HDTenEightyP/NetNews huggingface dataset:
From: defrain@en.ecn.purdue.edu (Paul D. DeFrain -- aka master guru)
Newsgroups: rec.music.makers
Subject: Re: Playing cover songs
Date: 24 Jul 92 17:37:31 GMT
Organization: Purdue University Engineering Computer Network

In article <1992Jul24.145204.7006@infonode.ingr.com> james@raveup.b24a.ingr.com (Teddie James) writes:
>
>This is directed to cover bands and original bands who do an occasional
>cover or two.  When you start preparing a cover song for performance, do
>you agonize over every last note and phrase so you can play it the same
>way the original artist does?  Or do you just get the essence of the
>song (progressions, etc.) and fill in the rest with your own stuff? 
>

Depends on the cover song.  Some songs have a strict structure that would be
difficult to diverge from. Other songs,  in particular the more bluezy R-n-R 
allow a lot of freedom and one should digress and play then bules with some 
feeling.  Generally,  I learn it just well enough to get by.  Then,  with time,
I go for every note. THEN, I play it the way I think I should've been in the
first place.

>Personally, I would rather not play a cover exactly as it is written. 
>Why not make up a new verse, write a new solo, change the intro, change
>the key?  Change the song around and make it your own.  I get bored if
>I hear a band playing note for note covers, and I know a lot of other
>people do, too.  You might as well listen to the CD.

Many audiences EXPECT to hear every note as it is and this is what impresses
them.  A bass player in the audience, I know, will give me hell if I miss a
note or a slide (I play keyboards and often take over the bass lines). 
Imagine playing the piano part to "Come Sail Away" differently than the
original.  I don't think it would go over well at all. Or slighting the
piano solo in "Revelation, Mother Earth", Uh uh. However, take a song
like "Jealous Again" and go to town with it.  

I must admit,  I have the most fun playing songs that never had any keyboard
parts to begin with. Most R-n-R songs have really cheezy keyboard lines anyway
(excluding Styx and Kansas folks).

Paul D.
From: poole@hpspkla.spk.hp.com (Gary R Poole)
Newsgroups: rec.music.makers
Subject: Re: Still looking for a fretless...
Date: 28 Jul 92 18:37:09 GMT
Organization: Hewlett Packard Company, Spokane, Wa.


OOPS! Make that four STRING!

-Gary
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Fog machine?
Date: 21 Jul 92 15:34:30 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Jul20.210649.3716@midway.uchicago.edu>
rons@midway.uchicago.edu writes:

>	Why won't dry ice work?  Just have someone throw a handful (a
>gloveful would perhaps be prudent) into a bucket of water...  A CO2 high
>for everybody!

Dry ice doesn't work well outdoors because dry ice wants to cling to a
cool floor and that is usually difficult to do out doors.

A handful (and PLEASE don't use a bare hand....) will freeze a bucket
full of hot water in very short order.  Dry ice is a very concentrated 
source of cool.......

A dry ice fog machine requires heaters that keep the water near
boiling for the most fog generated.  Also the dry ice should be
lowered into the hot water in a basket.

I have heard of using water heated elements as heaters for fog
machines.  It is possible for the amateur builder.  Just remember that
water and electricity don't mix.  I would power the unit from a ground
fault breaker that is at a safe distance from the unit.

For those of you who want to build your own oil based fog machines I
suggest that you don't do it!  That is unless you are a competent
engineer and will design a unit that is safe.......

The cost of a small commercially made fog machine is low in comparison
to the damage one can do to one self accidentally.....

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Newsgroups: rec.music.makers,rec.music.synth,misc.forsale
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Tascam 644 for sale
Organization: Columbia University
Date: Thu, 30 Jul 1992 14:35:08 GMT

I have a Tascam 644 in excellent shape that's doing nothing but
collecting dust.  This is a 4-track recorder with an 8x4 mixer with
dual ins so it actually ends up being 16x4 if you configure it right.
3 band semi-parametric.  1/4" and XLR ins, 2 location and rehearsal
memories, and the board assigns are MIDI-controllable.  The unit can
be slaved to others, and can generate timecode with an optional
adaptor.

$750 o.b.o.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.makers
From: arevalo@binah.cc.brandeis.edu
Subject: Attention!!! - Techno and Techno/House music maker(s)!!!
Reply-To: arevalo@binah.cc.brandeis.edu
Organization: Brandeis University
Date: Wed, 22 Jul 1992 07:33:00 GMT


Hi everyone, 
            After talking with Ben...the Producer of the Industrial
double CD compilation. I've decided to do the same thing. Although
it's going to be Techno and Techno/House. So if you're really interested
and serious about getting something down to CD. Then all you have to
do is email me for further info. 

Bill
Newsgroups: rec.music.makers
From: cdl0915@ritvax.isc.rit.edu (Christian Dylan Losinger)
Subject: wiring suggestions?
Reply-To: cdl0915@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Wed, 22 Jul 1992 12:31:14 GMT


	I have a couple of spare pickups that I have decided are going to
become sound-effect generators (sorta).
	What I need to know, since I'm no electronics whiz, is what kind of
things can be done (simply) to a signal coming from a pickup to make it a bit
more interesting? Right now I'm using them to ampify such things as springs,
acoustic guitars, snare drum snares, spokes on a bike wheel, speakers...etc.
I'm interested in producing some kind of effect but don't want to use my
pedals because they are usually busy with my guitar.

	Has anyone ever tried something similar?

	
        --------------------------------------------------------------
        	c  h  r  i  s   l  o  s  i  n  g  e  r   r  i  t
From: wade@hobbes.ucsd.edu (Wade Blomgren)
Newsgroups: rec.music.makers
Subject: Lyrics to "What I Say"
Date: 22 Jul 92 17:09:44 GMT
Article-I.D.: sdcc12.35974

We've been asked to learn "What I Say" by Ray Charles.  Can anyone
offer help on the canonical lyrics for that tune? 

Thanks,

Wade Blomgren
wade@hobbes.ucsd.edu
Newsgroups: rec.music.makers,alt.guitar
From: mau@uhunix.uhcc.Hawaii.Edu (Darin Au)
Subject: QUEENSRYCHE:  Unplugged on MTV
Organization: University of Hawaii
Date: Thu, 23 Jul 1992 23:08:15 GMT

I managed to catch Queensryche's performance on Unplugged last night.  I don't
know if it was a rerun, but Michael Wilton was playing an Ovation 1992 model.

Anyway, when they started their first tune, I was surprised (or maybe not so
surprised) to hear their stuff being pumped through a whole bunch of effects
and processors.  EVERYTHING was noticably "effected."  The vocals, drums...
everything.

I don't know if I'm griping (probably not), but isn't the purpose of MTV's
Unplugged to showcase artists UNPLUGGED?  I mean, of course you have to mike
them or run lines out, but shouldn't it be more or less direct with the 
exception of a touch of reverb throughout the overall mix?  

Now all you Queensryche fans might be getting pissed here and probably want
to send flames to me saying, "Processing is an essential part of Queensryche's
sound."  Yeah, I know and that's cool.  I happen to be a pretty big fan
myself, but I don't think it fits the purpose of Unplugged.  Looking back on
previous performers (McCartney and Aerosmith for example), they didn't use
a whole bunch of effects (please correct me if I'm wrong, but this is how I
remember it).  Now, with Aerosmith their sound is chunky, grinding guitars and
they didn't have that but it didn't ruin their performance not to have it.  In
fact, I thought it was cool because it showed Aerosmith as having another
dimension or more depth rather.  Even Eric Clapton adapted his "electric" tunes
for "acoustic" which included a pretty hip version of "Layla."

Anyway, I'm just looking for other people's opinions on this issue.

But the overall performance was pretty cool.  By watching Queensryche perform
more or less acoustically, I've made up my minds that they're more concerned
about the music rather than the "rock star" bit.  I kinda suspected this earlier
(from interviews, etc.) but this confirmed everything.  The performance was
obviously well rehearsed and planned.  For those of you who didn't catch it,
they played a bunch of pre-mindcrime stuff along with Della Brown and Silent
Lucidity.  

Just "my humble opinion..."

--darin
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.makers
Subject: Re: noise abatement shuts down Tesla
Date: 22 Jul 92 01:04:58 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1992Jul21.210123.3565@hpcvusn.cv.hp.com> bw@hpcvlx.cv.hp.com writes:
>I live in Salem, so maybe I can add some background.  The Tesla concert was
>scheduled to be held in the L.B. Day Amphitheater at the state fairgrounds.
>The area is surrounded by established neighborhoods.  The amphitheater is
>an open-air theater.  Thus, whenever concerts are held there, the local
>authorities receive a number of complaints.  Unsurprisingly, the number of
>complaints for any given concert is directly correlated to the sound levels
>emanating from the stage.  Through some analysis, the city was able to 
>establish the 95-decibel limit for concerts....

Thanks for shedding some light on the situation.  I guess the big question
now is whether Telsa was advised of the volume limit in advance, and if not
why not?  To a touring band, that's certainly just as important as knowing
the seating capacity of a venue.  It's hard enough doing a concert without 
little surprises popping up at the last minute.  I think, as professionals, 
they should have gone ahead with it anyway and made a mental note to never 
return.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
Newsgroups: rec.music.makers
From: jgn@vixen.uucp (22122-niederberger)
Subject: Martin D-41 ForSale
Organization: Bell Communications Research
Distribution: regional
Date: Tue, 21 Jul 92 17:22:39 GMT

1989 Martin D-41 ForSale:  $1400 or Make Offer

Essentially standard D-41 but for an Engelman Spruce Top 
Excellent Condition  Beautiful Wood  Beautiful Tone  Beautiful Guitar

e-mail jgn@vixen.bellcore.cc.com

Joe Niederberger
From: David.T.Greenfield@dartmouth.edu (David T. Greenfield)
Newsgroups: rec.music.makers
Subject: Re: Mungo Jerry = Robert Palmer ?
Date: 28 Jul 92 21:04:23 GMT
Organization: Dartmouth College, Hanover, NH

In article <19920727200732.9.TOROSIAN@GANESH.MCC.COM>
ai.torosian@mcc.com (Dan Torosian) writes:

> Last weekend, another musician at a gig told me that "Mungo Jerry"
> (early 70's? one-hit wonder with 'In The Summertime') was actually
> Robert Palmer.  Anyone else (like Brian Rost maybe) know about this?

I'd really tend to doubt it.  Mungo Jerry was scheduled to play a small
club in Boston a few years back when Robert Palmer was still riding
high on the charts.

David
david.t.greenfield@dartmouth.edu
Newsgroups: rec.music.makers
From: jvs@lester.appstate.edu (John V. Scalco)
Subject: FOR SALE: CD-ROM (for PC) & ProAudio Board...
Organization: Appalachian State University
X-Newsreader: Tin 1.1 PL4
Date: Wed, 22 Jul 1992 20:24:38 GMT

	hello, a friend of mine is selling the following equipment:

	==============================================================
	* Sony Laser Library (sony cdu 7205 external CD-ROM Drive
		(340ms , 150 Kbs ); Interface, w/5 CD-ROMS

	* Proaudio spectrum Plus (with software)  [board for PC ]
		( with software -Kings Quest) 

		Both have hardly been used 

	Will Sell Both for: $850.00
	==============================================================
	  mail me here, and I will pass it to my friend.

	  include phone number, and he will call you..

Newsgroups: rec.music.makers
From: paul@maunakea.Data-IO.COM (Paul Brownlow)
Subject: Re: Playing cover songs
Organization: Data I/O Corporation
Date: Sat, 25 Jul 1992 00:19:51 GMT


In article <1992Jul24.145204.7006@infonode.ingr.com> james@raveup.b24a.ingr.com (Teddie James) writes:
|>
|> This is directed to cover bands and original bands who do an occasional
|> cover or two.  When you start preparing a cover song for performance, do
|> you agonize over every last note and phrase so you can play it the same
|> way the original artist does?  Or do you just get the essence of the
|> song (progressions, etc.) and fill in the rest with your own stuff? 

I've played exclusively in original bands for the last 15 years or so.
In past bands, we'd usually throw in a cover or two in a two set night.
We'd make the covers sound like they belonged to the band - it would be
odd for the audience to hear a note-for-note cover that didn't blend with
the rest of the music.  My philosophy has been to take a good cover song
and make it sound like one of my own.

I've recently taken this a step further.  I'm in the process of putting
together a new band, and we're playing some songs I've recorded with other
musicians.  However, we're not playing the songs as they were recorded
note-for-note, even though I spent a lot of time on the recorded arrangements.
It's now more important for the songs to sound like *this* band's songs
rather than the previous band's; if we were to exactly "cover" them the
way they were recorded, that would defeat the purpose of putting together
a new band.

-- 
Paul Brownlow				|         Visualize 
Data I/O Corp.  Redmond, WA		|	   Whirled
paul@data-io.com			|	    Peas
					|
Xref: sparky rec.music.makers:8692 rec.music.misc:20858
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.music.makers,rec.music.misc
Subject: Re: Guitar effects needs help
Date: 31 Jul 92 15:48:31 GMT
Reply-To: grego@bit.UUCP (Grego Sanguinetti)
Distribution: na
Organization: BIT  Portland, OR

In article <RELKIND.92Jul28164706@jade.tufts.edu> relkind@jade.tufts.edu (Rob 'SX' Elkind) writes:
>
>The guitarist in my band has a question for all you technowizards out there.
>He wants to use multiple pedal effects that are different brands and 
>unfortunately each has a different voltage requirement (9 to 12 volts).
>...  
>question is, [can you run them all at +12v]
>
>Thanks in advance,  Rob

In most (that's *"most"*) cases the answer is yes. For instance the electronics
(active pickups, preamp/EQ) in my bass are spec'd for +9v. I use two batteries
in series for +18v. They actually run much better at 18 then at 9 due to the
extra headroom available (lower distortion, higher signal/noise ratio).

In general, if the electronics are analog (opamps,..) then they will run
better at 12v then at 9v. They just use 9v because of the availability of
small 9v batteries. However if the effect unit is composed of digital
logic then you may have a problem. It depends on the DC/DC converter, if
it has one, otherwise it depends on the DC overvoltage rating on each of
the IC's.

So, if you know they are all analog then you are probably safe, maybe even
better off, running them all at 12v. However if you are uncertain about
their digital content then best to contact the manufacturer and consult
an applications engineer. I have done this a number of times and they are
easy to get a hold of and quite helpfull (usually).
-grego
-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
From: dcousins@bbn.com (Dave Cousins)
Newsgroups: rec.music.makers
Subject: 4 SALE Gemeinhardt M2 Flute (MINT)
Date: 28 Jul 1992 14:22:45 GMT
NNTP-Posting-Host: bbn.com

I tried to sell this on the net last march with no bites. Here it is again
at a lower price.
Gemeinhardt Model M2 Silver Plated  Student Model Flute in hard case.

This flute lists for $465.00, The next level up (conservatory models)
start at $595 list.

I bought it some years ago new, and rarely played it, so it is in
MINT condition.

4 Sale $175.00 obo (I'll pay shipping)
	^^^^^^ reduced

Dave Cousins 

(401)-831-5984 home (mach)
Xref: sparky rec.music.makers:8406 rec.music.synth:12568
From: george@osc.COM (George Baggott)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Drum Machines (was Re: Odd time-signature metronomes?)
Date: 20 Jul 92 17:25:19 GMT
Reply-To: george@osc.com
Followup-To: rec.music.makers
Organization: Versant Object Technology, Menlo Park, CA

All this talk about metronomes and drum machines has got me thinking
that a drum machine would be a good thing to have, both for use as a
metronome and as a drummer substitute during jam sessions.  With this
in mind, does anyone out there have any advice for someone entering
the drum machine market?

Are there any brands or models that are particularly good or bad?
What features would be useful for a guitarist/bassist such as myself?
What's the difference between the really cheap ones and the really
expensive ones.  Is there anything I should know now that isn't
obvious to someone who knows nothing about drum machines?

Any advice would be greatly appreciated...


George



Xref: sparky rec.music.makers:8603 rec.music.misc:20689
From: relkind@jade.tufts.edu (Rob 'SX' Elkind)
Newsgroups: rec.music.makers,rec.music.misc
Subject: Guitar effects needs help
Date: 28 Jul 92 20:45:22 GMT
Distribution: na
Organization: Tufts University - Medford, MA


The guitarist in my band has a question for all you technowizards out there.
He wants to use multiple pedal effects that are different brands and 
unfortunately each has a different voltage requirement (9 to 12 volts).  Since
batteries are expensive he would like to use an adapter which can power
up to five effects at once.
  
Now the problem, the adapter he has outputs 12 volts to each effect.  His 
question is, will the slight increase in voltage hurt the effects.
Each effect company tells you that you must use thier adatper but this can 
also get expensive and may just be thier way of getting more money
out of you.

I told him that IMHO since the effects are solid state that they might
get hot but would probably not explode.  Anyone who has knowledge that
might be helpfull please mail me or post it.

Thanks in advance,  Rob
--
---Rob Elkind --- 
   Woeburn, MA                   <=^\.  _ _      "Make Music
                                     \\,//        After Midnight"
                                      \_/
From: Thomas.Sullivan@cs.cmu.edu
Newsgroups: rec.music.makers
Subject: Re: A personal experience
Date: 23 Jul 92 17:12:29 GMT
Distribution: na
Organization: Carnegie Mellon, Pittsburgh, PA

> Excerpts from netnews.rec.music.makers: 22-Jul-92 A personal experience
> Steven Haigh/VDSP@cypres (1875)

<audition stuff deleted>

> ---------------- THE BOTTOM LINE --------------

> Go for it. Take auditions you may not be capable of and don't get pissed
> off
> if you fail. The experience of preparing for this audition taught me a
> lot
> about drumming, the music bussiness and yes, even life.

> Steve.

Way to go Steve!  This is definitely good advice.   Along this path
you'll
probably audition for people who are better and worse than you, but if
you
look upon every time as a learning experience and not a personal attack
on
your ego or abilities, you'll come out ahead!  I'm also sure you'll end
up
with a band you WANT to be with, because you'll have a lot of experience
in judging the types of musician you want to work with (style, talent,
AND
personality). 

Takes a lot of different types of musicians to keep the airwaves, clubs,
record shelves, etc. diverse.  Everyone doesn't gel with everyone else,
but
there are players out there for you no matter what your style or
abilities
are.  Challenge yourself, don't give up, and try to make it fun no matter
what!

--Tom
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers
Subject: Re: Insuring home studio equipment?
Date: 22 Jul 1992 06:27:58 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

I managed to hang on to my USAA insurance after I turned 23- the usual age
'army dependents' are no longer.  I had a whole bunch of stuff ripped off,
and my usual renter's insurance (about $63/year, I think) covered it all.
Actually, we had about $3500 worth of stuff stolen, and received a check
for that amount the day before I mailed out my first renter's insurance
check!!

Go figure.

Michael K. Breen
singing and philosophizing
(and a lifetime USAA member)
From: tespy@sw.stratus.com (Tony Espy)
Newsgroups: rec.music.makers
Subject: Re: Anti-censorship T-Shirts
Date: 27 Jul 92 23:35:05 GMT
Organization: Stratus Computer, Inc.

In article <45688@shamash.cdc.com>, ats@phoenix.udev.cdc.com (alex t stagg x4718) writes:
> In article <21613@sybase.sybase.com>, elton@sybase.com (Elton
> Wildermuth) writes:
> |>In article <102360056@hpcvlx.cv.hp.com> bw@hpcvlx.cv.hp.com (Bill Wilhelmi)
> |>writes:
> |>>
> |>> [...]  I personally don't think songs advocating the killing of police, 
> |>>abuse of women, explicit sex, etc. ought to be sold to children.  Warning 
> |>>labels are appropriate for this music.  
> |>
> |>That's lovely, and you're quite welcome to your opinion.  By all means,
> |>restrict the music that your kids can buy; but please don't try to
> |>control what MY kids may or may not buy.  That's MY job, and I'll thank
> |>all concerned to let me do it myself.
> 
> So, how DO you feel about warning labels? By themselves, they
> do not restrict the music that your kids can buy, unless there
> is legislation that prevents sale according to the ratings.
> In that case it is no different than the movies (whenever they
> are enforced, which is not always). In that case, how much do
> you scream at the movie industry for having ratings?                    
> 
   Labels suck.  First of all, they're supposedly voluntary, but 
   basically the record industry was threatened into labelling.
   Thankfully not all of the labels buckled under to the threats from 
   the PRMC.  Stickers _DO_ restrict the music _I_ can listen to and/or
   buy when record retailers fail to carry stickered music for
   fear of possible lawsuits.  Several large chains have done this
   _voluntarily_ ( Sam Goody being the largest I know of ).

   While we're at it, why don't we start stickering books?  I think
   you'd be hard pressed to find a book on the Bestseller list 
   that didn't have a portion of smut that would earn it a sticker 
   were it a recorded work ( sex sells ).  I bet Tipper Gore herself
   has quite a few bestsellers with nice juicy sex scenes on her
   shelves...  Obviously her kids don't read enough for it to be a
   problem.

   
				/tony

				
	
	"Jazz isn't dead, it just smells funny." - FZ
Newsgroups: rec.music.makers