HDTenEightyP/NetNews huggingface dataset:
From: friedman@col.hp.com (John Friedman)
Subject: Re: Interested in going wireless
Date: Sun, 23 Aug 1992 01:07:29 GMT
Organization: HP Colorado Springs Division

whale@leland.Stanford.EDU (Stephen Schmidt) writes:
> Sting uses something called a Beyerdynamic, according to BP. I've never
> heard of them.

Beyer is a microphone maker.  I've used quite a bit of their misc - M88's,
M201, etc...  Pretty nice stuff - really high quality, but a bit pricey...

John Friedman
friedman@col.hp.com
Newsgroups: alt.guitar.bass
Subject: Re:  Acoustic vs. Electric Basses....
From: plopper@husc8.harvard.edu (George Plopper)
Date: 19 Aug 92 22:47:57 EDT
Organization: Harvard University Science Center
Keywords: n

In article <1992Aug18.135723.22312@scubed.com> denio@scubed.com (Dennis C. O'Neill) writes:
>
>This bass is called a Clevinger.  I played one at Elderly Instruments in
>East Lansing, Michigan, and I've spoken to Mr. Clevinger about the basses.
>
>I don't have a Clevinger yet, but I'm saving up for one.

Amen! Finally, someone else who's interested in these instruments! Now,
the question: So, what kind of music do YOU play? I'd love to hear how
you arrived at the decision to get a Clevinger- have you heard of a 
"Carruthers" bass? Sam Ash in NYC told me they don't sell Clevingers
any more because Carruthers basses are better, but no one seems to know
(including EVERY salesperson I spoke to at Sam Ash) who Carruthers is
or how I can get in contact with him. Ever hear of this? Also, for
the East Coast folks: Mandolin Bros. in NY will also allow a "try it
before you buy it" period with Clevingers. Three days, obligation-free.


-- 
George Plopper 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
Newsgroups: alt.guitar.bass
From: rdr@panix.com (Reuben Radding)
Subject: Re: Bass Amp Reliability
Date: Wed, 12 Aug 1992 06:30:32 GMT
Organization: Doc Porter's Thrills Show

In <1992Aug11.190050.23073@ucunix.san.uc.edu> schwab@ucunix.san.uc.edu (Paul Schwab) writes:

>Gee, my band's guitarist has used the same GK for close to seven years,
>and the only repair he needed was when he broke a knob off when it fell
>off the front seat of his car.

>And I've used my GK for 4 years now (which I bought used) without even a minor
>repair needed.

>Maybe GK's QC has gone down the toilet in recent years?

Or perhaps just the luck of the draw. I've known others who had no
mishaps with their G-K's too, but some of us have been plagued with
constant misery from them. 

Glad to hear you haven't had any problems with them.

I just went and bought a Hartke head today.

-r
 
-- 
================================================================
|  Reuben Radding         rdr@panix.com       cmcl2!panix!rdr  |
|==============================================================|
| ******************* Marrou / Lord in 1992 ****************** | 
Newsgroups: alt.guitar.bass,rec.music.makers
From: jlarke@css.itd.umich.edu (Jason Larke)
Subject: Re: Interested in going wireless
Organization: University of Michigan ITD Consulting and Support Services
Date: Sat, 22 Aug 1992 01:48:37 GMT

In article <1992Aug21.204204.15000@husc3.harvard.edu> plopper@husc8.harvard.edu (George Plopper) writes:
>The moral: if you're going to go wireless, get the best damn thing there is.
>I remember seeing in a back issue of Bass Player that Sting uses some kind of
>wireless that I have not heard of. He's the only bassist I know of that uses
>wireless stuff, although I'm sure there must be thousands. I gave up and just
>got an A/B box ($20!) and a long cord. Sigh. I still don't know what the best
>one is, but I'll bet it ain't cheap.
>-- 
>George Plopper 

This raises a related issue: for those of us who have made the switch
and evaluated wireless vs. not, is the hiss from a good ($200 or more)
wireless much worse than the attenuation a long cord creates in passive
pickups? And if so, anybody know of a 30" cord that won't tangle, knot,
and short inside of a year? (I tend to do a bit of jumping around when
I play.)
From: night@polari.online.com
Subject: Need amp Recommendations...
Summary: Want opinions on what I should look for in amps
Keywords: I need a cooler amp
Organization: Seattle Online Public Access Unix.  (206) 328-4944 (all lines telebit-equipped)
Date: Fri, 14 Aug 1992 06:57:07 GMT

Hello Bass World...you know who you are.

A few weeks ago, I posted a problem I was having with my 6 month
old Peavy Databass amplifier.  For those who don't know it's vitals
they are:

  1 15" Black Widow
  450 Watt Aplifier
  9 Band EQ
  Built in compression algothym

I tried everyones suggestions to try to fix the problems I was having
and no matter what, it still cut out on high notes "popped".

O.K.  The amp is STILL in the shop; in fact, they haven't even had
a chance to look at it.  I am not really as pleased with the amp
as I thought I would be, so, I am planning on trading it in and
getting something else.

I like the Hartke system with a 4X10 cabinet and the Hartke 3500
amplifier.  While this puts me to the $1200 mark (roughly) what other
system should I have a gander at???  The reason I purchased the Peavy
was that it was recommended by a pro musician friend of mine.  Though,
he is a guitarist, I kind of trusted him on his opinion; but, the
Peavy Databass just isn't the ticket.
  
Is the Hartke 3500 "ample" or should I really spend the extra $300 and
get the Hartke 7000 amp???  Is it better to have a 1X15 cabinet with
maybe a 2X10 cab for that high end "bite"?   

I am very interested in what you all have to say.

I would like the ability to expand in the future; such a thing is not
possible with the Peavy I have.  You know...bi-amp...bi-cab...bi-pedal...
bi-bass...bi-cycle....bi-some-more-gear...etc

Thanks in advace.../

Brent O.
night@polari.online.com
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: alt.guitar.bass
Subject: Re: Buying a first bass
Date: 20 Aug 92 19:29:24 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

I mailed this to the original poster, then saw a 'please post' message.
One guys opinion, 'kay flamers?:

The only recommendation I could make is to *not* go out and get a perfect
bass with great action.  I started on a t.p.o.s. (total piece of...), then
moved to a 'Hondo' (t.p.o.s. #2) and finally my first Rickenbacker.  The point
is, get a bass that will be a challenge to play, and you will strengthen your
fingers greatly, then as you move up in quality, you will find that strength
will come in very 'handy'.

If you start on a great bass, you will gain strength, but at the expense of
clarity and control.  If you start on a tpos, you will gain strength just
trying to make notes sound good, and that's important.  Then clarity and
control will sort of come along for the ride as you move up.

Make sure you get all four fingers of your left hand working asap.  I've seen
many a bassist with 2-4 years under his belt struggling with (what I find
to be) very simple bass lines, since they still didn't have the strength in
their ring and pinky fingers of their fretting hand that they did in their
pointer and middle fingers.

Have fun!

Michael Breen
singing and philosophizing
(and able to leap tall buildings with a single pinky!) 
Newsgroups: alt.guitar.bass
From: rost@rgb.dec.com (My name is Brian Rost)
Subject: Re: What's "the 1-2-4 rule"?
Organization: Digital Equipment Corporation
Date: 17 AUG 92 08:20:02    


In article <1992Aug16.191908.14802@husc3.harvard.edu>, plopper@husc8.harvard.edu (George Plopper) writes...
>I like having complete finger independence, and the way Simandl
>lays it out, you've got your index finger committed to playing virtually
>every note (thus no "anticipating" notes to come by adjusting your hand)
>and your ring and little fingers "glued together" so that they, too, can't
>execute quick runs. In short, according to Simandl, to play anything with
>your little finger requires your ENTIRE left hand to press down one string-
>quite an investment in one note! Once a guy tried to tell me that that
>was how you play the electric bass properly! Think about it...  

George, 

I play both electric and upright, and like you, I wish I was as fluid on
upright as on the electric.  Of course, if I spent as much *time* playing it,
that might help!  8^)  8^)

Keeping all fingers down on the fingerboard when using the pinky does help me
fret cleanly on electric, plus for certain types of runs it's very economical. 
Sure, if I have to make huge jumps around the neck it may seem clumsy, but when
I attack a new piece of music, the first thing I look for is spots where the
fingering seems awkward and then work out alternative fingerings and try to
decide which  makes the most sense.  One advantage of playing a string
instrument is that there are usually multiple ways of playing a passage...try
that on a piano!

The biggest advantage to keeping all your fingers down is that you don't waste
any effort *releasing* your other fingers. Like most methods, Simandl is based
on years of results, but it's not perfect for *every* player.  I'm always
amazed watching guitarist Pat Metheny, his fingers flap about like he's spastic
and he uses anything BUT "correct" technique but his music doesn't seem to
suffer from it!

					Brian Rost @rgb.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: eskridge@cfa.harvard.edu (Paul Eskridge)
Newsgroups: alt.guitar.bass
Subject: short-scale basses
Date: 13 Aug 92 17:03:01 GMT
Followup-To: short-scale basses
Organization: Smithsonian Astrophysical Observatory, Cambridge, MA,  USA


I didn't see the beginning of this thread, but Brian Rost recently made the
following statement:

>If your interest [in having a short-scale bass] is because you have small hands, 
>ny recommendation is to just
>get used to the 34" scale.  I started on 30" scale basses but went to 34" scale
>after a few years and now feel totally comfortable with it.

I'd like to add that one also has the option of playing a narrow 34" neck.  If
reach really is a concern with a long-scale, then you don't also have to put up
with those absurdly wide P-bass necks.  Hell, I have a 7" reach from forefinger
to pinky, and I still think the P-bass neck is too wide.  

Get a bass that you can make love with,
All the best,
Paul
Newsgroups: alt.guitar.bass
From: whale@leland.Stanford.EDU (Stephen Schmidt)
Subject: Re: Need amp Recommendations...
Organization: DSG, Stanford University, CA 94305, USA
Date: Thu, 20 Aug 92 21:53:01 GMT

In article <116910001@hpcvlx.cv.hp.com> fredh@hpcvlx.cv.hp.com (Fred Handloser) writes:
>
>What are the "amperage/watt rules" ?
>
This is a FAQ (hurrah!). The FAQ was last posted 8-1-92, if you can find it.
If not, it comes out again 9-1-92.

-- 
Steve Schmidt			<><		   whale@leland.stanford.edu

"We have met the enemy and he is us" - Walt Kelly
Organization: Penn State University
Date: Sun, 16 Aug 1992 13:39:54 EDT
From: Peter Parisi <PXP8@psuvm.psu.edu>
Newsgroups: alt.guitar.bass
Subject: What's "the 1-2-4 rule"?

In the course of a recent discussion of electric and acoustic basses, one
poster says he gets around the fingerborad quicker by following the "1-2-4
rule." What is this mystic principle?

Newsgroups: alt.guitar.bass
From: ajazar@cockfosters.media.mit.edu (Ali J. Azarbayejani)
Subject: Re: What's "the 1-2-4 rule"?
Organization: MIT Media Laboratory
Date: Thu, 20 Aug 1992 17:27:02 GMT

|> That reminds me: you can also play CHORDS on an electric 10 times easier than
|> on an acoustic, if you're into that. I saw Stanley Clarke strum one of those
|> things once and I couldn't believe my eyes. Us mere mortals would have a hell
|> of a time doing that, except on a piano!

I saw John Clayton Jr. playing chords, including harmonics, on the big violin.
Done blew me away...

-- 
            _   ___
Ali J.    / \_/  /             , ,
          ||=================(----)
          \_/ \/              ' '
From: birdman@casbah.acns.nwu.edu (Christopher Kush)
Newsgroups: alt.guitar.bass
Subject: Help the Newbie!
Keywords: bass bass bass bass ham eggs and bass
Date: 17 Aug 92 21:15:19 GMT
Organization: Northwestern University, Evanston Illinois.

I am a newbie (to bassing, not netting).  I began playing about five months
ago.  My axe is a Peavey Dynabass (I love it, except fot the bolt-on neck 
(yuck-ola)), with all the hearty amplification a 25-watt Fender reverb guitar 
amp can supply :)

I need help.  I am not currently in a position, financially, to take Real
Store Bought Lessons, so I am teaching myself.  Of course, I can only go so
far.  I have had instruction on rhythm from a drummer, and a really groovy
bass player, who has gone down to Atlanta to live out his rock-band fantasies.
This last taught me basic theory (can you say major scale?) and some standard
tricks, like the Blues Scale, which, along with what I learned from the
drummer, has enabled me to figure out 95% of all the rock songs currently
feeding the leech that is the American Music Industry.

Anybody else know any Blues-Scale type tricks/standard patterns?  Jazz, blues,
rock, reggae, and funk all all appreciated, as well as anything else you can
find.

Thank you.

later




-- 
_________
_/__\_._| christopher s. kush / birdman@nwu.edu / (708) 467 2067
_\@_|_._| computer systems / programming, industrial research laboratory
___/____| 1801 maple avenue, evanston, illinois 60201 - 3135
Newsgroups: alt.guitar.bass
From: larry@bach.udel.edu (Larry Larraga)
Subject: EMGs in Aria Pro?
Organization: University of Delaware
Date: Wed, 12 Aug 1992 14:11:02 GMT

I've asked a little about this before, but have procrastinated
thus far.  I've decided now I HAVE to do something about my sound:

I'm sick of the way the stock electronics in my Aria Pro 4-string
sound:  little if any growl, no defined bottom per se, when I slap
I get nasty microphonic sounding stuff.  Actually, it's not _all_
that bad, but I'm aggravated with the thing.  I'd like to pitch
the whole thing for a Pedulla; OK, maybe a Carvin ;-), but I don't
have $700, much less $2500 or so.

My question is this:  I like the way the Aria Pro plays, I guess -
Will an EMG PJ set with the active tone control extra really improve
the sound of the thing?  Or am I just casting pearls before swine?

Question 2 would be:  If it's a good idea, does anyone have a good
line on where to buy the stuff?  I'm pretty handy with electronics,
so I don't think installation would be a problem.  I'm looking for
"Fast Eddie's Cheep-Pickups-R-Us", I guess...  ;-)
-- 
Larry Larraga	University of Delaware Microcomputing Resource Center
Senior Analyst	040 Smith Hall  Newark, Delaware  19716  (302) 831-8895
Internet:  	larry@brahms.udel.edu 

Newsgroups: alt.guitar.bass
From: killer@exterminator.cs.hut.fi (Kalle Kivimaa)
Subject: Re: Need amp Recommendations...
Organization: Helsinki University of Technology, CS lab
Date: Fri, 21 Aug 1992 10:29:41 GMT

In <kh_nkbk.jimlynch@netcom.com> jimlynch@netcom.com (Jim Lynch) writes:
>of a multi-channel amp, the cabinets should be _identical_. Then, you divide
>the impedance of one cab by the number of cabs to get the overall impedance.

If you are connecting them in parallel.  If you connect them in series
then you get the overall impedance by multiplying the impedance of one
by the # of cabs.

>the number of cabs and you have the power that can be handled by the
>_combination_.

And remember to make sure that the cabs and the amp are rated using the
same method. (RMS, DIN, whatever)

>The reason the cabs should be identical is that if they are not, the impedance
>will vary depending on the note you are playing. See shout above.

Actually, the impedance varies by the frequency anyway, so see below.

>above the output impedance of the amp, note the following: The closer the
>total speaker impedance is to the amp's output impedance, the better the

If you don't know the impedance response curve of the speakers, do not
try to match the impedances too closely, or you could blow your amp.
--
* I teleported home one night; With Ron and Sid and Meg                   *
* Ron stole Meggie's heart away; And I got Sidney's leg.                  *
* -- Douglas Adams, HHGTG                                                 *
Newsgroups: alt.guitar.bass
From: gse9k@holmes.acc.Virginia.EDU (Scott Evans)
Subject: Re: Home-Brewing a Fretless - HELP anyone?
Keywords: bass, fretless, homemade
Reply-To: thrash@virginia.edu (Scott Evans)
Organization: or lack thereof
Date: Wed, 12 Aug 1992 14:06:02 GMT


Well, Shawn, I can't answer most of your questions, but I've
done this:

>- When I tore apart my old Peavey it had springs mounted behind the  
>pickups so that you could raise or lower them conveniently.  The EMG  
>pickups I've got have mounting screws, but I can't seem to figure out how  
>the pickups will actually stay put.


What I did was take apart a couple of "clic" ball point pens--the kind
with springs inside--and put two of those springs on each screw between
the pickup and the body.  It works like a charm. 


scott
Newsgroups: alt.guitar.bass
From: noah@Cadence.COM (Noah Ruiz)
Subject: Re: Good songs for beginning bass players
Organization: Cadence Design Systems, Inc.
Date: Thu, 13 Aug 1992 20:13:44 GMT

In article <1992Aug10.145935.10195@col.hp.com> friedman@col.hp.com (John Friedman) writes:
>mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>> 	Anything by Sting -> he just isn't that great a bassist! (sorry!)
>
>I see...  So, in order to be a "great" bassist, you have to play lines that
>are difficult and complex...
>
>Hmmm...
>
>John Friedman
>friedman@col.hp.com
>

WoW!!!!! I can't believe someone could be so naive as to think
Sting wasn't a great bass player!!! 

I guess everybody has to play like Les Claypool(Primus) or
Geddy Lee(Rush) for example! Well I think Sting lays down
the bottom end well he plays what should be and not anything
over board! All IMHO!!!
 _
HaoN
Newsgroups: alt.guitar.bass
Subject: New newsgroups
From: plopper@husc8.harvard.edu (George Plopper)
Date: 19 Aug 92 22:54:24 EDT
Organization: Harvard University Science Center

Sorry, I screwed up and failed to respond directly to the posting describing
the new format. I'd just like to say: If it makes it more organized and at
the same time more accessible, I'm all for it. How do I "vote," technically,
on this issue? That part is new to me.

-- 
George Plopper 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
From: adam@micromuse.co.uk (Adam Kerrison)
Newsgroups: alt.guitar.bass
Subject: Re: ftp sites for bass tabs
Date: 14 Aug 92 13:37:33 GMT
Reply-To: adam@micromuse.co.uk
Organization: MicroMuse Ltd, London, UK

Try ftp.nevada.edu - they have a large guitar tab achive. There is a lot of Rush
tab there but I think it's mostly the same as at syrinx.umd.edu.

Most of the stuff is guitar tab though, not bass :-( - Why don't more bass
players put stuff down in tab ??!!

Adam

---
==========================================================================
Adam Kerrison                  | Phone : +44 71 352 7774
Technical Support              | Fax   : +44 71 351 7834
MicroMuse Ltd                  | E-mail: adam@micromuse.co.uk
London                         | 
SW10 0RN                       | "All the worlds a stage ..."
==========================================================================
From: plopper@husc8.harvard.edu (George Plopper)
Newsgroups: alt.guitar.bass
Subject: Re: What's "the 1-2-4 rule"?
Date: 20 Aug 92 02:20:04 GMT
Organization: Harvard University Science Center

In article <1992Aug17.123010.19724@ryn.mro4.dec.com> rost@rgb.dec.com (My name is Brian Rost) writes:
>
>I play both electric and upright, and like you, I wish I was as fluid on
>upright as on the electric.  Of course, if I spent as much *time* playing it,
>that might help!  8^)  8^)

Good point, Brian. Again, referring back to the original question: something
to keep in mind
when deciding what kind of bass to get...
>
>Keeping all fingers down on the fingerboard when using the pinky does help me
>fret cleanly on electric, plus for certain types of runs it's very economical. 
>Sure, if I have to make huge jumps around the neck it may seem clumsy, but when
>I attack a new piece of music, the first thing I look for is spots where the
>fingering seems awkward and then work out alternative fingerings and try to
>decide which  makes the most sense.  One advantage of playing a string
>instrument is that there are usually multiple ways of playing a passage...try
>that on a piano!

That reminds me: you can also play CHORDS on an electric 10 times easier than
on an acoustic, if you're into that. I saw Stanley Clarke strum one of those
things once and I couldn't believe my eyes. Us mere mortals would have a hell
of a time doing that, except on a piano!

>The biggest advantage to keeping all your fingers down is that you don't waste
>any effort *releasing* your other fingers. Like most methods, Simandl is based
>on years of results, but it's not perfect for *every* player.  I'm always
>amazed watching guitarist Pat Metheny, his fingers flap about like he's spastic
>and he uses anything BUT "correct" technique but his music doesn't seem to
>suffer from it!

Again, this reminds me of an important discussion from a while back regarding
carpal tunnel syndrome (or whatever it's called): Simandl is a great way to
learn "proper" fingering (and thus, hopefully, whole hand positioning), even
for electric bass. Metheny is just lucky! :-)
>


-- 
George Plopper 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
Xref: sparky alt.guitar.bass:1099 rec.music.makers:9009 alt.guitar:7170
Newsgroups: alt.guitar.bass,rec.music.makers,alt.guitar
Subject: Re: Heavy guitars
From: derek@nezsdc.icl.co.nz (Derek Tearne)
Date: Thu, 13 Aug 92 23:58:07 GMT
Organization: Fujitsu New Zealand

In article <1992Aug10.210311.25740@cci632.cci.com> wac@cci632.cci.com (William Christiano) writes:
>I would think that guitars with a 'Neck Thru Body' design would depend
>on the body a little less for tone quality.  Any people with experience
>in this dept?

The neck through body construction is intended to increase sustain.  The
idead is that string vibrations are not damped by the neck/body interface.
The weight/shape/cutouts/wood in the rest of the body will have more of 
an effect on the overall tone.  This is not a very exact art and a guitar
with seperate neck but a very good neck body joint and wood A may end
up with more sustain and a warmer tone than NTB with wood B.

In the end you just have to try the different instruments and find the 
one you like the best.

I have quite a dense guitar with seperate neck (a Wal 5 string fretless).
This has heaps of sustain,  good natural tone and lots of control over
the un-natural active tones.  The Neck/Body joint is probably somewhat 
better than the average mass produced guitar though.

It is also _very_ heavy and does (or rather did) give me a sore neck.  
I solved this by getting some 2 inch thick foam rubber and attaching this
to the shoulder part of the strap.  Looks a little funny but is comfortable.
Another novel solution I saw was to have a sort of harness going over 
both shoulders attaching to a bolt sunk into the back of the body.  Similar
to what ZZ top must use except he didn't spin the guitar.

I the end you always have to suffer a bit for for the sake of your art.




trends 
>
>							Bill C.


-- 

Derek Tearne. -- derek@nezsdc.icl.co.nz --  Fujitsu/ICL New Zealand --