HDTenEightyP/NetNews huggingface dataset:
From: kevins@eng.auburn.edu (Kevin Sullivan)
Subject: Re: The great speaker debate: 15 vs 18
Organization: Auburn University Engineering
Date: Fri, 22 Jan 1993 17:59:56 GMT

Hmmm.  I play blues-funk.  I have a 1x15 and a 2x10.  I got the 2x10 
a few years ago because I didn't think the 15 was bright enough.  For 
a while I thought the sound of 15s sucked and wanted to dump it and 
get a 4x10.  But I had no money.  Lately I've been using _just_ the 15 
with my old backup amp (an ancient Peavey 240 Standard) and *love* the 
tone I'm getting -- kinda vintage sounding, yet not Ampeg-like.

Anyway you asked about 15 vs 18.  One night we had a gig where the venue 
had their own PA so we didn't need to use our 1x18 subwoofers.  I said 
cool I'll try using one in place of my 15.  I'd done it before in our  
practice room and it was awesome.  These are very large cabs and have a 
long throw, so I couldn't hear that much bass on stage; my 2x10 was 
about all I heard, but out in the room I sounded awesome!  I couldn't hear 
myself on stage, the soundman was saying turn down, you're cutting people's 
heads off out here, and the girls in the front were screaming "awesome bass".
Guess who won.

Anyway (again) an 18 in a smaller (shorter throw) cab will probably disperse a lot more bass onto the stage than the big thing I was using.  The only advice 
I can give is try to borrow the cab in question to use in a performance before 
you decide.
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.music.makers.bass
Subject: Cabinet construction, preferences
Date: 26 Jan 93 16:51:50 GMT
Article-I.D.: bit.573
Reply-To: grego@bit.UUCP (Grego Sanguinetti)
Organization: BIT  Portland, OR

In article <C1F0s0.IEq@panix.com> moskowit@panix.com (Len Moskowitz) writes:
> <talking about a bass cabinet, he may or may not market>

Len, it sounds like a usefull product. Some unsolicited feedback follows:

>It has dual/parallel locking jacks (ever had someone trip on a cable and
>disconect your head from your bottom?),

Yes, but that just transfers the shock to the cable/plug connection. If the
plug is not well constructed, with a good strain relief system, then the
wires can get pulled apart at the plug. This situation is more likely to
cause a short than just pulling the plug out. Something to think about
anyway.

>metal grill,

Good, but can be a problem if you have little kids. They like to stick
their fingers in the grill and can get cut up on the sharp inside edges so
make certain the production grill is not too sharp.


>hard finish (no >carpet -- ugh!),

I actually like carpet although the older vinyl stuff was easier to keep
clean.

>molding on all edges,

Great as long as the edges are rounded. I think squared off edges look funky
on instrument cabinets. I guess it really depends on the molding.

>protective corners,

Good. The interlocking type I hope.

>large rubber feet on two surfaces,

Another good feature.

>dual strap handles (no plastic "well" handles -- I hate 'em!),

The strap handles don't give as good a surface to grip because they are thin,
flat, and form a curve. They also are usually only secured by one screw at
each end. Now in your case the cabinet is small enough and hopefully light
enough that the strap handles will be sufficient. Be certain to backup the
screws with plates on the inside. On larger cabinets I would demand well
handles (or fold outs) over strap handles.

>and a level control for the dome (not piezo!) horn.

Yes, no piezos.

>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,

yup that's spendy all right but a SWR 2x10 cabinet is around $600 so $400
is not out of the window. You'ld sell alot more at $250! The real problem
is the damn shipping costs for a speaker cabinet. Anything you can do to
keep the thing light is going to be a big plus for everyone.

>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.

All the good virtues. It also has to look cool.

-grego
-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
Newsgroups: rec.music.makers.bass
From: angus@well.sf.ca.us (Angus P. MacDonald)
Subject: Bruce Thomas Articles?
Keywords: Thomas Bruce Costellos Attractions
Organization: Whole Earth 'Lectronic Link
Date: Fri, 29 Jan 1993 03:39:16 GMT


Can anyone point me toward any articles on / interviews with Bruce
Thomas, who played bass w/ Elvis Costello & the Attractions for many
years?

       Angus MacDonald;   angus@well.sf.ca.us
From: bissett@acs.bu.edu (Robert Bissett)
Newsgroups: rec.music.makers.bass
Subject: Re: Cabinet tuning
Date: 27 Jan 93 04:58:45 GMT
Organization: Boston University, Boston, MA, USA

Maybe someone ought to check out the Trace Elliot "tunable" cabinets and
post a review of how effective this kind of thing is. It seems like a 
good idea.

Bobby
From: ssmith@ringer.cs.utsa.edu (Sammie L. Smith)
Subject: What exactly is an OTA? (was Re: what exactly is a small stone)
Organization: University of Texas at San Antonio
Date: Tue, 26 Jan 1993 14:58:21 GMT


--- stuff deleted ---

>
>(OTA chips are obscure, quirky, and wonderfully useful for audio and
>electronic music applications.  Earlier this year I was messing around
>with some ideas of how to use OTA chips and came with this incredibly
>cool phase shifter OTA circuit -- the circuit was so simple that I
>couldn't believe that it hadn't been done before, but I sure as hell
>had never seen it.  So, Electro-Harmonix beat me to it by a couple
>decades, eh?)
>

--- more stuff deleted ---

What exactly is an OTA and what does it do?  I have followed electronics
for years (more than I care to admit!) and I have never heard of this 
thing.

-- 
When the going gets weird, the weird go pro. |    ssmith@ringer.cs.utsa.edu
                                             |          "I'm the NRA!"
                      Dr. Hunter S. Thompson |           Sam L. Smith
From: georged@meaddata.com (George Dibos)
Newsgroups: rec.music.makers.bass
Subject: "Flow My Tears" TAB (partial)
Date: 22 Jan 1993 15:42:04 GMT
Organization: Mead Data Central, Dayton OH
Distribution: world
NNTP-Posting-Host: talon.meaddata.com


Here it is from the opening note, up and back down (which then repeats
until a key change--I'll post that part after I figure it out):


-------------9-------------17>14-----------------12---------
----------7-----15----------------12---------10-------------
-------5------------15>17-------------13>12-----------------
----0------------------------------------------------6>5----


Please note that the above fingering is for a low "D" string, so unless
you tune it down, have a HipShot, or (heh heh) an Ex-Factor, raise all
the notes on the other three strings by 2 frets...

The ">" symbol denotes a slide.

In a nutshell, the line is simple, but a real pig to get sounding as
smooth and seamless as Stu does it.  (duh)  

I'll go into fingerings, etc. if anyone wants it, via E-mail.

George


-- 
+---------------------+--------------------------------+-----------------------+
| George Dibos        | Views expressed are my own.... | (513) 865-1689        | 
| Mead Data Central   +--------------------------------+ Software Engineer     | 
| P.O. Box 933        | Every day I drink a toast to   | NGS Update/Data Svcs. |  
| Dayton, Ohio  45401 | the wonders of beautiful women | georged@meaddata.com  | 
+---------------------+--------------------------------+-----------------------+
Newsgroups: rec.music.makers.bass
From: satkins@midway.ecn.uoknor.edu (Shannon Atkins)
Subject: Re: Tapping Lesson#1 and editor-at-large
Date: Thu, 21 Jan 1993 17:33:39 GMT
Distribution: world,local
Organization: Engineering Computer Network, University of Oklahoma, Norman, OK, USA
Keywords: lessons

doug@merlin.telcom.arizona.edu (Doug Wellington USGS) writes:

>Anybody out there want me to work up a slapping and popping lesson?  

YEEEESSSSSSS! 
-S.Atkins-
From: georged@meaddata.com (George Dibos)
Newsgroups: rec.music.makers.bass
Subject: 15" vs. 18" Debate (related info)
Date: 25 Jan 1993 20:10:57 GMT
Organization: Mead Data Central, Dayton OH
Distribution: world
NNTP-Posting-Host: talon.meaddata.com


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!

I also recall that he needed somewhere in the 10,000 watt range to
reproduce real-world sound pressure levels through it, too, for things
like drum ensembles.

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.  

I will attempt to locate the magazine among my back issues, and will
pass along anything further that's of interest.  (As well as get the
exact numbers of the previous "quotes".)  The same article also listed
ALL the recordings which were then available that contained true signal
below 30Hz.  There were only about fifteen (!), which really opened my
eyes at the time about the need for a sub-woofer for my home stereo.  

George

-- 
+---------------------+--------------------------------+-----------------------+
| George Dibos        | Views expressed are my own.... | (513) 865-1689        | 
| Mead Data Central   +--------------------------------+ Software Engineer     | 
| P.O. Box 933        | Every day I drink a toast to   | NGS Update/Data Svcs. |  
| Dayton, Ohio  45401 | the wonders of beautiful women | georged@meaddata.com  | 
+---------------------+--------------------------------+-----------------------+
Newsgroups: rec.music.makers.bass
From: battlec@cs.rpi.edu (Clark Battle)
Subject: Gadgets
Date: Mon, 25 Jan 1993 15:28:57 GMT

A while ago a couple companies put out sustaining devices for guitars.
(Hamer and ASI sustainiac).  These devices were essentially modified
pickups that fed the guitar's signal back onto the string.  However, this
brilliant invention failed miserably because guitar players are anally
fixated with distortion!  It was, to my knowledge, never marketed to those
who might appreciate clean infinite sustain - Bass players (and stick players).

With this in mind I pose a question to any of you electronix gurus out there:
how can I build one for my bass?  I know that a speaker is essentially the 
same as a microphone and the same analogy can be used with a sustainiac and 
a pickup.  Any Ideas?  (and no I dont want to use an ebow)
From: axon@synoptics.com (Alan Chamberlain)
Newsgroups: rec.music.makers.bass
Subject: Re: Cabinet construction, preferences
Date: 26 Jan 93 23:30:16 GMT
Reply-To: axon@synoptics.com
Organization: SynOptics Communications, Santa Clara CA

Greg Sanguinetti writes:

>>metal grill,
>
>Good, but can be a problem if you have little kids. They like to stick
>their fingers in the grill and can get cut up on the sharp inside edges so
>make certain the production grill is not too sharp.

little kids poking their fingers into *my* speaker grill have more to worry about 
than the metal grill . . . :-)
From: peterw@cs.man.ac.uk (Peter Wake)
Newsgroups: rec.music.makers.bass
Subject: Types of bass
Date: 26 Jan 93 18:14:59 GMT
Organization: Dept Computer Science, University of Manchester, U.K.

I see people writing about Jazz basses and Precision basses...
Apparently there is some sort off classification.
Can someone explain it to me?

I have heard mention of 'standard Jazz bass controls': pickup levels
and tone vs pickup balance and volume?  I would suppose that there are
stereotypical pickup types and layouts too.


What's what in the world of jargon?
--
Peter Wake
Newsgroups: rec.music.makers.bass
From: satkins@midway.ecn.uoknor.edu (Shannon Atkins)
Subject: Re: Madonna's bassist on SNL last weekend - type of axe?
Date: Wed, 27 Jan 1993 15:44:35 GMT
Distribution: usa
Organization: Engineering Computer Network, University of Oklahoma, Norman, OK, USA

bill@thd.tv.tek.com (William K. McFadden) writes:

>In article <1993Jan22.221051.7207@news.unomaha.edu> stjunior@cwis.unomaha.edu (Donald R. Harrold) writes:
>>was it just me, or was he playing out of tune on the second song?

>I was under the impression he was bending the notes for "artistic reasons."

I think he was out of tune, but tried to correct it once he realized it.   
Looked like he reached up and tweaked the tuners a couple of times, but
you know how hard it is to make precise tuning adjustments in a live 
setting and keep the groove going.  If you asked him, he might say he
was bending for artistic reasons, but I think he was just trying to make
his being out of tune less noticeable ( although non-musician types in 
the room who heard the song said, "Gee, he sounds out of tune...). 
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.
-Shannon Atkins-
From: cwalker@canopus.cs.bucknell.edu (carleton walker `93)
Newsgroups: rec.music.makers.bass
Subject: Re: going fretless
Date: 24 Jan 1993 18:19:22 GMT
Organization: Bucknell University, Lewisburg, PA
NNTP-Posting-Host: canopus.cs.bucknell.edu

In article <1993Jan23.143934.25284@cbnewsi.cb.att.com> pfaff@cbnewsi.cb.att.com (john.s.pfaff) writes:
>i think this subject has been dealt with here recently, so i apologize
>for resurrecting it again.  when i get my carvin (so far 3 weeks late
>getting out of the factory), i'm considering taking my kramer striker
>(which has GREAT tone) and having someone convert it to a fretless.

	I started playing a Kramer Striker several years ago and have
kept it ever since. It's not a bad bass. I like the tone a lot; it's
really good for that old kind of funk (like Sly and the Family Stone).
But I don't think this bass will sound that good with the frets off.

	The main problem that I see is that the neck is a soft maple,
and it looks like a set of roundwounds would eat it up.

Carl
--
Carl Walker				"Hectic days ahead of us,
Bucknell University			 Rotten ones behind,
Lewisburg, PA				 Keeping plastics in our pockets,
cwalker@canopus.cs.bucknell.edu		 Children never mind." - The G's H
From: Kalle.Kivimaa@hut.fi (Kalle Kivimaa)
Newsgroups: rec.music.makers.bass
Subject: Re: Compressor Pedal vs Rack Mount
Date: 21 Jan 1993 13:20:20 GMT
Organization: Helsinki University of Technology, CS lab
Distribution: inet
NNTP-Posting-Host: robin.cs.hut.fi

In <1993Jan20.165816.5119@wkuvx1.bitnet> shroymp@wkuvx1.bitnet (Mike Shroyer ) writes:
>mount.  Price is still a consideration unfortunatly.  Would a good
>pedal be better than a cheap rack mount?  Of all the pedals which is

If you want to save several arguments with sound engineers and
mixers, go for the rack mount.  Most pedals create nasty ground
loops especially if used with a cheap power transformer.
--
************************************************************************
* The night sky over the planet Krikkit is the least interesting sight *
* in the entire Universe.  -- Douglas Adams, HHGTG                     *
************************************************************************
From: pturner@sedona.intel.com (Pete Turner)
Subject: The great speaker debate: 15 vs 18
Followup-To: rec.music.makers.bass
Originator: pturner@sedona
Organization: Intel Corporation
Date: Thu, 21 Jan 1993 20:18:35 GMT


I've been having a lot of discussions resently with folks about their 
"dream equipment" (hi Doug and Mike :-), and we've passed along comments
on wattage, configurations, signal processors, and pre-amps. But, there
has been one topic that hasn't been covered: speaker size. Now, considering
that I have been tossing around the idea of getting new speakers, I just 
assumed I was either going to sell my 2x15 cab and replace it with a 1x15
(primary motivation was, as Bob Davis puts it "the Schelp Factor"). Then
I thought over lunch (never thumb through catalogs over lunch), "...hey,
a 1x18 cab isn't much bigger (or heavier) than a 1x15!".

The question is, what does (or doesn't) an extra 3 inches buy you over
the 15? Better boom? Some better response? Less chances of launching a
cone through the front row at your next gig? What?

So, I'll suggest this: if you have a comment (and you know you do!), hang
your laundry here for everyone to see. Tell the world why you own (or don't
own) a 15 (or 18) cab. Also, it would probably be useful if you state a few
reference points; are you metal-head, jazz-fiend, blues-dude, and other
items like what other cab (if any) you also drive through.

Thanks...your input could effect my buying buck...

	Pete

-- 
 ______________________________________________________________________________

 Pete Turner              | "I'm not looking back -- but I want to look
 Intel Corporation        |  around me now"
 5000 W. Chandler Blvd.   |
 M/S CH3-36               |  -- Geddy Lee/Neil Peart
 Chandler, AZ 85226       | ---------------------------------------------------
 pturner@sedona.intel.com | "...yeah, I've been to Phoenix...they call that
 ATT: (602) 554-8906      |  place 'The Valley of the Sun'...they should call
 FAX: (602) 554-7281      |  it 'The Surface of the Sun'!..."
                          |
 Zeta Psi - Gamma Chapt.  |  -- Some unknown late-night comic
 ______________________________________________________________________________
Newsgroups: rec.music.makers.bass
From: jconway@sol.UVic.CA (Jason Conway)
Subject: Strings
Organization: University of Victoria, Victoria, B.C. CANADA
Fsrom: jconway@sol.UVic.CA (Jason Conway)
Date: Sun, 24 Jan 93 22:14:22 GMT

Strings?  Can anyone give me a run down on whats out there and
why use them?
	Right now I'm using blue steel lights I've boiled them
once which really seemed to liven them up again, but I was told
the other day thet the teflon coated (Those nifty black ones) are
far superior can anyone comment on this?  And on whatever other 
brands are out there?  I'm not a gear junky (My amps an acoustic
135 combo from the 70's) and my bass is an Ibanez CT series
(Which I might add is suprisingly good for the price it really
compares favorably to the Soundgear basses at twice the price).
Anyway back to the original question what I want to know is: Is
it worth buying expensive strings? and if so why?

Disconcertingly yours,
Jason Conway

BTW any nomeansno fans out there will be happy to know that
they are currently recording demo's for a new album though
they have yet to select a guitar player to replace andy Kerr.
I saw the as a two piece under the Name "Mr Wrong & Mr Wright"
and it really made me question why they bother with a silly
6 string player at all when they can carry off their stuff better
that eny band I have seen in my life as a bass and drums two 
piece.

Oh Well
From: christen@astro.ocis.temple.edu (Carl Christensen)
Newsgroups: rec.music.makers.bass
Subject: Re: what exactly is a "small stone"?
Date: 23 Jan 93 23:56:30 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]

john.s.pfaff (pfaff@cbnewsi.cb.att.com) wrote:
: my guitar player has one of those old electro-harmonix "small stones",
: which has a really cool "underwater" sound.  i'd like to get one for
: my bass, but i doubt the actual small stones are still available.
: what is the technical/functional name of this thing?  i imagine the
: effect is available under some other name.  any ideas?

I don't think Electro-Harmonix makes the "Small Stone" anymore.  I used
to have one way back when I was an undergrad.  The effect name is
a PHASOR, and they're still available from various companies.  A
FLANGER is also a nice effect to use on a bass.  You can get a
combination CHORUS/FLANGER/PHASOR from most companies also to
get the best of all worlds.


--

Carl Christensen                      christen@astro.ocis.temple.edu
Department of Computer Science
Temple University
Philadelphia, PA  19122   USA         (215) 735-6787
From: axl@cwis.unomaha.edu (Chris G. Thor)
Subject: REQ: Metallica tabs
Organization: University of Nebraska at Omaha
Date: Mon, 25 Jan 1993 19:18:29 GMT

			CHRIS THOR
Newsgroups: rec.music.makers.bass
From: rost@tecrus.dec.com (My name is Brian Rost)
Subject: Re: Envelope Follower Pedal
Organization: Digital Equipment Corporation
Distribution: world,rudy
Date: 25 JAN 93 12:57:51    


In article <Jan.21.15.31.38.1993.13454@gandalf.rutgers.edu>, rgonzal@gandalf.rutgers.edu (Ralph Gonzalez) writes...
>Is this what is called a "T-wah"? 

These things have been called by lots of names.  The ones that everyone raves
about, the Mutron III and Mutron V, are no longer made and go for big $$ when
working ones are found.  However, DOD and Boss still make pedals of this type
and perhaps Ibanez as well.  Cheap, too, well under $100.  Of course, if you
have a quick foot, you can always use a wah pedal.

					Brian Rost @tecrus.enet.dec.com

					508-568-6115

	****************************************************
	*						   *
	*  The above does not reflect the opinions of	   *
	*  my employer.					   *
	*						   *
	*  If music is outlawed, only outlaws will be      *	   
	*  musicians.					   *
	*						   *
	****************************************************
From: na0s+@andrew.cmu.edu (Nicolas Alejandro Arauz)
Newsgroups: rec.music.makers
Subject: Korg A5 FX for Sale $250!
Date: 21 Jan 93 19:58:08 GMT
Article-I.D.: andrew.sfLsnk200WB6E5r3RQ
Organization: Carnegie Mellon, Pittsburgh, PA

I have a Korg A5 Multi-FX processor for sale.  It's sits on the floor,
and allows 5 effects simultaneously.  It's about a month old, in perfect
condition, still have the original box, manuals, etc.  It has
Compressor, 3 Band EQ, Exciter, Chorus/Flanger, Reverb/Delay.  It's
really nice, and each effect has its own pedal.  I just decided it's not
convenient for me to use.  I prefer rack-type/table-top/micro effects,
and actually, I've replaced this with a Zoom 9002, which I prefer because
of its compact size.  It sits on my desk where I can plays with the
controls.  But if combined foot-pedals are your thing, then the A5 is
for you!  I'm selling it for $250+ship (cash or certified check/m.o.).
I think it goes for about $299 (plus tax) at Sam Ash last time I checked.
And even if it's a little lower now, you'll still have to pay $40 or so
in taxes.  So if you're interested, give me a call at (212) 388-9495 and
ask for Alex or reply to this account.  I may accept a SLIGHTLY lower
(reasonable) offer.  Note that this is the NON-DISTORTION version, I
guess it would be ideally suited for Acoustic Guitar, Voice, Synthesizers.
From: paisley@asc.slb.com (Gary Paisley)
Newsgroups: rec.music.makers
Subject: Re: Getting sued over sampling
Date: 21 Jan 93 11:19:47
Organization: Schlumberger Austin Systems Center
	<malcolm.727053436@wrs.com>
	<1993Jan17.012402.17872@sol.ctr.columbia.edu>
	<1993Jan20.223849.21745@i88.isc.com>
NNTP-Posting-Host: mars.asc.slb.com
In-reply-to: jeq@i88.isc.com's message of Wed, 20 Jan 1993 22:38:49 GMT


Hey, doesn`t Bill Clinton read this newsgroup now ?
Couldn't he just ask his savvy new Attorney General ?
She seems to have a fine grasp of the law...