HDTenEightyP/NetNews huggingface dataset:
From: v088ptfu@ubvmsb.cc.buffalo.edu
Newsgroups: rec.music.makers.guitar
Subject: Amp mods in NYC/LI area
Date: 23 Nov 92 16:55:00 GMT
Organization: Leavenworth Federal Penetentiary
News-Software: VAX/VMS VNEWS 1.41

I'm going home (Long Island) over the semester break at which time I would
like to have my trouble-ridden Marshall looked at, repaired and maybe even
modified.  If I had a mod done, Id be looking for extreme, balls to the 
wall, insane gain and maybe even a clean channel as I do not have channel
switching on this master volume head.  Anyway, if anyone can recommend a
tech who is adept at this kind of work, I would really appreciate it.

Thanks,
Jason
From: ohumukin@spectra.com (Kawika Ohumukini)
Newsgroups: rec.music.makers.guitar
Subject: Re: What makes a giid guitarist?
Date: 16 Nov 92 18:49:50 GMT
Article-I.D.: spectra.1992Nov16.184950.27049
Organization: Spectragraphics Corporation

In article <1992Nov16.142114.1460@msdhsv.ingr.com> scott@bell.b17a.ingr.com (Scott Bell) writes:

[Much deleted]
 
>|> Nothing to be sorry for.  Whoever came up with the words "natural ability"
>|> never did what they were speaking of.  There is no doubt some people have
>|> "natural advantages" which may be better suited for a given task and makes
>|> it easier to do the task.  And there are those that PUT IN THE TIME to
>|> get to a level that is comparable to what others have found easier to do.
>|> I know plenty of people that are extremely limber in their hands and can
>|> move their fingers with lightening speed and have no musical capability
>|> at all.  I also know those who have trouble pointing much less ripping off
>|> a 8 finger hammer on/pull off and have great musical ability because after
>|> years of practice have progressed beyond what they thought was possible.
>
>   I agree, Kawika; we're probably talking about the same thing using different
>   octaves! :)  If you define "natural" ability as being part of a physical 
>   ability, you NEVER will be able to achieve some things that others do( see
>   my M.J. example above ). On the other hand, you can easily work at something
>   that doesn't necessarily require physical skills. I'm not trying to say 
>   everything that you dream is out of reach - that would kill your hope AND
>   dreams. But you should also accept your limitations and improve your
>   weaknesses. < sound of Scott stepping of his soapbox here! :) >

I understand what you are saying and agree that we have weaknesses.
It's what we interpret those weaknesses to be, permanent or temporary?
I feel that there is absolutely nothing I cannot achieve.
I have weaknesses for particular tasks surely, and I have the ability
to practice and role model those that have achieved that which I desire.
The only thing I will NEVER be able to achieve is pessimism.  
I could give you dozens of examples of things people thought were 
impossible to achieve, both physical and mental, and someone came along
and promptly shattered that belief. 

If people can stop smoking, 
drinking, taking drugs, abusing people, or lose weight then I can
surely do my part and pull off anything on a little chunk of wood and
wires called a guitar.  I saw a man play a classical acoustic with his
feet for the pope.  I surely have no excuses not do everthing I want.
My only musical limitation is that I have not done everything yet. 

[Rest deleted]

Cheers,
Kawika
From: garym@cs.umb.edu (Gary MacDougall)
Newsgroups: rec.music.makers.guitar
Subject: Re: Speaker Simulator Boxes for Recording
Date: 22 Nov 92 19:15:02 GMT
Organization: University of Massachusetts at Boston, Dept of Math and CS

In article <1992Nov19.203054.2869@galileo.cc.rochester.edu> wfsq_ltd@uhura.cc.rochester.edu (Billy the Kidd) writes:
>
>
>	Secondly, I noticed that the bass track seems to 'click' at every
>attack point.  As I checked all of the line levels very carefully, I noticed
>that it was not a setting, it was from the bass.  The pickups are actives, 
>but their battery was just replaced.  Could it be the way that the bass player
>was playing?
>
>	Billy Kidd
>
>	

About two years ago my band recorded a few songs live at a club. Nothing
spectacular, simple off the board and a few "room mikes". The sound was 
actually pretty good. The drums sounded great, both guitars sounded fantastic
but the damn bass sound was pretty aweful. Not so much "the sound" but what
it was sounding like, we kept getting this popping or clicking from the bass.
After an hour during sound check our sound guy finnally realized that since the
bass player had a direct box (to the PA) and that on stage we were getting the
ambient sounds from his cabinet the clicking sound WAS NOT an electical thing
but more of a "style" thing. We came to this conclusion since we could not 
hear this "noise" on stage, we only heard it on tape or through the PA (loud).. 
What actually was happening was interesting:
When our bass player stepped off the stage to listen to the sound, I played
his bass for him so he could walk around and listen, when I played the noise 
STOPPED! when he came back up and played it came back. 
Our conclusion was this: 
The bass players style was more of a hammering method on the strings where I
had more of a passive strumming method. What was happening was that the strings
action were set too low for his style. Since his style required more height on
the strings so that they wouldn't vibrate and touch one of the pickups which 
caused the clicking noise.
He was also using an active bass (Alembic if Im not mistaken) and the active
electronics made this worse...
He simply fixed this problem by raising the action a few millimeters...

Hope this helps...
Gary
Newsgroups: rec.music.makers.guitar
From: 11439106@eng2.eng.monash.edu.au (SHAWN FOO)
Subject: pickup comparison
Organization: Faculty of Engineering, Monash University 
Date: Tue, 17 Nov 1992 01:53:10 GMT

G'day,
	I was wondering if anyone could give me some sort of idea of how the 
seymour Duncan Hot rails and cool rails sound compared to the Dimarzio fast 
tracks 1 and 2.... The fast tracks are a fair bit cheaper than the duncans 
but I know the Dimarzio do make good quality pickups....so.... what's the 
difference????

	thanks,
		S.P. Foo
Newsgroups: rec.music.makers.guitar
From: till@campeau.lucid.com (Don Tillman)
Subject: Re: Gibson L6-S Tone Switch Wiring??
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Distribution: usa
Date: 18 Nov 92 10:49:02

   From: bwana@daktari.Corp.Sun.COM (Don Finch)
   Date: 17 Nov 1992 00:46:17 GMT
   Organization: Sun Microsystems, Inc.

   Does anyone know or have the wiring diagram for a 1975 Gibson L6-S 
   6-position tone switch?  

There's a schematic in "Guitar Electronics for Musicians" by Donald
Brosnac, page 101.  

(One of the better books on the topic by the way, except that Brosnac
doesn't know a heck of a lot about electronics and there are an average of
roughly four technical errors per page.  In the schematic for the L6-S, one
of the pickups appears to be wired backwards.)

  -- Don
Newsgroups: rec.music.makers.guitar
From: kkretsch@unix1.tcd.ie (kevin patrick kretsch)
Subject: Re: Tremolo Setups: an analysis
Keywords: trem strat springs
Organization: Trinity College, Dublin
Date: Fri, 20 Nov 1992 09:44:52 GMT

In <1992Nov19.172240.20447@paramount.nikhefk.nikhef.nl> templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon) writes:

>p.s. one thing i don't know (which might help make the
>analysis more informative) is how a _guitar string_
>changes its tension when the length is changed --
>i.e. if the tension is nine lbs (yes I know that's
>not really a tension, but you see it written on
>the string packages...) at "hands-off-trem", what
>happens to the tension if I pull back on the
>whammy bar enough to increase the string length by
>1 mm?  Or decrease??  Anybody know?

It's all just Hooke's law again.
Let's say you hang a spring vertically and put a weight on the end,
the string stretches and the tension on the string is simply

      M x g = T ; where M is the mass of the weight (if confused
look it up in any undergrad physics book) and g is the acceleration
due to gravity.
So when you pull back on your whammy bar it's just the same as 
hanging a weight on the end of the string as above only now we 
are horizontal and instead of using mass and gravity to give us 
our force we use the action of our hand.
So basically if our string is fixed at (at least) one end ,
extension => force => tension => extension => etc.
So you see the orientation of the string is irrelevant, and
if we have tension on the string we must have a force wether it
is due to stretching the string (at the tuning posts or pulling
up on the tremolo) or hanging a weight on it. Likewise if I
push down on the bar the tension decreases.
Et voila!!


Kev.

 
A


A
D
and this implies 
A
A
our force to stretch the string it's the action of your hand.?
From: urain@mcl.ucsb.edu (Lawrence of Arabia)
Newsgroups: rec.music.makers.guitar
Subject: GUITARE!! --> IT WILL NOT WORK!!! WHAT'S UP???
Keywords: GUITARE WILL NOT WORK AT ALL!!!
Date: 22 Nov 92 23:37:27 GMT

kie, here's the story:  I'm trying to run this thing on my IBM 386sx.  I
took off my Qemm 386.  Then I created a directory called "GUITARE" and 
put "RT_PC.EXE" and "GUITARE.EXE" in it.  Then I ran RT_PC.EXE and I get
GUITARE.BAT, ADAEXEC.EXE, and PREDEF.AXQ from it.  (there's a prob 
already! GUITARE.EXE and GUITARE.BAT are conflicting.. so when you type in
"GUITARE" as a command, it will run GUITARE.EXE!) So, I renamed GUITARE.BAT
to GUITAR.BAT and THEN ran it.  BUT, after running it, I get an error saying
"Unable to open file lib\lib for reading"  SO, I changed the batch file 
accordingly (like it says in one the GUITARE text files), and it STILL 
gives me "Unable to open file \...\...\lib\lib for reading" .  And I have
screwed around with it a lot and I have come up with nothing!  

PLEASE, whoever made this program.. I  really want to try it out, but 
do YOU know how to run it even?  


Signed,  

	Confused

Newsgroups: rec.music.makers.guitar
From: sihd_ss@uhura.cc.rochester.edu (Dan Shimmyo)
Subject: Re: YNGWIE MALMSTEEN
Organization: University of Rochester - Rochester, New York
Date: Fri, 20 Nov 92 07:52:53 GMT

In <1992Nov19.213418.15891@gdr.bath.ac.uk> mapsj@gdr.bath.ac.uk (Simon Juden) writes:

>In the referenced article, KAP118@psuvm.psu.edu (Kevin Polcovich) writes:
>>Just wanted to get everyone's input on Yngwie. How do you rank him with other
>>guitarists-he's at the very top of my list. For those who say "you can't
>>compare guitarists" don't respond. Thanks, Kevin


>...saw him live with Joe Lynn Turner on vocals (actually I just went to see if
>JLT could still sing - and Jesus, could he! ;-) He's very fast; I've never seen
>a guitarist with a better or comparable technique. But to my mind at least he
>plays like a robot, ie he has no feel for the music, it's like he got a
>computer to write his solos and stuff for him. To say he's more of a speed
>machine than a musician may be harsh, but it's not so far from the truth (I
>don't write out of envy btw: I'm a keyboard player, and he reminded me of a
>sequencer ;-). In short 10/10 for technique, 5/10 for style, 0/10 for
>musicianship. Certainly most of his solos seemed to me to be straight out of
>Bach or Blackmore...

>Simon the Cynic (and please don't flame me for expressing an opinion)

Hey Guys,
  I used to think that Yngwie had no feeling but then I saw him in a little
club in Rochester called the Penny Arcade and boy was I surprized.  I swear
he couldn't have played with more feeling. Maybe if you could see his face and
felt the emotions HE was feeling from the music you'd understand. Anyway, I
used to think that he was just a robot like everyone else but you have to 
realize that he's actually human and he doesn't play flawlessly at all. He 
makes millions of mistakes and does play with feeling . Just not too many 
people can actually hear it. I guess then it's a matter of taste but in his 
case , if he played like a robot I don't think that he'd enjoy his own music
very well.  He's into it as much as you are.
Dan.
Newsgroups: rec.music.makers.guitar,rec.music.makers.bass
From: barsz@bnr.ca (Peter Barszczewski)
Subject: Re: Speaker Simulator Boxes for Recording
Organization: Bell-Northern Research Ltd.
Date: 19 Nov 92 16:43:18

wfsq_ltd@uhura.cc.rochester.edu (Billy the Kidd) writes:

           Secondly, I noticed that the bass track seems to 'click' at every
   attack point.  As I checked all of the line levels very carefully, I noticed
   that it was not a setting, it was from the bass.  The pickups are actives, 
   but their battery was just replaced.  Could it be the way that the bass player
   was playing?

I have this problem a lot and haven't found an adequate solution.  The
click, as far as I can tell, is caused by the string hitting the first fret
(the one next to the one you are playing).  The obvious solution is to have
the action (string height at saddle and neck relief) adjusted FOR HIS
PLAYING STYLE.  Next is to try to find the click "frequency" and EQ it out.
And if all else fails, then he may just have to adjust his style for when
recording, the studio environment is very unforgiving as compared to live
performance.  For my style, which is fairly aggressive, I have the action
adjusted high and I use a pick ... which I have found produces a much less
noticeable click than when I use my fingers.  I still get some click, but it
is reduced.

You should probably re-direct this question to r.m.m.bass to get a better
response.  Please keep us informed if you discover anything.

Regards,
--
Peter A. Barszczewski         |           .   .   .   .   .   .   .
(barsz@bnr.ca)                |        :    :    :    :    :    :    :
Bell-Northern Research, Ltd.  |     3     3     3     3     3     3     3
Montreal, Canada              |  D      D      D      D      D      D      D
From: mic@ut-emx.uucp (Mic Kaczmarczik)
Newsgroups: rec.music.makers.guitar
Subject: Re: Fender StratoFAQ
Date: 22 Nov 92 15:46:08 GMT
Article-I.D.: ut-emx.84141
Organization: UT Austin Computation Center, Unix Services

In article <92321.082619WAUGH@SLACVM.SLAC.STANFORD.EDU> WAUGH@SLACVM.SLAC.STANFORD.EDU writes:
>Be careful here!  In the GPI Publications new book about the history of
>Fender guitars the former president (Or something like that.  I don't
>have the book with me.) of Fender debunks the theory that serial numbers
>or neck dates can be used as a definitive method for acurately dating any
>Fender guitars especially when it is the neck plate that carries the
>serial number.

Great!  Another, presumably more authoritative source of information.
How about posting the book information for the FAQ? 

--mic--

-- 
      Mic Kaczmarczik          \
       Unix Services           \      Yeah, I partied with Segovia.
 UT Austin Computation Center  \                           -- Les Paul
remark@{ccwf,emx,bongo} 1-0251 \
Newsgroups: rec.music.makers.guitar,alt.guitar
From: META000 <META@UNB.CA>
Subject: RE: Gibson Oddity
Organization: The University of New Brunswick
Date: Thu, 19 Nov 1992 15:08:06 GMT

In article <1992Nov16.155003.1512@qualcomm.com> dweber@lark.qualcomm.com (Dan Weber) writes:
>
>            Hi All!
>
>
>          Over the weekend I picked up an inexpensive Gibson with
>         case ($300.00) which I have never seen before. I do not
>         doubt it's authenticity however because a good friend of
>         mine who does guitar repair says he remembers seeing
>         something similar in the early 80's.
>          What it is; is a Arctic white Explorer with three P-90
>         pickups, two 3-way toggles, and one volume & one tone
>         control. The serial no. is 83394523 and it says MADE IN
>         USA beneath the serial on the headstock. Does any one know
>         anything about this? I just love this guitar! ( And I'm
>         a devout Strat player!
>
>
>
>         Dano
>
>
>         dweber@lark.qualcomm.com
>.
>.
This definitely sounds like something which deserves a photo and
write-up in GP!  Talk about one of a kinds. I'm truly envious.  Pray
tell, what do the toggle switches appear to do?  Is this basically
one of those 3-pickup SG circuits stuck on an Explorer body?  Does
it get what one might call an "Explorer sound", or something
altogether different?

Mark Hammer

Newsgroups: rec.music.makers.guitar
From: barrett@athena.cs.uga.edu (Richard Barrett)
Subject: Help Wanted
Organization: University of Georgia, Athens
Date: Mon, 23 Nov 1992 16:13:13 GMT

From RBARRETT@uga.cc.uga.edu Mon Nov 23 11:09:34 1992
To: barrett@athena.cs.uga.edu

Hello:

My name  is Richard  Barrett and  I live in  Athens, GA.  I play  an '87
Gibson SG reissue through a Fender  Princeton Chorus. I love the Gibson,
the amp sounds nice but would like to have a Marshall Stack. My favorite
band is AC/DC.  Call me redneck but  I really love the  Dangerous Duo of
Malcom and Angus. I am into  Stevie Ray, Jimi Hendrix, Black Crowes, The
Faces, Stones, Keef Riff Hard, and Ron Wood.

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.  Also, when and where
do  I  use  the  licks?  What  about  combining  scales,  not  only  the
pentatonics but others? I thought  about purchasing a course like Guitar
Performance Method or part of the series a guy named Andy (I think) puts
out. They  are advertised  in the  guitar mags.  Does anyone  know about
these? Are they worth the investment?

Any help would be appreciated.

Thank You.

Newsgroups: rec.music.makers.guitar
From: holtslander@skyfox.usask.ca
Subject: RE: Keith Richards'  tuning
Organization: University of Saskatchewan
Date: Thu, 19 Nov 1992 17:13:25 GMT

Keith Richars uses open G alot (DGDGBD) don't know if he uses
it in Brown sugar but worth a try.
Newsgroups: rec.music.makers.guitar
From: billq@ms.uky.edu (Billy Quinn)
Subject: Re: feedback...make it go away
Date: Mon, 16 Nov 1992 17:36:08 GMT
Organization: University Of Kentucky, Dept. of Math Sciences

cdl0915@ritvax.isc.rit.edu (Christian Dylan Losinger) writes:


>	My guitar/amp setup is giving me, and everyone around me, headaches.
>When I play, even at fairly low volumes I get a nasty high-pitched scream from
>my amp. It's not a defect in the amp, it's just feedback.
>	I know it's partly due to my gain settings (everything except the mid's
>on 10), but when I play, that's the sound I need. I want to find a way to 
>mininmize the squealing. It's not good feedback, it's bad feedback.

>	What am I using to make this noise?

>	1) A Peavey Bandit 112 with a Peavey Decade on top (for the nice
>high-end sounds they make).
>	2) A Squire with 2 doubles and 1 single in the middle, stock.

>	Will third-party pickups help? How about moving my amps to the other
>side of the room?

>	-c
>	
>        --------------------------------------------------------------
>        	c  h  r  i  s   l  o  s  i  n  g  e  r   r  i  t 

Feed back can come from the guitar, the amp, the cable, the effects etc.

What can you do to make it go away?  I mean what if you turn down the
high end on you amp? 

What happens if you play another guitar through your rig?

What happens if you change cables?

Good feedback happens when the sound from the amp vibrates the guitar
strings - which get louder and go into the amp - which vibrates the
strings - which get louder and go into the amp - which ...

Bad feed back happens when you have a bad pickup, cable , or amp.
The pickup might have a bad coil (try a friend guitar) the cable
might have a freaky bad spot in it (try a freinds cable) and the
amp might have too much gain (back all of those nobs down from 10 to 
8 or so).  If any of these things gets rid of you 'bad feedback' then
you have found your problem.

I would suggest trading in the decade for a good distortion pedal.
Put your bandit on a loud clean sound, and step on your distortion.
Try the BOSS "Metal zone" for a good metal sound.

I bet its you amps man!  If you had 20 knobs that said distortion
would you crank 'em all up?  If so, then you need to get a few more
distorion knobs - if not, then get a decent pedal and a good clean
tone on the bandit!


-- 
*-----------------------------------------------------------------------*
*	Bill Quinn			billq@ms.uky.edu		*
*-----------------------------------------------------------------------*
Newsgroups: rec.music.makers.guitar
From: shugrue@spatial (Leon Shugrue)
Subject: Help with my G-string
Organization: ANL
Date: Wed, 18 Nov 1992 18:29:03 GMT

I have two old guitars that I want to repair and learn to play on.
Both of them have a key or two missing, as well as one of the
small gears attatched to them. Where are some good places to
fing parts for these antiques? I would appreciate general answers
as well as specific locations around the Chicago, Il. area.

Also, any suggestions about which strings I should use? I have one
electric and one acoustic guitar. Thanks.

Leon Shugrue
shugrue@spatial.eid.anl.gov
Newsgroups: rec.music.makers.guitar
Subject: Zoom Question...
From: watson_mj@med.wcc.govt.nz
Date: 24 Nov 1992 01:13:47 GMT
Reply-To: watson_mj@med.wcc.govt.nz
Organization: Wellington City Council, Wgtn, NZ
NNTP-Posting-Host: nomad.wcc.govt.nz

I'm looking to buy a Zoom 9000, I've had a quick play with one in a music
shop, and I was impressed... Basically I would like to hear from anyone
who either owns, or has had a reasonable play with one, and what your 
opinions of it are... etc.

or Zoom 9002's

Thanks in advance,
Matt
Newsgroups: rec.music.makers.guitar
From: till@campeau.lucid.com (Don Tillman)
Subject: Re: Tubes vs. Transistors
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<TILL.92Nov18111038@campeau.lucid.com>
	<1992Nov18.204355.13933@ncsu.edu>
Date: 20 Nov 92 18:38:08

   From: npstewar@eos.ncsu.edu (NATHAN PHILLIP STEWART)
   Originator: npstewar@c00726-239rd.eos.ncsu.edu
   Organization: North Carolina State University, Project Eos

   As far as this argument goes, I've heard people say tubes emphasize
   even harmonics, and now everyone is saying odd.  I think that could
   come from a few sources.  The idea behind this is that even harmonics
   are more musical than odd ones.

Well only one person has said odd, and he also says that cathodes run out
of electrons.

   To start off, harmonics, from my physics book, start a #2, with the
   1st being the fundamental, so that the 2nd harmonic of 440hz is 880hz.
   For lower ordered harmonics, more even one fall on musical intervals,
   but it gets kinda crazy after a point.  The 2nd harmonic being an
   octave, the 4th two octaves, the 3rd being an octave and a fifth, the
   6th is 2 octaves and a fifth.  Numbers 5,7,11,13,14,15,17,etc not
   falling on musical intervals.

Fifth harmonic is a major third, seventh harmonic is a minor seventh (or as
close as temperment permits.)  So it's not until you get to the 11th
harmonic (a quarter tone above a fourth) that things start getting hairy.

   For people saying that tubes produce odd harmonics, this could come
   from two things.  First, they could be numbering wrong, as someone did
   explaining inton- ation a couple of days ago.  Secondly, a power
   section running in class AB tends to cancel the even harmonics,
   leaving mostly 3, and a little bit of 5.  

Right... sortof.  Regardless of what class the stage is running in, any
*symmetrical* amp stage will cancel out even harmonics.  This includes most 
tube and transistor power stages, differential amps, etc.
					     
I guess I didn't ask my question clearly enough.  Let me try again.  It's
actually two questions:

  1. Why do people think that tubes have a distortion characterized by
certain harmonics and transistors have a distortion for certain other
harmonics regardless of the specific devices employed (triode, tetrode,
pentode, bipolar, JFET, MOSFET, VFET, various compounds, etc.), and
regardless of the circuit configuration and regardless of the number of
devices and feedback configuration used?  Seems crazy to me.

  2. Why do people think that the ratio of odd to even harmonics is a measure of
the musicality of an amplifier?

  -- Don