HDTenEightyP/NetNews huggingface dataset:
From: whale@leland.Stanford.EDU (Stephen Schmidt)
Subject: Re: The great speaker debate: 15 vs 18
Organization: DSG, Stanford University, CA 94305, USA
Date: Thu, 21 Jan 93 20:58:21 GMT

As a broad general principle, an 18 inch driver will respond better at very low
frequencies than a 1x15. Particularly, it should roll off at a lower critical
frequency.
That said, the shape of the cabinet, materials used, and amp signal can vary
so widely that in practical terms the above statement doesn't really mean
much.
First advice: Using the same bass and amp, play through both cabs. If you can
hear a difference, then you know what the difference is :)
Second advice: if you must know, ask for the frequency response of both
cabinets. The store _may_ know, but probably not. The manufacturer will be
able to provide you with complete specs.
However, because other elements of the design are so important, it's hard to
make any general statement about the difference between a 1x18 and a 1x15.
You really need to ask about the specific cabs. Better, go listen to them;
that's all that matters in the end.
-- 
Steve Schmidt			<><		   whale@leland.stanford.edu
I can no longer sit back and allow Communist infiltration, Communist
indoctrination, Communist subversion, and the international Communist
conspiracy to sap and impurify all of our precious bodily fluids!
From: mbrewste@gluttony.us.oracle.com (Mark Brewster)
Newsgroups: rec.music.makers.bass
Subject: Amp Suggestions
Date: 21 Jan 93 19:38:37 GMT
Reply-To: mbrewste@us.oracle.com
Organization: Oracle Corp., Redwood Shores CA
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.



Since the recent battery of amp problems, I have given up on the Peavey and now am seriously
considering another amp.

The limitations for me are size and price.  I would like something a little more powerful and
fuller sounding than the Peavey and one of the early suggestions is the CRATE RX40.  Since I 
have seem to be getting into more jam sessions lately I'm beginning to wonder if it 40Watts
is sufficient.  

A full rig is still a ways off.

Anywyay, looking for guideance and information.

Thanks muchly


Mark B.
From: rgonzal@gandalf.rutgers.edu (Ralph Gonzalez)
Newsgroups: rec.music.makers.bass
Subject: Re: Cabinet tuning
Date: 26 Jan 93 15:23:57 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

battlec@cs.rpi.edu (Clark Battle) writes:

>Forgive My ignorance but how do you tune a speaker cabinet?
>Are there designs for pre-tuned ones avaliable?

Don't be embarassed -- tuning a cabinet is not a trivial matter. To
do it properly you need the following specs for your woofer(s):
fs, Qts, Vas, and the cabinet volume Vb. I think Radio Shack carries
a book by David Weems on building speakers, which includes the
formulas needed to find the tuning frequency fb given the above
info. It should also contain the formula for finding the correct
port diameter and length to produce the desired tuning frequency.

If you don't have specs on your woofer, you can try just tuning it
by ear, but this is potentially inaccurate and you may be better off
with a sealed cabinet in this case! To tune it by ear, start with
- say - a 3" diameter vent, 10" long. If the vent is too long then
it will not produce much bass. If it is too short then it will
reinforce the bass at too high a frequency, and sound "boomy" (which
may be what you want anyway!). Offhand, the correct length should
fall between 4" and 24", but I'm guessing. If the vent gets too long
for your cabinet, then you may use 2" tubing instead, which will
produce the same tuning with shorter lengths.

Good luck,
Ralph
-- 
Ralph Gonzalez, Computer Science, Rutgers Univ., Camden, NJ
Phone: (609) 225-6122; Internet: rgonzal@elbereth.rutgers.edu
--
Newsgroups: rec.music.makers.bass
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: Cabinet tuning
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Date: 25 Jan 93 12:15:58

   From: battlec@cs.rpi.edu (Clark Battle)
   Date: Mon, 25 Jan 1993 15:13:15 GMT

   Forgive My ignorance but how do you tune a speaker cabinet?
   Are there designs for pre-tuned ones avaliable?

Tuning means adjusting the resonant frequency of a bass reflex enclosure.
The resonant frequency is determined by the dimensions of the port and the
interior volume of the enclosure.  The tuning of the speaker enclosure,
along with the interior volume and a few driver parameters completely
determine the low end response of the system.  Any reasonable speaker book
should give you complete details (Collums, Dickason, Vance, or Weems for
example, or JAES speaker compilation books if you like theory).

  -- Don

Newsgroups: rec.music.makers.bass
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: The great speaker debate: 15 vs 18
Followup-To: rec.music.makers.bass
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Date: 22 Jan 93 00:32:58

   From: pturner@sedona.intel.com (Pete Turner)
   Organization: Intel Corporation
   Date: Thu, 21 Jan 1993 20:18:35 GMT

   The question is, what does (or doesn't) an extra 3 inches buy you over
   the 15? 

Of all the things that contribute to the sound, the diameter of the driver
is probably of absolute least importance.  Far more important are various
driver parameters, the cabinet type, cabinet size and tuning, how the
cabinet matches with the speaker, and the high frequency properties of the
speaker.

Thus there are 15-inch speaker systems that can outperform 18's.  Heck,
there are 8-inch speaker systems that can outperform 18's.  And vice versa.


  -- Don
From: jdreyer@East.Sun.COM (Jon Dreyer, SunSelect PC Networking)
Newsgroups: rec.music.makers.bass
Subject: electric standup basses?
Date: 27 Jan 1993 17:59:06 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: jdreyer@East.Sun.COM
NNTP-Posting-Host: pdp8.east.sun.com
Keywords: electric standup acoustic bass


I know this is kind of unusual for this group, but I play jazz on an
acoustic bass (as opposed to acoustic on a Jazz bass, or...  :^) ).  I
play amplified almost all the time, so I've started thinking about one
of the newer standup electric basses that are supposed to have
something approximating the sound and feel of an acoustic bass.  I'm
not talking about those hideous old Ampeg basses!  The ones I've seen
have been advertised in classical string player mags.  Some, like the
Jensen, look like a fingerboard with an endpin and a few things
sticking out to make body contact in the right places, others a bit
more bass-like.

I'm looking for something that sounds like an amplified acoustic bass,
with a nice roar to it, and has basically the same feel except that I
wouldn't mind if it allowed me to lower the bridge to get a better
sustained legato tone and speed up my left hand without practicing
:^) .

Anyone have any info on these, like price, sound, feel, where to try in
the Boston area, etc.  I talked to Jensen; he's low-volume enough that
he only makes them custom so without visiting his shop there's no way
to try it in advance.

---

(un    Jon Dreyer     SunSelect             jon.dreyer@east.sun.com
) (    508-442-0385   Two Elizabeth Dr      sun!suneast!jdreyer
un)                   Chelmsford MA 01824   "I have no claim."

Newsgroups: rec.music.makers.bass,rec.music.makers.guitar
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: what exactly is a "small stone"?
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<1993Jan23.235630.5445@cronkite.ocis.temple.edu>
	<TOM.93Jan24025953@bailey.cpac.washington.edu>
Date: 24 Jan 93 11:05:32

   From: tom@cpac.washington.edu (Tom May)
   Date: 24 Jan 93 10:59:53 GMT

   Phase shifters are not part of the flanger/chorus/echo family.  A
   phase shifter also delays the signal, mixes it back in, uses feedback,
   and has a modulated delay, BUT the delay is achieved with an opamp
   unity-gain phase-shift circuit which produces a DIFFERENT amount of
   delay for different frequency components (actually, there are usually
   six of these circuits in series).  This produces a much different
   sound from chorus/flange, although both flange and phase are comb
   filters, it's just that the comb looks different.  

Right.  A phase shifter comb will have 4, 6, or 8 notches distributed
evenly over a few octaves.  A flanger comb will have a large number of
notches distributed evenly per Hz (so the first octave will have 1 notch,
the second 2 notches, the third 4 notches, the fourth 8, and so on).

						      Since a phase
   shifter is not just a tweak on the flanger theme, I don't have the
   foggiest idea how they simulate it in digital multi-effects boxes, and

Trivial actually; just implement the z-transform equivalent of:
               s-1
      F(s) = ( ---- ) ^ N
               s+1

(where N is 4, 6, or 8)

, and mix with the original signal.  Any text on digital filters covers
this.  For some reason though no digital noise box seems to have as good a
phase shift sound as the analog phase shifters.  Since the digital boxes
are all closed up it's impossible to tell what the problem is; could be the
DAC, the ADC, the accuracy of the DSP chip, a goofy algorithm, anything.

  -- Don

Newsgroups: rec.music.makers.bass
From: whale@leland.Stanford.EDU (Stephen Schmidt)
Subject: Re: Types of bass
Organization: DSG, Stanford University, CA 94305, USA
Date: Wed, 27 Jan 93 02:40:59 GMT

In article <1993Jan26.181459@cs.man.ac.uk> peterw@cs.man.ac.uk (Peter Wake) writes:
>I see people writing about Jazz basses and Precision basses...
>Apparently there is some sort off classification.
>Can someone explain it to me?

Ah, my very favorite question. I think this may become a FAQ soon... :)

  Anyway, in 1951 Leo Fender invents the Precision Bass and for a couple
years it is the only bass in the world. Some years later (I think 1956)
Fender gets creative and invents the Jazz Bass, which is the third or
fourth bass in the world.
  The other basses on the market died pretty hideously (the Gibson EB-1 in
particular) and for a long time no professional bass player used anything
other than a Fender bass. In fact, in some jazz circles people ask you what
kind of bass you play, acoustic or Fender. In the mid-60's Alembic got in,
and Gibson got in with the EB-0, and Paul McCartney showed up with a Hohner
violin-shaped bass which I hope you've all seen in pictures.
  So, for about 10 or 12 years the only question a professional bassist
asked himself was whether he wanted a P-bass or a J-bass. The P-bass comes
with one pickup which is a split-coil humbucker, while the J-bass comes with
two bar-shaped single-coil pickups . The P-bass has simple controls: one tone
knob and one volume. The J-bass has two stacked knobs, volume and tone for
each pickup, until 1962 when they switch to a three-knob system, two volume
and a master tone control. A lot of people rewire this scheme to master
volume, master tone, and a pickup blend (I believe Jaco did, not sure.)
  As other basses came onto the market, almost all of them either went
with a single split-coil humbucker or two single-coil pickups, and they
were classified as being P-like or J-like depending on which arrangement
they had. The term stuck, and generally today any single split-coal pickup
bass is called a P-bass and any two bar pickup bass is called a J-bass. Many
J-basses now use humbucking bar pickups but they're still called that.
  Another very common combination is to have a P-bass pickup in the neck
position and a J-bass pickup (oddly, usually a single-coil) in the bridge
position. Such a bass is referred to as a PJ, and the two pickups are usually
referred to as a P-pickup and a J-pickup.
  The last difference between the Precision and Jazz basses was that the
Precision neck is wide and flat whereas the Jazz neck is narrower and
deeper. However, this part of the design wasn't mimicked widely, so that
P-style basses that aren't Fenders may have narrow necks and J-style basses
may have wide necks. Some people speak of J-necks and P-necks but this is
still pretty rare usage.
-- 
Steve Schmidt			<><		   whale@leland.stanford.edu
I can no longer sit back and allow Communist infiltration, Communist
indoctrination, Communist subversion, and the international Communist
conspiracy to sap and impurify all of our precious bodily fluids!
From: kyeh@remus.rutgers.edu (Kung-Ching Yeh)
Newsgroups: rec.music.makers.bass
Subject: REQ:Joe Jackson Bass Tabs
Date: 26 Jan 93 19:13:10 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

Could someone please post Joe Jackson bass tabs.  Particularly stuff off of 
Look Sharp.

Thanx in advance!!!!!!
Newsgroups: rec.music.makers.bass
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: 15" vs. 18" Debate (related info)
Date: Mon, 25 Jan 1993 22:22:18 GMT
Organization: Colorado Concert Sound

In article <1k1hghINN6o0@meaddata.meaddata.com> georged@meaddata.com (George Dibos) writes:
>I clearly recall an in-depth technical article in "High Fidelity"
>magazine in (about) 1989, documenting one audiophile's cost-no-object
>pursuit of low frequencies.  He was an acoustic engineer.
>The end result was a tuned, horn-type enclosure that was about 6 or 7
>feet on ALL sides, with double walls which were filled with industrial
>sand...  Driven by two FIFTEEN inchers.  The reason 18's weren't used
>was because an equivalently efficient design for them literally wouldn't
>fit in the guy's house, which had a special 50k+ dollar listening room 
>with a high ceiling!

We use Community extended Leviathans, a horn loaded dual-15 box about
six feet deep and four by six feet at the mouth and it only goes down
to about 120 Hz, but it throws 120 Hz about a quarter mile.

>It appears the poster who said that small enclosure 15's and 18's
>were BOTH tremendously peaky, and neither was a good choice for a bass
>cabinet with flat response knew what he was talking about.  In principle,
>anyway.  (EQ and so forth muddies the water considerably.)
>Just food for thought.  

If a vented box is not tuned propely, the variations in amplitude response
can be as much as 15dB in the range of the cabinet (very peaky).
If the cabinet is propely tuned, it can be as flat as +/- 0.3dB in the
range of the box.  See my response regarding tuning, around article 681
or so in this newsgroup.

EQ does muddy the waters more than considerably.



Galen Watts
From: kyeh@remus.rutgers.edu (Kung-Ching Yeh)
Newsgroups: rec.music.makers.bass
Subject: REQ: Steely Dan Bass TABS
Date: 26 Jan 93 19:14:25 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

Could someone please post Steely Dan bass tabs.  Any and all are wanted.

Thanx in advance!!!!!!!
Newsgroups: rec.music.makers.bass
Subject: Peavey MIDIbase and amp questions
From: doug@merlin.telcom.arizona.edu (Doug Wellington USGS)
Date: 24 Jan 1993 11:10 MST  
Distribution: world,local
Organization: University of Arizona Telecommunications
Keywords: Peavey MIDIbase, AlphaBASS, Pearce BC1
News-Software: VAX/VMS VNEWS 1.41    

Well, I finally got my local store to get in a MIDIbase so I could try
it.  (Well, I actually put the bug in their ear and after the manager
played one at NAMM, he ordered one.)  So, has anyone actually ever
used one of these things, or am I going to be first?  What price did
you pay for it?  And what other modules do you use with it?

I also saw a couple more toys at the same store.  They just got in a used
Pearce BC1 preamp.  Looks nice, albeit a little "old fashioned" looking.
Two channels, switchable/stackable, foot pedal, effects loops, etc.
Is Pearce still in business?  What do you all think of the BC1?  (I know
Billy Sheehan uses them, but how good are they really?)  It does sound
good, but if they are prone to breakage or if schematics aren't available,
then I wonder if I should bother...

Another toy they had is a Peavey AlphaBASS amp.  This has been in the
store for a couple years and they want to get rid of it.  Big and heavy,
I know, but since I'm big, I don't mind.  I would probably stick it in
the rack in my music room and leave it there.  Any thoughts on this thing?
How much is it worth?  It is still "new" even after all these years...
(I took off the lid and it uses six 6L6 tubes.  Has anyone ever hot-rodded
one of these with EL34s or even 6550s?)

Thanks for any comments,
-Doug
From: adam@micromuse.co.uk (Adam Kerrison)
Newsgroups: rec.music.makers.bass
Subject: Re: Tapping Lesson#1
Date: 25 Jan 93 17:21:26 GMT
Reply-To: adam@micromuse.co.uk
Organization: MicroMuse Ltd

Hi,

I missed the tapping lesson #1 and I would really like to get hold of it :-)
I can tap a bit but I'd like to know where I go wrong.

Can anyone out there help ?

Adam
---
===========================================================================
Adam Kerrison                  | Phone : +44 71 352 7774
Technical Support              | Fax   : +44 71 351 7834
MicroMuse Ltd                  | Personal E-mail: adam@micromuse.co.uk 
London SW10 0RN                | Support E-mail : support@micromuse.co.uk 
===========================================================================
Any opinions expressed above are my own and not those of MicroMuse ....
so if you don't like them ...
===========================================================================
Newsgroups: rec.music.makers.bass
From: whale@leland.Stanford.EDU (Stephen Schmidt)
Subject: Re: Madonna's bassist on SNL last weekend - type of axe?
Organization: DSG, Stanford University, CA 94305, USA
Distribution: usa
Date: Wed, 27 Jan 93 18:37:20 GMT

In article <C1IrqD.Iz5@constellation.ecn.uoknor.edu> satkins@midway.ecn.uoknor.edu (Shannon Atkins) writes:
>I remember during one show I played I switched off with the drummer for
>one song, got back on bass and realized well into the song that my 
>E was an Eb at best, and for the life of me I just couldn't get that
>string to sound like it did earlier.  At some point you just have to
>give up tweaking and bend till the song ends.

One of the things I like about playing fretless (without fret lines) is that
you can always just shift up a half-fret if you need to.

-- 
Steve Schmidt			<><		   whale@leland.stanford.edu
I can no longer sit back and allow Communist infiltration, Communist
indoctrination, Communist subversion, and the international Communist
conspiracy to sap and impurify all of our precious bodily fluids!
Newsgroups: rec.music.makers.bass
From: moskowit@panix.com (Len Moskowitz)
Subject: Re: The great speaker debate: 15 vs 18
Organization: Panix Public Access Internet & Unix, NYC
Date: Mon, 25 Jan 1993 15:09:36 GMT

Kevin Sullivan writes:

>This sounds wonderful!  Do you plan to market it or would you mind giving 
>out some more information?  Like what drivers you used and more design 
>details.  How much would it cost to build one of these?

I'm not sure what I'm going to do yet so for the moment I won't give
details.  I've tried to make this thing be the best cabinet I ever had.
It has dual/parallel locking jacks (ever had someone trip on a cable and
disconect your head from your bottom?), metal grill, hard finish (no
carpet -- ugh!), molding on all edges, protective corners, large rubber
feet on two surfaces, dual strap handles (no plastic "well" handles -- I
hate 'em!), and a level control for the dome (not piezo!) horn.  The
parts alone cost close to $150, and that's before the cost of
construction.  At retail, considering the markups a store would have to
add, it'd probably have to sell for at least $400.  For a
1-10"-plus-horn it ain't cheap, but it does what I wanted it to do: it's
small, easy to handle, goes deep, plays loud, and (in my opinion) sounds
great.

Would anyone else want a bottom like this?


Len Moskowitz
moskowit@panix.com
-- 
Len Moskowitz
moskowit@panix.com
Newsgroups: rec.music.makers.bass
From: moskowit@panix.com (Len Moskowitz)
Subject: Re: Types of bass
Organization: Panix Public Access Internet & Unix, NYC
Date: Thu, 28 Jan 1993 15:20:37 GMT

Fred Jones writes:

>Maybe the Fender experts will correct me on this, but I have the impression
>that (with exceptions) the Fender P-basses tend to have maple fingerboards
>and the J-basses tend to have Rosewood fingerboards.  After playing basses
>with maple, ebony, and rosewood, I think that the latter material may
>contibute to the "warm" sound of the Fender Jazz.

Lots of Precisions have rosewood fingerboards.  Perhaps the most famous
Precision of all time (James Jamerson's) had a rosewood fingerboard.


Len Moskowitz
moskowit@panix.com


-- 
Len Moskowitz
moskowit@panix.com
From: bissett@acs.bu.edu (Robert Bissett)
Newsgroups: rec.music.makers.bass
Subject: Re: Are Hartke Speakers "Delicate"?
Date: 27 Jan 93 04:42:00 GMT
Organization: Boston University, Boston, MA, USA

In article <BARSZ.93Jan25115840@bmtlh168.bnr.ca> barsz@bnr.ca (Peter Barszczewski) writes:
>In article <1k0vmfINNrg5@meaddata.meaddata.com> georged@meaddata.com (George Dibos) writes:
>
>   Music in Cincinnati says that they won't carry them because although
>   they sound *great*, they're extremely easy to fry because of their
>   (relatively) low power-handling capability.  And they don't want/need
>   the hassle.
>
>I did a/b listening tests of Boogie's/Hartke's/SWR 4x10's, and prefered the
>Boogie and SWR over the Hartke.  Boogie was cheaper so I went with it (I
>couldn't find Eden in my area). After I bought it, the salesdroid told me
>confidentially that I made a good choice because they have been seeing a
>lot of Hartke's in their repair shop.

I don't know why a lot of Hartkes are in the shop -- maybe it's because it's
the best selling speaker in the world and some people tend to fry their
speakers.  But if you want a 4x10" for full range (I don't biamp anymore),
the Hartke is absolutely the best. Other 4 by 10's sound anemic in comparison.
Hartke 4x10's have incredibly clear low end. If need higher power, chances
are you're playing in big clubs and your cabinet doesn't matter a sh*t
compared to the PA you're going through.
From: geffy@access.digex.com (Geff King)
Newsgroups: rec.music.makers.bass
Subject: Re: '51 Fender P-Bass reissue - played one yet?
Date: 23 Jan 1993 03:53:43 GMT
Organization: Express Access Online Communications, Greenbelt, Maryland USA
Distribution: na
NNTP-Posting-Host: access.digex.com

In article <1993Jan18.211819.28976@cbnewsl.cb.att.com> daved@cbnewsl.cb.att.
com (david.dougherty) writes:
>fender manufactures the following "vintage" precision and jazz basses:
>
>1. '50s Reissue Precision (made in the far east)
>2. '60s Reissue Precision (made in the far east)
>3. Vintage '57 Precision (made in the USA in the fender custom shop)
>4. Vintage '62 Precision (made in the USA in the fender custom shop)
>5. '60s Reissue Jazz (made in the far east)
>6. Vintage '62 Jazz (made in the USA in the fender custom shop)

The item I saw looked like a '51 Precision - the old style slab body,
single-coil pickup, Telecaster style headstock, etc.  I got another
message recently which says there's an import version of this
instrument.  I was under the impression that the Custom Shop made a
limited edition of these 'original' precision basses for the 40th
anniversary - something in a magazine somewhere.

>i own a "vintage '62 jazz" bass (USA made in the fender custom shop) and
>love it (see roger sadowsky's stirling review in the june 1990 issue of
>bass player mag.).

I have one of these too, which I bought in 1983 - one of the first '62
Vintage' stackpot reissues. It's a good player and a faithful friend.

   + ----------------------------------------------------------- +
   | Geff King, EPA Contractor by Day - C&W Bass Player by Night |
   | Mail geffy@access.digex.com or king.geffry@epamail.epa.gov  |
   + --- "If you're in tune, you're fired" --Ira Louvin, 1956 -- +
Newsgroups: rec.music.makers.bass