Conference napalm::guitar

re: .0

>    Here is a note for ratholing about the GUITARnotes VI tape.
    
OK, I'll start...

*Hey*, I still haven't received my GN-V!!!! :-) :-) :-)

    Re: .1
    
    Anyone still looking for a copy of GN-V can contact me if a second
    generation dub is OK.
    
    						  Brian

    
    	Hey, can I submit a 15-minute blues jam? :-)
    
    

    I knew we shoulda taped that night at Stormy Monday.....dam!
    
    dawg

    I can see it now...
    
    Side A -- Da Blooz   	Side B -- Progressive $#!+
    
    Dawg			Buck
    Fred Abatelli		db
    Brian Rost			Edd Cote
    
    ;')

    re: -1
    
    Well,
    
    sounds cool!  Fred, Brian, when can we start taping?
    
    dawg

    Re: .5
    
    No way I would be on the blooz side, I would definitely make the prog
    $#^% side because I can play that stuff OK, I need more chops if I
    wanna play blooz    8^)  8^)
    
    Actually I was thinking about that tape I made of poetry recitations
    backed by multi-tracked guitar feedback...
    
    						     Squeal Jung

>    Actually I was thinking about that tape I made of poetry recitations
>    backed by multi-tracked guitar feedback...
    
    No WAY!?!  That's what *I* was gonna submit!
    

    I have a one note guitar solo for the blues side that'll blow you guys
    away!
    
    ;-)

    Yo Buckster, what about those of use that don't like either?
    
    gh

    okay 
    	this time I'm in, I have some stuff laying around from our last 
    demo, I'll send it to you Brian, with  spare tapes so I can get copies
    of GN IV and V ( I only have the first 3).
    	What sort of reference tone do you want, I will master my stuff
    to 3db as per usaull, is that ok?
    P.K.

How does one go about putting a test tone on a tape?  Do you
have to buy an "official" test tone generator?  How about a tone
from a guitar tuner?

    re: -1
    
    I dunno the answer, but i assume that i would just play a note at the
    level i'm gonna record; maybe strike it 2 or 3 times?
    
    Brian?

    You probably don't need to buy any devices to generate a test tone.
    
    To put a test tone on the tape just find something that can produce
    an audio signal with a constant (unchanging) volume.
    
    Record the test tone such that your recording level needles stay at
    zero.  Like a keyboard playing one note with an organ sound.
    
    The idea behind the test tone is so that Brian can precisely match
    the recording level of the copy he's making.  

    Re: last few
    
    What db said.  Possible sources:
    
    1. tuner output
    
    2. synthesizer or organ playing a sustained note
    
    3. test tone generator (you guys all have a full reapir shop in your
    basements, right?)
    
    Twanging a few notes on a guitar is pretty useless.  The tone isn't
    mandatory, guys!  If you can put one on, fine, if not, that's fine,
    too.
    
    						Brian

    So...we record a 0vu test tone on the tape then slam our music at +6,
    right? 
    
    gh

    
    
    
    
    
                   just like a K-Tel commercial, right?
    
    
    
    

    Re: .17
    
    I really don't care where you put the levels!  If the levels are
    particularly hot and distort on everybody's copy, then the whole world
    will know you can't read a VU meter  8^)
    
    							Brian

    RE: "twanging a few notes on the guitar is pretty useless"
    
    Heard me play ,eh?
    
    RE: then the whole world will know you can't read a VU meter
    
    a what?
    
    8) 

    It may not be much of a quality representation, but it could be fun for
    posterity's sake; why don't we record and submit our next session at
    Stormy Monday's?  Why not?  Anybody have suggestions for possible
    recording equipment?  A cheesy boom box would do it, but something
    "nicer" might be better!
    
    dawg

    I think you guys should definitely record it, and submit at least a
    couple of songs for the compilation!
    
    Greg

    Hang on, lemmee ring up Chris Jagger and arrange for the Rolling
    Stones Mobile to head over to Merrimack...
    
    							Sodhead

    That means we GOTTA do "Smoke On the Water"
    
    /dunt-da-da dunt-da-dada

>    /dunt-da-da dunt-da-dada
    
    Hey Butthead, that was cool!  Heh heh...heh.

    
    	Well, I'm willing to provide my ADAT (don't really have enuff
    mikes, though), but it seems kinda like a logistical nightmare to
    try and set up recording there. I mean, it's not like it's "our gig"
    or anything. Even just tossing up a few mikes would be a little tough
    cause the place is so small, there's other people playing, and the
    audience is sitting right there waiting...
    
    	If we could find a way to meet some place else, before or after
    the jam, I'd be willing to go for that...
    
    	Brad
    

Bring a RatShack PZM mic or two and tape 'em to the wall.

    Yeah, I think the best thing to do for this would be to hang a pair
    of condenser mikes in the room somewhere and go direct to stereo (2
    tracks on the ADAT would be fine, even a cassette deck would be fine).
    
    Greg

    Yeah, or fox simplicities sake, anyone have a portable DAT?
    
    Of course, a Studer 32track digital workstation, an SSL console, anna
    bunch of racks of tube compressors, gates, lexicon, eventide, TC...
    
    You get the picture right?
    ;-)

re: .28

>    Yeah, I think the best thing to do for this would be to hang a pair
>    of condenser mikes in the room somewhere and go direct to stereo (2
>    tracks on the ADAT would be fine, even a cassette deck would be fine).
    
Just don't forget that you'll need mic preamps.  If you know someone
with one of those cute little Mackie 1202 mixers, it would work very
nicely.

-Hal

    It might be more entertaining to put a recorder on the tables where
    everyone's sitting and record the banter, with the jamming in the
    background.  Especially if Steve brings his family album.  %^)
    
    Dave

    >>I mean, it's not like it's "our gig" or anything.
    
    
    yes it is.....
    
    8)

    re: Coop

>    Of course, a Studer 32track digital workstation, an SSL console, anna
>    bunch of racks of tube compressors, gates, lexicon, eventide, TC...
    
    This is a GUITARnotes tape, dude.  Adding *ANYTHING* to the sound is
    *strictly* prohibited!
    
    re: Hal
    
>>    Yeah, I think the best thing to do for this would be to hang a pair
>>    of condenser mikes in the room somewhere and go direct to stereo (2
>>    tracks on the ADAT would be fine, even a cassette deck would be fine).
>    
>Just don't forget that you'll need mic preamps.  
    
    ...of course.
    
>    If you know someone
>with one of those cute little Mackie 1202 mixers, it would work very
>nicely.
    
    I don't know anyone with one, but *you* probably do, since you just
    sold one not long ago, right?  Did a fellow noter buy your 1202?
                   
    Greg

re: .33

>>    If you know someone
>>with one of those cute little Mackie 1202 mixers, it would work very
>>nicely.
>    
>    I don't know anyone with one, but *you* probably do, since you just
>    sold one not long ago, right?  Did a fellow noter buy your 1202?
                   
Greg:

Yes, Rodney Mashia bought it, but he lives in New Hampshire, so I'm
not sure he's within striking distance of the infamous "dawg jam".

-Hal

    Good news, Hal - the next "infamous dawg jam" will be in New Hampshire!
    
    Dave

    C'mon up Hal; I mean you and I only work about, what, 25 minutes apart,
    and it might as well be 500!  There's some neat irony in us both travelling
    to NH to meet each other....
    
    "dawg jam"...I like it!

re: .36

>    C'mon up Hal; I mean you and I only work about, what, 25 minutes apart,
>    and it might as well be 500!  There's some neat irony in us both travelling
>    to NH to meet each other....
    
Actually, when I'm in the office we're only about 5 minutes apart (my
office is in COP).  I work at home in Baltimore as much as I can get
away with.

Hey, is there any other silent Baltimore/Washington guitar noters
lurking out there?  Maybe we could arrange a get-together?

Steve, if any of your many jams are ever on the Baltimore side of DC let
me know.  I'd love to hear you play.

-Hal

>Actually, when I'm in the office we're only about 5 minutes apart (my
>office is in COP).  I work at home in Baltimore as much as I can get
>away with.
    
    Jeez!, let's do lunch one day!

>Hey, is there any other silent Baltimore/Washington guitar noters
>lurking out there?  Maybe we could arrange a get-together?

    anyone?
    
>Steve, if any of your many jams are ever on the Baltimore side of DC let
>me know.  I'd love to hear you play.
    
    don't you mean, you'd love to get together and play?  I know of NO
    blues jams in the Baltimore/DC area, but it's because I don't look for
    them, as I live 60 miles south of Landover in King George, VA.  If you
    ever hear of one, lemme know.  Might check the local papers; in two
    cities the size of Balt/DC, you'd think there'd be a jam!
    
    dawg
    

re: .38

>    don't you mean, you'd love to get together and play?  

That depends...I haven't heard you play, yet!  I'm afraid I'll be
terribly embarrassed! (1/2 :-)

-Hal

    >That depends...I haven't heard you play, yet!  I'm afraid I'll be
    >terribly embarrassed! (1/2 :-)

>  I'd love to hear you play.
    
    Don't get your hopes up, Hal.  He plays blues, and they suck, dontcha
    know?  %^)
    
    Dave

    > I know of NO blues jams in the Baltimore/DC area, 
    
    Y'know, I've always appreciated the advanced cultural aspects of
    the DC area.
    
    ;-)

    Well, Brian DID say it was a rathole!
    
    BTW, my plans for volume VI submission are instrumental covers of a
    couple of my fav tunes.  My blooz (boring and repetitive) song is gonna
    be none other than "key to the hiway" (what a shock, eh?) and I'm planning 
    to cover Jeff Healey's "That's What They Say"; it's kind of a 
    country/rock/ballad from "See the Light" album....one of my fav JH tunes.
    My brother in law has agreed to make me a backing tape of bass, kybds and 
    drums for each tune that I will add my guitar to.  We'll see what
    happens....maybe I won't get pissed off and act like a brat, withdrawing
    my submittal this time.
    
    Dawg 

    I just recieved my first backing tape.  I'm gonna try and do the
    recording over the holidays.  Grad school is a crunch right now;
    2 classes:== 2 term papers, 2 presentations, 2 FINALS!
    
    joe college

    Recording blues........
    
    I tried to put something on tape this weekend that i would be willing
    to let others listen to and I just can't get it.  I have discovered
    that while I love to play blues stuff live at jams, when I try to
    record something that comes close to having any dynamics at all, I
    fail.  Blues *is* boring and repetitive when I try to use a backing
    tape and just jam lead lix over it.....sheesh!  I'm going back to the
    drawing board.......
    
    I need a 4 track!  I'm gonna try and use my Technics tape deck.  It's
    got left and right recording channels with respective level
    controls.....
    
    
    I'm bummed, everything sounds like sh*t!
    
    dawg

re: .45

>    I need a 4 track!  I'm gonna try and use my Technics tape deck.  It's
>    got left and right recording channels with respective level
>    controls.....
    
What happened to the four-track you had a few weeks ago.   Did you have
to give it back?

-Hal

    >What happened to the four-track you had a few weeks ago.   Did you have
    >to give it back?
    
    Once I figured out how to use it (basically), I was smart enough to
    figure out it was broken!  I returned it......
    
    I just talked to my bro-in-law (bass/kybd player).  I think I'm gonna take
    all my stuff to his basement, and record my songs live with him on
    bass/kybds and my sister on drums.  He said he would be willing to 
    split the cost of a 4 track with me in the near future.... 
    
    
    dawg

    See note 2.2728 (I think that's the one - Tom Benson).  If that 234 is
    still for sale and you have a decent mixer, you'll have a real nice
    4-track set up.  I have the 8-track version (238), and I love it.
    In fact, I thought about getting this myself, but I'm afraid I'd have
    to do that trick you guys are always talking about (sneaking it into
    the house :-)
    
    Justine

re: .48

Justine's right, the 234's a really nice machine.  I'll probably be
selling mine soon since I've gone 8-track.  A friend of mine gets
first crack at it, though.

-Hal

    Hey Justine...
    
    Dump that 328 piece of garbage and get an Alesis ADAT!!  ;')
    
    smooches...
    Bucky

    What a guy!
    
    But, if you're getting, I think I'd rather have the Tascam DA-88 then
    the Alesis ADAT.
    
    Greggy

    My partner in this deal is leaning towards Tascam, but we're gonna shop
    used stuff, too.  We'd like to get something simple, but effective and
    turn-key.  I don't want to have to buy a host of accessories (mixer) to
    use it.  We would like to have punch in/out and headphone features.
    
    dawg

    Man, I'd check out the new offering from Fostex - they have a new
    four-track porta-studio which looks like the CATS MEOW with Dolby S 
    and all that jive.  Scope it!
    jc

    
    A friend of mine has produced to excellent cassette albums using a 
    Tascam 424 (4-track cassette with decent built-in mixer. )  He has had
    to do multiple bounces on tracks since he's pretty much a 1-mand band
    and doesn't use a sequencer, and still the sound quality of the
    finished product (final mix done in a studio) is quite good.
    
    These decks seem to hold their value in the used market pretty well,
    and new they go for aroudn 475-500.  For that you could buy Tom's 234
    and still get a Mackie 12-channel mixer!  By the way, I don't know Tom
    and I stand to gain nothing by hawking his wares :-)
    
    Justine

    I made a Vol VI submission last night at my sister's house.  Her
    husband sequenced the keyboards and then we all played along with that,
    him on bass, me on guitar, and sis on drums.  We taped it on my Technics
    cassette deck with a 'left' and 'right' mics hanging from the ceiling. 
    Crude, but it's all we had.  We made 4 takes and agreed that we were
    not satisfied with any of them....but one of 'em is going to Brian
    tommorrow.....
    
    We need a 4 track.......sigh

    
    	A few months back, Guitar Player magazine had "Songwriting" issue
    (with an old photo of Hendrix on the cover). One of the articles in it
    was a 4-track shootout where they reviewed and rated a bunch of them.
    I can't remember which one came out on top, but if you're interested
    I can check on it and post it later. 
    
    	I think most people have been very happy with the Guitar Player
    "shootouts". They review thoroughly, rate accurately, and they're
    not afraid to call an item a piece of junk if it stinks-- even if 
    the manufacturer is one of their advertizers.
    
    Brad
    

    RE: Several previous: Wow, my 234's becoming famous! And it's STILL
    AVAILABLE...
    Tom

    Here's the scoop on my SECOND submission to VOL 6.....
    
    Equipment:  American Std Strat, Dean Markley 35w combo, Ibanez TS10,
    Boss digital delay, Technics 2 channel cassette deck.
    
    Song: Outlaw's "There Goes Another Love Song"
    
    Method:  Played along with Outlaws Live CD (Hittin' The Road) and taped
    the whole mess on the Technics.  I adjusted the EQ so the Outlaws
    guitars were nearly inaudible, so 'most' of the rythmn and leads you
    here are moi......
    
    Bulldawg jams with the Outlaws......in the mail to Brian today!
    
    sd

>    "Tonya wacked Jimmy Hoffa" 
    
    BWAHAHAHA!

    
    	Do people really hear these tapes?  There's always this drive
    	to get things to tape and send 'em out but then the "review"
    	note just sits there.  Even submitters don't reply sometimes.
    
    	I've never put one together but what's the scoop on how many
    	go out to folks?  Do non-submitters hear them?
    
    	Tom
    

    Some non-submitters do enter reviews, but only if they get the friggin'
    thing in the first place.  %^(
    
    Dave

    Yes, non-submittors do hear them.  Based on the COMMUSIC Tapes, I'd say
    about 1/4 to 1/3 of the tapes go to non-submittors.  New tapes also
    generate orders for back volumes.  Most non-submittor copies go to
    read-only types.  I haven't kept track of the three COMMUSIC tapes I
    did, but I think the "best seller" might have been about 20 copies
    total.
    
    Ya gotta remember that people who don't read the notesfile have no idea
    the tapes exist.  Not that there's likely to be heightened demand if
    folks *did* know they existed, Whitney Houston it aint.
    
    I know *I* like the tapes because I get to hear your smokin' leads, Tom
    8^)
    
    I think the review thing petered out because of some near-flame-wars on
    past tapes.  COMMUSIC still gets reviews posted for the tapes done
    there.  Hey, if someone is gonna mail me $3.75 for a new volume, I
    guess they liked the last one enough to take a chance  8^)  8^)
    
    							Brian

    
    	Just to be clear, I have all of them and have enjoyed hearing
    	everyone - and we've come a long way, baby!  ;^)
    
    	I was just curious about the what/who/where which led to why.
    
    	Also, where's players like Fred A. (who I've heard many times)
    	and Danny Weber (who I'd love to hear).
    
    	Or even Stormin'...
    
    

    > Also, where's players like Fred A. 
    
    I've often suggested that Fred and I put something together for
    one of these tapes, but it hasn't happened yet.
    
    I'm tempted to submit the 1.5 minute version of "I Feel Lucky" we
    recorded for our db wilfred demo last night.
    
    Fred put some very cool licks and tone on that.
    
    	db

    re: Tom
    
    What difference does it make whether someone writes up a review or not? 
    I don't think I reviewed the last couple of tapes, but I enjoyed
    listening to them.   Formal reviews or not, it's been interesting
    (verbal, face to face) conversation material between several other
    noters and myself.
    
    I don't know how well the more recent ones have done, but I seem to
    remember sending out between 20-25 copies of Guitarnotes I when I put
    that one together.
    
    Greg

    
    	Greg - I guess I was kinda matching received tapes with reviewed
    	tapes, that's all.  There's this excitement of "the tape's out"
    	that just peters out...
    
    	Aren't you glad I asked?  ;^)
    

I dunno I never got a copy of the one Coop put together.

Back whenn the first Commusic tapes were put together there were folks who
felt abused by the reviews, and to be fair some of them were perhaps a bit
too cold. Since then I've always tried to find something nice to say or I
didn't review.

dbii

    If you guys have enjoyed past copies of the tapes, that's about to
    change.......this one will have ME on it!  
    
    >:*}

    Hi
    	I would like to get a copy of a couple of tapes as well as
    guitar notes 6 tape. I lost my guit note 3 tape 8^(.   (long story,)
    
    	Would anyone be able to dupe 3,4,5,6 for me????PLeeeeeeeeeese!!!
    
    I now have an 8 track and I promise to send in a submission for guit
    notes 7..........
    
    	Dont worry about cost ...I will send you a money order in good
    old US dollars.
    
    
    P.K.
    
    Pretty please