HDTenEightyP/NetNews huggingface dataset:
From: elee@zeno20.math.UWaterloo.ca (Salty Freckles)
Subject: Re: Tremolo system -- HELP !!!
Organization: University of Waterloo
Date: Mon, 9 Nov 1992 21:03:20 GMT

In article <9211070736.AA05706@cs.columbia.edu> dbi@cs.columbia.edu (Dmitry Babayev) writes:
>Tonight I ran into trouble tuning my guitar. The problem is that I have
>Floyd Rose tremolo mounted on the bridge and while I get two strings
>tuned the rest goes out of tune. See, I used to tune my guitar without a
>tuner - just using my own pitch. And since I don't have a perfect pitch
>I did not seem to have any trouble tuning the guitar. But now, the tuner
>I am using is much more precise than my ears and i see that the
>strings aren't tuned properly, but I can't help that. The tremolo is 
>"floating". So that when I tune say two or three strings, tremolo shifts
>and other strings change their frequencies. I tried locking the tremolo -
>using some tape and I was able to get perfect tune with locked tremolo.
>But when I released the tremolo, the whole thing would get screwed up ! :(

Instead of tuning all the strings at once, you might want to tune the strings
in passes. What you experience when you tune all the strings at once, is the
tension on your tremelo system changes and once you've finished tuning the
sixth string, your first one is already out of tune. In that case, go back
to your first string, fine-tune it again, as with the other strings. You will
find that even on your third or fourth pass, the sixth string will be out of
tune with the first one (remember with new strings there is also the elastic
factor - don't forget to stretch the strings out once they're fitted). It
normally takes five or so passes to tune a newly-strung guitar with any kind
of tremelo system. 

>--MITCH--  dbi@shadow.cs.columbia.edu

Gene Lee
elee@descartes.uwaterloo.ca

Newsgroups: alt.guitar
From: gothick@dcs.warwick.ac.uk (Matthew B. M. Gibson)
Subject: Re: was fret positions, now decimal places
Keywords: fret, scale length, building
Organization: Department of Computer Science, Warwick University, England
Date: Fri, 13 Nov 1992 09:13:35 GMT

rseymour@reed.edu (Robert Seymour) writes:

>In article <1992Nov12.180854.2730@athena.mit.edu> juggle@athena.mit.edu (???)  
>writes:
>
> [lots of stuff deleted]
>

>	Well, I don't know about other persons, but I lay out frets with a  
>ruler. And, ckecking my ruler I don't see any markings for angstroms.  
>Personally, I'd rather not deal with a scanning/tunneling electron micrscope to  
>lay frets. Tolerances are more often in the range of +/- .05 cm at best (with a  
>lot of effort), and this does not include inaccuracy in fixing down the fret  
>once cut/laid. Even at this range, the differences are in very small fractions  
>of cents, so they are imperceptible. An assembly line guitar could be more  
>accurate, but hand builts are far and away the best.

I was asking my local guitar guru about this the other week:  He simply got the
saw he usually uses for making the fret-sinks out of and told me that if the
blade was thick enough not to be transparent then all these bloody decimal
places aren't of great importance... He makes wonderful guitars, too ;-)

>--
>Robert Seymour				rseymour@reed.edu
>Departments of Physics and Philosophy
>Artificial Life Project			Reed College
>Reed Solar Energy Project (SolTrain)	Portland, OR
-- 
 Matthew B. M. Gibson:
 gothick@dcs.warwick.ac.uk - mgibson@nyx.cs.du.edu -  csudo@csv.warwick.ac.uk
 "Great.  I'm a million miles from home, about to be killed, with a 
  gung-ho iguana who tells me to relax"
Xref: sparky alt.guitar:9778 rec.music.makers.guitar:33
From: pmabram@mentor.cc.purdue.edu (C.W.S.W.D.)
Newsgroups: purdue.forsale,alt.guitar,rec.music.makers.guitar
Subject: 1965 Gibson SG jr. FOR SALE
Keywords: Gibson FOR SALE
Date: 11 Nov 92 04:33:38 GMT
Article-I.D.: mentor.BxJBC3.2Gt
Followup-To: pmabram@mentor.cc.purdue.edu
Distribution: usa
Organization: Purdue University Computing Center


     While looking through the attic the other day I found something rather
interesting:

A 1965 Gibson SG jr with Tremelo bar.

It has a cherrywood body that is in very good condition.
It also has a hard sided case and patch cords.
I estimate that it has been in storage (with loose strings) for 20 years.
My father bought it new and never played much.
I had a friend put on new strings and he told me that its electronics are
in very good condition.

Please forgive any errors in spelling or missing pieces in the description.
I do not play the guitar and I am selling this piece to the highest bidder.

Please reply to Patrick M. Abram

E-Mail: pmabram@mentor.cc.purdue.edu
Phone: (317) 495-2859
From: afcondon@maths.tcd.ie (Andrew Condon)
Newsgroups: alt.guitar
Subject: Re: Bloomfield Recommendations?
Keywords: Bloomfield
Date: 6 Nov 92 16:11:02 GMT
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.

mleipe@bnr.ca (Mike Leipe) writes:
>Can anyone recommend something that has what they consider
>to be some "essential" Mike Bloomfield guitar work on it?
>I've only heard a bit of him and I like what I've heard.

I'd suggest "Highway 61 Revisited" by Bob Dylan (particularly
Tombstone Blues), and Butterfield Blues Band, "East-West", the
title track. There is a good representation of his work on a 
compilation called "Mike Bloomfield: A Retrospective".

--
Andrew
Newsgroups: alt.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: Tube Emulator
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Distribution: alt.guitar
Date: 10 Nov 92 12:07:45

   Date: 9 Nov 92 20:49:58 GMT
   From: neal@cmptrc.lonestar.org (Neal Howard)
   Organization: CompuTrac Inc., Richardson TX

   There's one very important parameter that no known solid state device can
   come close to what a tube amplification stage can do: the slewing rate.
   Tube amps easily reach slewing rates of 75 to 100 volts per microsecond
   and solid state devices (yes, even FETS) are hard pressed to reach 25 volts
   per microsecond. 

Nope.  Do you have a reference for this?  I can site gobs of
counterexamples.  Some are consumer items sitting in my livingroom.

		    The high slewing rates (ability to "accelerate" from lower
   frequencies within a complex waveshape to the higher frequencies -- my 
   layman's definition, if anyone else has a better or more descriptive one, 
   please post) of tube-type amps is one of the main reasons for their
   outstanding clarity over solid state amps.

Nope, slewing has a very specific electrical definition; what you described
is not it. Basically it's when an early stage of a high-feedback amplifier
circuit clips, causing one of the later stages to integrate that clipped
waveform into a voltage ramp, limiting the rate at which the output can go
from one voltage level to another.  The effect happens for two reasons; 1.
the main voltage-gain stage of a high-feedback amplifier needs to be like
an integrator in order to keep it stable at high frequencies and 2. this
means that there's a higher signal level at the input stage for higher
frequencies, so the input stage is more likely to clip at high frequencies
on amplifiers designed this way.

Tube amplifiers have very little, if any, slewing effect because they
typically use very little feedback; not because they're made out of tubes.
Solid state amps can easily be designed the same way, and the good ones
usually are.  The worst slew rate offenders are 741-style op-amps and
inexpensive mid-seventies hifi amps (Pioneer, Technics, and so forth) --
both use a ton of feedback to get the job done.

  -- Don
From: mewilson@convex.cl.msu.edu (Margaret Wilson)
Newsgroups: alt.guitar
Subject: Re: Guitar recommendation
Date: 10 Nov 92 20:08:26 GMT
Organization: Michigan State University

ugo@eng.umd.edu (Ugo Piomelli) writes:

>I would like to buy an acoustic guitar in the $600-1000 range.  I play
>mostly folk, do a lot of fingerpicking. I am not too enthusiastic about the
>Ovation sound.   Does anyone have a favourite? I remember reading
>mixed reviews on the lower-priced Martin guitars.  Any opinion on that?

A few months back, I bought a Taylor 512, which lists for $1414.00.  I managed	to get it for $950 (plus tax), and it includes a custom-made hardshell   
archtop case.  I bought it for the sound, and I love it more each time I 	play it.  It's not a dreadnought, but it has a very big, yet beautiful sound.	I played classical for years (and still do), so I fingerpick almost exclusively.I use the Taylor for playing country blues, ragtime and folk, mostly.  I	highly recommend Taylor guitars.  They recently came out with a 412, which 	lists for just under $1000, and Elderly Instruments had it priced at less 	than $700 including the case.  This instrument is very 







much like my 512, 	except the body is not narrower where the neck joins the body, and it has a	satin finish.  Both guitars have mahogany back and sides with a spruce top,	and the 412 uses an Ovation-style bridge.  I'd like to get one of these as	an "alternate tuning" guitar, but cash is an issue at the moment....  ;-(
When I bought my 512, I looked at Martins as well, and I prefer the Taylor
over the Martins I looked at.

Good luck,		

/Margaret
 mewilson@msu.edu




>*************************************************************************
>Ugo Piomelli                    
>Dept. of Mechanical Engineering    	I'd forever talk to you
>University of Maryland			But soon my words
>College Park MD				Would turn into a meaningless ring
>E-mail: ugo@eng.umd.edu				Bob Dylan
>*************************************************************************

--
Margaret Wilson                 |   mewilson@convex.cl.msu.edu
Network Services, Computer Lab  |             mewilson@msu.edu
Michigan State University       |
From: lonachon@anu.edu.au (andrew longhorn )
Newsgroups: alt.guitar
Subject: Re: Bridge adjustments
Date: 12 Nov 1992 04:16:13 GMT
Organization: Australian National University
Distribution: world
Reply-To: lonachon@anu.edu.au
NNTP-Posting-Host: mehta.anu.edu.au


No doubt someone else will correct me here as I fix the thing but can't remember
which way I turn it, (sitting here with a computer instead of a guitar doesn't help.

The bridge length fine adjustment you mentioned corrects the length of the strings
from nut to bridge. Without going into all the technohype what you do is
pick a 12th fret E on string 1, then harmonic on the 12th fret same string
(sorta like tuning). These 2 notes should sound identical in pitch, if the
harmonic is sharp or flat, twiddle the doobiewacker till the sucker rings true.

Repeat for all strings.

If you have only 3 moving sections (1 per 2 strings, like a telecaster) I think
you just get it the best for both.

If your intrested in all the technomumble I have it around here.... somewhere.....

Chill,
Andyroo.

--------------------------------------------------------------------------------

  .----.____.----. \
 /              (   \      _                        |  "Dang, What a woman!"
|   +==|======|===========| |||===========|=',      |
|   +==|======|===========| ||||==========|===',    |   - Andyroo,
|   +==|======|===========|_||||==========|=====',  |  lonachon@mehta.anu.edu.au
|  o          (    \   \   \___/
 \   o ____    `-.  \   \  /  /
  `---`    `-----`   \   \/  /
                      \     /
                       `.__/

Newsgroups: alt.guitar
From: jtblair@silver.ucs.indiana.edu (John Blair)
Subject: Re: Guitar recommendation
Organization: Indiana University
Date: Sat, 7 Nov 1992 06:41:55 GMT

I think the Epiphone solid top models around 400-500 $ are pretty nice
guitars.  Also use guilds are a really good deal.  Really: for $600 to
$1000 dollars you can get a fine used guitar, say a 60's gibson.

john
From: tgilman@hotcity.COM (Tim Gilman)
Newsgroups: alt.guitar
Subject: Jackson Guitars - Rhoads especially
Date: 10 Nov 92 14:40:36 PST
Organization: BBS

I was wondering if anybody out there owns a Jackson Rhoads type guitar, and if
so, how do you like it.   ie, are there any major design flaws that the odd
body shape would produce, any major problems with the guitar.    I'm just
wondering before I plunk down the money...

Tim Gilman...

 ___ .                            
  |  | |\/|      ---- "Man needs a religion like a fish needs a bicycle."
         Gilman....   tgilman@hotcity.com
Newsgroups: alt.guitar
From: peak@abacus.Columbia.NCR.COM (Bob Peak)
Subject: Fender Amps
Originator: peak@abacus
Organization: NCR Corp, E&M-Columbia, Columbia, SC
Date: Fri, 06 Nov 92 19:40:57 GMT

I'm somewhat of a beginner when it comes to guitars and amps, but I've 
managed to convince myself that it's time to move on from my current
Squier II Strat and Squier 15 Amp. So, I've been reading as much
literature as possible (magazines, forsale ads, net articles, etc)
and have run across the following items for sale here in Columbia:

Fender Bassman amp $200 - no year given - no idea of the condition
Fender Twin amp $250 - says 1972 model - no condition given
Fender Twin Reverb $450 - says 70's model - good condition

I've heard a lot of good things about each of these lines and know
how much the "reissue" models of these amps run.

What I was wondering is if there is anything in particular to 
watch out for or to ask the seller of these items ? Are there
any year's models to avoid ? 

Any help at all would be appreciated !

-------------------------------------------------------------------------
| Bob Peak                        |   The opinions expressed above      |
| NCR Corporation                 |   may not be consistent with those  |
| MCPD-Columbia                   |   of my employer.                   |
| Columbia, South Carolina        |-------------------------------------|
| (803) 791-6711                  |                                     |
| peak@abacus.ColumbiaSC.NCR.COM  |   The opinions expressed above      |
| ..!uunet!ncrlink!ncrcae!bob.peak|   may not be consistent.            |
|_________________________________|_____________________________________|                                                   
-- 
-------------------------------------------------------------------------
| Bob Peak                        |   The opinions expressed above      |
| NCR Corporation                 |   may not be consistent with those  |
| MCPD-Columbia                   |   of my employer.                   |
Newsgroups: purdue.forsale,alt.guitar,rec.music.makers.guitar
From: stevenra@feserve.cc.purdue.edu (Alex Stevens)
Subject: FOR SALE:  effects Pedals
Organization: Purdue University
Distribution: usa
Date: Wed, 11 Nov 1992 02:10:46 GMT


	I recently acquired an ART rack unit, so I'm in the process
of selling my old effects pedals.  Anyway here's what I got for sale:

*********Digitech MultiPlay:   Several effects in one pedal.  Includes
tap, ping-pong (and several controlled delays) flanger, chorus, infinite
sustain, layering, and bunches of combinations.  Up to two full seconds 
of delay.  Less than a year old, in mint condition. Stereo and digital also.
		
Will part with for $130 or best offer.  VERY negotiable.
Rack effects in one stomp box. If you can't afford a rack, this is for you.


********DOD Distortion/Compression Pedal:   Self explanatory, full range
of controls....MUCH better than regular distortion, especially if used
with a stereo cabinet or other effects.

	Sell for $45.  may be negotiable.


******* Matrix Quartz Tuner.  Line in/out, battery, lighted display, mic.

	Sell for $20. Firm



	All prices INCLUDE shipping......if you want to make an offer,
please feel free.


Alex Stevens
stevenra@feserve.cc.purdue.edu

Call:  (317) 495-2754.  
I Live on campus (Purdue)




Newsgroups: alt.guitar
From: tm8025a@american.edu
Subject: GSP 21  Pro Legend
Reply-To: Infinite Guitar
Organization: The American University Computing Center
Date: Wed, 11 Nov 1992 00:21:57 GMT

If some one that owns a 21 pro could tell me if it works well and how much they  
bought it for I would be grateful. Also if they would get an RP1 for a smaller  
amount of money (One effect less and one less at a time does not seem like a  
big difference to me especially if it all sits on the floor at once and is $$$  
cheeper.)
Send replys to newsgroup or tm8025a@american.edu
Newsgroups: alt.guitar
From: termite@leland.Stanford.EDU (David Paik)
Subject: New VOX wah wah
Organization: DSG, Stanford University, CA 94305, USA
Date: Mon, 9 Nov 92 04:45:18 GMT

Has anyone who has had experience with an original VOX wah wah pedal
tried out the new V847 reissue?  How does it compare?  Is this thing
just a Crybaby with a chrome top?

I compared my Crybaby to a schematic for a Vox and found that they are
the same internally.  I've been told that its basically the inductor
(made by some Italian company) that makes the Vox different from a 
Crybaby.  Does this new one use the same inductor?

dave
From: mds@hpfcmgw.FC.HP.COM (Mark Schulz)
Date: Wed, 4 Nov 1992 17:44:47 GMT
Subject: Funny Chord Symbols
Organization: HP Fort Collins, CO
Newsgroups: alt.guitar



     This is to BrianE or anyone else who may know the answer. 

	  Over the years I have played guitar in several jazz bands where
     the guitar player reads music that is typically just a series of chord
     progressions.  From my earliest years I have been mystified by some of
     the symbols that were used to specify various chords.  I have learned
     most of the theory, it's just the symbols I don't know.

	  Examples of mysterious symbols include triangles and circles that
     accompany the chord letter.  Can anyone out there give a short tutorial
     on the varoius little extra symbols for jazz guitar chords, and what
     they mean? Thanks.
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: Weird Theory Question...
Date: 6 Nov 92 22:42:26 GMT
Followup-To: alt.guitar
Organization: Univ. of Arizona

In article <Bx5EDn.y7@usenet.ucs.indiana.edu>,
mkohlhaa@silver.ucs.indiana.edu (mike) wrote:
> I know this may be a tall order, but would someone mind posting the various
> "formulas" used to make chords, and the appropriate scales that you use
> accordingly?

realize that chords can be thought of as being built from a scale. if you
take an A major scale 

 A B C# D E F# G# (A)

and build a triad starting on each note you get:

A Major (A C# E) = I (major one chord)
b minor (B D F#) = ii (minor two chord)
c# minor (C# E G#) = iii (minor three chord)
D Major (D F# A) = IV (major 4 chord)
E Major (E G# B) = V (major 5 chord)
f# minor (F# A C#) = vi (minor 6 chord)
g# diminished (G# B D) = vii dim (diminished triad on 7)

all these triads are built by starting on a note, then adding a note a
third higher, then adding a note another third higher (using the diatonic
interval, i.e., whatever note is natural to the scale). If you want a 4
note
chord, you add another note another diatonic 3rd up to build 7th chords
(so called because the top note is a diatonic seventh above the root)

A Major 7 (A C# E G#) = I7 (major seventh)
b minor 7 (B D F# A) = ii7 (minor seventh)
c# minor 7 (C# E G# B) = iii7 (minor seventh)
D Major 7 (D F# A C#) = IV7 (major seventh)
E 7 (E G# B D) = V7 (*dominant seventh*)
f# minor 7 (F# A C# E) = vi7 (minor seventh)
g# half-diminished 7 (G# B D F#) = vii half-dim 7 or vii 7b5
(half-diminished 7)

so this shows that the E7 chord comes from the A major scale, NOT from the
Emajor scale (you'd get an E Major 7 E-G#-B-D#  from that).

You can get other chords by harmonizing minor scales in thirds (i.e.
different
from using natural minor, harmonic minor, melodic minor)

You can also harmonize major or minor scales in 4ths instead of thirds to
get some really cool jazzy sounding chords (quartal harmony is the
technical
term)...
i.e. from A major

A D G# C#
B E A D
C# F# B E
D G# C# F#
 etc.

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: alt.guitar
From: larryh@cabezon.uucp (Larry Huntley)
Subject: Speaker Cabinet Supplies
Organization: Logic Modeling Inc of Beaverton Oregon
Date: Thu, 12 Nov 1992 18:05:04 GMT

In article <1992Nov11.004457.1126@hpcvusn.cv.hp.com> fredh@cv.hp.com (Fred Handloser) writes:
>or metal grill covers,  corners, handles etc.   I've been told
>that the material used on a lot of older amps and cabinets 
>is called toulex.  Is this the right spelling of this material.
>Has anybody used a particular supplier for building speaker
>cabiniets?
>

	The material you're looking for is Tolex, originally made by General
	Tire and Rubber Co.  Lots of substitute material is available if you
	go to a supply house for upholstery fabrics, especially those that
	specialize in automotive upholstery.  The big advantage to genuine
	Tolex is its hard surface and relative toughness.

	Speakers and cabinet hardware can be had from Parts Express.  I don't
	have their address or phone # handy, but they always have an ad in
	Audio and/or Radio Electronics.

	Good Luck,

	- Larry Huntley
-- 
         (larryh@lmc.com)         |         --TALK.BIZARRE-- 
     Logic Modeling Corporation   |      The Suppurating Abcess
          Beaverton,  OR          | of the INTERNET - Dr. Donald Wildmon
From: caedmon@cats.ucsc.edu (Axeman)
Newsgroups: alt.guitar
Subject: Re: what's the deal with CRATE amps?
Date: 6 Nov 92 18:39:27 GMT
Organization: University of California, Santa Cruz
NNTP-Posting-Host: am.ucsc.edu


deal_j@apollo.HP.COM (John Deal) writes:

>The most recent "Guitar Player" mag. had a 100 watter tub combo shootout and
>Crate was included.  If I remember correctly it was on of the lower priced
>ones and did fairly well. 

I've heard salesmen clandestinly knock Crate amps.  Apparently they're a
low-quality high-grossing product, from overhearing salesmen.  BUT, I've
played through a lot of them and I like them.  They have nifty distortion;
however, Peavey amps have amazing distortion, and thus my buying
decision would be based on playing through both amps.  They both have
immaculate clean tones and nice reverb.  I think a Peavey will give
you a better reverb, however.  Give Peavey a look-see before you buy.
Incidentally, I was almost sold on a Peavey and I ended up purchasing an
Ampeg, which I think outrocks the other two brands, but I think Ampegs
are over-priced.

-jq

-- 
,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,
,;';,   caedmon@ucscb.ucsc.edu               Jeff Ishaq          .,;';,
,;';,   I am a meatball:  Bite me.           Guitar withdrawal!  .,;';,
,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,
From: sladeic@csugrad.cs.vt.edu (Ian Slade)
Newsgroups: alt.guitar
Subject: >Bridge Adjustments
Date: 10 Nov 92 01:36:08 GMT
Organization: Virginia Tech Computer Science Dept, Blacksburg, VA

Those 'screws at the end of the bridge' are for setting 
what is called the intonation.
	
The theory behind stringed instruments is by shortening 
the length of the string by half causes the pitch of the 
string to increase one octave. The intonation should be
set so that there is an equal distance between the nut
and the 12th fret and the 12th fret and the bridge.

To set the intonation follow these simple steps:
1)	See if the fretted 12th fret and the harmonic
	12th fret are the same or not.
2)	If they are the same then the intonation for that 
	string is fine.
3)	If the fretted 12th fret is higher pitched
	than the harmonic 12th fret : increase the scale
	length (move the bridge support for that string back.)
			OR
	If the fretted 12th fret is lower than the
	harmonic 12th fret : decrease the scale length
	(move the bridge support for that string towards the neck.) 
4)	Repeat steps 1-3 on all strings.

With the intonation set correctly, you should find that the 
guitar will stay in tune much easier.

-- 

Ian Slade               | sladeic@csugrad.cs.vt.edu 
VA Tech, Blacksburg, VA | "generic signature"  
Newsgroups: alt.guitar
From: taj26@cas.org (Ty Jacobs)
Subject: test
Reply-To: taj26@cas.org
Organization: Chemical Abstracts Service
Date: Sat, 7 Nov 1992 02:19:54 GMT

this is a test


Newsgroups: alt.guitar