HDTenEightyP/NetNews huggingface dataset:
From: doug@justdoit.ingr.com (Doug Harbord)
Subject: For Sale: 6pc. DblBass PureCussion set
Reply-To: doug@justdoit.b11.ingr.com
Organization: Intergraph Corporation
Date: Wed, 6 Jan 1993 19:11:17 GMT


Part Number lists as NE-024622 from Purecussion.
These are shell-less drums that are mounted via RIMs. 

This set includes the following:

2 - 20" bass drums
2 - Tama bassdrum pedals
1 - 10" tom 
1 - 12" tom
1 - 14" tom 
1 - 16" tom
4 - cymbal stands 

The toms all have new Remo clear ambassador heads. The bassdrums have the 
original black Evans Uno Glass heads. Everything is in great shape. This is a 
chrome set, not black paint.

Lists for $1665. Can be mail ordered for $995 with two less cymbal stands and
no BD pedals. 

Asking $600 for everything. 

Will include a new Pearl double braced snare stand for an extra $45

You pay shipping!

If you would like to see this set, mail me and I will send you a GIF file
to view.

--
Doug Harbord 	Intergraph Corporation
M.S. CR1102	Systems Product Marketing - Graphics Technology
(205)730-6166	b11!justdoit!doug
internet 	doug@justdoit.b11.ingr.com
Newsgroups: rec.music.makers
From: atossava@plootu.Helsinki.FI (Atro S Tossavainen)
Subject: Re: Sound "proofing" a room and Bass Traps
Organization: University of Helsinki
Date: Thu, 7 Jan 1993 22:07:02 GMT

nathan@laplace.biology.yale.edu (Nathan F. Janette) writes:

> Ditch the acoustic drums, which usually sound more like noise than anything
> (good-sounding acoustic drums costing much more than most drummers can
> afford) and go electronic. A brain and a few pads can be had for under $1,000
> these days, and the quality of the sounds is fantastic, not to mention the
> joy of having volume control.

   I'm sure the drummer in my band would object to this. None of the
 electronic kits available allow the kind of control he wants ;-) and
 besides, *I* happen to like the sound of acoustic drums. Granted, an
 electronic kit would sound more balanced and the aforementioned
 rehearsal tapes would be even easier to make, but there's something
 about acoustic drums (his kits aren't that bad, mind you) that just
 doesn't exist in the electronic realm, not unlike that magic something
 in the electric guitar which can't be synthesized.

--
Atro Tossavainen			E-mail: atossava@cc.helsinki.fi
@ University of Helsinki, Finland	Snail:	1 D 18 Sarvastonkaari
majoring in English...				SF-00840 Helsinki, Finland
at least for the time being		Voice:	+358 0 698 5043
"One can only love like a fool" - (c) Tero Valkonen
Newsgroups: rec.music.makers
From: hk@caesar.rice.edu (Hyonchol Kahng)
Subject: Tascam Porta05 Users...
Organization: Rice University
Distribution: alt
Date: Tue, 5 Jan 1993 15:50:23 GMT


Just curious as how many of you in netland use this deck and for how long
you've been using it.  I've been logging some milage on mine off and on
for the last two years, and I was curious as to know just how much (ab)use
this machine can take before the motors fry and the heads wear out.  Figure
I'm quite happy w/ this machine, but I am kind of looking at upgrading
one of these days....

Also, anyone out there who uses cassette 4tracks for recording 7" singles
and/or CDs?


hk


Newsgroups: rec.music.makers,rec.music.makers.synth
From: rdemilia@lynx.dac.northeastern.edu (robert demilia)
Subject: Opinions wanted: Korg & Yamaha digital pianos
Keywords: Korg, Yamaga, piano, digital
Organization: Northeastern University, Boston, MA. 02115, USA
Distribution: na
Date: Tue, 12 Jan 1993 19:56:34 GMT

  I don't currently play the piano, but I'm interested in learning, and
I'd appreciate opinions/reviews of the Korg C-15/C-35 and the Yamaha
Clavinova CLP-360 and 560.  I've tried out both lines and like the
Yamahas slightly more than the Korgs, but they're much more expensive
than Korg and I'm not sure they're worth the difference.
  Also, the Korg salesman claims that Korg uses the same keyboard
as the Clavinova; the Yamaha salesman denies this.  I can't tell the
difference, but like I said, I don't know how to play yet.  Reply via
email and I'll post the summary.  Thanks in advance for your help.

John
rdemilia@lynx.dac.northeastern.edu
From: slineham@axion.bt.co.uk (Steve Lineham)
Newsgroups: rec.music.makers
Subject: FATAR Studio 90 keyboard wanted
Date: 6 Jan 93 12:08:31 GMT
Reply-To: slineham@axion.bt.co.uk (Steve Lineham)
Organization: British Telecom Research Labs


Does anybody know of retailers of Fatar Studio 90 keyboards in the UK. The
retailer I know of, TurnKey of Charing Cross Road London, have raised the
price of these keyboards from 499 pounds just before Christmas to 599 pounds
now. I would rather not pay an additional 100 pounds if I can help it - I
cannot afford the extra cost right now!!

Any help would be greatly appreciated.

Steve

   -----------------------------------------------------------------------
  | Steve Lineham                       Email: s.lineham@axion.bt.co.uk   |
  | BT Development & Procurement                                          |
  | Software Technology Division, Maintenance Section                     |
  | Room G44, SSTF, BT Labs,                            Fax: (0473) 643019|
  | Martlesham Heath, Ipswich, Suffolk IP5 7RE, UK.     Tel: (0473) 642615|
   -----------------------------------------------------------------------
From: gompertz@sdd.hp.com (Ron Gompertz)
Newsgroups: rec.music.makers
Subject: Re: 8 track suggestions, please
Date: 7 Jan 1993 23:57:58 GMT
Organization: Hewlett-Packard, San Diego Division
Distribution: world
NNTP-Posting-Host: hpsdl90.sdd.hp.com

In article <rfries.155@sceng.ub.com>, rfries@sceng.ub.com (Robert Fries) writes:
|> I'm planning to set up a home recording setup. Here's what I have in 
|> mind:
|> 
|> 	8 track cassette deck (Tascam 488, 688 ?)
|> 
|> Any thoughts on the above items? An ADAT is out of the question,
|> and the TASCAM 8 track reel-to-reel is probably more than I'd like
|> to spend, even at the current very good price.
|> 
|> Robert
|> 


   This raises a question I've been wondering about: At what point 
does cassette based multi-track recording become inadequate.

   Here's my concern: The more tracks on the cassette, the less magnetic
material per track. This means that tape irregularites like drop outs tend
to become more irritating and prominent. Clearly, speeding up the tape
will help, but at some point I think you really need to go to a wider
tape like reel-to-reel.

    We've had many high end tapes end up in the trash because of noticable
drop outs on our 4 track.

    Another concern of mine would be cross talk between the tracks.

   Before you commit to 8 track cassette it would be worthwhile knowing
about this.

   Any comments, folks?

   Thanks.


   gompertz@sdd.hp.com

Xref: sparky rec.music.makers:11699 rec.music.makers.guitar:1133
Newsgroups: rec.music.makers,rec.music.makers.guitar
From: edansker@oracle.uucp (Edward Dansker)
Subject: Wanted: 1x12 Speaker Cabinet w/Celestion
Organization: Oracle Corporation, Redwood Shores, CA  94065
Date: Tue, 5 Jan 1993 16:08:33 GMT
X-Disclaimer: This message was written by an unauthenticated user
              at Oracle Corporation.  The opinions expressed are those
              of the user and not necessarily those of Oracle.

Wanted: 1x12 Speaker cabinet in good condition.  Ideally it will contain a
Celestion (any watt) and be closed-back.  Will consider New England locations
only as I will want to check it out - cash and carry.

Reply to edansker@us.oracle.com


Newsgroups: rec.music.makers
From: nathan@laplace.biology.yale.edu (Nathan F. Janette)
Subject: Re: Sound "proofing" a room and Bass Traps
Reply-To: nathan@laplace.biology.yale.edu
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Thu, 7 Jan 1993 05:14:31 GMT

In article <ATOSSAVA.93Jan7010543@kruuna.Helsinki.FI>  
atossava@kruuna.Helsinki.FI (Atro S Tossavainen) writes:

>    My suggestion is even better: Get a HEADPHONE AMP that can handle as
>  many pairs of 'phones as there are band members, have everything in the
>  mixer and avoid all noise except the drums.

Ditch the acoustic drums, which usually sound more like noise than anything
(good-sounding acoustic drums costing much more than most drummers can
afford) and go electronic.  A brain and a few pads can be had for under $1,000
these days, and the quality of the sounds is fantastic, not to mention the
joy of having volume control.

--
Nathan Janette	# "As I walk I hear my longing thoughts subsiding.
Dept MB&B	# Upon your cross I bleed the thoughts that I've been hiding.
Yale Univ/HHMI	# I'm all used up; there's not much more for me to give.
New Haven, CT	# Echoes of the life that we all want to live."

nathan@laplace.csb.yale.edu		
Newsgroups: rec.music.makers
From: eric@nit.pactel.com (Eric Pederson)
Newsgroups: rec.music.makers
Subject: 808 and 303 sounds, composing on the Sun
Date: 4 Jan 93 21:50:02 GMT
Organization: Pac*Tel Corporation

1) What are the recommendations of the readers on generating 303 bass
   and 808 drum sounds from *available* MIDI-ready equipment.  303's and 808's
   are pretty much out of circulation these days.

2) I'd like to do sequencing on my Sparcstation.  Are there SBUS MIDI
   cards and/or sequencing software available for this platform?
-- 
Eric Pederson                                       Pac*Tel Corporation
eric@nit.pactel.com                                        510-210-8890
Newsgroups: rec.music.makers
From: atossava@kruuna.Helsinki.FI (Atro S Tossavainen)
Subject: Re: Sound "proofing" a room and Bass Traps
Organization: University of Helsinki
Date: Wed, 6 Jan 1993 23:05:43 GMT


gompertz@sdd.hp.com (Ron Gompertz) writes:

> Unless you absoulutely need the amps I'd say forget 'em. The mix levels are
> never right, people can't hear each other, and everyone has a tendency to
> keep cranking it up.  What I suggest is running everyone into a mixer and
> getting your drummer to be less primal (is this possible?). As long as
> you're not hellbent on doing structural damage you can run the mixer into
> a good stereo amp and use some good stereo speakers as monitors.

   And forget about guitar sound, huh?

   The original poster could always make his guitarists use SansAmps or
 something similar along with this scheme.

   My suggestion is even better: Get a HEADPHONE AMP that can handle as
 many pairs of 'phones as there are band members, have everything in the
 mixer and avoid all noise except the drums. An extra bonus: Vocal mikes
 never feedback this way. (Neither do guitars. ;-( ) Of course you need
 to use good headphones, preferably closed, so you won't need to crank
 them up and destroy your hearing in order to maintain the balance between
 the drums and the rest of the band.

   If you have extra channels in the mixer, you could always set up a
 stereo pair above the drums to restore the lost treble to taste.

   My band (three piece, drums, bass/vocals/synth, guitar) does this.
 We have a stereo pair set up above the kit, dynamics in the kick and
 on the snare, and the guitars go direct (from my Gallien-Krueger
 pre-amp and from the guitarist's Roland GP8), and everyone wears
 headphones. We can always hear each other with no difficulty - and
 we can record our rehearsals with _some_ clarity and find out later
 why we still sound like shit. ;-)

--
Atro Tossavainen			E-mail: atossava@cc.helsinki.fi
@ University of Helsinki, Finland	Snail:	1 D 18 Sarvastonkaari
majoring in English...				SF-00840 Helsinki, Finland
at least for the time being		Voice:	+358 0 698 5043
"One can only love like a fool" - (c) Tero Valkonen
Newsgroups: rec.music.makers,misc.wanted
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: Where to get sound deading material CHEAP/FREE!
Organization: The Communications Research Centre
Date: Tue, 12 Jan 93 01:38:03 GMT

In article <1isokbINNrj4@gvgspd.gvg.tek.com> mrk@gvgspd.gvg.tek.com (Michael R. Kesti) writes:
>In article <2935603532.0.p00258@psilink.com>
>                              p00258@psilink.com (A.J. Janschewitz) writes:
>
>>I have treated radio sound booths with the cardboard egg crate liners, 
>>and they work well.
>
>They may work well, but don't let your fire marsahll see it.  They turn an
>otherwise fire-safe room into a death trap, and any fire marshall would
>likely close down any operation that uses them within minutes of seeing them.
>

Furthermore, their effect is strictly in higher frequencies (say,
speech range and up).  And so, subjectively, they sound like they are
doing a lot more than they are.  So, if the problem you are trying to
solve is air-borne lower frequencies, you are out of luck.
-- 
-----------------------------------------------------------------
Ted Grusec - Communications Research Centre, Ottawa, Ont., Canada
Newsgroups: rec.music.makers
From: jtblair@silver.ucs.indiana.edu (John Blair)
Subject: Re: Re-fret vintage Fender?
Organization: Indiana University
Date: Fri, 8 Jan 1993 16:55:30 GMT

As I understand it, a good refret does not reduce the value of a guitar,
even a vintage guitar.  You do want to be able to play a guitar, after 
all.  When in doubt, on vintage repair and value questions, I would call
up the Mandolin Brothers.  They are very friendly and knowledgable.  (They
didn't wince once when I played $30,000 guitars in their shop for three
hours a few weeks ago.  Their number is 718-981-3226 or 8585.
From: andyb@andyb.mentorg.com (Andy Bishop)
Subject: Marshall JCM 900 FOR SALE
Date: Mon, 11 Jan 1993 19:00:20 GMT
Organization: mentor
Keywords: 
Followup-To: 

FOR SALE:

Marshall JCM 900 Dual Reverb 50Watt 2x12 Combo

The two 12" speakers are 25Watt "greenbacks" Celestions

This amp is in excellent condition; no scratches, recently
re-tubed (12ax7s and El34s).  Low hours at low volumes never
outside my apartment.  Reason for selling: looking to buy older
vintage amp.  IMHO this amp is better than its new counterpart.

I have $1250 in this amp with the greenbacks.

Your cost: $850 obo, plus shipping.
-- 
Andy Bishop                                | Mentor Graphics Corporation
andyb@MENTORG.COM                          | Framework Products Division
 ...{sequent, apollo, uunet}!mntgfx!andyb  | 503/685-7000 x3684 
                                           | 503/685-1599 FAX
Newsgroups: rec.music.makers,rec.music.makers.synth
From: ljnelson@unix.amherst.edu (LAiRD j. NeLSoN)
Subject: Re: Concrete questions on music reading
Followup-To: rec.music.makers,rec.music.makers.synth
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL7]
Date: Mon, 11 Jan 1993 15:16:53 GMT

kevin patrick kretsch (kkretsch@unix1.tcd.ie) wrote:
>       What I want to know is this; Can the average Joe Soap
> realistically expect to be able to teach him/herself to read music at
> an appreciably good level?    
> i.e. Should I try myself again or would it be quicker, easier and waste
> less time if I go to a teacher?

Tough to answer.  One thing I haven't seen anybody mention (at least in the
*.synth groups) is the use of flash cards.  Sounds stupid, yes, but if you
can talk yourself into believing that it's not a childish activity, then
running through a deck of miscellaneous flash cards with notes on them and
picking them out at the keyboard (on the guitar, whatever) is one of the 
fastest ways to get your sightreading out of the gutter.

As a side note, I've been reading music for 17 years, but just comparatively
recently, i.e. in the last 5 years, I've used the flashcard method to learn
all my II-V-I and II 1/2dim-Vb9-Im progressions in every key.

LAiRD

--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |


--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |


--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |
Xref: sparky rec.music.makers:11832 rec.music.makers.guitar:1247 alt.guitar:11262 rec.music.makers.synth:1201
From: srfergu@rufus.erenj.com (Scott Ferguson)
Newsgroups: rec.music.makers,rec.music.synth,rec.music.makers.synth
Subject: Re: Resistance Summing/Mixer Circuit
Date: 4 Jan 93 14:43:41 GMT
Organization: Exxon Research & Engineering Co.

In article <9301022307.AA12846@floyd.cca.cr.rockwell.com>, barothwe@floyd.cca.cr.rockwell.com writes:
|> 
|> I am interested in building a SIMPLE resistance summing or mixer circuit.


                      100K (or a pot)
            1 -------/\/\/\/---------|
                                     |
                      100K (or a pot)|
            2 -------/\/\/\/---------|
                                     |
                      100K (or a pot)|
            3 -------/\/\/\/---------|        100K
                                     |-------/\/\/\/------o Output
                      100K (or a pot)|
            4 -------/\/\/\/---------|
                                     |
                        .            |
                        .            |
                        .            |
                        .            |
                                     |
                      100K (or a pot)|
            n -------/\/\/\/---------|

Connect hot lines (middle point on the 1/4" plug) to the numbered inputs,
and connect all the grounds on inputs and on the output together.

is 100K too much resistance, anyone?

-- 
----------------------------------------------------------------------
Scott Ferguson                        Exxon Research & Engineering Co.
Project Engineer                      New Jersey
----------------------------------------------------------------------
"Always bark at a dog."
Newsgroups: rec.music.makers
From: srfergu@rufus.erenj.com (Scott Ferguson)
Subject: Re: Looking for a band
Organization: Exxon Research & Engineering Co.
Date: Thu, 7 Jan 1993 17:40:36 GMT

In article <1ihm5hINNijl@uwm.edu>, wozniak@csd4.csd.uwm.edu (Kevin Thomas Wozniak) writes:
|> Well,
|> 
|>  	It's been about a month since my group disbanded, and now it's time for myself to move on and find another band.  I am a singer/songwriter with limited guitar abilities.  If you have the band (or are looking to form one), I have your vocals and lyrics. |>  
|> 
|> Kevin Woz
|> 

Well, Milwaukee is closer to New Jersey than the South Bay Area, maybe we can
work something out. Wanna practice in Ohio?

-- 
----------------------------------------------------------------------
Scott Ferguson                        Exxon Research & Engineering Co.
Project Engineer                      New Jersey
----------------------------------------------------------------------
"Always bark at a dog."
Xref: sparky rec.music.makers:11793 rec.music.makers.guitar:1213 alt.guitar:11227 rec.music.synth:19859 rec.music.makers.synth:1139
Newsgroups: rec.music.makers

Hey there...

I normally hang around alt.guitar.tab or rec.music.makers.guitar.tablature 
these days, but I thought I'd post here again once.  

I really want to either join an existing band or be part of one forming.  I
play "fingerstyle" guitar, acoustic or plugged, and I live in the bay area.
Specifically in Benicia, but I work in San Jose, so I'm all over the place
here.  I am influenced by nearly everyone between Eric Clapton to Joni
Mitchell, or from James Taylor to Tuck Andress. (Not that I can play like
those guys, but I am influenced by them anyway.)  I listen to everyone between
Ralph Towner to Nanci Griffith to Mel Torme'.  Yes, my tastes in music are
somewhat diverse, so I could fit into just about any mold.  I'm a pretty good
back-up singer, and I can put on a harmony.  (This is weird!)

Okay, so that's it.  Gimme a yell if you want to jam a bit to see if we could
get something going, hmmmm?  I never, ever, discount my options.

(P.S. Hey, Michael Kesti, are you still out there?  I've got my "Spring Jam"
comming up in May this year.  And Benicia is an hour closer than Fremont")


________________________________________________________________
  ___              Phil Bearce at HP San Jose - Components
 (/__) /_   .  /)  internet: phil@hpmsfpb.sj.hp.com
 /    /  )_(__(_ -     "Look out for that root."  -James Taylor
________________________________________________________________
Via: uk.ac.leeds.scs; Thu, 7 Jan 1993 18:21:28 +0000
Distribution: world
X-News-Gateway: NewsGateway@phaze.UUCP (NewsGateway 1.0 by Pierre Rioux)
Date: Thu, 7 Jan 93 18:22:43 GMT
Newsgroups: rec.music.makers
Organization: The University of Leeds, School of Computer Studies
From: ross-c@scs.leeds.ac.uk
To: usenet@phaze.cam.org
Cc: 
Subject: Re: What's a "vocal mike"? (Re: FOR SALE:NEW mics)

In article <1ieqotINN2eh@faatcrl.Faa.Gov> you write:
>I always though that 57s and 58s were basically the same mics, the only
>difference being the built in wind screen on the 58, a feature useful
>for vocalists but needless for many instrumental applications.
>
>-  Frank Coffman	frankc@tgf.tc.faa.gov                      -

When I tried them both out through the same amp they didn't sound the 
same to me. To my ears the 57 was better for my purpose, and I actually
like the directionality.

Cheers,

Ross-c
Newsgroups: rec.music.makers
From: rfries@sceng.ub.com (Robert Fries)
Subject: Re: Flatiron problems?
Organization: Ungermann Bass
Date: Thu, 7 Jan 1993 15:53:43 GMT

In article <1993Jan6.225226.13579@newsgate.sps.mot.com> birkelan@atelm.sps.mot.com (Joel Birkeland) writes:


>Does anyone know what happened to the Flatiron factory in Montana?
>Starting about a year ago, their products seem to have gotten
>hard to find.

>Joel Birkeland
>birkelan@cs1.sps.mot.com

Well, they're busy making Gibsons now. The recent Gibson acoustic
guitars, in various models, are made by Flatiron. Gibson acoustics
are once again worth playing.

As for their other products, I've seen new Flatiron mandolins in stores
in this area (SF Bay Area) recently.

Robert

//////////////////////////////////////////////////////////////////////////
Robert Fries
Ungermann-Bass Inc.

DISCLAIMER:
    Opinions contained herein are my own, and are not necessarily those
    of Ungermann-Bass.
//////////////////////////////////////////////////////////////////////////
Xref: sparky rec.music.makers:11707 rec.music.synth:19755 rec.music.makers.percussion:387
From: barothwe@floyd.cca.cr.rockwell.com
Newsgroups: rec.music.makers,rec.music.synth,rec.music.makers.percussion
Subject: The Oberheim Drummer... anybody use one?
Date: 4 Jan 93 19:55:44 GMT
X-Received: by usenet.pa.dec.com; id AA17497; Mon, 4 Jan 93 11:56:14 -0800
X-Received: by inet-gw-2.pa.dec.com; id AA14042; Mon, 4 Jan 93 11:56:11 -0800
X-Received: by floyd.cca.cr.rockwell.com (5.57/Ultrix3.0-C)
	id AA14357; Mon, 4 Jan 93 13:55:46 -0600
X-To: rec.music.makers.usenet, rec.music.synth.usenet,
        rec.music.makers.percussion.usenet
X-Mts: smtp


I have recently acquired an Oberheim Drummer and am interested
in finding out if there are any sources on how to use it to
it's full potential... books, articles, user tips.

Plus, it'd be nice to communicate to someone else who uses it!

FYI... I'm using it with an Alesis D4... really neat, eh?!

Any suggestions?

Please email me.

Thanks.


===============================================================================
  Bruce Rothwell                            \ /~~~~~~\     Opinions expressed
  barothwe@floyd.cca.cr.rockwell.com         X        )    are mine, but they
  Rockwell Int'l - CCA                      / \______/     might be shared by 
  Cedar Rapids, IA 	                                        multitudes !!
===============================================================================
Newsgroups: rec.music.makers