this company and their products.
I know they have cool graphics but what else...?
					Thanx in advance
					Lee
From: ooptk@Msu.oscs.montana.edu
Newsgroups: rec.music.makers
Subject: request for comment on FATKAT
Date: 29 Jul 92 01:04:50 GMT
Reply-To: ooptk@Msu.oscs.montana.edu
Organization: Montana State University

anybody out there care to comment on the FATKAT? I'd like to get a kick drum
trigger which will function well, fast, and stay put (won't slide on the
floor). The list price of $179/189 seems awful high for one trigger device,
but since the kick drum HAS to be on the beat, it may be worth getting a FATKAT
if I can find one for 30-40% off of that list price.

Terry
Xref: sparky rec.music.makers:8576 comp.music:3855
From: alice@media.mit.edu (Alice Lei)
Newsgroups: rec.music.synths,rec.music.makers,comp.music
Subject: s950 controller info wanted
Date: 27 Jul 92 23:18:50 GMT
Organization: MIT Media Laboratory

does anyone know if the s950 will respond 
to controller info other than just pitch bend?

does it follow standard procedure like other synths?

please send me any info you have

thanks
alice
Newsgroups: rec.music.makers,alt.guitar
From: vai@jhunix.hcf.jhu.edu (Aloke S Chakravarty)
Subject: Re: QUEENSRYCHE:  Unplugged on MTV
Organization: HAC - Johns Hopkins University, Baltimore
Date: Fri, 24 Jul 1992 03:47:58 GMT



I agree that MTV Unplugged is not as unplugged as it says it is...but alas,
why can't Queensryche use a couple of pedals when Mariah Carey (and others)
can have an entire string section and 50million backup singers.  I think
the original purpose of Unplugged (which I much preferred) was to be
acoustic, but now it has obviously changed to merely live performances which
are a little mellower but are still true to their original sound enough to 
play on MTV's many useless video countdown shows.  But Ryche should not 
be criticized, even in this medium, for producing overproduced songs with
only 5 people, while other people on the same show have 10 times their man
power, and very often more than two ESP's and a Jackson.

But it's still kinda cool to see some guitar greats on that show.  But
the focus has changed from Bon Jovi's assumption that for any song to be
a real hit, it should sound good acoustic (which apparently was the goal
of the original Jules Shear show) to the modern rendition.

heh.
From: archer@elysium.esd.sgi.com (Benny the Bump)
Newsgroups: rec.music.makers
Subject: Re: Playing cover songs
Date: 24 Jul 92 17:59:21 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

In <1992Jul24.145204.7006@infonode.ingr.com> james@raveup.b24a.ingr.com (Teddie James) writes:


*This is directed to cover bands and original bands who do an occasional
*cover or two.  When you start preparing a cover song for performance, do
*you agonize over every last note and phrase so you can play it the same
*way the original artist does?  Or do you just get the essence of the
*song (progressions, etc.) and fill in the rest with your own stuff? 
*

We only agonize if something in our version sounds remotely like what
available recordings sound like.

                    Archer Sully <archer@sgi.com>          

          "Whoso pulleth this linoleum knife from the mailman is 
                        King born of all England!"
From: bearce@hpcc01.corp.hp.com (Phil Bearce)
Date: Tue, 21 Jul 1992 21:34:00 GMT
Subject: Zoom 9000 - I like it...
Organization: the HP Corporate notes server
Newsgroups: rec.music.makers

I went ahead and did it!  I bought that Zoom 9000 with the foot controller.
Maybe I'm just easily impressed, but that thing is too much fun.  Of course
I'm used to 6 Boss stomppers and a Crybaby all hooked up with about a hundred
cables and then the AC Adapters and and and....

I wasn't all that impressed with the manual.  It's not very easy to read.  I
can gleen info from it, but it takes a while.  And it does make a little noise
on certain patches, but all in all, I am very happy about it.  I haven't 
tried to program it yet, but it doesn't look that hard. 

Anybody else out there like their Zoom?  All I keep thinking is that this is
the bottom of the line unit.  I can only guess that the other models are 
amasing.  But then, I'm easily impressed...

Phil-
          Phil Bearce at HP San Jose, CA - phil@hpmsfpb.sj.hp.com
                "Look out for that root!"   -James Taylor
Newsgroups: rec.music.makers
From: kamine@is.rice.edu (Jorge Hershel Kamine)
Subject: Reverb unit
Organization: Rice University
Date: Thu, 30 Jul 1992 16:40:48 GMT

I was reading an article that was discussing the bare essentials
to set-up a recording studio.  In the article, it says "students
like to hear themselves with reverb," and I was curious what a
reverb did.  Please email if possible.  Thanks.

-- 
*******************************************************************************
*       Jorge Kamine Arreola      * "An eye for an eye leaves two men blind."  
*       email: kamine@is.rice.edu *  -Edward James Olmos   
*******************************************************************************
Newsgroups: rec.music.makers,alt.guitar
From: chenl@cbnewse.cb.att.com (julian.l.chen)
Subject: Aspen A20 classical guitar for sale (or trade)
Organization: AT&T
Distribution: il,chi
Date: Tue, 28 Jul 1992 18:38:29 GMT
Followup-To: poster
Keywords: chicago area

I have an Aspen model A20 classical in mint condition. I bought this
guitar four months ago for using during a trip. I am a classical
guitarist myself and this guitar is a good beginner classical. I have
two other much better (cost me big $$$, of course) classical guitars
so I found I didn't play this one at all at home.

I am asking $125 or trade in for steel string flat top acoustic guitar
(no junk please). IMHO, this guitar beats any $200 (selling price, not
listing price) classical you can find in your local music store in both
appearance and sound. I want to get rid of this guitar solely becasue
I don't need it anymore. The guitar itself is in perfect condition,
low action, looks good too. Please email or call me if you are interested.

Aspen A20 Classical guitar
650 scale length
Spurce laminate top
Indian rosewood laminate sides and back
Walnut bridge and finger board
Mint condition

Julian Chen
att!ihlpe!chenl (CHENL)
(708)-713-4526
Newsgroups: rec.music.makers
From: bussey@meaddata.com (Greg Bussey)
Subject: noise abatement shuts down Tesla
Followup-To: noise abatement shuts down Tesla
Organization: Mead Data Central, Dayton OH
Date: Fri, 24 Jul 1992 10:52:41 GMT

>>Remember that although 96dB is only ten dB more than 86dB, it is _twice_
>>as loud as 86dB. 106 dB is four times louder than that car.
>>
>>- Greg Bussey                                  bussey@meaddata.com  -
> 
>Not to be picky, but the sound power doubles for every 3 dB increase.
>Thus, 96 dB is about 10 times (2^3.33) more powerful than 86 dB.
> 
>bdavis@romulus.cray.com     Cray Research Inc.    Chippewa Falls, WI  




"Ten times more powerful" equals "twice as loud." It's a perception
thing.



-- 
---------------------------------------------------------------------
- Greg Bussey                                  bussey@meaddata.com  -
-                                                                   -
- If you choose not to decide, you still have made a choice  (rush) -
---------------------------------------------------------------------

Newsgroups: rec.music.makers
From: pmartz@dsd.es.com (Paul Martz)
Subject: Re: I need more music jokes.
Reply-To: pmartz@dsd.es.com (Paul Martz)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Mon, 27 Jul 92 20:41:24 GMT

In article <9207271842.AA25160@rdxsun78.aud.alcatel.com>, dvanslyk@RDXSUN78.AUD.ALCATEL.COM (Don VanSlyke) writes:
> Q. What do you call a guy who hangs around with musicians and thinks he can   
>    read music? 

A musician.

-- 

   -paul	pmartz@dsd.es.com
		Evans & Sutherland
Newsgroups: rec.music.makers
From: john@spss.com (John Przyborowski)
Subject: Re: where to press vinyl records?
Date: 30 Jul 92 14:00:06 GMT
Distribution: usa
Organization: SPSS Inc.

tom@onyx.dartmouth.edu (Thomas Richard Erbe) writes:


>I want to put some of my music on a 10" record, and was wondering if anyone
>has any recommendations as to a good place to do it.  I wouldn't mind it if
>they print sleeves as well, and they must take DAT masters.

>many thanks,

>--
>Tom Erbe * Technical Director * Center for Contemporary Music * Mills College
>     tom@mills.edu * Mills College, Oakland, CA  94613 * (510) 430-2191


Well, you'll probably have to ship it.  We sent our DAT (by insured mail & we
also had a duplicate) to Bill Smith Recording in El Segundo, CA. I don't 
have the number but give information a ring.  The prices were fair to good.
He offers a variety of routes--1, 2 or 3 step mastering, different colored
vinyls, labels etc.--that all affect the price. We paid about $1.50 per 7"
at a quantity of 300. He sends you masters which allow you to hear the record
before he presses the remainder. 

As far as sleeves go, your best is to check out places like Kinko's which
will often do 2 or 3 color printing to your spec's for considerably cheaper
than most print shops.  Also check your university print shop. we did all
our graphics on a Mac, slapped on a photo and created a template of the 
correct size. This was printed in the colors we wanted and all we have to 
to do is fold them, make a few cuts, rub a glue stick on them and bingo!


Let me know if you need some more pointers!

john
SPSS@

Newsgroups: rec.music.makers