HDTenEightyP/NetNews huggingface dataset:
From: rsoc@doc.ic.ac.uk (Rob O'Connor)
Newsgroups: alt.guitar
Subject: Re: Fender Strat Selector Switch
Date: 3 Sep 92 15:33:09 GMT
Organization: Department of Computing, Imperial College, University of London, UK.
NNTP-Posting-Host: fulmar.doc.ic.ac.uk

In article <1992Aug26.163254.20083@ferrari.nmc.ed.ray.com> mongeau@ferrari.nmc.ed.ray.com (Mike Mongeau) writes:
>I'm having a minor problem with the pickup selector switch on my
>Japanese-built 1991 Fender Standard Strat.  If I happen to bump
>the switch while playing, one of the pickups will drop out and 
>I have to jiggle the switch to get it back.  There is also an
>occasional crackling noise when switching among the various
>positions. 

Hmm, I had that problem on my Jap Strat. I've got a feeling the switches they
use are pretty substandard. I got so sick of mine (and the noisy pickups when
recording through a digital effects box) that I bought some EMGs - they come
with a new switch. The EMG switch is absolutely perfect! It's hard to believe
the difference, no glitching _even_ when switching! 
Well, it's a bit over the top buying a new set of EMGs, but I suggest you get
another switch from a guitar hardware shop, they're usually the same size and
only a bit of soldering is necessary.
I wish you hadn't reminded me of those pesky switches now...!

Rob.
-- 
Internet: rsoc@doc.ic.ac.uk   Tel: +44 71 589 5111 x5070   Fax: +44 71 581 8024
Newsgroups: alt.guitar
From: sdavis@laforge.ksc.nasa.gov (Steve Davis)
Subject: Re: Tone deaf
Organization: NASA
Distribution: na
Date: Fri, 28 Aug 1992 18:18:32 GMT

Serge Ah Hee writes
> Pardon me for my ignorance, but what is tone deaf? Is it the inability to 
> distinguish two notes?

  "Tone deafness" is a rather loosely defined term, used as often by those who  
suffer from it as those who don't.  Generally, I guess your definition is a  
good one.  I'd say that if you were to play a note for a person, and that  
person couldn't repeat it either by singing it or finding it on an instrument,  
he/she could be said to be tone deaf.

--
+----------------------------------------------------------------+
| Steve Davis                      | sdavis@laforge.ksc.nasa.gov |
| NASA, DL-DSD-32                  | (NeXT Mail preferred)       |
| Kennedy Space Center, FL  32899  |                             |
| (407)867-7582  fax:(407)867-2173 | #include <disclaimer.h>     |
+----------------------------------------------------------------+
Newsgroups: alt.guitar
From: chenl@cbnewse.cb.att.com (julian.l.chen)
Subject: Scale length (was Recomendations for Classical Guitars)
Organization: AT&T
Distribution: usa
Date: Thu, 3 Sep 1992 14:47:08 GMT

>I never really pay much attention to scale length. Unless a person has
>unusually large or small hands, the scale length is more a luthiers concern
>than a players. But hey, its fun to talk about!
>
>Aloha,
>Rusty

Most of the classical guitars made today have 650 mm scale length. But
in the 70' and early 80' a lot of them have 664 mm, especially the
Ramirez. You will feel the difference when you play a 664 comparing to
a 650, especially if you play some Bach music.

Scale length IS a problem for most of players and it is a major concern
when you are buying a handmade guitar. BTW, the neck width is also very
important. Even top guitarists like Julian Bream and John William do not
like 664 scale length, but on the other hand Parkening likes 664 and only
plays on Ramirez.

Julian Chen
Newsgroups: alt.guitar,rec.music.makers
From: EIVERSO@cms.cc.wayne.edu
Subject: PATCH - RP-1: Chunky Slide
Organization: Wayne State University, C&IT
Date: Thu, 3 Sep 1992 20:57:43 GMT

OK Here's the first of possibly many patches of mine for the Digitech RP-1.
 
I'd like to get some feedback on this--if I never hear anything, I'll
probably stop posting these. If there's a better place for these (FTP site
or Listserv) then I'd like to know about it.
 
Title: Chunky Slide     by Eric Iverson  1992   eiverso@cms.cc.wayne.edu
 
Notes: This is my idea of a classic blues-rock slide patch with distortion.
It uses a gated reverb and accent echo for an almost double-tracked or
"live room" sound.
 
Algorithm: Cmp+Dst+NG+L+GtRv+Mx+SS
Compression: on
amount: 22
lvl: 3
 
Distortion: on
Metal tube
Balls: 11.0
 
EQ: on
63 Hz:   +12
160:     +10
400:       0
1.0 kHz:  +6
2.5:      +4
6.3:      +6
16.0      -4
Mas. Vol: +4
 
Noise Gate: on
Threshold: 3
 
Digital Reverb: on
Predelay: 37 ms.
Env.: Flat
Decay: 50 ms
Accent delay: +20 ms
 
Mix Dry r: 9
    Dry l: 9
 Accent r: 8
 Accent l: 0
   Gate r: 7
   Gate l: 8
 
Have fun! :)
--Eric
 
  ======================================     eiverso@cms.cc.wayne.edu
 |[  RP-1  [____]|[  1] -<>-<>- 0  0   ]|   WSU, Detroit, Michigan USA
  | 6     7     8     9     0          |
  | ====  ====  ====  ====  ====  ==== |         Just say techno!
  | 1     2     3     4     5          |
  | ====  ====  ====  ====  ====  ==== |     "So thick, it stands up
  |____________________________________|           to a straw!"
Newsgroups: alt.guitar,alt.guitar.tab
From: dti@csd4.csd.uwm.edu (Daniel Robert Mittelstadt)
Subject: Re: What is the 12 bar blues rule?
Summary: Blues  progressions
Keywords: blues progressions
Organization: Computing Services Division, University of Wisconsin - Milwaukee
Date: Thu, 27 Aug 1992 03:57:16 GMT

In article <sbb1.714878439@Ra.MsState.Edu> sbb1@Ra.MsState.Edu (Shay B. Berthelson) writes:
>What is the rule that when speaking of blues people mention the 
>standard twelve bar.  Please help.  Also any one have any good sounding 
>easy to learn riffs, not neccessarily blues.
>
>
>Thanks
>Shay B.
>
>--
>******************************************************************************
>** Shay B. Berthelson ******   Don't call me WHITE ***************************
>** sbb1@Ra.MsState.EDU *****   I am Danish American **************************
>******************************************************************************

12 bar blues is a somewhat standard  form for blues that's become pretty
much, well, standard.. Usually a I-IV-V pattern.. Like...
 
A (one measure) D (one measure) A, A, D, D, A, A, E, D, A, A

Is that kinda what you  mean? (there's all kindsof variations on that,etc,
etc, but  that's pretty much standard 12-bar blues (in A,  anyways)..If
you know basic theory, it's

I   IV   I   I   IV   IV   I  I  V  IV  I  I
----------------------------------------------- (instead of A, you can use
                                                 any  key, of course..)
C   F   C    C   F    F    C  C  G  F   C  C
B   E   B    B   E    E    B  B  F# E   B  B
D   G   D    D   G    G    D  D  A  G   D  D 
 
(and so one, and so on, and so on)



-- 
----------------------------------------------------------------------------
dti@csd4.csd.uwm.edu      - Tune in, Turn on, Drop out - Do it today ------
----------------------------------------------------------------------------
From: jpmakela@cc.helsinki.fi (jP M{kel{)
Newsgroups: alt.guitar
Subject: Raging Slab - where are they?
Date: 29 Aug 92 23:21:49 GMT
Organization: University of Helsinki



	I'm sorry about this question being in a bit inappropriate
	newsgroup, but as I don't read the more heavy metal -oriented
	ones, I'll put it here:

	What has happened to a band called the Raging Slab, a New York
	based three-guitar, lynyrd skynyrd-meets-metallica metal/hardrock
	band? They released their debut album about three years ago and
	I haven't heard about them since. I'd like to, as they sounded 
	very, very good and had a couple of outstandingly good songs.


-- 
 jP M{kel{	({'s are a's w/ umlauts)	  jpmakela@cc.Helsinki.fi
-----------------------------------------------------------------------------
"Good sense is, of all things among men, the most equally distributed; for
 every one thinks himself so abundantly provided with it, that those even
 who are the most difficult to satisfy in everything else, do not usually
 desire a larger measure of this quality than they already possess."
                                                               (Descartes)
Newsgroups: alt.guitar
From: cpeckham@nyx.cs.du.edu (Chris Peckham)
Subject: Music Block
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Fri, 4 Sep 92 12:56:05 GMT

Hi!
	thanks to those who responded to my questions about refrets
for acoustic guitars.

	But, what I'm asking now is really a different kettle of fish.
I was strumming and picking away on my acoustic guitar last night, and
nothing would 'click', you know what I mean? NOTHING- the sound was dull,
the fingering glitches loud, the effort extreme, the returns zero.  All
I felt like doing was selling the guitar and taking up something else.
But this is not the first time, and previously I've come back to play
the instrument (after an extended rest) and have felt _inspired_!

	Does this happen to you much?  How do you cope?  What do you
do?  Are you a disciplined creative person or a 'free-spirit', or 
something else?  If you suffer from _music/technique block_, and I'm 
sure I'm not the only one, or you have found a _cure_, then please
enlighten us all with your experiences and advice!

Chris
From: frankc@faatcrl.UUCP (Frank Coffman)
Newsgroups: alt.guitar
Subject: Re: Cheap Reverb
Date: 31 Aug 92 13:54:36 GMT
Organization: FAA Technical Center, Atlantic City NJ

n3884@cray.com (Peter Palmer,#Rich Franta) writes:

>I'm looking for a cheap, minimal feature reverb (1/4 inch in/out with a simple
>depth and rate control).  

>All I want is to add a touch of the reverb effect to my guitar and/or vocals.

Alesis Microverb!!

I bought mine new for ~ $160 - I think that's an exceptionally good price,
but you should easily be able to find one for .lt. $200

pros: 
	easy controls, something like 256 presets, reverbs and delays,
	a really nice 'slow-bloom' algorithm, 1U rack mount, stereo.

cons:
	no MIDI, non-programmable, 

pros/cons:
	external power supply (pro in the studio - con if you move it around,
	IMHO)

I also own a ART multiverb and a Roland GP-16 - the Microverb is a better
sounding unit than the ART, and comperable to the quality of the Roland
(also IMHO).

Can't beat it!


-- 
*********************************************************************
* Frank Coffman     Computer Resource Management, Inc. (CRM)        *
*                   NAS Sim. Support Facility, FAA Technical Center *
*                   Atlantic City Airport, NJ 08405                 *
* UUCP:  ...!rutgers!faatcrl!frankc  Internet:frankc@faatcrl.UUCP   *
*********************************************************************
From: dam@dcs.glasgow.ac.uk (David Morning)
Newsgroups: alt.guitar
Subject: Re: Hofner Guitar Query (repost)
Date: 27 Aug 92 09:12:37 GMT
Organization: Glasgow University Computing Science Dept.

tom@minster.york.ac.uk writes:

>(Aplogogies if folks have seen this already, I have reason to
>believe the original post did not get distributed)

>I was wondering if any of you folks could offer some info on a very
>strange guitar I've just been given.  It's a Hofner Senator Thin;
>hollow body, cello cut, single pick-up electric (no. 1109).
>I would guess that it dates from the sixties and it's obviously a
>(cheap?) copy of a famous model but I don't know which.  Any suggestions?
>The body and style is Gibson(ish) (335?)  It's got this really weird
>tail-piece - the Hofner Compensator - which is like a staggered six
>finger set of claws. 

Think this might be a model called the Hofner VeriThin (very thin gedditt??)
Hofner made quite a few Gibson-'esque' guitars. I've a friend who has an old,
old Hofner Senator (full cello - no cutaway) with a compensator bridge. They
also did a single cutaway version and the thin version. All were somewhat
Gibson like. They were much derided as being cheap and nasty, probably for no
other reason than they looked old fashioned. The tailpiece claimed to compensate
for string in some way, but having played my friends Senator I'm not sure if
it really does anything, more a bit like the RezoTubes on old Burns Baldwin
guitars. The bridge is move-able which is a *real* pain in the neck as the
intonation goes out quite easily. My friend fitted a Les Paul Humbucker in
the neck position of his Senator and it actually sounds quite nice - sort of
chunky jazz rhythm sound. Plays ok but nothing to write home about.

The VeriThin was never particularly popular and the butt of endless sarcasm
but I've never played one so I don't know if the sarcasm was warranted.


>I'm curious to know what "allusions to grandeur" this guitar has and
>when it dates from.

Probably the late 60s.

Dave

"Heh! Embdae goat an aul' Hofnah?" - Greens Playhouse, Glasgow c1972

-- 
Xref: sparky alt.guitar:7591 alt.guitar.tab:1956
From: steveo@olen.think.com (stephen anthony)
Newsgroups: alt.guitar
Subject: Re: Slide guitar
Date: 1 Sep 92 10:34:30
Organization: Thinking Machines Corporation, Cambridge MA, USA
Distribution: na
NNTP-Posting-Host: olen.think.com
In-reply-to: bottom@hawk1.enet.dec.com's message of 31 Aug 92 11:38:36 GMT

In article <1658@sousa.ltn.dec.com> bottom@hawk1.enet.dec.com writes:


   For beginning slide Arlen Roth's instructional video is very very good. It's 
   called "slide guitar" :-)


   --
   /dave

I got the book, and while it's ok, I think it's kind of missing the right
hand rolls. Pretty much all he does is say that ring finger - high E,
middle finger - high B, index finger - G# (we're in open E here), thumb,
low three (EBE). 

Maybe that's all there is to it (I'm just starting), but from the limited
banjo playing I've done, there are specific rolls that one plays with the
right hand repeated while shifting chords, hammer-ons and pull-offs, etc. I
would think that there are similar rolls for slide/blues guitar.

Am I incorrect in this? Do people know of such rolls for, say, an Elmore
James tune?
--
Steve Anthony                     |  "Ain't nobody gettin' outta here |
Application Engineer              |   with out singin' the blues"     |
(617) 234-4000                    |                                   |
steveo@think.com                  |  - Albert "The Iceman" Collins    |
From: mpinkert@sdcc13.ucsd.edu (Snowden )
Newsgroups: alt.guitar
Subject: Re: fender lace sensor question
Date: 29 Aug 92 02:32:29 GMT
Organization: University of California, San Diego

In article <1992Aug20.144200.29910@awdprime.austin.ibm.com> ...@cs.utexas.edu:ibmaus!auschs!tmn1.austin.ibm.com!tung writes:
>I wonder if the hum rejecting properties come from the magnetic shielding 
>qualities of having a magnetically conductive material around the coil?
>Are they advertised as "hum-canceling", "hum-bucking" or "hum-rejecting"?
>I don't see any good way to get useful operation if the two poles in the 
>center are opposite polarities. The fields would merely run from one pole
>into the other, and no significant flux would exit upwards into the strings.
>Also, assuming that the center poles were effective, my quick sketches 
>make me think that the net voltage per turn would cancel - there is no
>way to invert the polarity of a half turn.
>
>My magnetics is a little rusty, but I used to know this stuff. I'll bet that
>someone in sci.physics could nail this one for us.
From: balon@cup.hp.com (Tom Balon)
Newsgroups: alt.guitar
Subject: ATTN: SF Area Tube Amp Owners
Date: 27 Aug 92 20:11:15 GMT
Organization: Hewlett-Packard, Cupertino, CA



	ATTN: Vintage Tube Amp Owners
	============================

	The "Tube Amp Service" offers complete and partial rebuilds of
	vintage Fender, Marshall, Mesa and most Tube Amplifiers and
	pre-amplifiers.

	* Repairs
	* Rebuilds (Make your vintage amp last for many years to come.)
	     - Restore to original Specs
	     - Eliminate noise, 
	     - Reduce hum
	     - Increase power output
	     - Improve Tone

	* Custom Modifications Available 
	* Most Major Brands Serviced
	* Competitive Price
	* Experienced Musician and Engineer

	Call Tom at (408) 243-7745 PST
Organization: Penn State University
Date: Mon, 31 Aug 1992 18:55:44 EDT
From: Behrend AArea <OPA@psuvm.psu.edu>
Newsgroups: alt.guitar
Subject: The Unreplaceable Acoustic
Distribution: usa
 <1992Aug27.134540.21876@dale.ksc.nasa.gov>

I am the proud owner of an Ibanez acoustic, Sure you are all saying big deal.
Well you see it may not be a Martin or an Ovation but it was my Grandpa's. My
Grandma gave it to me after my grandfather passed away.  It is around ten years
old but looks like it was purchased yesterday.  The day I got it.....the case
was old and dusty, the clamps old and squeaky, but when I opened it the guitar
shined so bright I had to shield my eyes.  I'll never forget how I felt when I
saw that the Kapo was still on it and the pick still stuck in the strings like
he just got done playing.  My Grandfather might not be around any more but his
music will always be alive in me and his guitar.  Anyone else out there with
interesting stories of their guitars?

Sincerely Yours,

Aaron M. Krott
<amk114@psuvm.psu.edu>
From: glenn@moeng2.morgan.edu (D. Glenn Arthur Jr.)
Newsgroups: alt.guitar
Subject: Re: Guitar buying advice
Date: 3 Sep 92 18:24:07 GMT
Organization: The Space-Time Fabrication Institute, Rockville, MD.
NNTP-Posting-Host: cs.utexas.edu

In article <185btqINNcci@fulmar.doc.ic.ac.uk> rsoc@doc.ic.ac.uk writes:
>In article <168506FEE.ADCBB@VM.CC.LATECH.EDU> ADCBB@VM.CC.LATECH.EDU (C. Brian Batey) writes:
>> 
>>If you are looking for a steel string guitar, I'd suggest Seagull.  These
>>guitars claim to be hand made and are in the $175 to $500 range.  All of
>>the guitars that I've played have been superior to any other guitar in
>>that range.  
>
>Yup, seconded! They are _very_ good guitars for the price. [...]
>These guitars are very hard to come by in the UK which is a shame 'cos we
>could do with something decent in the lower/middle range.
>The Seagulls also look gorgeous, waxed (?) wood instead of varnish. Mmm!

I have not seen Seagulls in stores when I've been shopping.  I do have
a friend who plays one, and I agree that it is a wonderfull instrument.
I don't recall offhand how much it cost her.

In addition to _looking_ nice, the finish Seagull uses *feels* very nice,
especially where one's thumb touches the back of the neck.  Quite pleasant.
I don't think it's wax, by the way, but I'm not sure what it is.



... still looking for a decent mandolin I can afford ...


-- 
D. Glenn Arthur Jr., The Human Vibrator, glenn@bessel.umd.edu
"Being a _man_ means knowing that one has a choice not to act like a 'man'."

How much interest is there in a TV/TS newsgroup?  How many would post there?
You can send me mail anonymously at wi.2743@wizvax.methuen.ma.us (was wi.79)
From: harper@godot.think.com (Jim Harper)
Newsgroups: alt.guitar
Subject: Wireless Recommendations
Date: 26 Aug 92 09:39:01
Organization: Thinking Machines Corporation, Cambridge MA, USA
Distribution: alt
NNTP-Posting-Host: godot.think.com

I'm in the process of buying a wireless just wondering peoples
opinions,especially on the Nady 201.

Thanks
Jim
From: exubrst@exu.ericsson.se (Brad Steele)
Newsgroups: alt.guitar
Subject: Custom Kraft
Date: 26 Aug 92 14:02:11 GMT
Reply-To: exubrst@exu.ericsson.se
Organization: Ericsson Network Systems, Inc.

Has anyone out there ever heard of the guitar brand "Custom Kraft"?
I've had one for about 10 years now that I picked up for $35 at a
garage sale.  It doesn't have a tension rod but the neck is still
straight.  The strange thing is that it sounds and feels great.  Can
anyone tell me anything about this brand: like who made it, what kind
of parts went into it, why the neck hasn't warped, ...?  I love this
guitar and I'd like to at least know a little about where it came
from.

Thanks,
Brad
From: glenn@moeng2.morgan.edu (D. Glenn Arthur Jr.)
Newsgroups: alt.guitar
Subject: Re: Bows
Date: 4 Sep 1992 07:15:43 -0500
Organization: The Space-Time Fabrication Institute, Rockville, MD.
NNTP-Posting-Host: cs.utexas.edu

In article <1992Aug28.223645.7465@wam.umd.edu> peugh@wam.umd.edu writes:
>
>   All this talk about playing guitar with non-standard implements and your
>sig(the bit about vibrators) reminded me of the guitarist Reeves Gabrels of 
>Tin Machine.  He plays guitar with a vibrator sometimes.  Gets a wierd, cool
>tremolo type sound.

I've tried that, but the motor generated electrical noise that my
guitar pickups picked up.  And on my acoustic guitar, the effect 
was simply too quiet to be heard over the noise of the vibrator.
Maybe I need to find a quieter vibrator.  Or a longer one?


-- 
D. Glenn Arthur Jr., The Human Vibrator, glenn@bessel.umd.edu
"Being a _man_ means knowing that one has a choice not to act like a 'man'."

How much interest is there in a TV/TS newsgroup?  How many would post there?
You can send me mail anonymously at wi.2743@wizvax.methuen.ma.us (was wi.79)

Newsgroups: alt.guitar
From: jgn@vixen.uucp (22122-niederberger)
Subject: Re: Martin guitars
Organization: Bellcore, Livingston, NJ
Date: Thu, 27 Aug 92 19:49:52 GMT

In article <16850BC99.ADCBB@VM.CC.LATECH.EDU> ADCBB@VM.CC.LATECH.EDU (C. Brian Batey) writes:
>In article <1992Aug27.135707.28356@porthos.cc.bellcore.com>
>jgn@vixen.uucp (22122-niederberger) writes:
> 
> Don't send flames if you don't want them in return.
> I hardly see your disagreement with my opinion as grounds for
> slandering my intelligence/ character.

My point was that you were slandering an excellent company (with real
people) that makes excellent products and gives excellent service to
their customers.  God knows that we need more such companies in this
country and I felt like expressing MY opinion.

I apologize for the personal content.

> In my 13 years of playing, I have had the opportunity to play more
> than 1 or 2 Martins.  My first guitar was a Sigma.  I've played

 A Sigma is a Japanese guitar that is marketed by Martin. It is NOT a
Martin Guitar.  I wouldn't count the "Shenandoah" series as serious
guitars either.

>>as well as an occasional "superstar".  We shouldn't confuse "quality"
>>with "consistency" although the two are related.
>>
> True enough, but I haven't played "just one"...see above.
> Also, let there be no confusion, without consistency, there is no
> quality....'nuff said.

One can be consistently mediocre though. ;-)

You must realize that the quality "defects" you mentioned (bowed neck,
unglued pickguard, etc.) are every bit as likely to turn up on a
Guild, or a Takamine, or a Taylor.  Most of these "defects" are
material induced and have little or nothing to do with workmanship.
For example, the pickguard separation is the result of an unstable
material (celluloid) shrinking over time.  Virtually all flattop
guitar makers used this material in the seventies--SO, WHY PICK (no
pun) ON MARTIN???.  BTW, I believe most of these companies STILL use
celluloid whereas Martin has switched to "on-top-of-the-finish" vinyl,
once again showing leadership in the industry.

For another example, the bowed neck is a result of the original
quality of the wood, its aging, and its environment.  Martin goes to
great lengths to obtain the best wood it can get and give it proper
aging.  In any case the problem is not unique to Martin guitars and
the only thing to do is to get the neck repaired.  And don't think
that an adjustable truss-rod (which are now standard on Martin
Guitars-hence the "behind-the-times" ) means that this problem won't
crop on your Guild or Taylor in ten or twenty years.  I would agree
though that Martin was far too slow in changing to adjustable rods.

But more than anything, to me a guitar's quality is in its sound and
its playability.  And thus, my suggestion to go experience many
*individual* guitars, and buy the best you find regardless which
company made it.  As far as my HA HAing Guild guitars, I've never
found one that had much sound, although (because?) they are built like
a brick s*ithouse.  I suspect that's also why so many country players
like them--but I won't say why.

Again, most humble apologies.

Joe N.


Newsgroups: alt.guitar