HDTenEightyP/NetNews huggingface dataset:
From: barsz@bmtlh168.BNR.CA (Peter Barszczewski)
Subject: Re: Q:Bassman tube amp mods?
Keywords: bassman tubes amp mods
Reply-To: barsz@bmtlh168.BNR.CA (Peter Barszczewski)
Organization: Bell-Northern Research Ltd
Date: Thu, 13 Aug 92 15:34:28 GMT


In article <Bsw578.F20@cup.hp.com>, balon@cup.hp.com (Tom Balon) writes:

|> 	Replacing the 6L6's with EL34's will not give any more 
|> 	overdrive or change your sound much *unless* the amp already has 
|> 	plenty of gain to get the distorted sound in the first place.

|> 	You'll probably want to add another gain stage to the amp. Adding
|> 	a 12AX7, using the first triode as a voltage amp and the second
|> 	triode as a cathode follower works well. The low impedance output
|> 	of the follower makes a good spot to put an effects loop. I usually
|> 	place a master volume between this last gain stage and phase splitter
|> 	This works better than the bias circuit method described in the 
|> 	Tube Amp Book.

My amp already has two gain stages in the pre-amp (Note it is Model 6G6-A) in
the "Bass" channel.  In total I have 4 12ax7s: 1 in the "Normal" channel; 2 in
the "Bass" channel; and 1 for the phase splitter.  Also, I have two 6L6s for
the power stage.  The volume control in the "Bass" channel is located between
the two gain stages. I was thinking of adding a master volume after the second
stage, before the phase splitter.

Your advice about checking the electrolytics is well taken, that is the first
thing I will do.  You are the second person to not recommend changing to EL34s,
I will stick with the 6L6s, and see what the mods sound like with them first.

What about GT tubes?  Are they as good as all the hyper-bull in Pittman's book?
I am going to have to change the tubes anyways, and I am sure I can find cheap
12AX7s, if not 7025s, somewhere else.

--
Peter A. Barszczewski         |           .   .   .   .   .   .   .
(barsz@bnr.ca)                |        :    :    :    :    :    :    :
Bell-Northern Research, Ltd.  |     3     3     3     3     3     3     3
Montreal, Canada              |  D      D      D      D      D      D      D
From: lee@Gwinnett.COM (Lee Reese)
Newsgroups: alt.guitar
Subject: Fender parts
Date: 23 Aug 92 00:40:09 GMT
Distribution: usa
Organization: Gwinnett Computer Services, Atlanta(Duluth), GA


I have a '83 Strat that I would like to put a new neck and pickups on.
Are there any mail-order companies that sell Fender Necks?  I am
looking for a pre-CBS type of neck with the spaghetti-type logo.  A      
replica produced by another company would suffice.

As far as the pickups go, I would like peoples' opinions on Lace Sensor 
vs. EMG and Seymour Duncan pickups.

Thanks in advance,
Lee Reese
lee@gwinnett.com
Newsgroups: alt.guitar
From: whc2993@ritvax.isc.rit.edu
Subject: Blues group
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Thu, 20 Aug 1992 15:39:43 GMT

       First of all I wasn't making an official call for votes to start a blues
group, just asking peoples opinions to see if there was interest.  So far I got
ten resounding yes answers and two no answers.  So there are people interested
in a new group.  I was asked how much I contributed to r.m.b. in the last five
years, well I just started on this thing early this year and have only known
about r.m.b for a couple of weeks.  I have gotten replies to my questions but
none have really sparked any conversation within the group.  That is the reason
I like the alt.guitar and .tab groups because one question may branch into many
areas.  My posts in r.m.b. are usually answered and set aside to get back to
jazz.  It takes the system I'm on a long time to give me a directory of posts
so it isn't that easy to just pick the blues related notes.  Some people have
mentioned putting JAZZ or BLUES at the beginning of subject headers.  Will I
somehow be able to limit what I see to certain topics?   If none of this works
out I guess I would be happy just talkin' blues in alt.guitar because it
basically applies to guitar almost all the time.  Also every other article
would be a point of interest to me.
								B.C.


********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************
From: jgray@balboa.eng.uci.edu (Jeff Gray)
Newsgroups: alt.guitar
Subject: Re: Steve Vai
Date: 16 Aug 92 00:51:38 GMT
Organization: University of California, Irvine

In article <Bt09I9.6o0@andy.bgsu.edu> sarnold@andy.bgsu.edu (G. Steve Arnold) writes:
>mwelie@cs.vu.nl (Welie van M) writes:
>> Does anybody know what Steve Vai is doing currently. 
>
>	Hopefully getting a soul to go with his technical perfection.

Oh, please, no... you had to go and start, didn't you?

WHEN WILL THE FLAMING END?  HAVEN'T WE LEARNED FROM OUR PAST MISTAKES?
--
Jeff Gray               
Dept of ECE, University of California, Irvine
jgray@balboa.eng.uci.edu                             "Is logic just a synonym
                                                           for this savagery?"
Newsgroups: alt.guitar
From: dkmiller@unixg.ubc.ca (Derek K. Miller)
Subject: American/Mexican/Japanese Tele through Duncan 84/40. 
Organization: University of British Columbia, Vancouver, B.C., Canada
Date: Wed, 12 Aug 1992 18:50:54 GMT

One of the guitarists in my band (I'm usually the drummer) just bought
a Seymour Duncan 2x10" 84-40 tube amp, and so far I'm very impressed.
It's a pretty basic amp, with two channels and one set of tone controls,
and that's a bit awkward. Each channel has an overdrive and volume control,
as well as a pull boost, but only channel 1 (what would normally be called
"clean") has a bright switch. Running the amp as one normally would (channel 
1 clean, channel 2 grunge) with only one set of tone controls means that the
grunge channel is often too muddy relative to the clean channel. Is it
best to run channel 1 as the distortion channel? (The tones are great
in any case, but not as flexible as we'd like , so far.) Any tips for
using this very nice amplifier?

Secondarily, the owner of the amp is currently using the other guitarist's
Squier Strat, which has two humbuckers mounted (one stock, and one made by
Fury of Winnipeg, Manitoba - nice pickup, by the way). He would like to buy
a Telecaster, and we've been wondering about the relative merits of
American Standard, Japanese Standard, Japanese 50's Reissue, and Mexican
Standard Telecasters. Are the Mexican Tele's okay? (They're considerably
cheaper.) Comments about the other Tele varieties are also welcome.

May as well reply to the net; others may be interested.

      :=:=> Derek K. Miller                 dkmiller@unixg.ubc.ca
      Researcher, Alma Mater Society        thegrodd@tz.ucs.sfu.ca
      University of British Columbia, Canada
From: denker@acpub.duke.edu (Patrick Denker)
Newsgroups: alt.guitar
Subject: Fender Performer
Date: 13 Aug 92 00:55:14 GMT

I'm primarily an acoustic guitarist so I would appreciate
any comments on the quality of the Fender Performer whose case has
quietly gathered dust in my closet for 4 years.  I play almost 
exclusively rhythm guitar in a bluesy acoustic rock band.  I think it
sounds a bit weak, but I wonder what others who have played this
model think.

Thanks,
Scott
Newsgroups: alt.guitar
Newsgroups: alt.guitar

>The list goes on and on.  This pertains not only to existing commercial
>boxes (DOD, Boss, etc.) but the "classics" as well; Electro-Harmonix,
>MXR, Morley, HEATHKIT!, Echoplex, Maestro, etc.

I have an Electro-Harmonix "little big-muff" that I would like
to modify.  This box has a "high" and "low" tone setting and
a "volume" knob.  I would like to know if anyone has modified this
box to add "gain" knob.  The level of distortion is too extreme
for most applications.

Also, awhile back I posted a note asking if anyone had any 
schematics for a Univox (tube) guitar amp.  I don't have the
model information with me but I would appreciate mail from
anyone with Univox schematics.

Thanks,
Fred Handloser

fredh@cv.hp.com
From: holtslander@skyfox.usask.ca
Newsgroups: alt.guitar
Subject: RE: Why few people have Perfect Pitch
Date: 21 Aug 92 22:05:56 GMT
Organization: University of Saskatchewan

<serge@marvin.dgbt.doc.ca (Serge Ah Hee)
<I was discussing this with a friend of mine. We were wondering why so few people
<have perfect pitch. Can it be learned?

I think perfect pitch can be learned though it must be maintained.  I used to
play percussion in big bands.  I played the timpani drums alot. They are tunable
drums.  I was constantly tuning one to B flat and the other 3 to intervals
above and below B flat.  I would usually use another instrument as a reference
pitch and tune to it, but after a year I knew in my head what B flat should
sound like and no longer needed a reference.  I could tune it to B flat merely
by humming B flat in my head.  I usually checked with another instrument but
I was always in pitch as far as I could tell.

I can no longer do this.  If I was constantly tuning my guitar to pitch I
probably could do it without a reference.  I would begin by learning A and
tune the other strings by intervals (ie thirds)

What I'm getting at is that with practice you should be able to develop 
perfect pitch, however it is easier for some people than others and 
unfortuneatly a few are tone deaf (but they usually aren't into music so
don't worry) It takes work and must be maintained - its not like riding
a bike.
From: Philadelphia P.A. (Jesse Goldman)
Newsgroups: alt.guitar
Subject: Re: Guitar Lesson
Date: 19 Aug 92 17:57:09 GMT
Organization: Univ. of Penn

In article <1992Aug17.083752.10636@EE.Surrey.Ac.UK>, css1rs@gondor.mcs.surrey.ac.uk (Russell Smithers) writes:
> 
     Better watch out you're gonna get flamed
                      

                                                  -Jesse
=================================================================
                               Who is he to Hecuba or Hecuba to he
                                                                                         -Hamlet
=================================================================
> 
>
From: steyn@cs.rochester.edu (Gavin Steyn)
Newsgroups: alt.guitar
Subject: Re: Playing with fingernails
Date: 13 Aug 92 23:15:48 GMT
Organization: Computer Science Department University of Rochester

In article <RYANR.92Aug13122539@beethoven.CS.ColoState.EDU> ryanr@beethoven.CS.ColoState.EDU (richard ryan) writes:

>Have you got a fingerstyle technique for a smooth single note tremolo?
>The p-a-m-i works fine for tremolo with a bass on the bottom but
>that's a different effect altogether.  When trying this with all four
>fingers on the same string, the notes produced by the thumb really
>sound different from the rest and stand out too much.

The usual flamenco one is a-m-i-a-m-i.  It's much harder than using your
thumb as an anchor, but it can be done.

>Also, how about a fingerstyle technique for tremolo on adjacent double
>stopped strings?  Although the p-i free stroke technique and the i-m
>rest stroke technique (alternately drag each finger over the two
>strings) produce beautiful effects, it is not the same as as a tremolo
>where both strings are picked almost simultaneously which I find is
>probably a more useful effect simply because it has a sound that's
>more plain.

Hmmm...I'm not sure what sound you have in mind here, but I just brush 
my i finger back and forth over the two strings.

>If you haven't, you might want to learn how to use a pick.  A lot of
>classical guitarists know how (including Sharon Isbin, I believe), and
>there are a lot of useful effects inherent to flat picking that are
>not quite the same with finger picking.  The examples I've mentioned
>here are only a few.

My examples are certainly not meant to disprove your point.  There are
definitely some things that can be done with a pick that can't be done
with fingers. (Although I don't use a pick, since I don't get enough
practice time for my fingers, so I don't want to branch out to something
else yet).

Gavin Steyn
steyn@cs.rochester.edu
"There are times, Jeeves, when one wonders, 'Do pants really matter?'"
Newsgroups: alt.guitar
From: META000 <META@UNB.CA>
Subject: RE: Gibson SG
Organization: The University of New Brunswick
Date: Tue, 18 Aug 1992 17:14:44 GMT

In article <1992Aug17.123635.22110@ccd.harris.com> wem@controls.ccd.harris.com (Walt Marchand) writes:
>It's been many moons since I last played, but reading this
>group has motivated me. I want to buy an electric 6-string
>with easy action.  Long ago, used to play Gibson ES-335 and
>Gibson ES-175. Budget: $300.
>
>A local music store (not many in this town) has a 1968 Gibson
>SG with a crappy finish and some modifications, but it sounds
>good and plays well. They are asking $300. It this overpriced?
>
>More generally, what do I need to be careful about?
>If the neck is warped, how can I tell?
>
>If I were buying a motorcycle, I could come up with a list of
>conditions that any acceptable bike should satisfy. Does anyone
>have such a list for a guitar?
>
>As you can see, I don't even know enough to ask decent questions.
>
>Thanks in advance for any and all advice or opinions.
>
>
>Walt Marchand
>wem@ccd.harris.com
>(407) 242-4353
>.
>.
The neck can be evaluated in two ways: (1) hold the thing up and
look down the left and right sides of the neck, gazing from the bridge
down towards the nut; (2) fretting all strings on all frets (yikes,
that's 6 x 23 tests to do!) to see if any of them buzz.

My opinion of SG's is that they are relatively comfortable guitars to
play, and well-made, but fairly unidimensional in sound. I tend to
prefer Fender-style instruments since they tend to provide a wider range
of sounds within a single instrument.  However, there are plenty of
times when an SG is just what the doctor ordered (doesn't seem to have
hurt Angus Young much).

In some ways, the more desirable SG's are the ones with the P-90
single-coil pickups.  Whatever you do, stay away from those bizarre ones
with the tiny pickups and slider switches made in the early 70's.  Yick!

It strikes me that the playability of an SG can be enhanced in two ways:
install a 3rd pickup in the middle, and get heavier frets installed.  I
have a mid-60's Epiphone with a similar kind of neck (23 frtes joined at
the 23rd), and these tend to be susceptible to shimmying when playing
hard.  How much shimmying?  More vibrato than I can get from my Bigsby.
Replacing the existing frets with new ones having a heavier "tang" (the
rough part that fits into the wood) tends to push the top of the neck
outward and increase the stability a bit.  Not a day-to-night
differencebut something that can help offset the disadvantages of necks
that are joined to far along for their own damn good.

Mark Hammer

Xref: sparky alt.guitar:7268 rec.music.bluenote:6361
From: rsk@aspen.circ.upenn.edu (Rich Kulawiec)
Newsgroups: alt.guitar,rec.music.bluenote
Subject: Re: Blues Group
Date: 19 Aug 92 00:56:41 GMT
Followup-To: alt.guitar
Organization: Cardiothoracic Imaging Research Center

In article <Bt7ELo.3tv@scd.hp.com> lho@scd.hp.com (Leland Ho) writes:
>I want to put in my vote for a separate blues group.

Just a note: you can't vote via a posting.  See "How to Create a New 
Newsgroup" in news.announce.newusers.

>My hunch is that by having a separate group, more blues related traffic
>will be generated.  I am certainly no expert on news behavior--perhaps
>not much more traffic will be generated [...]

I am an expert on news behavior.  I've been on Usenet since 1980,
run one of the backbone sites for a while, contributed small
portions of the code found in the news software, run several mailing
lists, moderated a newsgroup and so on.  My hunch is that while there
may be a burst of traffic in any new group, that burst will subside
unless the current readership of rec.music.bluenote chooses to
participate.  I can't speak for anyone else, of course, but as a blues
fan, I find r.m.b. perfectly adequate to handle the traffic.  I would
never have dissolved the blues mailing list if it were otherwise.

>I would like to have a forum where I could reach just those who
>are interested in blues.

You already have one.  Why not use it for awhile before trying to replace it?
(Most of the people you will encounter in r.m.b. are sufficiently clueful
that they know how to read/skip articles automatically using the features
of their news software.)

This is getting old, and tiring.  If someone has some arguably defensible
reasons as to why r.m.b. isn't good enough (beyond "it's not good enough",
which is the best anyone has done so far), then let's hear them.  Otherwise,
I think it's time for those who are grousing about it to actually try using
it for a while, say 6 months, and then reassess the situation.  I still
find it immensely curious that a recent search of several hundred spooled
articles and several hundred archived articles from r.m.b. turned up no
articles from any of the people vigorously complaining about the group.

---Rsk
Newsgroups: alt.guitar
From: yuf@sequent.com (Kyle Grieser)
Subject: Re: Guitar Center Sale/ Santana At the LA Greek Theater
Organization: Sequent Computer Systems Inc.
Date: Tue, 18 Aug 92 23:50:27 GMT

In article <Bsz9xG.Aq@quake.sylmar.ca.us> jeff@quake.sylmar.ca.us (Jeff Skaletsky) writes:

>The guitar player from Phish (didn't catch the name) came out to play
>along on "In a Silent Way" (yes, by Zawinul (with some Miles influence,
>according to Carlos)) and managed to achieve a similar sound with
>his semi-hollow body double cutaway, very nice looking (blond, two F-holes) 
>and sounding. (PAFs?) Anyone know what guitar that was - nothing I've 
>ever seen.  Made me sorry I came too late for their set (not by choice).
>The Phish vocalist (I think) plays a mean Electrolux... yes, the vacuum
>cleaner. :-)

Trey Anastasio is the guitar player, and he's really impressive.  If
you get a chance to see these guys, don't miss them.  The reason you
don't recognize the guitar is because they are custom made by
Phish's soundboard guy, Paul Languodoc (spelling is very wrong here, but
I don't have the CD handy).  The bass is also made by him.  Also,
as for the vocalist, they all are...  pretty equally.  Trey and Page McConnell
(keys) seem to do the most lead vocals, with Mike Gordon (bass) and
Jon Fishman (drums, vacuum, bagpipes, trombone) coming in close second.
They usually use many vocal harmonies, rounds, and other assorted tricks
to achieve something you don't hear too often...:-)

If you want more info on Phish, let me know... they've been around for
quite a while, have a huge following, and they are really quite talented.
Jam, jam, jam....  the live stuff is quite a bit better than the studio,
so don't sell them short if you've only heard the released CDs...

peace,

-yuf
From: iplt_ltd@uhura.cc.rochester.edu (Ilana Plutzer)
Newsgroups: alt.guitar
Subject: ELECTRIC TUNER IN ISRAEL?
Date: 23 Aug 92 12:00:38 GMT
Organization: University of Rochester - Rochester, New York


	I am abroad in Israel right now and I was wondering if anyone knows
of a place where I might be able to find a CHEAP electric tuner for an acoustic
guitar? I would appreciate any assistence. Thank you,
						Ilana
Newsgroups: alt.guitar,rec.music.makers,alt.guitar.tab
From: EIVERSO@cms.cc.wayne.edu
Subject: Re: How would you play this?
Organization: Wayne State University, C&IT
Date: Sat, 22 Aug 1992 02:32:19 GMT

In article <1992Aug21.215518.25799@ccu.umanitoba.ca>
umande91@ccu.umanitoba.ca (Benjamin Robert Anderson) writes:
 
>
>   I am having a problem playing something like this:
>
>   |--13--10-------10|
>   |----------10-----|
>   on the top two strings. I get the 10th fret of the B string still ringing.
>I am trying to build up the speed on this but can't due to too much noise. Can
>someone explain to me what kind of left hand fingering I should use and how to
>actually play this properly??
 
Use your pinky finger to play the e13, middle finger on e10, index finger
on b10. Try not to leave any finger held down longer than necessary.
Think "hop,hop,hop" when you play this.
That should take care of the ringing problem.
>
>                                                 Thanks.
>
Your welcome
--Eric
Newsgroups: alt.guitar,alt.guitar.tab
From: US30139@VM.CC.LATECH.EDU
Subject: Re: 12 String Method//Theory Query
Organization: LOUISIANA TECH UNIVERSITY
Date: Fri, 21 Aug 92 12:33:29 CST

In article <1992Aug19.183344.971@news.cs.brandeis.edu>
aaron@binah.cc.brandeis.edu (Scott Aaron) writes:
 
>
>In article <1992Aug16.210801.124@news.uwyo.edu>, hirschfb@news.uwyo.edu writes:
>>I am also wondering if someone could post some info on how to change chords
>>between two songs of differing keys. Anything that can be posted will be
>>thanked appropriately.
>
>Say song #1 is in the key of C and #2 is in D and you want to play both
>songs in the key of #2.  Since D is one step (2 frets) above C, play all
>chords in #1 two frets higher (barre form is easiest, or think about what
>each chord is two frets higher).  The relationship between two keys is the
>same as the relationship between the root notes.  Is this what you meant by
>your question?
>
>  -- Scott @Brandeis
 
I didn't read the question as one about transposing, rather how to modulate
from a song in one key to another song in another key... in other words,
transition between songs.  Just about everybody I play with uses the V chord
of the second song to provide transition.  EXAMPLE:  song 1 is in the key
of C.  Song 2 is in the key of D.  If song 1 resolves on the "root" chord of
C major and song 2 begins with the root chord of D major, we will play a
bar of A (or A7 or A/G) to provide transition to song 2's beginning chord
of D major.
 
I think that was Scott #1's question.  Correct me if I'm wrong. ;-)
 
Mike James
US30139@VM.CC.LATECH.EDU
Newsgroups: alt.guitar,alt.guitar.tab