HDTenEightyP/NetNews huggingface dataset:
From: ee152fcy@sdcc15.ucsd.edu (Paolo Valladolid)
Newsgroups: alt.guitar
Subject: Robert Fripp guitar questions
Date: 18 Nov 92 16:53:02 GMT
Organization: University of California, San Diego

Lately I've been getting into listening to Robert Fripp and one
thing I can't figure out is how he achieves such supernatural
sustain and feedback control. Yes, I know he plays a vintage Les
Paul, but the sustain is long even for a Les Paul. Someone from
rec.music.synth pointed out that Fripp uses a hexaphonic pickup.
I even read somewhere that he installed a synth in his Les Paul!

If anyone can clue me in as to what special equipment Fripp uses, I
would be grateful.

Cheers,
Paolo
From: math1rb@rosie.uh.edu (92F07486)
Newsgroups: alt.guitar
Subject: Using Acoustic Strings on an electric?
Date: 18 Nov 1992 08:35 CST
Organization: University of Houston
Distribution: world
NNTP-Posting-Host: rosie.uh.edu
News-Software: VAX/VMS VNEWS 1.41    

I am having trouble finding large guage strings for my electric, and
have always liked the way bronze acoustic strings held up over time. Are
bronze strings not used on electric guitars because they are poor
inductors (???) for creating a current in the pick-up's magnetic field?
 Or does anybody use bronze acoustic strings on their electric?
 What about some other acoustic strings?

P.S. I don't think I'll mind the wound G (3rd string)...


************************************************************************
**                            **                                      **
**   David C. Meyers          **  "I'm looking California,            **
**                            **    and feeling Minnesota..."         **
**   MATH1RB@JETSON.UH.EDU    **                  - Cornell           **
**                            **                                      **
************************************************************************
From: AUJGH@ASUACAD.BITNET
Newsgroups: alt.guitar
Subject: bagbiting hotrails
Date: 14 Nov 92 01:54:53 GMT
Organization: Arizona State University

i replaced one of my single coil pickups in my strat with a DiMarzio
"Hotrails" a while back (god only knows why. probably cause of the picture
of yngwie in the ad...).    does anyone have one of these and is happy
with it?  it's got two curved bar magnets and the problem is that it
curves way down right under the high E.  this effectivley makes it
impossible to get a good volume balance between the top strings.
it's like (pluck B) RINGGGG (pluck E) ring.
sorry, i guess this is just a flame, but there it is anyway.
    greg h.
Newsgroups: alt.guitar
From: rseymour@reed.edu (Robert Seymour)
Subject: Re: Effect Ordering and Effect Loops
Keywords: effect loops, effects
Organization: Reed College, Portland, OR
Date: Tue, 17 Nov 1992 01:59:53 GMT
Reply-To: rseymour@reed.edu

In article <Bxu0w7.8oF@cup.hp.com> balon@cup.hp.com (Tom Balon) writes:
> 
> 	I would like to query some of you who use effect loops and
> 	effects in general. (ie. most of us) Some people like their 
> 	effects in a definite order, others could care less. 
> 
> 	Person A's effect chain might be:
> 
> 	   guitar -> distortion -> outboard reverb -> guitar amp input 
> 
> 	Person B's same effects might be ordered:
> 
> 					 |----effect loop---|
> 	   guitar -> guitar amp input -> reverb -> distortion 
> 
> 			     - OR -
> 					 |----effect loop---|
> 	   guitar -> guitar amp input -> distortion -> reverb 
> 
> 	Do you folks find a significant difference in your sound as a
> 	result of the ordering of the effects you use ? Do you find
> 	the effects sound different in and out of the effects loop (if
> 	you have one) ? Just curious.
> 
> 	Regards,
> 	 Tom

	The ordering of effect loops can yeild very different sounds clipping  
the reverb with distortion tends to give a much less full tone that putting a  
distortion through reverb (of course in many cases these effects are small). 
	In general I use setups along the line of guitar --> amplifier -->  
pre-amplifier (intrinsic to amplifier) --> amplifier effects loop out -->  
distortion (used sparingly) --> parametric equalizer --> reverb --> chorus -->  
amplifier stereo effects return (then from there to the power stage and then  
speakers). 
	Sometimes I'll put a flanger or delay in after the parametric equalizer  
(or any other extra effect box I happen to use). This type of setup gives a  
fairly rich tone and preserves the overtones after the distortion (using  
distortion last tends to kill all of them off.
	Think of the way in which you create your effects loop as an effect in  
and of itself. It's a nice feature of having sepearte pedal effects. In a  
multi-effect box the routing is generally not specifiable. Often I can change  
the sound character by simply reordering effects and changing pickups/tone  
controls (which beats having to play around with twenty or so little dials on  
the various foot pedals).

--
Robert Seymour				rseymour@reed.edu
Departments of Physics and Philosophy
Artificial Life Project			Reed College
Reed Solar Energy Project (SolTrain)	Portland, OR
From: heiser@fretz.enet.dec.com (Michael A. Heiser)
Newsgroups: alt.guitar
Subject: Re: Phil Keaggy's electric guitar instructional video.
Date: 18 Nov 92 16:54:47 GMT
Reply-To: heiser@fretz.enet.dec.com (Michael A. Heiser)
Distribution: usa
Organization: Digital Equipment Corporation - Phoenix, AZ


He has an acoustic video out now too.
--

    Mike
    
    "in this day & age...music performed by humans...hum?!" 
       - wilde silas tomkyn
Newsgroups: alt.guitar
From: rblander@watdragon.uwaterloo.ca (Robyn Landers)
Subject: Re: Small Tube Amp
Summary: MESA/Boogie Studio .22
Organization: University of Waterloo
Date: Tue, 17 Nov 1992 18:43:21 GMT

In article <Bxtu62.LM@cup.hp.com> balon@cup.hp.com (Tom Balon) writes:
>
>	Since you are considering the Mesa Studio 0.22, you should 
>	do the following. Take a flashlight and examine the circuit
>	board from the bottom near the power tubes. On older 0.22's,
>	there is a large 470 ohm 1 watt carbon resistor that tends
>	to burn out with time. If you see a large brown spot on the
>	circuit board, you've got potential problems. Mesa upgraded
>	this part in later models. 

    Yup, this happened to mine.  I fixed it easily myself
after MESA sent me the info you've described.  I used a 5 watt,
and also replaced the adjacent capacitor on MESA's recommendation.

>	Next, turn the amp on and play through it for a while, then
>	check how hot the power tubes are. Of course they'll be hot
>	but if they seem overly hot and the amp lacks punch or power
>	chances are the bias supply resistor is bad. The amp will work
>	but will sound bad at high volumes. Another sign of this is
>	the plastic pcb supports being yellow/brown and brittle from
>	excess heat from the power tubes. The bias supply was altered
>	in later 0.22 cal. Boogies to correct this.

    Haven't had this happen to mine.  I took the hint from the
larger Boogies and started using a fan for cooling.  It's a small
quiet high-flow computer type fan.  I installed a couple of bolts
in the amp chassis, sticking out from the back through the ventilation
slots.  The fan hangs on these right by the power tubes.

    That little Class A power stage used to get so hot I couldn't
leave my fingers on the chrome handle caps for more than a few
moments.  Now that I use the fan all the time, everything stays
nice and cool.  I don't own another .22 with which to compare
directly, but the tubes seem to be lasting very well.



-----
Robyn
rblanders@math.uwaterloo.ca
	"I'm just doing my rock'n'roll duty." -- Dubois
From: frampton@skitzo.dseg.ti.com
Newsgroups: alt.guitar
Subject: Re: Help Wanted
Date: 23 Nov 92 15:13:16 CDT
Organization: Texas Instruments Component Test Facility

> Just a brief intro, now for the question. I have been playing guitar for
> about a  year now and  I know the major  and minor pentatonic  scales. I
> have a  few licks under  my belt,  but the problem  is that I  am having
> trouble deciding on where  I want to go in a solo.  

  Not sure I know what you are actually looking for, but I think I can
  offer some help if you are wanting to improvise.  If you can't find
  someone to accompany with, I suggest you put a few progressioned bars
  of yourself on tape. ie(blues progression in G)  Then try to lay in
  the lead during playback.  If you happen upon something that sounds pretty
  good, don't beat it to death.  Go on to something different.  Don't dig
  yourself into a rut with the same lead.  Pretty soon you'll be playing
  what your mind hears and not fighting the thoughtless moments.  

  If things aren't sounding too good that day, then lead to something different.
  Play some country or fingerstyle.  The important thing is that you don't
  get depressed.  

  My turning point was when I stopped listening to myself and started 
  hearing the music we've been playing.  (Hard to explain!)  I never know
  what my next lead note will be and I don't want to know.  Has a lot to
  do with cerebellum (saved program center).  You do not think about walking,
  running, repetative motor oporations.  Cortex, Basil Ganglea, Cerebellum
  and lower periph nervous system handles all the things that you really 
  don't have time to think about.  So the sooner you stop using cerebral
  functions for your playing the better you will become. I used to not be 
  able to talk while I played lead and now I can and the ability began
  almost instantly.

  You are more than welcome to call this conceptual hogwash, but it is
  my own honest opinion.
Newsgroups: alt.guitar
Newsgroups: alt.guitar
Date: Tue, 17 Nov 1992 16:11:39 -0500 
From: John Tampubolon <jt3c+@andrew.cmu.edu>
Subject: ...Ceramic or Alnico?....

I have 3 questions:
 1. anyone know what type of magnets (ceramic/alnico) Gibson used on their   
     PAF's?
 2. what do they use on their humbuckers now? (post-PAF).
 3. what do you people prefer?

thanks,

john.
Newsgroups: alt.guitar
From: iglesias@euler.Berkeley.EDU (Immaculada Iglesias)
Subject: message for Julian L. Chen
Reply-To: iglesias@euler.Berkeley.EDU (Immaculada Iglesias)
Organization: University of California, Berkeley
Distribution: ba
Date: Wed, 18 Nov 1992 18:55:31 GMT

Subject: Re:  Goya guitars
This message is specially directed to Julian L. Chen

Hello Julian,

I have been unable to send this message to your personal account. Not 
even a 'replay' would work. So I'm posting this for you. I hope you
read it.

Luis Goya, the maker of the guitar, used to be the partner of Contreras.
They worked together for 15 years. But some years ago they splitted, and
now each has his own business. They both learned with Ramirez.
The Luis Goya whose telephone number I gave in the add, is the son of the
maker of the guitar. He will be living in Berkeley until Dec. 23 and has
this one guitar to sell. If you want to talk to him, you can find him
at (510) 643-2769 during evening hours.

Here is some info on the guitar:

The maker of the guitar is Luis Goya,
			   Cava baja 42, 
			   Madrid, Spain.

Characteristics of guitar:
	bottom and sides are made of indian rosewood
	top is made of canadian cedar (dark)
	tuning fork is made of ebony
	scale length is 65cm.

The prize of the guitar is $1000 (includes the case) 
The guitar is new and completely hand-made.

Imma Iglesias
From: napier@cs.ucsd.edu (Jim Napier)
Newsgroups: alt.guitar
Subject: Is there an FAQ?
Date: 20 Nov 1992 20:27:38 GMT
Organization: AMES Dept., UC San Diego
Distribution: world
NNTP-Posting-Host: sierra.ucsd.edu


Anyone know of an FAQ for this newsgroup? If there isn't one is there someplace
where interesting technical information gleaned from the group's readers is 
archived? Thanks for any info.

=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
Jim Napier
Systems Administration
Applied Mechanics & Engineering Sciences Dept.
UC San Diego
(619)534-5414
napier@ames.ucsd.edu

"Shut up before I have to tell you to shut up."
=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
Xref: sparky alt.guitar:10120 rec.music.makers.guitar:342
From: deadhead@cco.caltech.edu (stephen thompson)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: QUESTION: Dave's Fuzz Box from Hell
Date: 22 Nov 92 18:13:40 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: sandman.caltech.edu



Hey, all (especially Dave, though I don't have your e-mail address)!

I finally got around to building that Fuzz Box from Hell, though I
have some questions about what I actually accomplished.  First off,
since I'm not a EE I wondered if the two zeners in the design should
have the little black rings on the outside of that segment.  I guessed
and did it this way...

             ------      ------
      ------| ||   |----|   || |------
             ------      ------
               ^-------------^--------------black stripes

Is this correct?  I assumed that the black lines were the heating element
side and that these should be on the outside...is that right?

Next, I replaced the 2k2** resistor with a 5k audio pot and the 360k (I
think that was the value) with a 500k linear pot.  I believe this was the
suggestion.  The result is that at the lower end of the 500k pot, there
isn't much volume.  At a certain point it jumps in volume and then if turned
up anymore there is no noticeable difference in sound, though what does happen
is if I stum a chord I get fuzz and then the sound drops out after a few
seconds.  The other pot also does weirdness.  At the lower end AND the upper
end there is not fuzz, but a lot of volume.  In the middle there is little
volume and a lot of fuzz.  Now, from Dave's posting, I thought that the first
pot should adjust the amount of fuzz and that the second had to be set at
a certain resistance for the thing to work.  That doesn't seem to be the case.
Could someone explain how this is supposed to work or pose reasons on what
I did wrong.

Other questions follow...

The fuzz that I get sounds a lot like overdrive only more pleasing to the
ear...should this be the case.  Is that sort of what fuzz is supposed to
sound like?

There was a suggestion to put in some more caps to `brighten' the sound.
Should these simply be placed across the output? (input?)

Where on earth can one find a stomp switch?  It's sort of silly to have to
plug into the fuzz box whenever you want to use it.

Suggestions...

Instead of doing that stereo jack trick, I just got a pot that also had a
spst switch.  I put it on the fuzz adjusting pot.

I put the whole thing in a small cardboard box which I shielded with foil.
The whole project is very inexpensive.  I built it for under $20.

Well, thanks all for the help!

Stephen


P.S.  At some point I was picking up some kind of radio signal with the
fuzz box.  How does this work?  (There were voices coming out of my amp.)


-- 
Newsgroups: alt.guitar
From: elee@undergrad.math.waterloo.edu (Salty Freckles)
Subject: Re: Triads well?
Organization: University of Waterloo
Date: Wed, 18 Nov 1992 20:31:33 GMT

In article <1992Nov17.185250.13975@EE.Surrey.Ac.UK> css1rs@valar.ee.surrey.ac.uk (Russell Smithers) writes:
>Look are we all dead? I have just asked a question, would some kind soul
>at least respond to it so I know we are all alive? Please.

I would have thought someone would have responded to this already. According
to my limited musical theory, triads are chords with three notes in it. I know
of two basic triads, the major and the minor. A triad should contain both the
root and the fifth of the scale and either the minor or major third depending
on what kind of triad it is (major or minor). For example, an A major triad
would contain the notes A, C# and E, while an A minor triad would contain the
notes A, C and E. I'm not sure how applicable this is to guitar theory, but
triads can be played in three different inversions:

  1) Root position, where the lowest note is the root of the scale, the
     second-lowest is the third (major or minor) and the highest is the
     fifth.

  2) 1st inversion, where the lowest note is the third, the second-lowest
     is the fifth and the highest is the root.

  3) 2nd inversion, where the lowest note is the fifth, the second-lowest
     is the root and the highest is the third.

I'm not sure how often triads are used on the guitar, but on the piano, they
are used primarily as a practice tool to familiarize students with the harmonic
structures of major and minor scales. If you wanted to play triads on the 
guitar, you'd have to isolate three strings and make sure you played all the
required notes with the three strings (the root, third and fifth). For 
example, if you wanted to play the D major triads, you would play (in tab):

          Root      -----
          position  -----
                    --2-- fifth   (A)
                    --4-- maj 3rd (F#)
                    --5-- root    (D)
                    -----


          1st       -----
          inversion --3-- root    (D)
                    --2-- fifth   (A)
                    --4-- maj 3rd (F#)
                    -----
                    -----


          2nd       --2-- maj 3rd (F#)
          inversion --3-- root    (D)
                    --2-- fifth   (A)
                    -----
                    -----
                    -----

Note that these aren't the only ways to play these chords, but they'll give you
some idea of how triads are supposed to sound in their different inversions.
Hope this helps.

Gene Lee
elee@descartes.UWaterloo.ca
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: alt.guitar
Subject: Re: Using Acoustic Strings on an electric?
Date: 19 Nov 92 21:07:34 GMT
Followup-To: alt.guitar
Organization: Univ. of Arizona

In article <1efkpnINNgo6@violet.csv.warwick.ac.uk>, cudex@csv.warwick.ac.uk
(Mr K R Smith) wrote:
> The answer is "suck it and see" for a given make and style of string.

 I recall putting acoustic-type bronze (or something) from GHS on my
late arch-top Epiphone, and they were nearly useless in terms of what
the pickup picked up (and it had a perfectly serviceable humbucker
mounted on the neck).
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: alt.guitar
From: ken@advtech.uswest.com (Kenny Chaffin)
Subject: Re: GREAT instruction books
Organization: U S WEST Advanced Technologies
Date: Mon, 16 Nov 1992 20:38:59 GMT

In article <1992Nov15.200420.5176@Csli.Stanford.EDU> pedwards@Csli.Stanford.EDU (Paul N Edwards) writes:
>I want to recommend Bill Edwards' instruction books Fretboard Logic,
>vols. I and II. I've been playing guitar for almost 20 years and
>have never encountered anything as clear, rational, helpful, and
>generally fantastic as these books. 
>
>They're self-published: Edwards Music Publishing, 305 St. Augustine
>Ave., Temple Terrace, FL  33617 is the address.
>
	You better be right, I just called em up and ordered them....8-)
Seriously, I'd noticed the ad in Guitar Player and was interested--you
unsolicited praise convinced me to place the order. BTW the phone number is
800-553-2364.

	I'll post my impression after I've had a chance to check them out...

KAC

Opinions? Can anyone actually _have_ opinions or are they no more 
than dust motes floating in the sunlight of collective intellect.

Kenny A. Chaffin                      {...boulder}!uswat!ken
U S WEST Advanced Technologies         ken@dakota.uswest.com
4001 Discovery Drive  Boulder, CO 80303	     (303) 541-6355
 

Newsgroups: alt.guitar,rec.music.makers.guitar
From: pkor@zombie.oulu.fi (Pasi Korhonen)
Subject: Re: Identifying a Les Paul
Organization: Ripoff Industries
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 19 Nov 1992 13:07:22 GMT

Mike Donovan (khisanth@wam.umd.edu) wrote:
: 
: 	I've been hearing about identifying years of guitars by their serial
: number. Well, I want to try. It is a fairly new Gibson Les Paul and the 
: number is: 92750358 . It says Studio on the headstock truss rod cover. But this
	It's 1990.

: the fretboard, only chrome hardware, etc. But mine has the trapezoidal mother
: of pearl inlay and gold harware. Along with gold pickup covers. It aslo does nothave the traditional white strip around the border of the body of the guitar.
	LP Studio, but trapezoidal fretboard inlays....hmmm...some variant..
	I don't have my source books right here, but I'll check when at home.

	Pasi

--
 p a s i   k o r h o n e n             p k o r @ p h o e n i x . o u l u . f i


 saaristonkatu 3 A 6      90100 oulu     finland,europe     tel:358-81-377 81
From: litt3509@mach1.wlu.ca (Carl Litt u)
Subject: Guitar solo tapes
Organization: Wilfrid Laurier University
Date: Sat, 21 Nov 1992 21:49:51 GMT

Occasionally, I've heard of some recording projects where a couple of
guitarists (eg. Eddie, Nuno Bentencourt (sp?)) got together and played,
basically, a set of songs and solos.  Can anyone give me the titles of
some of these tapes, and the distributing company?  Also, aren't there
some video tapes available along the same lines?  (ie. Guitar Gods??)

litt3509@mach1.wlu.ca
Newsgroups: alt.guitar
Subject: Zoom Question...
From: watson_mj@med.wcc.govt.nz
Date: 23 Nov 1992 21:03:19 GMT
Reply-To: watson_mj@med.wcc.govt.nz
Organization: Wellington City Council, Wgtn, NZ
NNTP-Posting-Host: blade.wcc.govt.nz

I looking to buy some effects for my guitar, and I considering
buying a Zoom 9000, I had a quick play with one in a guitar shop
and I was quite impressed... Basically I'd like to hear from
anyone who either owns or has played one, and what your opinions
of this product are, and whether you think its a worthwhile purchase
as far as sound quality is concerned... etc.

Thx in advance,
Matt.
From: tmbrex@desire.wright.edu
Newsgroups: alt.guitar
Subject: Re: Buying a first acoustic guitar, guide?
Date: 23 Nov 92 19:15:32 EST
Organization:  Wright State University 

In article <1992Nov23.191134.5795@desire.wright.edu>, tmbrex@desire.wright.edu writes:
> In article <1992Nov20.152721.3026@tamsun.tamu.edu>, duane@tamsun.tamu.edu (Duane K Fields) writes:
>> 
>> 
>> I am about to buy my first guitar, an acoustic.  I am looking to spend
>> around $200 either used, or new.  I was wondering if any sort of "buyer's
>> guide" existed on the net, or if perhaps anyone had any suggestions on
>> what to look for as far as damage goes, what brand, etc.  I have done some
>> preliminary looking, and I have seen Ovations w/ pickups for like $279 new
>> (mailorder) so I am hopefull to find one without a pickup for a bit less.
>> 
>> Any help appreciated!
>> 
>> -duane
>> 
>> -- 
>> Duane Fields                  Friends don't      Work#   (409) 845-6904
>> Box 1315                     let friends use     Home#   (409) 847-6760
>> College Station, Tx 77841        MS-DOS.         Email: duanef@tamu.edu
> 
> 
> Well Duane, I agree with the other poster's advice about taking a friend
> who plays when you get ready to buy...it is easy to get burned.  BTW, 
> don't be afraid to bargain. Most of the time, you can save some $ or 
> at least get a strap, strings, etc thrown in.
> 
> As far as makes and models, try a few models made by Sigma. This is the 
> Japanese subsidiary of Martin. They started in 1970 when Martin got sick
> of other people copying their guitars using low priced labor and less 
> deluxe materials....so they started doing it themselves. I bought a used 
> Sigma D-28(?) with a dark finish and nice binding on the sides and back 
> for $125 (guitar, cheesy non-Sigma case, strap & new strings) and I love it!
> It has great action (which _should_ be at the top of your priority list) and 
> an excellent sound. Good Luck, and let me know if I can help.
> 
> 			T. M. Brex
> 			Wright State University
> 			Dayton, OH
> 

P.S. I could never get the hang of playing an Ovation while sitting down.
It kept sliding around....might be something to think about. 
Newsgroups: alt.guitar