YTSEJAM Digest 1394
Today's Topics:
1) Andrew Miller, e-mail me!
by "Dr. Teeth" <GLYDE@VAX1.Mankato.MSUS.EDU>
2) DT's New Producer
by Jeff Stewart <stewaj01@condor.stcloud.msus.edu>
3) Re: YTSEJAM digest 1392
by Dennis <dcrall@blue.weeg.uiowa.edu>
4) Portnoy's Beard
by borlangw <borlangw@dcs.gla.ac.uk>
5) Mail Item Format Warning
by "RESPONSE at IBMMAIL 04/01/96 - 23:44:16" <response@ibmmail.com>
6) Death Metal and LaBrie
by Charles D Harrison <cdh191@casbah.acns.nwu.edu>
7) Re: Gold Discs + Producers (YTSEJAM POST) (fwd)
by NUPRIN <nuprin@wichita.fn.net>
8) What Is A Musician?
by Steve Borzilleri <magellan@u.washington.edu>
9) producer?
by sw0101@aixrs1.hrz.uni-essen.de (Steffen Barabasch)
10) DREG Compilation Album
by Steve Lehrfeld <STEVE@kandu.com>
11) IRC Primer?
by Chris Oates <aspect@cats.ucsc.edu>
12) Yeah...but if you really want to make the giraffe happy...
by Ben Laussade <laussade@enet.net>
13) No DT content, but hilarious!!!!!!!
by All Credit Cards Welcome! <JCCROWDER@Harding.edu>
14) Myung's Trot
by Steve Borzilleri <magellan@u.washington.edu>
----------------------------------------------------------------------
Date: Mon, 01 Apr 1996 15:57:56 -0600 (CST)
From: "Dr. Teeth" <GLYDE@VAX1.Mankato.MSUS.EDU>
To: Ytsejam@ax.com
Subject: Andrew Miller, e-mail me!
Message-ID: <01I316VM0EQA002ERT@VAX1.Mankato.MSUS.EDU>
Sorry to have to put this on the jam, but it's the only way I can contact the
guy. Again, Andrew Miller of West Branch, IA, please e-mail me immediately!
It has to do with what exactly you want me to dub for you. (I dub a couple of
things for people and don't keep track of who gets what. Now I know why Mike
Bahr needs people to specify what exactly people want from him...)
DT content, DT content... um...
I always thought that when James sings "It's what decides if you'll endure the
pain that we all feel" in Learning to Live, especially the second time he sings
it, it sounds like he's got pigtails and he's skipping down a hill throwing
flower petals to the wind while his big pink dress billows around him. It's
just so incredibly feminine. Listen to it again and tell me this picture
doesn't come to mind...
Andrew Miller, Please e-mail me NOW!!!!! =)
.-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=.
| ______ "Hmmmmmmm..." ____ ______ - David Peterson - |
| /\_____\ /\ \ /\ /\___\ /\_____\ Glyde@Vax1.Mankato.msus.edu |
| / /___ / / \/ / / / /\ /_/__ -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=|
| / /\__/\ / / / / / / / / /\____\ "The most beautiful thing that |
| /_/___/ //_/___ / / /_/___/ / /_/____ this world has to offer is a |
| \_____\/ \_____\ \/ \_____\/ \______\ woman's smiling face" - Me |
`-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-='
------------------------------
Date: Mon, 1 Apr 1996 15:29:47 -0600 (CST)
From: Jeff Stewart <stewaj01@condor.stcloud.msus.edu>
To: Ytsejam Mailing List <ytsejam@ax.com>
Subject: DT's New Producer
Message-ID: <Pine.ULT.3.91.960401151833.29312A-100000@condor.stcloud.msus.edu>
This is in regards to the unofficial news of DT getting Peter Collins to
produce their next album. Maybe somebody can explain this to me, but
why doesn't DT work with Purdell and Baron again? No offense meant
towards Peter Collins by any means (I like his work) but Purdell and
Baron turned AWAKE into what IMHO is the BEST sounding rock/metal album I
have ever heard. Yes, it's true that the keys were a little low in the
mix and that has been debated before, but the drums (again IMHO) sounded
the best they possibly could. The highs were crisp and the bass drums
had a nice punch even though they weren't triggered. The snare was
pretty damn close to perfect too. That was exactly how I'd want my drums
to sound on a recording. I thought the other instruments (besides the
keys) sounded great too. Keep in mind, though, that I am a drummer. Anyone
have any comments? Feel free to e-mail me. Later!
_____________________________________________________________________________
Jeff Stewart (AKA Remo) |"Where would you rather be?
remo@dreamt.org | Anywhere, anywhere but here.
stewaj01@condor.stcloud.msus.edu | When will the time be right?
stewaj01@tigger.stcloud.msus.edu | Anytime but now..."
http://condor.stcloud.msus.edu/~stewaj01| --"Double Agent" by Rush
-----------------------------------------------------------------------------
------------------------------
Date: Mon, 1 Apr 1996 16:18:28 -0600 (CST)
From: Dennis <dcrall@blue.weeg.uiowa.edu>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 1392
Message-ID: <Pine.A32.3.91.960401161722.27484A@red.weeg.uiowa.edu>
how do i unsubscribe from this damn list? please help. i sent one correct
unsubscribe message that obviously didn't get through, but i deleted the
instructions so i can't try again.
------------------------------
Date: Mon, 1 Apr 1996 23:43:58 +0100
From: borlangw <borlangw@dcs.gla.ac.uk>
To: ytsejam@ax.com
Subject: Portnoy's Beard
Message-ID: <9604012243.AA13658@bird.dcs.gla.ac.uk>
Brian wrote:
> I was just gonna say that. Page 56. Portnoy shaved his beard. I think he
> shoulda left it. I always thought he looked kinda stupid without it. He looks
> like a tough guy with his beard.
JP and MP share a beard. Whenever Mike gets fed up with it, he lends it
to John. I've noticed that whenever I see JP sporting a fresh beard, MP's
has suddenly disappeared.
Graham B.
____________________________________________________________________________
| |
| Graham Borland, borlangw@dcs.gla.ac.uk, http://www.dcs.gla.ac.uk/~borlangw |::
|____________________________________________________________________________|::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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Middle of YTSEJAM Digest 1394
*****************************
------------------------------
Date: Mon, 01 Apr 1996 17:42:59 EST
From: "RESPONSE at IBMMAIL 04/01/96 - 23:44:16" <response@ibmmail.com>
To: ytsejam@ax.com
Subject: Mail Item Format Warning
Message-ID: <199604012243.OAA09409@mindcrime.ax.com>
The mail item that you sent at 22:42:48 GMT on 01 Apr 1996 has been delivered.
However, it has been necessary to convert this item into a
format that is acceptable to the recipient, FITIPMOL at IBMMAIL.
Information beyond column 79 in the mail item will have been wrapped.
------------------------------
Date: Mon, 1 Apr 1996 16:55:21 -0500 (CDT)
From: Charles D Harrison <cdh191@casbah.acns.nwu.edu>
To: Dream Theater Listserve <ytsejam@ax.com>
Subject: Death Metal and LaBrie
Message-ID: <Pine.3.89.9604011621.A19545-0100000@casbah.acns.nwu.edu>
I am curious to know how many ytsejammers are into Death Metal. IMHO,
the concept is the same as with progressive, a music that is complex and not
followed by the masses, with many dedicated listeners. Is it a
coicidence that DT jammed with Barney Greenway of Napalm Death? Just
curious. Also, it has been established that LaBrie's highest note in
Awake is in "Innocence Faded." ("Not intending to end") But does he hit
any higher notes in the previous albums? I only own Awake and ACOS so
that is why I ask. IMHO, he hits the note in IF with ease, and my
girlfriend who studies voice, says that he doesn't even get into his
falsetto, meaning that the note is still his SPEAKING voice. That made
me really curious as to how he would sound if he went into his head tones!
Any comments?
Charlie
(the Ytse-Rook)
P.S. I'm working on getting more DT albums.
------------------------------
Date: Mon, 1 Apr 1996 16:57:17 -0600 (CST)
From: NUPRIN <nuprin@wichita.fn.net>
To: ytsejam@ax.com
Subject: Re: Gold Discs + Producers (YTSEJAM POST) (fwd)
Message-ID: <Pine.BSI.3.91.960401165649.17743A-100000@wichita.fn.net>
---------- Forwarded message ----------
Date: Mon, 1 Apr 1996 14:04:59 -0500 (EST)
From: Andy <ytsejam@UDel.Edu>
To: "John T. Nguyen" <nuprin@fn.net>
Subject: Re: Gold Discs + Producers (YTSEJAM POST)
First a comment on the gold discs. The two main purposes of the discs
are one, to remaster the material, and two, that a gold playing surface
is a much better surface than a regular disc and hence you get a cleaner
sound.
Second as far as producers go. As much as I would love Trevor Horn
produce the album, I am afraid he would lean to the more poppy side. One
name comes to mind, SEAL. Not that I don't like Seal but, there is a
definate difference in the music. I think Peter Collins will put a neat
twist on the music. So unless Trevor will bring us those shades of
DRAMA, let's go with Peter.
Thanks.. and I'll see you on IRC!
--andy
Andrew Miller "My right hand immediately starts to tense up
ytsejam@Udel.Edu when I approach that inside of the strings
technique... Some guys have this taken care of,
but, ah, we'll have to shoot 'em all, but anyway."
-John Petrucci "Rock Discipline"
------------------------------
Date: Mon, 1 Apr 1996 14:55:47 -0800 (PST)
From: Steve Borzilleri <magellan@u.washington.edu>
To: Dream Thespians <ytsejam@ax.com>
Subject: What Is A Musician?
Message-ID: <Pine.A32.3.92a.960401145536.95822G-100000@homer20.u.washington.edu>
Requirements for a real musician, by Steve Borzilleri.
1. Create sound waves with an object (as designated by the laws of
language and naming) called an "instrument." This includes striking a
kazoo against a large gong, which makes sound via the use of instruments.
However, since oak doors are rarely referred to as instruments, tapping
out a rhythm on a door is merely "playing music," not "playing an
instrument."
2. Shit, you got me. More rules equals more mess. I'd quote the Art
Manual, but unfortunately there is no Art Manual.
---- > From: SEEGED73@VAXA.CIS.UWOSH.EDU > Subject: What is a musician? > > Benny-Ben Laussade dares to ask "what is music?" but I would like to > modify the question and as "what is a musician?" Many of you will > probably not like what I have to say.Of course not. In your world, I'm not a musician, even though (like those Aliens who have no verbal or written languages) you have not specified a term for one who just plays music. Usually those people are simply "musicians," but how can they be since they don't fit into your "rules?"
> Requirements for a real musician, by Deborah J. Seeger
I see Deborah somehow acquired the Art Manual, possibly the only book ever banned before it was even written.
> 1. HAVE THE DRIVE.
Agreed.
> First and foremost, a musician must have to desire to make noise out of > an instrument, or many instruments. Then he/she must learn the > technique for the desired instrument(s.) ^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Aha. So I'd better throw away this here pick, since the first strung instruments were played with the bare fingers. Damn the innovations of humans. Damn their creativity and open-mindedness at thinking up new techniques. Someone tell Stanley Jordan and Eddie Van Halen they're a bunch of ding-dongs who need to learn the techniques for their guitars before they can call themselves musicians.
What? It's okay to expand ideas and think up new techniques? Oh, then nevermind...
> 2. LEARN THE LANGUAGE. This includes knowing what all the dots, lines, > and other symbols, as well as the jargon, stand for. I know I'll start > to piss a whole lot of you off right now. So what. Learn to read them > and write them on paper (the Encore notation program will do as well!)
I guess illiterate Italians aren't Italians after all. Woe is me.
> 3. KNOW WHAT THE COMBINATIONS OF THE AFOREMENTIONED DOTS, LINES, AND > SYMBOLS MEAN IN CONTEXT. Some say that theory doesn't make music fun > anymore. I beg to differ. A muscican should know what certain sounds > are and why they are used. Analyzing music gives a musician more > thorough understanding of the notes on a page. One should understand in > order to create.
You have achieved a strong disagreement within me. One should know absolutely nothing in order to create. It's good to start with understanding, but the key in creating is to remove "understanding" and simply Become.
I'm not saying theory has no place or "makes music un-fun," of course it's good to know to get a running start on how to "play music." But if I were to write music, or solo during a live performance, the LAST thing I'd do is check myself to see how much of Obi Wan's training I remember. Creation isn't about keeping one eye on your fretboard and the other on a textboook. Hell, turn off your mind altogether if the only way you can create is by referring to a manual.
> 4. HAVE THE EAR. Having a "good ear" means different things to each > person. Obviously if you're tone deaf, music isn't the hobby or career > for you. Know how to interpret notes on a page and don't be afraid to > deviate from them.
Agreed.
> 5. BE FAMILIAR WITH MANY GENRES OF MUSIC. An open mind is essential > for a musician. One limits him/herself by only listening to or playing > one style of music. Take aspects of a number of styles when creating > your own.
What if I'm playing the bagpipes in a parade through Scotland? Several styles of music are ABOUT adhering to tradition. Of course progressive isn't like this, but there are many styles which are about nothing but continuing a particular sound with no augmentation.
Otherwise, I agree with #5. In fact, I'm not only a listener to many genres of music, but I'm also a player.
> 6. TAKE INITIATIVE TO CREATE. Being a musician means much more than > performing. Applying your abilities to compositions can only sharpen > your skills.
Thus, if you have not yet learned music theory, which according to Debbie is the only way to create ("understanding"), you are not a musician. True, it sharpens your skills, but I am suddenly saddened by the sudden truth that Eric Clapton is not a musician. Maybe if I taught him music theory he could be placed up there with the likes of Michael Angelo and Tony MacAlpine, world-reknowned musicians for their knowledge of theory. Then I'll teach Stephen King how to write properly. Then I'll show Andre Agassi all the flaws in the basics of his tennis game, geez he really does slack off...
> 7. LEARN MANY INSTRUMENTS (IF POSSIBLE.) Having working knowledge of > several instruments is an asset to composition as well as adds variety > to your musical life.
Agreed. Guitar and piano are in my opinion the ultimate balance. The majority of piano music (I guess the piano was invented by a right-hander) has heavy dexterity in the right hand with strong, sometimes painfully- stretched or timed chords with the left. Guitar, on the other hand, involves dexterity almost exclusively in the left hand(unless yer a finga-picka), with strong, sometimes physically exhausting picking techniques with the right.
Such well-roundedness not only matures a young, immature musician, but also builds character and adds wonderful highlights to one's hair.
> 8. KNOWLEDGE, KNOWLEDGE, KNOWLEDGE! Learn about music. Learn about > composers/songwriters, history (anyone calling themselves a musician > should be able to name the major eras of Western Art Music,) copyright > and licensing information, etc.
Heyheyhey, you play music you don't have to know The History Of Sound On The Planet Earth. Give me a break, I'm sure I could mention some guitarists that the drummers on this list have never heard of.
> If you make noise from an instrument but can't apply most or all of > these points to yourself, you are not a musician but merely play a > musical instrument.
Ahem, I have a new word to add to English. It's called "Ufabiav" (pronounced yoo-FAH-bee-ahv). It means "one who does not fit into Debbie's categories but still kicks ass like a crackhead raping a bull."
> I know I view music from a scholarly standpoint (I have a $16,000 > tuition bill accumulated over the past four years that says I can.)
I know I view music from a playing standpoint (I have an ability to play "The Audience Is Listening" with my eyes closed that says I can.)
> Call me a college snob if you must, but if I hadn't come to school for > music I wouldn't be a true musician. Some of you may be able to relate > to that.
Yes, we poor people who don't have the money to attend a college of music just aren't true musicians. Of course we can relate to that.
> If you can't and you don't like my standards for musicians, so be it. > You have your opnion, I have mine. Now will this spark some more > stimulating conversation than goddamn drum talk?
What? "Goddamn drum talk?" Debbie, you should learn to appreciate other instruments. It's what makes you a true musician. Learn to play the drums, it will only sharpen your skills. Can't we all just get along?
If time-travel becomes possible anytime soon, don't go back in time, Deb. You'll be surrounded by oral cultures with no written language. And some of them will be holding objects that make sound. They might not be called "instruments," and of course since there won't be any "theory" or even "writing" at the time, those people won't be called "musicians," since they need to know the language and possess mountains of intelligence.
But when you meet them face to face and get the urge to scream at them for their un-true musicianship since all they know how to do is play music and remember songs (those oral cultures, what a joke), hold yer tongue or you might get reamed with a (insert name of instru--er, sound-producing object here).
"And how do you know this to be true?" --skeptic
"Because I have learned English." --Ludwig Wittgenstein
Bafu Vai
------------------------------
Date: Tue, 2 Apr 1996 01:03:49 +0200 (MESZ) From: sw0101@aixrs1.hrz.uni-essen.de (Steffen Barabasch) To: ytsejam@ax.com (Ytsejam - the Dream Theater mailing list) Subject: producer? Message-ID: <9604012303.AA56270@aixrs1.hrz.uni-essen.de>
Hi!
Don't be so fast spreading rumors about who will be the producer of the next DT album! As far as I know the band itself does not know anything definitely.
The only work of Peter Collins I remember right now are the Queensryche- albums he produced, and I can't think of a Empire-style production for a Dream Theater album. It lacks the heaviness that DT need.
Wessel, if you indeed caught some hot news, then forget what I wrote. Anyway, could you or another Dutch jammer tell me if Theater Of Dreams has an email address or if there's someone with email who has contact to some of the fanclub buys?
Steffen
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Date: Mon, 01 Apr 96 18:12:57 From: Steve Lehrfeld <STEVE@kandu.com> To: ytsejam@ax.com Subject: DREG Compilation Album Message-ID: <E287C62F01810F00@kandu.com>
hi folks, me again! just wanted to remind you that the deadline is quickly approaching (April 15, tax day!) so get those tapes/CDs/DATs in the mail.
DREG Records is planning to release a compilation CD featuring unsigned progressive bands of the internet. below is the information about submitting your bands material.
*** if you sent me something and didn't receive an email confirming receipt, then let me know! (US Mail tends to lose things every now and then) ***
-steve DREG Records http://www.kandu.com/dreg/
..and don't forget to check out another Prog band, Facade: http://www.kandu.com/dreg/facade.html
---------------------------------------------------------------------- The DREG Progressive Bands of the Internet Compilation Album
Submission Guidelines:
- Submission deadline is April 15.
- Material should be original, copyrighted, and preferably in the "progressive" style. Since the definition of "progressive" is varied, don't be afraid to submit even if you're not sure.
- Bands, solo acts and studio projects are all eligible. Most solo acts submit under a band pseudonym.
- You can submit any number of songs you want, but if it's more than three (3), be sure to note your top three (3) preferences in order. In all likelyhood, only one song per band will be used.
- For evaluation, you can send any format (except vinyl...). for the final product, we will need (in order of preference) either CD-R, DAT or VERY high quality tape. Final submissions must be "releasable quality" which can range from hi quality home recordings to studio masters.
- If you're not sure about the quality of your submission, send it anyway; you'd be surprised what some fancy mastering can do.
- Submissions are NOT returned. DO NOT SEND YOUR MASTERS FOR SUBMISSIONS. If your submission is selected and you haven't already sent your best copy or master, we will then ask you for a master which WILL be returned if you send us a Self Addressed, Postage Paid envelope.
- There's no set limit on song time lengths, but the idea is to get as many bands involved in this as possible, so don't screw yourself by only submitting a twenty minute song.
- There will be a small, yet-to-be-determined royalty based on units sold. If your band is selected to be included, you will received a simple contract which explains the details of all this. Accepted bands are NOT committed to DREG Records in any way.
- It's a good idea to do a trademark search on your band name. A few of the band names already submitted sounded familiar...
- Make sure to include the phone # and address of a single contact person along with your submission.
- Approximate Time frames:
March/April - band selection and notification April/May - contracts and other details May/June - mastering, artwork June/July - duplication July - release
Send your submissions to:
DREG Records Attn: Compilation CD 1912 Old Stonemill Drive Cranbury, NJ 08512
any questions or comments: steve@kandu.com
------------------------------
Date: Mon, 1 Apr 1996 15:17:24 -0800 From: Chris Oates <aspect@cats.ucsc.edu> To: ytsejam@ax.com Subject: IRC Primer? Message-ID: <199604012317.PAA01370@cats.ucsc.edu>
Hey, I know the net, but never really got into IRC. (just too big to be friendly, and I've got ICB at my site) but I thought it might be fun to pop in every once in a while. Can someone tell me, in simple IRC terms, how to get to the DT channel? I don't know how to change servers, etc...
Bafu: Digital man just scooped us both! Oif! I think skadz should set up a special "end of Jam" thread. Just a continuing sarcastic tirade, guaranteed to end every jam. Then again, maybe I'll just go hit myself upside the head with a wet elephant (again)
Oh, and I only pointed out the spelling error because it wasn't in the first version of the post you sent, only in the second! What's that old BIlly Joel song, "Get it right the first time" --- ?
------------------------------
Date: Mon, 1 Apr 1996 16:24:47 -0700 From: Ben Laussade <laussade@enet.net> To: ytsejam@ax.com Subject: Yeah...but if you really want to make the giraffe happy... Message-ID: <199604012324.QAA11401@maple.enet.net>
>>Even better- say " Well Jesus had long hair so fuck off!" > >I do, and they say stuff like "Well Jesus was the messiah, so he can do >whatever he wants. You're just someone living in the everyday world who's >gonna be rejected for jobs and discriminated against for having long hair."
If they misjudge you cuz of your hair, the greatest part of it is proving them wrong. That's the whole reason I'm gonna grow my hair out......of course, I'll probably end up with a fro. ;-)
>I am still collecting stuff for my web page. If you have sent me a picture, >send me something you want printed next to it, unless you trust me that >much.
I trust ya, Steve. :-)
Ben Laussade
Favorite Song of the Week: Island in the Stream
------------------------------
Date: Mon, 01 Apr 1996 17:30:28 -0500 (CDT) From: All Credit Cards Welcome! <JCCROWDER@Harding.edu> To: DreamJammers:; Subject: No DT content, but hilarious!!!!!!! Message-ID: <01I31ACQ7QGI006BYM@harding.edu>
--Boundary (ID FKJsIZcqP/rqfVl1HXksbA)--
------------------------------
Date: Mon, 1 Apr 1996 15:37:21 -0800 (PST) From: Steve Borzilleri <magellan@u.washington.edu> To: Dream Thespians <ytsejam@ax.com> Subject: Myung's Trot Message-ID: <Pine.A32.3.92a.960401150800.105290A-100000@homer20.u.washington.edu>
You can probably guess which galloping riff I'm referring to from Metropolis. Anyway, someone said they needed this in a hurry. For the purposes of this tab, only the low-E and A strings are shown, because that's really all you need to do this. The hands are shown below the lines, the fingers above. This is all hammering-on and pulling-off.
L = left-handed hammered note R = right-handed hammered note
1 = index 2 = middle 3 = ring 4 = pinky
* = pull-off
1 3 1 2 1 2 1 A ---4---9---2-------4---9---2-------4---9---2-------4---9---2----- E -2---9---2---7-2-2---9---2---7-2-2---9---2---7-2-2---9---2---7-2- L L R R L L R *
^^^^^^^^^^^^^^^
This part of the diagram is really all you need to follow. Move it up one fret for the second part, two frets for the third, and two more for the fourth. It starts in F#, goes up to G, then to A, then to B, then back to the rest of the song in F#. Watch out after that one pull-off that you don't raise your left index finger so high that the open E-string sounds. Just raise it high enough off the fret so that the string is momentarily muted (ie your finger is still touching the string) before you pound out the next note.
Don't be afraid to try this technique on other strings/frets. Enjoy. :)
Bafu Vai
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End of YTSEJAM Digest 1394 **************************
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