HDTenEightyP/NetNews huggingface dataset:
From: aki+@cs.cmu.edu (Yoshiaki Ohshima)
Subject: Re: what exactly is a small stone
Summary: Small Stone is just a phase shifter---NOT!
Organization: School of Computer Science, Carnegie Mellon
Date: Mon, 25 Jan 1993 22:28:49 GMT

Indeed, EH's Small Stone is a phase shifter, but that doesn't account
for why it sounds a bit different from other phasor pedals. The original
poster incidentally described it as "cool underwater" swish.

The secret is the circuit.

As far as I know of, it is the only design that used OTA's--if I recall
correctly it was RCA 3080A or its dual version 31600--at the shifter
circuit, whereas ordinary phasor pedals employ either FET's or photocouplers
as the voltage controlled resistance to form a CR network for each shifter
stage. Also it has the "color" switch. The resulting effect is different from
ordinary phasor pedals. Well, I don't say it's better than the others. I don't
say it's quieter, either. I just say it's different and some like it that way.

I still use EH pedals nowadays, just because I love their unique sounds.
Pedals from other brands and rack effects do not particularly pay attention
to replicate Small Stone's coolness, do they? 

So, I can only agree with the opinions that there are a number of rack
units and pedals provided that what you need are general phase shifting
effects of decent quality. On the other hand, if you particularly prefer 
Small Stone, my suggestion is go find a used one. There's no substitute for 
you, purists :-) It only runs for about $40~$50 used.

Is Small Stone going to be manufactured again? VERY LIKELY! 
The owner of a local guitar store I frequently drop in just came
back from the trade show in CA--I guess it was  NAMM--, where he had
a chat with Mike Matthews of New Sensor Corp. He was told that Mike was 
very much in for the idea of Russian made Small Stone and Electric
Mistress under the brand name of "Electro Harmonics by Sovtek".
   So chances are that ridiculously looking "Big Muffsky" might have
brothers and sisters. Boy, I thought "the worst design of the decade" prize
must go to RAT--no offense seriously! I love 'em!!--, but Sovtek might
be the winner....

							--aki

Newsgroups: rec.music.makers.bass
From: kevins@eng.auburn.edu (Kevin Sullivan)
Subject: Re: The great speaker debate: 15 vs 18
Organization: Auburn University Engineering
Date: Sun, 24 Jan 1993 16:23:05 GMT

In article <C19EGD.7pA@panix.com>, moskowit@panix.com (Len Moskowitz) writes:

|> ....  My latest project is a 1-10" with a midrange dome-horn and 24
|> dB/octave acoustic slopes, all stuffed into a 1.5 cubic foot (small!)
|> fourth order (ported) box.  What motivated me was what you referred to
|> as the "shlep factor" -- I wanted something light.  But I didn't want to
|> compromise flatness or deep bass.  This new bottom rolls off to -3 dB at
|> 35 Hertz and is reasonably flat up to roughly 7 kHz.  It'll easily
|> handle the low B on a 5-string.  It can put out 112 dB sound pressure
|> levels and handle more than 200 Watts.  That's not as loud as some
|> speakers, but none can beat it for depth and flatness.  If I want to go
|> louder I add more cabinets.
|> 
|> To get this performance I had to carefully select drivers that could
|> give this kind of performance in such a small enclosure.  Most 10's
|> couldn't get anywhere close to 35 Hertz -- most were up in the 60's and
|> that includes SWR and Eden and other commonly known musical instrument
|> drivers.

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 hadn't heard about Eden's 1x10 cab but a salesman told me that their 
4x10 was actually 4 separate sealed enclosures.
From: fwj@reg.triumf.ca (JONES,FRED_W.)
Newsgroups: rec.music.makers.bass
Subject: Re: Types of bass
Date: 27 Jan 1993 10:52 PST
Organization: TRIUMF: Tri-University Meson Facility
Distribution: world
NNTP-Posting-Host: reg.triumf.ca
News-Software: VAX/VMS VNEWS 1.41    

whale@leland.Stanford.EDU (Stephen Schmidt) writes...
  ...
>  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.

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.

Fred Jones
fwj@reg.triumf.ca
Newsgroups: rec.music.makers.bass
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Cabinet construction, preferences
Date: Wed, 27 Jan 1993 15:19:28 GMT
Organization: Colorado Concert Sound

In article <C1HIMH.n44@synoptics.com> axon@synoptics.com writes:
>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 . . . :-)

Also, unless you stretch the metal grille before you anchor it down, and
unless you anchor it to withstand the end of the world, one day it's 
going to rattle and clatter like an old tractor.

I use a cloth grille and a 1/4 inch piece of plywood as a shipping cover.

Galen Watts, KF0YJ
Newsgroups: rec.music.makers.bass
From: barsz@bnr.ca (Peter Barszczewski)
Subject: Re: Are Hartke Speakers "Delicate"?
Organization: Bell-Northern Research Ltd.
Date: 25 Jan 93 11:58:40

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.

Regards,
--
Peter A. Barszczewski         |           .   .   .   .   .   .   .
(barsz@bnr.ca)                |        :    :    :    :    :    :    :
Bell-Northern Research, Ltd.  |     3     3     3     3     3     3     3
Montreal, Canada              |  D      D      D      D      D      D      D
Newsgroups: rec.music.makers.bass
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: What exactly is an OTA? (was Re: what exactly is a small stone)
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<1993Jan26.145821.13586@ringer.cs.utsa.edu>
Date: 26 Jan 93 14:14:11

   From: ssmith@ringer.cs.utsa.edu (Sammie L. Smith)
   Organization: University of Texas at San Antonio
   Date: Tue, 26 Jan 1993 14:58:21 GMT

   >(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?)

   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.

Operational Transconductance Amplifier.  Looks like an op-amp from a
distance if you squint, but the output is a current source instead of a
voltage source.  So instead of the open-loop gain being expressed as a
ratio of voltages ( Vout/[Vin+ - Vin-] ), it's a transconductance 
( Iout/[Vin+ - Vin-] ).

There are several neat things about these guys:
  The gain is programable with the current (linearly) or voltage
  (exponentially) on an additional pin.  Thus they tend to be used in
  things like Voltage Controlled Amplifiers and Voltage Controlled Filters.
  In fact the Moog Taurus Pedals (ooh--back to the main topic of this
  group, bass instruments!) use OTAs extensively.

  The design is dirt simple and elegant, basically a diff-amp with current
  mirrors. 

  The clipping action is very smooth and the device can be used to generate
  musical distortions.  Or even convert triangle waveforms to sines.

  The 3280 chip has a very clever linearizing circuit in front of the diff
  amp for low distortion applications, but it can be disabled slightly to
  emulate the distortion of tube output stages.

  The 3280 is also one of the lowest noise amplifier chips around.  

Anyway, throughout electronic music one of the biggest issues is
controlling the gain of an amp, which besides being important in it's own
right, is also a building block necessary to implement VCFs and phase shift
stages.  It's not an easy thing to do, and all sorts of good, bad, clever,
and hideous ways have been proposed.  For these applications the OTA is a
godsend.

(I should throw in some gratatuitous slam about stuff like this not being
taught in engineering classes anymore, having been replaced with courses in
8086 assembly language, and the resultant downfall of western civilization
as we know it, but then there'd be no doubt that I've become a jaded old
curmudgeon, fiddling with my slide rule while being warmed by the soft glow
of fine old vacuum tubes.)

  -- Don

Xref: sparky rec.music.makers.bass:658 rec.music.makers.guitar:1571
From: pfaff@cbnewsi.cb.att.com (john.s.pfaff)
Subject: going fretless
Organization: AT&T
Date: Sat, 23 Jan 1993 14:39:34 GMT

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 think the discussion centered around whether that was worth it, or
if the best thing was to get a fretless from the factory.  whoever
wants to help could send me a brief recap of the pro's and con's,
which i'd greatly appreciate.

thanks!

john
Newsgroups: rec.music.makers.bass
From: bgaughan@F22.ess.harris.com (Brady Gaughan)
Subject: Re: Envelope Follower Pedal
Date: Fri, 22 Jan 1993 15:22:42 GMT
Reply-To: bgaughan@F22.ess.harris.com
Organization: Harris Corporation, Government Aerospace Systems Division

From what I remember of the design, the amount of modulation is a function of the peak input signal amplitude or "envelope".  Hence, the name "envelope follower".  The louder
a note is played, the more "wah" effect.

If you listen to Flea on "Sir Psycho Sexy" you can really notice this level/wah relation
when he drops to the lowest boomy note (don't remember what pitch probably a low E).

--Brady
From: slineham@axion.bt.co.uk (Steve Lineham)
Newsgroups: rec.music.makers.bass
Subject: Re: Tapping Lesson#1 and editor-at-large
Keywords: lessons
Date: 22 Jan 93 12:36:13 GMT
Reply-To: slineham@axion.bt.co.uk (Steve Lineham)
Distribution: world,local
Organization: British Telecom Research Labs


In article <20JAN199321081826@merlin.telcom.arizona.edu>, doug@merlin.telcom.arizona.edu (Doug Wellington USGS) writes:
|> First off, I want to say THANKS Ian!  I'll go home and work on that
|> stuff tonight.
|> 

|> 
|> Anybody out there want me to work up a slapping and popping lesson?  I
|> also have a write-up on learning scales and modes which I've been meaning
|> to post.  How do all of you want that, in one big chunk, or in a lesson
|> at a time, say, first Major (Ionian) mode, then Minor (Aeolian), then
|> Mixolydian, etc or do you want it all together?
|> 
|> Let's keep this ball rolling!
|> -Doug
|> doug@arizona.edu

Yes - please keep the ball rolling - and yes I would like to see a slapping
and popping lesson. It's something I would like to be able to do but I
haven't found out how to do it yet.


   -----------------------------------------------------------------------
  | Steve Lineham                       Email: s.lineham@axion.bt.co.uk   |
  | BT Development & Procurement                                          |
  | Software Technology Division, Maintenance Section                     |
  | Room G44, SSTF, BT Labs,                            Fax: (0473) 643019|
  | Martlesham Heath, Ipswich, Suffolk IP5 7RE, UK.     Tel: (0473) 642615|
   -----------------------------------------------------------------------
Newsgroups: rec.music.makers.bass
From: truth@sage.cc.purdue.edu (I am always right.)
Subject: Re: Compressor Pedal vs Rack Mount
Organization: Purdue University Computing Center
Date: Thu, 21 Jan 1993 20:02:52 GMT

In article <1993Jan21.164340.27816@ichips.intel.com> pturner@sedona.intel.com (Pete Turner) writes:
>
>In article <1993Jan20.165816.5119@wkuvx1.bitnet>, shroymp@wkuvx1.bitnet (Mike Shroyer ) writes:
>> 
>> 	I finally got enough money to afford a compressor.  I am
>> interested in everybody's opinion on a pedal as opposed to a rack
>> mount.  Price is still a consideration unfortunatly.  Would a good
>
>
>	     plug them both in at the local music shop, then play. Switch
>	     between the two units and let your ears be the judge -- why?
>	     Because (ultimately) your pocket/wallet will recover, but
>	     your ears will have to listen to "that" sound forever (or
>	     until you save up more cash to buy what you should have got
>	     in the firstplace).
>
>	Pete
>
You raise an excellent point, Pete.  Forget my last post.  If you can
afford the best, buy it.  I have had similar experiences with shitty
products, and end up upgrading anyway.

    Brendan

Newsgroups: rec.music.makers.bass
From: pwh@bradley.bradley.edu (Pete Hartman)
Subject: Re: Tapping Lesson#1 and editor-at-large
Keywords: lessons
Organization: Bradley University
Distribution: world,local
Date: Thu, 21 Jan 93 19:55:15 GMT

In <C17ss5.G9C@constellation.ecn.uoknor.edu> satkins@midway.ecn.uoknor.edu (Shannon Atkins) writes:
>doug@merlin.telcom.arizona.edu (Doug Wellington USGS) writes:
>>Anybody out there want me to work up a slapping and popping lesson?  
>YEEEESSSSSSS! 
>

I'll second that.
-- 
Pete Hartman		       Bradley University	pwh@bradley.bradley.edu
                                Ma gavte la nata
Xref: sparky rec.music.makers.bass:667 rec.music.makers.guitar:1576
From: cde@mulka (Colin Entwisle)
Newsgroups: rec.music.makers.bass,rec.music.makers.guitar
Subject: Re: what exactly is a "small stone"?
Followup-To: rec.music.makers.bass,rec.music.makers.guitar
Date: 25 Jan 1993 00:16:11 GMT
Organization: University of Melbourne
NNTP-Posting-Host: mulka.ph.unimelb.edu.au
X-Newsreader: TIN [version 1.1 PL8]



	the small stone is just a phaser
	admittly a good one
	the colour switch is varies the extremeness of
the chorus - technically couldnt say what it does - but
its the same as the switch on the ibanez phaser.
				CE
Newsgroups: rec.music.makers.bass
From: pturner@sedona.intel.com (Pete Turner)
Subject: Re: Compressor Pedal vs Rack Mount
Originator: pturner@sedona
Organization: Intel Corporation
Date: Fri, 22 Jan 1993 17:34:49 GMT


In article <C17zot.JHw@mentor.cc.purdue.edu>, truth@sage.cc.purdue.edu (I am always right.) writes:

> You raise an excellent point, Pete.  Forget my last post.  If you can
> afford the best, buy it.  I have had similar experiences with shitty
> products, and end up upgrading anyway.
> 
>     Brendan

	Thanks...it's good to see I can raise good points (other than
	the one on my head :-)

	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
 ______________________________________________________________________________
From: timk@meaddata.com (Tim Klein)
Newsgroups: rec.music.makers.bass
Subject: Re: Envelope Follower Pedal
Date: 27 Jan 1993 15:37:31 GMT
Organization: Mead Data Central, Dayton OH
Distribution: world
NNTP-Posting-Host: quasar.meaddata.com
Keywords: Effect

In article <Jan.21.15.31.38.1993.13454@gandalf.rutgers.edu>, rgonzal@gandalf.rutgers.edu (Ralph Gonzalez) writes:
|> doug@penny.telcom.arizona.edu (Doug Wellington USGS) writes:
|>
|> Is this what is called a "T-wah"? A wah-wah sound which is controlled
|> automatically by the attack of a note (rather than a foot pedal).
|> Example is Pete Townsend's guitar solo on Magic Bus...

I think you mean "Goin' Mobile".  Best use of the effect I've ever heard!

===========================================================================
Timothy Klein                 "Mellow yellow" is slang for "really groovy".
timk@meaddata.com                                         -- Jimi Hendrix
Newsgroups: rec.music.makers.bass
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: What exactly don't I know? (Re: What exactly is an OTA?)
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<1993Jan26.145821.13586@ringer.cs.utsa.edu>
	<TILL.93Jan26141411@acid-rain.lucid.com>
	<1993Jan27.014314.24548@news.columbia.edu>
Date: 26 Jan 93 22:58:54

   From: ars1@cunixa.cc.columbia.edu (Sinn Santos)
   Organization: Columbia University
   Date: Wed, 27 Jan 1993 01:43:14 GMT

   In article <TILL.93Jan26141411@acid-rain.lucid.com> till@lucid.com writes:
   >(I should throw in some gratatuitous slam about stuff like this not being
   >taught in engineering classes anymore  

   Well, Don, I agree with you, for one very specific reason.  I don't know
   jack about electronics.  Oh sure, I can tell the difference between a diode
   and a motherboard, but beyond that I start to get the shakes.  What should
   a person in my condition do?  I'm tired of wanting to put together my own
   neat gadgets, but lacking the knowledge to even begin to do so.  Any _good_
   literature for an electronewbie like me?

(Actually I have to admit that I learned about OTAs on my own and not in
any class -- heck I did most of my electronics learning on my own.  My
point that analog electronics isn't being tought as it used to be still
stands though, and electronic music is such a wonderful catalyst since you
can actually hear the effects of a circuit and not rely on abstractions
such as silly equations.  But I digress.)

There used to be a lot of hobbyist magazines in the sixties and early
seventies that provided a reasonable education.  "Electronics World",
"Popular Electronics", "Radio Electronics" and others.  Starting in the
early seventies they became "content-free" and died out from lack of
readership.  Folks also got less interested in electronics projects when
integrated circuits took over to the point where a project would consist of
a single IC which could only be purchased from one weird source -- hardly a
source of learning or an exciting hobby.  Anyway, back issues of those
magazines are very intersting.

There are also a bunch of good books on electronics, but I haven't kept up
on them lately, so I can't give you a good answer there.

Now, back to basses...

  -- Don




Newsgroups: rec.music.makers.bass
From: bgaughan@F22.ess.harris.com (Brady Gaughan)
Subject: Re: Are Hartke Speakers "Delicate"?
Date: Wed, 27 Jan 1993 16:09:46 GMT
Reply-To: bgaughan@F22.ess.harris.com
Organization: Harris Corporation, Government Aerospace Systems Division

In article 93Jan27003302@cupid.cs.utk.edu, eijkhout@cupid.cs.utk.edu (Victor Eijkhout) writes:
>In article <108412@bu.edu> bissett@acs.bu.edu (Robert Bissett) writes:
>
>   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.
>
>To a degree. When I bought my Harke 4x10 I knew that I was compromising:
>clear highs and portability, but a low that definitely stops at the
>low D. You hear clearly that the Db and C are rapidly cutting off
>the fundamental, so if you are into 5- or 6-stringers it is a compromise.
>
>--
>Victor Eijkhout ................................ `There are also a few bugs,

I agree with you that below 40 Hz there is noticable rolloff.  I'm using a 4x10 and
a 1x15 Hartke with my newly bought 5 string (thanks again to Doug Wellington) and am not getting the "low end" I want.  I'm also getting ready to to go bi-amp, so the
1x15 won't cut it (180W).

When Robert refers to "low end" which may be 42 Hz for a low E, the Hartke's are
great.  Hartke is going to produce a 2x15 pretty soon.  I'm waiting to try that cab  
out--should have a rating of at least 300W.

--Brady Gaughan



Newsgroups: rec.music.makers.bass
From: truth@sage.cc.purdue.edu (I am always right.)
Subject: Re: REQ:Joe Jackson & Steely Dan Bass Tabs
Organization: Purdue University Computing Center
Date: Thu, 28 Jan 1993 22:22:33 GMT

In article <C1KM5J.JpC@constellation.ecn.uoknor.edu> satkins@midway.ecn.uoknor.edu (Shannon Atkins) writes:
>ian@ohm.york.ac.uk (I Stephenson) writes:
>
>>In article <Jan.26.14.13.09.1993.6130@remus.rutgers.edu> kyeh@remus.rutgers.edu  
>>(Kung-Ching Yeh) writes:
>>> Could someone please post XXXXX bass tabs.  Particularly stuff off of 
>>> Look Sharp.
>>> 
>>> Thanx in advance!!!!!!
>
>>Rather than just whining for someone else to do the work, why don't you sit  
>>down with the CD, a Bass and a big sheet of paper, and work the stuff out?
>>Then you could post it, and everyone would be happy, including yourself!
>
>>Ian
>
>Yeah, I agree entirely.  In fact, scrap you old bass, get a sharp rock,
>and go cut down a tree.  Take the rock and rout out a body.  Now a neck.
>Try and smelt some metals so you can wind your own strings and cast 
>yourself a truss rod and some frets or something.  Just imagine the deep
>personal satisfaction you would get out of building your own dream bass
>out of materials found strictly in nature.  Why go whining to a music dealer
>when you can build your own bass?  Hell, after that you can build an amp
>too.  But once you've finished constructing all you equipment and managed
>to trascribe the bass lines yourself, don't you dare post them, or we
>would NOT be happy, because then we wouldn't have the privilege of 
>sitting down and working it out.  Besides, even if you did post it none
>of us would want to read it anyway because we're all jerks who don't
>want to help anyone and would rather belittle their efforts to learn.
>-S. Atkins-

I agree!  The whole purpose of this group is exchanging
info so that everyone can benefit.  Piss off, Ian.
Newsgroups: rec.music.makers.bass