HDTenEightyP/NetNews huggingface dataset:
From: pws@col.hp.com ()
Subject: Re: Bird Dog Lyric Help
Date: Thu, 10 Sep 1992 18:12:04 GMT
Organization: HP Colorado Springs Division

This is what I have.
Tis a fun 2-part song.
-Paul Schwotzer
	
	               BIRD DOG
	 
	JOHNNY, HE'S A JOKER (HE'S A BIRD)
	A VERY FUNNY JOKER (HE'S A BIRD)
	BUT WHEN HE JOKES MY HONEY (HE'S A DOG)
	HIS JOKIN' AIN'T SO FUNNY (WHAT A DOG)
	JOHNNY IS A JOKER THAT'S A'TRYING TO STEAL MY BABY (HE'S A BIRDDOG)
	
	JOHNNY SINGS A LOVE SONG (LIKE A BIRD)
	HE SINGS THE SWEETEST LOVE SONG (YOU EVER HEARD)
	BUT WHEN HE SINGS TO MY GAL (WHAT A HOWL)
	TO ME HE'S JUST A WOLFHOUND (ON THE PROWL)
	JOHNNY WANTS TO FLY AWAY AND PUPPYLOVE MY BABY (HE'S A BIRDDOG)
	 
	HEY BIRDDOG GET AWAY FROM MY QUAIL
	HEY BIRDDOG YOU'RE ON WRONG TRAIL
	BIRDDOG, YOU BETTER LEAVE MY LOVIN' CUP ALONE.
	HEY BIRDDOG KEEP AWAY FROM MY CHICK,
	HEY BIRDDOG YOU'D BETTER GET AWAY QUICK,
	BIRDDOG YOU BETTER FIND A CHICKEN LITTLE OF YOUR OWN.
	 
	JOHNNY KISSED THE TEACHER (HE'S A BIRD)
	HE TIPTOED UP TO REACH HER (HE'S A BIRD)
	WELL HE'S A TEACHER'S PET NOW (HE'S A DOG)
	WHAT HE WANTS HE CAN GET NOW (WHAT A DOG)
	HE EVEN MADE THE TEACHER LET HIM SIT NEXT TO MY BABY (HE'S A BIRDDOG)
	 
	HEY BIRDDOG GET AWAY FROM MY QUAIL
	HEY BIRDDOG YOU'RE ON WRONG TRAIL
	BIRDDOG, YOU BETTER LEAVE MY LOVIN' CUP ALONE.
	HEY BIRDDOG KEEP AWAY FROM MY CHICK,
	HEY BIRDDOG YOU'D BETTER GET AWAY QUICK,
	BIRDDOG YOU BETTER FIND A CHICKEN LITTLE OF YOUR OWN.
-- 
=====           _      =====
=====  Paul Schwotzer  =====
===== [pws@col.hp.com] =====
===== Telnet 590-5982  =====
From: dhi00@ccc.amdahl.com (mofo )
Newsgroups: rec.music.makers
Subject: vocal mic advice
Date: 9 Sep 92 18:58:47 GMT
Reply-To: dhi00@juts.ccc.amdahl.com (mofo )
Distribution: na
Organization: Amdahl Corporation, Sunnyvale CA

i'm looking for a good vocal mike for under $100.  any info?

d
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: Animal Logic
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Mon, 14 Sep 1992 22:40:30 GMT

>I recently stumbled across the band Animal Logic with Stuart Copeland,
Stanley
>Clark, and Deborah Holland. I'm fairly familiar with Copeland and Clark
from
>their earlier bands and projects, but who is this marvelous Deborah
Holland?
>I was shocked when I read the liner notes to find out that she wrote all
the
>lyrics, and almost all the music! That's saying something considering the
>musical company she's keeping.

Well judging from their first album, I thought that her singing was good,
but her lyrics were absolutely appalling.  In fact they were so bad that
I couldn't stomach buying the second album.  There was the worse case
of trite in lyrics that I have ever heard.  I am so surprised that both 
Copeland and Clarke, both talented and seasoned musicians, would work 
with her lyrics.

Anybody got any other comments?

Myles
Xref: sparky rec.music.makers:9511 rec.audio.pro:1694 rec.music.synth:14760
From: shunter@sdcc3.ucsd.edu (Dark Star Crashes)
Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth
Subject: Re: Earplugs?
Date: 12 Sep 92 01:00:29 GMT
Followup-To: rec.music.makers
Organization: University of California, San Diego

In article <1992Sep11.151201.21095@intelhf.hf.intel.com> dcovell@pcocd2.intel.com (David Covell) writes:
>[earplyg query deleted]

Well, about a month ago I order some ER-15 Musicians Earplugs, made
by Westone Labs. They cost a little over $100 for the pair, because
they are custom fitted to your ear. An audiologist actually came to
my work and did the fitting there. They squirt this blue goo into
your ear canal and let it harden - this is used to make an exact
mold of your ear. The process only took maybe 15 minutes and wasn't
uncomfortable.

When the earplugs come back, they look a lot like hearing aids. It a
beige colored silicon thingy but it's hollow. On the ouside end
there's a removable diaphragm.

They claim the frequency response is flat out to 8kHz. I know that's
bullshit, but they are a whole lot flatter than the foam or wax
plugs.

They're pretty weird getting used to. The first gig I used them for
the first song and took them out. But I was also wrestling with some
new equiupment and I was trying to reduce the number of weird
variables. The second time I wore one for the first set and both
thereafter. They ARE weird, especially if you're singing, but after
the gig it was great - I popped them out and it was tremendous - you
know how when the refrigerator stops running there's that annyoing -
what's wrong/ sensation - until you figure it out, ah, the
regrigerator's not running! Wellm that's how it was with these -
after the gig it was.....what IS it... oh yeah, my ears aren't
ringing! :-) And we don't even play THAT loud.

So I dunno - it'll probably take me a few months to get used to the
things. They work well if you are a _passive_ participant, like
going to a loud niteclub, they're great.

That's my $0.02.

Dave

-- 
***************************************************************************
*                           Dave Chesavage                                *
*                      shunter@igrad1.ucsd.edu                            *
Newsgroups: rec.music.makers
From: kew@cbnewsg.cb.att.com (steve.w.askew)
Subject: Re: Earplugs?
Summary: Id be seeing RED!
Organization: AT&T
Distribution: usa
Date: Tue, 15 Sep 1992 20:12:00 GMT

In article <1992Sep15.190125.6244@csi.com>, mark@csi.com (Mark Kaplan) writes:
> In article <BuKsJp.85o@apollo.hp.com> you write:
> 
> 
> My band recently played at one club in Berkeley where I think they have
> gone too far in trying to keep the sound levels down.  They have a row
> of lights on the back wall which go from green on the bottom to red on
> the top.  It is basically a sound meter in which the higher lights
> get lit as the sound gets louder.  The have it set up so that if you hit
> the top red light for 3 seconds straight, the power on the stage gets
> temporarily shut off.  It was really annoying to have to stare at those
> lights during the whole set.  The worst thing was when we did hit the red,
> causing the power to go off and on, the patch on my amp got set back down
> to #1.  I spent the rest of my solo getting back to patch #86.
> 
> - mark
>   "Life ain't nothin but bitches and money" - Ice Cube
> 

	

	You should boycott this arrogant club owner! Your lucky all you lost
	was your patch. Some club owner starts bouncin the power on 3 to 4k
	worth of equipment in my band---Well lets just say he might get his
	knees bounced with a baseball bat. (not by me. knee bouncin is a
	skilled trade)

	Dont get me wrong the owner should get what he pays for. He wants 
	soft music, Give him that. Club owners that make themselves clear up 
	front dont have these problems. The band may creep up in volume about
	half way thru the 3rd set but if a sound check was done well , its
	not to bad
 
	But he has NO! right subjecting the bands equipment to that sort of 
	punishment. Speakers get blown this way, not to mention power supply's 
	and some micro-electron stuff.

	I suppose next your gonna tell me this was a pay to play gig.



	"Everyday I have to add to the list of people who can just KISS my ASS"


	Steve
	Doin That Blues ThAng!


From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Fri, 11 Sep 1992 19:43:09 GMT
Subject: Re: U220 vs SC-55...Help me Quick!!!!
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.makers

In rec.music.makers, kml21025@UXA.CSO.UIUC.EDU (""da Ken-ster"") writes:

> polyphony and multitimbrality.  
> 
>    However, I talked to a couple of people who said that the U220 would be 
> better.  The only thing is that it doesn't have nearly the multitimbral       
> capabilities that the sound canvas does, but it's expandable as far as sounds.
> Does the 6 or 7 part multitimbrality of the U220 become limiting?

This obviously depends on your usage model.  On the U220, I run out of the 30
voice polyphony long before I run out of the 6/7 channel multitimbrality (one
channel is dedicated drums, for those who are wondering).  I can't imagine
being able to take advantage of more channels without having more voices, and
the SC-55 gives you *less*, not more.  I am doing big band arranging, and
"M-base" - like grooves, and 6 channels is just exactly enough, but I'd like
about 48 voices to go with them - 36 or so just for the piano.

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@hpmonk.fc.hp.com
Newsgroups: rec.music.makers
From: mjkobb@media.mit.edu (Michael J Kobb)
Subject: Variable-speed CD player?
Organization: M.I.T. Media Laboratory
Distribution: rec
Date: Tue, 8 Sep 1992 01:42:00 GMT

Greetings!

  I seem to remember that, awhile back, there was some discussion
around here about a variable-speed CD player.  I can't find anything
about it now, and I was hoping that somebody had compiled a summary
of that discussion, or could point me to something.

  What I'm looking for is a CD player that could slow down the
music, without changing the pitch.  Quality doesn't have to be
awesome -- I'm just looking for notes -- so it doesn't seem like it
should be *too* difficult.

Thanks!
--Mike
Newsgroups: rec.music.makers
From: cooper@kdx200.enet.dec.com (Jeffrey F. Cooper)
Subject: Re: Earplugs?
Reply-To: cooper@kdx200.enet.dec.com ()
Organization: Digital Equipment Corporation
Date: Fri, 11 Sep 1992 18:07:31 GMT


My only problem regarding earplugs (and I experience some mild tinitus also)
is that I sing backup/harmony stuff.  When you speak or sing, your jaw vibrates
and you hear that just GREAT, but then you can't hear anything BUT your own 
voice.  

It's tough for me, because I love performing live and LOUD...And I can't wear
ear plugs.  Whats worse, is a good friend of mine has got severe tinitus and 
he was a musician, now he has to wear earplugs for anything with SPL's of over 
a normal conversation...  :(

Bummer.
jc

+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+   Jeff Cooper - cooper@kdx200.enet.dec.com				    +	
+   Digital Equipment Corp. - Colorado Springs, Colorado                    +
+                                                                           +
+   My views do not reflect the opinions and views of my employer           +
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+

Newsgroups: rec.music.makers
From: johns@uuisis.isis.org (john smith)
Subject: Last chance for Taurus Pedals
Organization: International Shared Information Service (Ottawa)
Date: Tue, 15 Sep 92 15:29:53 GMT

Yep!! The Moog taurus Pedals are really close of the garbage bin..
Nothing is coming out of them at all.. Maybe a burned fuse, maybe not. They 
weren't even working well.. Anyone with basic electronics might revive them  
Can I still get any offer for them.?? If not, the municipal dump will be 
playing old genesis tunes with it...
Johns@UUisis

Newsgroups: rec.music.makers,rec.music.marketplace,rec.music.misc,alt.rock-n-roll
From: lindaj@solbourne.com (Linda Weygant)
Subject: Drummer Wanted
Organization: Solbourne Computer, Inc., Longmont, CO
Distribution: co
Date: Tue, 8 Sep 1992 17:52:06 GMT

 Please forgive the cross-posting, but I am desperate to fill the following
position:


C       I am the manager of Tracer, a local rock-n-roll band.  I have been looking for a drummer for a while and have been unable to come up with anything
suitable yet.  Tracer is *not* working or even *near-working*.  They are looking
to put a show together in two to three months time.  They do high-energy rock
and roll covers.  Sort of the stuff you'd hear on KBPI

  An example of some songs on their list:

Save Me             Cinderella
Never Enough        L. A. Guns
Everything About 
     You            Ugly Kid Joe
Wicked Sensation    Lynch Mob

	If you like this type of music, and would like to audition for this band please e-mail me at the address below or call 678-7432 and leave a message.
 
Some problems we've had with other band members:

	1)  Significant other objects to amount of time spent with band
	2)  Lack of equipment
	3)  lack of transportation
	4)  Not able to commit time to either scheduled practice, or "homework"
	5)  "Stagefright"
	6)  Wrong attitude
If you have any of these problems that cannot be easily worked out, please
do not bother, all others, please call now!!!!  Tracer needs you!!

Linda Weygant
lindaj@solbourne.com

C
C
	I
From: mbl@media.mit.edu (Marc LoCascio)
Newsgroups: rec.music.makers
Subject: Re: Earplugs?
Keywords: earplugs
Date: 14 Sep 92 21:01:13 GMT
Organization: MIT Media Laboratory

just my $.02 on this subject, my band and i have been using the cheap foam
earplugs for many years now.  they give great noise reduction -- i've never
been to a show where they haven't been sufficient.  in fact, i often pull them
out a bit to get more volume (especially high end).  they *do* totally kill
the highs, but if it's non critical listening they're fine.  i would never
start out playing on stage with them or mixing with them, though on many 
occasions i have put them in after a set is started and the volumes seem
overly loud.  many singers do have a problem with this type of plug, however.
in any event, it's not cool to be deaf, so wear plugs! (or don't -- less 
competition for me!  ;-)

Marc LoCascio	(mbl@media-lab.media.mit.edu)
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
Newsgroups: rec.music.makers
Subject: Re: Earplugs?
Date: 14 Sep 92 18:01:09 GMT
Organization: NCR E&M Columbia SC.

I've tried the cheap foam earplugs.  As everyone else said, they block
tons of high end.  They are great for listening to loud concerts, but
as for playing, I feel like I can't control my guitar tone w/them
in.  

Next, I tried a $10 pair (I think the brand is Norton's SonicII).  These
were a little more even, but VERY uncomfortable and hard to get put
in right.  I think these are made for hunters.   

The biggest problem I've had with either pair was *singing* with them.
When I open my mouth, the ear canal shape changes, and the plugs
get a gap in them.  The Nortons did worse.


I was glad to read about the guy that cut the foam plugs in half.
I had thought about experimenting with them, also.  I thought about
cutting an opening in the center of the foam plugs with a pin.
That is supposed to be part of the trick w/the Nortons.  They have a little
hole in the center... but it has a valve that closes up when the 
sound pressure gets too loud.  Maybe little hole in the middle of 
the foam ones would help flatten the sound.  I'm gonna give that
a try.


Elliott New
From: doney@oasys.dt.navy.mil (William Doney)
Newsgroups: rec.music.makers
Subject: Re: anyone heard of a YAMAHA YQ-10 (?) sequencer?
Date: 10 Sep 92 14:11:07 GMT
Reply-To: doney@oasys.dt.navy.mil (William Doney)
Distribution: na
Organization: Carderock Division, NSWC, Bethesda, MD


thanks to all those who posted replies on the QY-10 (thanks for the 
correction!).  have to find a salesman now to give me the once over....

bill
========================
bill "skeets" doney
bethesda, MD   USA
========================
From: wills@mik.uky.edu (will s young)
Newsgroups: rec.music.makers
Subject: questions on marching band I guess
Date: 16 Sep 92 01:48:40 GMT
Organization: University Of Kentucky, Dept. of Math Sciences

Well if this sounds rather retorical or kinda dumb here please take notice
that this is my first post here and well I feel like that this news group
could probably give me some information on some topics of interest.  Ok,
basically what I'm trying to figure out is there any marching bands that I
guess that are not affilited with college or highschool besides the drum
corps.  Next question I guess I would have would be how could an
unexperienced person new to the idea of marching band get involved with
this and how should someone attempt this.  Do take in mind that I have some
musical experience in that I was in orchestra for a while in jr high and
recently taken up flute(s) and have some knowledge of the instrument, but, I
guess flute (or piccolo) wouldn't be the only interest I guess I would have
in playing in a marching band.  Guess I would like to try Sousaphone but of
course have not had any brass experience.  Gosh, if anyone would like to
talk about this to me or would have some suggestions about this I would
appreciate it.  More or less its rather confusing right now and well I'm
looking for some answers.  So if there is anyone out there that would like to
talk to me about this feel free to email me at the following email address
at the end of this post.  

Sincerely,

Will
Young

--
wills@mik.uky.edu     : The ever willing and the ever wanting to learn musical
wsyoun00@graphsun.cc.uky.edu : instruments, flautist, and kayaker extrodinare.  
wsyoun00@ukpr.uky.edu                   
Newsgroups: rec.music.makers
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: SynthAxe Drumitar?
Organization: University of Iowa, Iowa City, IA, USA
Date: Tue, 8 Sep 1992 05:42:02 GMT

bt979@cleveland.Freenet.Edu (Jeff Preston) writes:

>In a previous article, smills@news.weeg.uiowa.edu (MuffinHead) says:

>>ability to go wireless and run around the place...

>  The first points, perhaps, but the part about the wireless, I somehow
>doubt. Roy's datastream is a bit more complicated than a regular ol' analog
>waveform coming out of a microphone or a guitar, even if the use none of 
>...

   Haven't you heard about MIDI wirelesses? (wireli?:) But, since he isn't
using much of the original SynthAxe, there may or may not be any MIDI
components onboard. In that case, he could have something built that would
mix all his trigger outputs into one signal and use a regular analogue
wireless, then restore the individuals.
From: Peter.Hammond@brunel.ac.uk (Peter D Hammond)
Newsgroups: rec.music.makers
Subject: Re: Problems with drummer's slang. How to translate?
Date: 8 Sep 92 12:43:32 GMT
Organization: Brunel University, Uxbridge, UK
X-Newsreader: Tin 1.1 PL3

vep@polygon.spb.su (Vadim Prokofyev) writes:
: Hi,
: I've to translate a user manual for a MIDI drum controller from
: Russian into English. But I got some tough problems with the
Bad luck...

: 1. When a drumer beats the drum, what does he make? - Strokes,
: beats, blows, or hits, or something else?
Probably 'Stroke' is the best word, as in double-stroke roll

{Point 2 about a fast stroke accidentally deleted.}
I'm not sure what you mean here. One stroke is always pretty quick,
what with it being a percussive instrument. A quick succession of strokes
is a roll, is that what you mean? (Sorry if this is painfully obvious to
you.)

Point 3 I havent got a clue on.

: 4. How can I call two separate notes played together with very
: short interval between them, as closed as they sounded almost
: as one?
: 
Sounds like a flam to me. The first note is quieter, a "grace note"?

: Thanks.
Dont mention it...

Anyone like to comment on these translations?


-- 
BFN, Pete.

 Dept. Materials Technology | Disclaimer: SERC pay me | You sometimes have to  
 Brunel University          | to report my opinions,  |    listen to
 Uxbridge                   | not for theirs or the   | A lot of useless talk.
 Middx, UB8 3PH, UK.        | the university's.       |         N. Peart. (RUSH)
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: Tubescreamer/Real Tube Pedal Info?
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Mon, 14 Sep 1992 22:43:33 GMT

>The tubescreamer, at 50 bucks retail, seems pretty reasonable.  
>I'll be trying one at my local dealer.  The Real Tube costs 3
>times as much.  Is it that much better?  Has any body lived with
>either of these?

I have a Real Tube Overdrive pedal which I bought to use in front
of a Fender M80 Digital Amp.  Its a great, rich sound and really
added the tube warmth that I wanted.  However about 3 weeks after
I bought it, I bought a Fender Twin Reverb and no longer need the
pedal.  Its not a reflection on the pedal at all.  Its just that I 
needed a louder amp and thought why not get a tube amp at the
same time.

If you want it, I will part with it for $75.  Let me know.

Myles
(818) 580-7792
Xref: sparky rec.music.makers:9545 rec.music.classical:12762
From: givler@bermuda.cbm.commodore.com (Greg Givler)
Newsgroups: rec.music.makers,rec.music.classical
Subject: Re: voice training and sinus conditions
Date: 14 Sep 92 17:36:19 GMT
Organization: Another Amiga UNIX System

In article <1992Sep11.121023.42903@kuhub.cc.ukans.edu> brnt@kuhub.cc.ukans.edu writes:
>In article <1992Sep8.200108.24418@cs.ucla.edu>, gds@oahu.cs.ucla.edu (Greg Skinner) writes:
>> I've been working with a voice teacher for the last few months, mostly
>> on eliminating my voice break.  She thinks one problem I am having
>> with my progress is that I may have a deviated septum, or some other
>> sinus condition that has affected my ability to get a lot of resonance
>> in my head voice.  She recommended that I see an ENT (ear, nose, and
>> throat) specialist about it.  (In general, she recommends annual ENT
>> exams for all of her students.)
>
>There's a very good reason why you are having trouble "eliminating your voice
>break" (it's a horrible description for mixing registers), it takes a very
>looooooooooooooooooooooooooooooooooong time, and a lot of very hard, boring
>work (did I mention how long it takes?)  I've been working on the technique for
>well over two and a half years, and I am just now doing it consistently.  Be
>patient, it's a lot like learning to walk; you have to retrain hundreds of
>muscles and learn dozens of new techniques to make it work.  Men have an
>especially hard time with learning it.  Female teachers (inexperienced ones)
>may not quite understand this since they have gone through their entire lives
>with just one voice.  You and I get the priveledge of getting a brand spanking
>new one around twelve or thirteen.

It does take a long time, I still struggle with it, after almost 20 years of 
lessons on and off.

>	The biggest problem I encountered was that when you sing in the upper
>registers correctly (at least while you are first learning the technique) it
>sounds HORRIBLE!  I have a very large, full voice and when I began to use more
>head voice I thought I sounded like a tenorino.  I had to be assured that it
>sounded good, usually about twice a day.  The important things to remember are
>1.) you cannot hear yourself.  It's crushing, but true.  The sound you are
>actually hearing bears no resemblance to what everyone else hears. 2.) you have
>to learn the technique first (bringing in the head voice) before you can start
>to make really good sound.

Here is a little trick that will let you hear yourself as others hear you.
Sing in a corner. Stand in a corner, face it and sing. The sound will 
bounce off the wall and back to your ears. This allows you to hear both 
what you sound like internally and externally, so you can get a feel
if you are on the right track.

>	  
>> --gregbo
>-- 
Greg
-- 
Greg Givler                 | "If you're not going to kill me,
Commodore Product Assurance | I have things to do." - From Darkman
givler@cbmvax.commodore.com |
===============================================================================
Newsgroups: rec.music.makers,rec.audio.pro,rec.music.synth