HDTenEightyP/NetNews huggingface dataset:
From: cdj@iti.org (Chris D. Jennings)
Subject: Re: David Gilmour (Anymore Fans?)
Organization: Industrial Technology Institute
Distribution: usa 
Date: Wed, 22 Jul 1992 14:59:42 GMT

In article <1992Jul21.090528.7081@decuk.uvo.dec.com> jf@decuk.uvo.dec.com (Jason Flowers) writes:
>
>
>	From what I've seen of Gilmour playing slide he seems to use some
>	sort of lap steel guitar, I dunno if this would make much difference in
>	the sound tho....
>

The only time I ever SAW Gilmour play slide was in the "Pink Floyd
at Pompeii" video.  In that instance, he sat on the ground with his
Strat across his lap and played slide as if it were a lap steel
guitar.  I don't know whether that was his typical approach at the
time or just done for the camera.  Interesting video (though I don't
remember many details as I saw it over a decade ago).

- Chris

Newsgroups: alt.guitar
From: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Subject: Re: <none>
Keywords: U2:the edge
Reply-To: chuck@spectrum.cs.unsw.oz.au (Mark Andrew Hawling)
Organization: none
Date: Tue, 28 Jul 1992 06:39:41 GMT

In article <1992Jul27.154541.6074@csc.canterbury.ac.nz> ajc@phys.canterbury.ac.nz (James Curzon) writes:
>Does anybody out there have any ideas as to how the Edge achievies his guitar sounds and the some TABs to songs off The Unforgettable Fire (their best album) specifically Pride and Bad. Any help would be greatly apprechiated.
>Thanking you 
>James
>
>
>Keywords: 
>

Edge gets his guitar sounds mainly from his various echo units. He also uses
reverb to get the size of his sound. This used to come on the records from
the stairwell of Windmill Lane recording studio where they would put
up microphones all over the stone stairwell. He also uses relatively thich strings
10's on the Explorer and 11's on the Black Strat ( don't know what he uses nowdays).
This into a Vox AC30 kept the sound cruchy without being distorded to much.

In Pride he uses a the echo to play 16th's against his rhythm which creates the lush
sound. I know pride but I don't have a guitar here so I can't write in correctly
I might put it in tommorow.

Mark
Newsgroups: alt.guitar
From: grlee@undergrad.math.waterloo.edu (Greg Lee)
Subject: Re: Satch's new album! was: Re: Always With You Always With Me
Organization: University of Waterloo
Date: Wed, 22 Jul 1992 00:22:24 GMT

In article <1992Jul21.185444.22080@fs7.ece.cmu.edu> dizon@plunger.ECE.CMU.EDU (Roberto M. Dizon) writes:
>
>SPEAKING OF SATCH...
>
>Went straight to the record store to pick up "The Extremist" this morning,
>ran home, and gave it a once over VERY loud. All in all, very impressive,
>obviously a must for any Satch fan. As he indicated in GFTPM, definitely
>more melodic and song oriented as opposed to the mind blowing shredding in
>Surfing for example. Personally my favorite Satch stuff is when he dives
>off into some strange and nontraditional mode and plays some kind of hybrid
>scale over some sinister chord progression (Hordes of Locusts for example).
>Therefore my favorite (subject to change) on this album is "War", although
>the funk rhythms of "Why" are really cool.
>
>I should have taped it and brought it into the office (damn). 
>
>SO GO BUY IT! and tell everyone what you think...

I have been marking the days off the calander like it was Christmas coming.
Unfortunately, my local record stores are not releasing it until the 27th 
and I am one seriously pissed dude.  It's like Santa said "Hey, screw you
kid, I'll swing by sometime next week..." on Christmas Eve.  Well, keep the
reviews coming, although it kills me to have to read them.

Satch's #1 fan...

Greg.
From: rsk@aspen.circ.upenn.edu (Rich Kulawiec)
Newsgroups: alt.guitar
Subject: Re: Blues Net group
Date: 30 Jul 92 15:10:49 GMT
Organization: Cardiothoracic Imaging Research Center

In article <1992Jul29.154158.26400@murdoch.acc.Virginia.EDU> sag4r@palm.cs.Virginia.EDU (Scott Gietler) writes:
>Perhaps you should stick to that newsgroup also. Then we wouldn`t be bothered
>by your trivial answers to trivial questions that no one forced you to read.

That's hardly the point.  whc2993@ritvax.isc.rit.edu asked a question that
no news reader should ever need to ask--IF they take elementary steps to
inform themselves about the network they're attempting to use.  I don't
accept any excuses for not reading news.anounce.newusers: those who choose
to remain ignorant, like the original poster, fully deserve any chastising
that they bring down upon themselves.
From: dahe@cl.cam.ac.uk (David Elworthy)
Newsgroups: alt.guitar
Subject: Re: Syd Barrett
Date: 24 Jul 92 15:19:06 GMT
Reply-To: dahe@cl.cam.ac.uk (David Elworthy)
Organization: U of Cambridge Computer Lab, UK

In article <25774@life.ai.mit.edu>, bri@black-coffee.ai.mit.edu (Brian
Totty) writes:
|> 
|> 	So, where is Syd Barrett now?  Any interviews recently?  All I have
|> 	heard is urban legend...

Someone asked exactly this in the "Notes and Queries" column of the
Guardian a few months back (it's a weekly column where readers send in
interesting and freuqently inane questions and other readers send in
answers with similar characteristics). I forget the details, but I think
the reply said he is alive, well, sane and staying out of the music
business. It said he doesn't want publicity, so there's probably no or
few recent interviews.

Another source for bits of the early Floyd history is a book called
"Days in the Life", which consists of lots of interviews and eye-witness
accounts of things that were happening in the UK in the 60s. I'll dig
out the publishing details if anyone's interested. It's a good book.

-- david elworthy
From: darkman@cats.ucsc.edu (Axeman)
Newsgroups: alt.guitar
Subject: Pricing for Jackson Soloist XL
Keywords: Coffee is >good< - not evil
Date: 30 Jul 92 06:13:47 GMT
Reply-To: jeffq@deeptht.santa-cruz.ca.us
Organization: University of California; Santa Cruz
NNTP-Posting-Host: am.ucsc.edu


I'm dedicated to purchasing a Jackson Soloist XL from the local Guitar Center
and I wonder if anybody can give me a good dollar amount with which to
bargain.  I can get it for $880 w/case without much problem.. the guy seems
to be interested in moving the guitar vs. making a killing.  Has anybody 
bought one or seen one for lower?  $800 w/o case.  

Thanks,
-jq
Newsgroups: alt.guitar
From: balon@cup.hp.com (Tom Balon)
Subject: Re: 63 Les Paul's value
Date: Fri, 24 Jul 1992 17:21:48 GMT
Organization: Hewlett-Packard, Cupertino, CA

In article <spray.711949633@convex.convex.com> spray@convex.com (Rob Spray) writes:
>In <.10.0@nd.edu> @nd.edu (Jim Michaels) writes:
>
>>     I have a tobacco sunburst 1963 Les Paul standard in very good 
>>condition.  Everything is original except the tuning pegs, which I 
>>replaced with Grover's a while back.  Anybody have any idea what my 
>>guitar might be worth?  What are music stores asking for similar 
>>guitars?  Thanks a lot.
>
>Well, for starters, Gibson didn't make a Les Paul Standard in 1963.
>Secondly the 1963 SG Standard came in cherry red or a rare white
>finish.  If it really is tobacco sunburst it's a reissue or been
>refinished.  As such, I such I'd guess around $500 US.
>
>--Rob  spray@convex.com
>


	I've seen several re-issues and 70's Les Pauls going for less
	than $500.00 here in the Bay Area. 
						-T
Newsgroups: alt.guitar
From: luthe@jach.hawaii.edu (Rusty Luthe)
Subject: Re: Classical Guitar Mailing List
Reply-To: luthe@jach.hawaii.edu
Organization: UK/Canada/Netherlands Joint Astronomy Centre, Hilo, HI
Date: Thu, 30 Jul 1992 01:51:16 GMT

Hi Bill,

Please include me on your list for the r.m.g.c newgroup. It will be
refreshing to not have to wade through the Heavy Metal discussions to
get to something I'm interested in. 
As for your search for a transcription of the Clarinet Concerto, Adagio
movement, I can't help you. Are you sure there is a transcription out there?
You may have to transcribe it yourself. Not an easy task but worth the effort
in the learning department. I had to do transcriptions of works for other
instruments to guitar as excersizes whilst in music school. It really tests
your musical metal. Doing the transcription is only half the battle. Next
you gotta figure out how to play it!

Rusty Luthe
Newsgroups: alt.guitar
From: M23231@mwvm.mitre.org
Subject: Re: Improvisation where has it gon
Organization: The MITRE Corporation, McLean VA 22102
Date: Thu, 23 Jul 1992 17:14:13 GMT

In article <D7XcoB1w165w@mantis.co.uk>
Jonathan Egre' <jonathan@mantis.co.uk> writes:
 
>
>M23231@mwvm.mitre.org writes:
>
>> I suspect that a lot of the hype about "playing one's own music" comes from
>> recording company executives who know that recording already copyrighted
>> stuff is not as profitable as recording new stuff that copyrightable.
>
>Not really; from the record company's point of view, it doesn't matter who
>holds the copyright on the music and lyrics - either way somebody has to be
>paid.
>
*************
In the USA the record companies generally are considered the publisher of
the music on their records--which nowadays rarely ever comes out in sheet
music form--they file the copyright papers and pay royalties to their "artists"
 but they, themselves, profit **heavily** on these transactions, and should
another record company want to record one of "their" songs, they, and their
recording "artist" who "wrote" the thing both get royalties on that.
No record company would prefer to "publish" recordings of songs they don't
have ownership rights to. This is a **major** reason why "artists" who write
their own stuff are on records today.
********
                  tant factor is the type of music.  On one hand, classical
>musicians are *expected* to copy printed music written 200 years ago
>note-for-note: if they don't, it's called "mistakes", not "improvisation".
>On the other hand, blues and jazz musicians are *expected* to improvise:
>if they don't, they are labelled as "boring" and "un-original", rather than
>"accurate".  I don't really know anything about flamenco, but what you
>have said suggests that it is closer to classical music in this respect.
>
***********
No, it is considered improvisational like jazz. However, in practice, the
improvisation is usually confined to piecing together parts that are well
practiced. The impression is that the player never plays, say, Bulerias,
the same way twice, but in reality unless he has worked up new material
and carefully practiced it, his solo will contain old stuff in a new
arrangement. Players are expected to develop their own stuff, but historically
it is done over a lifetime, and the player remembers his best material and
wisely forgets the inferior things he comes up with.
************
>There isn't really any logic to this; it's a question of integrity and
>honesty, according to particular meanings of "integrity" and "honesty" used
>by the type of music.
>
>Many people believe that live music is always "better" than mimed
>performances, even if the audience cannot hear the difference.  If nobody
>can detect the difference then why is the live performance better?  The
>answer is that the mimed performance is considered "cheating", and therefore
>is less desirable.  In other words, a psychological difference rather than a
>difference in the music itself.
>
>--
>Jonathan Egre' = jonathan@mantis.co.uk = jonathan_e@cix.compulink.co.uk
>ObOb: The river Ob in Siberia
Newsgroups: alt.guitar
From: peugh@wam.umd.edu (General Napolean)
Newsgroups: alt.guitar
Subject: Re: Question about epiphony les paul
Date: 27 Jul 92 15:18:44 GMT
Organization: University of Maryland, College Park


  I've got an Epiphone Strat, and it's a decent guitar.  It's a pretty durable
guitar, and i've been reasonably happy with it.  I haven't played the Epi Les
Paul, so i can't tell you how good it is, but the price, 399 isn't that bad.
That's about the same as it goes around here(Victor Litz has it for $379).  
Every now and then I see it on sale for around $330, so if you can wait you 
might save yourself some money and wait for a sale, but if you want the guitar
now, $399 isn't too bad.
Newsgroups: alt.guitar
From: ryanr@beethoven.CS.ColoState.EDU (richard ryan)
Subject: Re: Strengthening Fingernails for Fingerpicking
Date: Fri, 31 Jul 1992 08:09:45 GMT
	<36319@sdcc12.ucsd.edu> <1992Jul31.025649.7968@jhunix.hcf.jhu.edu>
Organization: Computer Science Department, Colorado State University

>>>>> On Fri, 31 Jul 1992 02:56:49 GMT, vai@jhunix.hcf.jhu.edu (Aloke S Chakravarty) said:


Aloke> Does strengthening fingernails prohibit, or rather inhibit
Aloke> other gratifying experiences?  And if so, is the trade-off
Aloke> worth it?  I'm still an advocate of the friction theory of
Aloke> fingerstyle (probably because it's called fingerstyle and not
Aloke> nailstyle (which actually may be a form of speed metal)), plus,
Aloke> I've often found that long hard fingernails leave marks on
Aloke> things and people where they don't necessarily like it.

Aloke> sorry, just preachin'.

I guess it all depends on the technique you wish to use, the sound you
want, etc.  For classical (nylon/gut) I've found nails help a lot.
The two finger style of greats like Reverend Gary Davis and Merle
Travis incorporates thumb pick and finger pick (probably originally
for Hawaiian guitar).  The two finger style of Blind Arthur Blake uses
just skin.  The five (!) finger style of Chet Atkins uses thumb pick
and finger nails.  The five finger slide style of Tampa Red, I
believe, used finger and thumb picks (somebody please correct me if
I'm wrong, I'm not too sure of this).  The three finger style (which
includes the clawhammer style) often played by folk guitarists such as
Bob Dylan (in his early days) sometimes uses flesh, and sometimes
thumb and finger picks.  I believe the traditional style of flamenco
guitar uses just flesh, but I think many flamenco guitarists are
getting away from that now.  And of course, getting back to the four
fingered style of classical guitar we're usually talking finger nails
because it gives a much much much wider range of tone qualities to
nylon/gut strings and increases the volume significantly.  Segovia
pretty much made this the standard for classical guitar and could back
it up.  There is no doubt about his playing having heart.  And he
wasn't brought up some pampered rich kid, either.  He knew what a hard
life was all about and the spirit of hard living was definitely in his
playing.  Oh yes, I believe Leo Kottke uses nails on steel strings,
too.

In any case, technique does not by itself ever detract from the stylistic
expression of the performance.  Only the performer can do that, and not
only by putting technique over what is to be expressed but also by not
having the technique to express it.  Nails or not.

Richard.
Newsgroups: alt.guitar
From: rblander@watdragon.uwaterloo.ca (Robyn Landers)
Subject: more Strat differentiation
Organization: University of Waterloo
Distribution: alt
Date: Wed, 29 Jul 1992 19:47:12 GMT


Not long ago someone posted an analysis of what additional features
you get at each increment of Strat model and pricing.
One thing not mentioned in this was the body wood.

This ranges from poplar (!) to basswood to alder to alder with
figured maple top and back.   The American vintage reissue,
for example, is alder, but the Japanese vintage model is basswood.
If you believe in the contribution of body wood to tone,
this will influence your choice of Strat model.

Note that there are no ash bodied Strats now, but the earliest
vintage Strats were ash.  So, if you really want that authentic
vintage Strat tone, you'll have to build your own :-)
Telecasters are still available in ash.

Another thing I don't remember seeing mentioned is body and neck finish.
The American vintage model is done in nitrocellulose lacquer;
the rest seem to be polyurethane or whatever plastic it is.



-----
Robyn
rblanders@math.uwaterloo.ca
	"I'm just doing my rock'n'roll duty." -- Dubois

Newsgroups: alt.guitar
From: 880139h@dragon.acadiau.ca (Rob Hutten)
Subject: Re: Q: What are power chords?
Organization: Acadia University
Date: Thu, 30 Jul 1992 18:57:49 GMT

STDN%MARIST@VM.MARIST.EDU (Dan Newcombe) writes:

[re: the origin of power chords]

>My roommate an I were trying to come up with some of the first uses.
>He says it was the Beatles on "Get Back"  I don't know, but Tony Iomni
>from Black Sabbath used them quite extensivly on their albums.  

I've often heard and read references to Pete Townshend as being the 
first player to use power chords extensively.  Although I suspect
Iommi should also get some credit.  I don't think their `first use'
can realy be established as the root/five chord is used all
over the place in all sorts of music.

However, Beethoven didn't have a Marshall...

-Rob
Newsgroups: alt.guitar
From: ccb@axemax.zk3.dec.com (Senor Bennett)
Subject: Re: Chord questions
Organization: Digital Equipment Corporation - Nashua, NH
Distribution: na
Date: Thu, 30 Jul 1992 21:14:39 GMT


With corrections I'd call both chords Dadd9 or Dsus2. 

ccb
-- 

The opinions expressed are those of the author and do not represent the
opinion of DEC's UNIX Engineering Group or Digital Equipment Corp.
-------------------------------------------------------------------------------
Charlie Bennett, UNIX Engineering	| "What the hail is that thing?"
Digital Equipment Corporation		|		- Steve Martin
110 Spitbrook Road, ZKO3-3/X18		| "Everybody needs somebody sometime"
Nashua, NH 03062	603.881.0360	|		- Dean Martin
-------------------------------------------------------------------------------

Newsgroups: alt.guitar
From: vrkaramc@mtu.edu (Karamchedu)
Subject: Re: Led Zeppelin
Organization: Michigan Technological University
Date: Tue, 28 Jul 1992 20:28:50 GMT



In article <1992Jul27.023756.10194@mtu.edu>, vrkaramc@mtu.edu (Karamchedu) writes:
>
>In message 6308 vrkaramc@mtu.edu (Karamchedu) wrote:
>
>"In fact it is Jethro Tull which said that the group Led Zeppelin would fall
>apart like lead Zeppelin."

Jethro Tull was an eighteenth  or nineteenth century English farmer.  I
guess he was prescient as well.  The band "Jethro Tull"
is lead by Ian Anderson.  
--Rich




I never said or meant that Jethro Tull _is_ a single person which said whatever
was said of Led Zeppelin. I have to appreciate your hastening act of correcting
a  possible slur but nevertheless you have to control your libido.


Thank you.
From: darin@chem.ucsd.edu (Darin R. Kent)
Newsgroups: alt.guitar
Subject: Stanley Jordan
Date: 24 Jul 92 22:23:58 GMT
Organization: University of California San Diego, Chemistry
NNTP-Posting-Host: sdchemi3.ucsd.edu

I was watching TV the other night (instead of practicing my guitar, I hang
my head in shame) and I caught a live performance of Stanley Jordan and his
band. I have to say that watching and listening to him play is truly awe
inspiring. He plays better than me (and many of the other "greatest" guitar
players mentioned in this newsgroup) literally with ONE HAND. And if thats
not enough, he plays two guitars at a time, one with each hand. I don't know
how he does it. If any of you have not heard or seen Stanley Jordan I highly
reccomend that you do it. Even if you are not into the style of music he plays,
if you are a guitar player you will be, if nothing else, impressed.



===============================================================================
DDDDD     AAA     RRRRRRR   IIIIII  NN    NN / My Opinions Are Mine Alone!!! 
DD  DD   AA AA    RR    RR    II    NNNN  NN / Quick to judge, Quick to Anger, 
DD  DD  AAAAAAA   RRRRRRR     II    NN  NNNN / Slow to Understand, Ignorance,
DDDDD  AA     AA  RR    RR  IIIIII  NN    NN / Prejudice and Fear, Walk Hand in
============================================ / Hand.   RUSH - Witch Hunt
===============================================================================
From: ken@batman.austin.ibm.com (Ken Goach)
Newsgroups: alt.guitar
Subject: Re: Every guitar trick in the world!
Date: 22 Jul 92 15:27:45 GMT
Reply-To: ken@batman.austin.ibm.com (Ken Goach)
Organization: IBM Austin, TX


 

#Super-Fast Trills...
# 
#This works for guitars equipped with whammy bars.
#Play one or more notes and try pulling up or down on the bar
#and suddenly releasing it so it springs back into it's equilibrium
#position. This will create a brief fast quivering in the notes as the bar
#quickly adjusts to equilibrium.
#
#You can also try strumming the bar with your pick or tapping with your
#palm on the bottom of the bridge. This probably works well with tapping
#or hammerring/pulling with your fretting hand.
#The optimal position for the bar would be either straight up or down to
#provide the most vibration.
 

Ah, the Brad Gillis cricket noise. His springs must be really loose,
because he can get it to go on for longer than a second (unlike me).
In fact, he can just hit the body of the guitar and get this "quivering"
sound. I know his trem is pretty loose - listen to the live Ozzy album
he played on. It's so loose it sounds like a warped record! (That's
bad, too!)

Check out some Night Ranger albums for good examples of this technique!


THIS POSTING DOES NOT REPRESENT THE OPINIONS OF MY EMPLOYERS.
-------------------------------------------------------------
"... watch from high atop Tokyo Tower as the twisted world
you created explodes in rivers of blood and endless pain..."
    -Tom Servo, announcer, monster action playset commercial
-------------------------------------------------------------
From: lehe@lulea.trab.se (Lennart Hedenstr|m)
Newsgroups: alt.guitar
Subject: Re: Gary Moore
Date: 27 Jul 92 15:08:21 GMT
Organization: Telia Research AB, Aurorum 6, 951 75 Lulea, Sweden
X-Newsreader: Tin 1.1 PL4

There is a magnificent fanzine put out in Belfast, Northern Ireland. It is
called "Black Rose - the Thin Lizzy Magazine". The editor's name is Adam C.
Winstanley. He is doing a great job, putting it together. So far there has
been seven issues. There has been discographies over Thin Lizzy, Philip
Lynott and Gary Moore so far. The other members will follow, e.g. John
Sykes, Brian Robertson, Snowy White etc. Lots of never seen before pictures
(private photos) and information. A great opportunity to get in contact
with other Thin Lizzy and Gary Moore fans. Between the issues there also is
a newsletter coming out, to cover up the latest news. Good interviews and
stuff you just can't be without if you are a fan.

If you want to subscribe, write to:

        Black Rose - the Thin Lizzy Magazine
        Adam C. Winstanley
        68 Jerusalem Street
        Belfast
        BT7 1QP
        Northern Ireland

It is pretty cheap to subscribe and back order old issues. Write to Adam
to get the current price what it costs to get it home to you! The price
does only cover the cost of printing etc. He doesn't do it for profit.
In fact I don't understand how he can manage on what he charges !

Tell him that I sent you.

--Lennart Hedenstrom, Sweden

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
        Lennart Hedenstrom : lehe@lulea.trab.se (SWEDEN)
 Collector of records and live tapes with Gary Moore & Thin Lizzy.
 I'm willing to trade. Interested? --> e-mail right away !!!