HDTenEightyP/NetNews huggingface dataset:
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: Peavey MidiBass
Reply-To: till@lucid.com
Organization: Lucid, Inc.
Date: 21 Nov 92 09:06:49

   From: rost@tecrus.dec.com (My name is Brian Rost)
   Organization: Digital Equipment Corporation
   Date: 20 NOV 92 10:14:26    

   In article <BARSZ.92Nov19153246@bmtlh168.bnr.ca>, barsz@bnr.ca (Peter Barszczewski) writes...
   >   Actually, you only need a half-cycle (one zero crossing), but even 
   >   a 12 ms delay is noticeable.
   > 
   >Err, references please.  Both for the fact that 12 ms delay is "noticeable"
   >and that only a half-cycle is needed.  If I remember my Fourier analysis
   >correctly (and I highly doubt it) then for sine wave analysis you need a
   >full cycle to determine its frequency.  Hence you get the Nyquist (sp?)
   >criteria that you have to sample at a minimum of twice the frequency you
   >are trying to measure, so you can represent a full cycle.  As for a 12 ms
   >delay being noticable, I highly doubt it.  As an analogy, keep in mind that
   >movies go at 24 frames/sec which is 41 msec per frame, you are talking
   >almost 1/4 of that.

   Imagine you are looking at a sine wave and you detect a zero crossing, OK,
   what information do you need to determine the frequency?  The distance to 
   the next zero crossing, i.e. one half-cycle. 

Brian simplified his example so that the pickup's waveform is a sine wave
or something equally easy to work with.  It ain't (look at a bass transient
on a 'scope sometime, it's pretty wild), so in practice figuring out the
frequency can take a while longer.  Still, depending upon the cleverness of
the implementation, some amazing things are possible.  Additionally there
are at least three different ways to get the conversion time down below a
half cycle using multiple pickups, but I don't know of anybody actually
doing that.  I doubt the market is big enough to support the investment.

   Movies affect your eyes.  Peristence of vision is a phenomenon totally
   unrelated to how our brains process sounds.

Absolutely.  Also a film projector has a shutter that opens twice or more
per frame so the flicker rate that the viewer sees is far greater than
24fps.  But we digress.  :-)

  -- Don
From: cwalker@mizar.bucknell.edu (carleton walker `93)
Newsgroups: rec.music.makers.bass
Subject: Re: Practicing with headphones
Date: 16 Nov 92 16:00:27 GMT
Article-I.D.: coral.1e8girINNjmr
Organization: Bucknell University, Lewisburg, PA
NNTP-Posting-Host: mizar.cs.bucknell.edu

In article <1992Nov11.065414.18338@leland.Stanford.EDU> whale@leland.Stanford.EDU (Stephen Schmidt) writes:
>In article <1992Nov11.050911.17803@sequent.com> gsmith@sequent.com (Greg Smith) writes:
>>Any comments on the various headphone practice amps? I know of the Rockman,
>
>My impression of headphone amps is that they all kinda suck, but I don't
>have particular experience with the Bass Pak to say for sure. But think
>about it: look inside the ear of your headphones and think about how big
>the speaker is... Now think about how the preamp is designed to sound good
>driving headphones, and figure out how it's going to drive a 15" speaker.
>Won't be pleasant... :)

	I don't store my amp in my dorm room, so I am forced to
practice using the headphone out on my effects unit (a Korg A5). But
there are three advantages to using headphone that I can think of off
the top of my head.

	1) Headphones force you to use better technique, since you can
hear every little buzz and muffle.
	
	2) If you play fretless, like I do, heaphones force you to
concentrate on your intonation more; you can hear your pitch better.

	3) Stereo chorus is better. I'd like to see the set of
speakers that can beat even a $20 set of headphones using the
headphone out.

Carl Walker
--
Carl Walker				"Hectic days ahead of us,
Bucknell University			 Rotten ones behind,
Lewisburg, PA				 Keeping plastics in our pockets,
cwalker@canopus.bucknell.edu (! tmc.edu) Children never mind." - K, S, & W
Newsgroups: rec.music.makers.bass
From: battlec@cs.rpi.edu (Clark Battle)
Subject: Re: Tuning a bass
Date: Fri, 20 Nov 1992 15:12:49 GMT

In article <1ehrnnINN6o9@uwm.edu>, aragorn@convex.csd.uwm.edu (Steven J.) writes:
|> battlec@cs.rpi.edu (Clark Battle) writes:
|> : I built a Fretless 5 string bass with a 38" scale length!! The effect is 
|> : that where the nut is on a standard 34" scale bass is approx. where my
|> : second fret position is allowing it to play an extra whol step on each
|> : string. I also tune the lowest dtring down a whole step because I'm used
|> : to it that way.  With a 3 octave fingerboard, It has the range of a 7 string
|> : insrtument tuned in 4ths (approx.)  tuning:low->high   C,G,C,F,Bb.
|> : Only DR string are long enough (and good enough) to use with it.
|> [text deleted]
|> 
|> Could you go into some detail why you chose the C-G-C-F-Bb tuning?  I know
|> you said you wanted the lower note on the lowest string, but why the odd
|> tuning?
|>
 
OK:

I started off as a cello player 12 years ago so I learned to navigate strings
tuned in 5ths.  When I switched to the bass I bought a 4 string "Bass Collection
501" and dropped the last string to get the extra range.  Also, with 2 D
strings it is easier to learn all the note names.  Just like a guitar player
gets used to the 3rd between the g and b strings I got used to the low
D.  Youll notice that if you raise the above tuning by 1 whole step (accounting
for the extra length) you get D,A,D,G,C which is the same as a 5 string bass
with a high c string and the low e dropped a while step. So, with a 3 octave
fingerboard, It gets a 4 octave range where a standard fender only gets 3 &
a half step. Currently, my
fretted four string is tuned G,D,G,C making it less a bass and more a "tenor".
I find the lighter strings and higher range allow me to play faster and 
cleaner than the standard tuning. Zon's hyperbass played by Michael Manring
has hipshots on each string plus a 3 position bridge transposer which he
uses to retune his bass *during* play!  I think that gives it 48 tunings
if my math is correct.  I once had my bass tuned in straight 5ths. This had
a very different chordal pallate and forced me to work on those Holldswothian
streches.  But 4ths are faster and easier to play linearly, so they won.
Newsgroups: rec.music.makers.bass
From: friedman@ganymede.cis.ohio-state.edu (Mark "Crimson" Friedman)
Subject: Re: Playing with your fingers
Organization: NAIVE - New And Improved Virtual Environment
Date: Fri, 20 Nov 1992 17:17:01 GMT

In article <1992Nov20.155701@aifh.ed.ac.uk> aikes@aifh.ed.ac.uk (Kerry Swatridge) writes:
>Conflict!  What's the solution?

Ummm...do they have "Lee Press-On Nails" in the UK?  :-)

							- Mark

-- 
Mark "Klone Crimson" Friedman is friedman@cis.ohio-state.edu .................
"There is nothing former  "Beat poets,    "Bite me,   "My jacket! I killed
 about King Crimson."      not children."  it's fun!"  Kennedy in this jacket!"
 - Robert Fripp, 5/11/90   - anonymous     - MST3K     - Ron Post
From: scst83@csc.liv.ac.uk (Mr. C.D. Smith)
Newsgroups: rec.music.makers.bass
Subject: Kings X
Date: 20 Nov 92 14:09:06 GMT
Organization: Computer Science, Liverpool University

Question,
Does anyone know anything 'technical' about Dougs 12 string bass ?

It looks like he definitely has a humbucker on their, also judging by the sound.
Can anyone be more specific.
Also, what guage of stings is that man playing ? 4 groups of 3... mighty thinish strings me thinks....

Ho Hum...

Thanks,

Chris
From: cei@po.CWRU.Edu (Charles E. Ivy)
Newsgroups: rec.music.makers.bass
Subject: Re: Peavey MidiBass
Date: 19 Nov 1992 18:47:18 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
Reply-To: cei@po.CWRU.Edu (Charles E. Ivy)
NNTP-Posting-Host: hela.ins.cwru.edu


I was in Evan's Music City in Houston yesterday and I saw someone play
and buy the new MidiBass. Hot stuff!!! He was playing classical guitar-
like lines with an organ patch. The thing tracked really well. The player
was incredible too. He could make the thing loose tracking when he wanted
to, but said it would do fine for the studio work he was going to do.
-- 
 . _____________________________
/:|____________________/__/__:_=| Chapman Stick		Chuck Ivy
\:|___________________/__/___:_=| White Oak #240	cei@po.cwru.edu
                       ++
Newsgroups: rec.music.makers.bass
From: barsz@bnr.ca (Peter Barszczewski)
Subject: Re: Peavey MidiBass
Organization: Bell-Northern Research Ltd.
Date: 19 Nov 92 15:32:46

rost@tecrus.dec.com (My name is Brian Rost) writes:


   >It seems that Peavey has found a new approach to solving the note decoding 
   >problem. If any of you have played the original Roland bass synthesizer 
   >you know this problem already. It's called "tracking". As I understand it,
   >the traditional method of analog wave (the note played) to it's electronic
   >equivalent required two cycles of the wave to pass through the decode 
   >circuitry. Putting this into perspective, to decode a low E tone from your
   >favorite bass (at a frequency of 41.2 Hz), it would take 50ms!

   Actually, you only need a half-cycle (one zero crossing), but even a 12 ms
   delay is noticeable.

Err, references please.  Both for the fact that 12 ms delay is "noticeable"
and that only a half-cycle is needed.  If I remember my Fourier analysis
correctly (and I highly doubt it) then for sine wave analysis you need a
full cycle to determine its frequency.  Hence you get the Nyquist (sp?)
criteria that you have to sample at a minimum of twice the frequency you
are trying to measure, so you can represent a full cycle.  As for a 12 ms
delay being noticable, I highly doubt it.  As an analogy, keep in mind that
movies go at 24 frames/sec which is 41 msec per frame, you are talking
almost 1/4 of that.

Most accurate pitch tracking algorithms I have seen require some sort of
backwards prediction and mean filtering (the current sample is the mean of
the previous and next samples) for error correction.  These introduce
delays.  Further, signal processing h/w is not fast enough to do more
sophisticated tracking (LPC-based, etc.) on a per-sample basis and as a
result collect a "window" of samples and work on that.  This also
introduces delay.
--
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: mtrnka@jarthur.claremont.edu (mike jan trnka (sven))
Subject: Re: Peavey MidiBass
Organization: Harvey Mudd College, Claremont, CA 91711
Date: Fri, 20 Nov 1992 00:04:07 GMT



In article <29y132c@rpi.edu> battlec@cs.rpi.edu (Clark Battle) writes:
>There are mane scanned fret guitars avaliable. The most notable
>are Sytheaxe(ala Holldsworth) and Zeta which also has a hex
>pickup for more natural expressiveness (scanned frets cant trace
>vibrato or volume).  Its about time someone did it with a bass!

I think the Electronic Musician with the review said that the MidiBass responds
to note bends well. Is this acomplished with an aditional hex pickup then
like the Zeta?

mike trnka
mtrnka@jarthur.claremont.edu
From: dbox@net4.ics.uci.edu (Don Box)
Subject: Re: Chapman sticks
Newsgroups: rec.music.makers.bass
Reply-To: dbox@ics.uci.edu (Don Box)
Organization: UC Irvine
Date: 17 Nov 92 06:53:27 GMT
Distribution: usa

In article <1992Nov17.035652.3621@moliere.uucp> pmk@moliere.uucp (Peter Michael Klausler) writes:
>Oh, yes, to the gentleman uncomfortable with the price of a new instrument:
>remember the words of former GM Chairman, Roger Smith, who, when asked
>what the best $10,000 GM car was, responded "A two year old Buick." I.e.,
>look for a used instrument in good shape.
>

Older instruments are OK to start out on, but the quality, playability
AND sound of the newer instruments really is better (and thus worth
the extra money).  I traded my poly stick last year for a new bubinga
stick and am WAY happy with it.  The new Sticks are much ligherweight,
yet they actually sound BIGGER.

If you do buy a used instrument, you might benefit from sending it to
Emmett for a once-over, especially if the instrument is really old or
has been "experimented on."

DB

Newsgroups: rec.music.makers.bass
From: angus@well.sf.ca.us (Angus P. MacDonald)
Subject: Re: Standing in the Shadow of Motown.
Organization: Whole Earth 'Lectronic Link
Distribution: usa
Date: Tue, 17 Nov 1992 07:56:24 GMT

In <7611@tekig7.PEN.TEK.COM> alh@tekig1.PEN.TEK.COM (Al Hooton) writes:


>	OK, I need some help.  I've looked at Tower records, I've looked
>other places, I've called the library, and I even forget who posted this
>information (so I could humbly ask them in private).  So: would someone
>kindly send me the publisher/label/catalog-#/etc. for "Standing in the
>Shadow of Motown" on CD?  Please e-mail, as we don't need to waste any
>more bandwidth on this then I already am.  I'm *really* eager to have a
>copy of this thing.

>	Yes, yes, I promise - I'll keep *everything* from now on!!  :-)

>-------------------------------------------------------------------------------
> The story so far: In the beginning the           | Al Hooton, SW Quality Guy
> Universe was created.                            |     Telecom Products
>                                                  | Tektronix, Inc. 
> This has made a lot of people very angry and     | (503) 627-4216 (wk)
> has been widely regarded as a bad move.          | (503) 626-6849 (hm)
>                 - Douglas Adams                  | alh@tekig1.pen.tek.com
>-------------------------------------------------------------------------------

It's on CD now? Hey, send me too that info, please! Thank you.

       Angus MacDonald;   angus@well.sf.ca.us
Newsgroups: rec.music.makers.bass
From: collins.escp10@xerox.com (Anthony Collins)
Subject: Re: Kings X
Reply-To: collins.escp10@xerox.com
Organization: Xerox Corporation, El Segundo CA
Date: Mon, 23 Nov 1992 17:07:12 GMT

In article D2@compsci.liverpool.ac.uk, scst83@csc.liv.ac.uk (Mr. C.D. Smith) writes:
> Question,
> Does anyone know anything 'technical' about Dougs 12 string bass ?
> 
> It looks like he definitely has a humbucker on their, also judging by the sound.
> Can anyone be more specific.
> Also, what guage of stings is that man playing ? 4 groups of 3... mighty thinish strings me thinks....
> 
> Ho Hum...
> 
> Thanks,
> 
> Chris


There is an article on Doug Pinnick in an issue of Bass Player magazine.
Unfortunately, I don't have the issues handy so I can't tell you which one.
It was in the last year though.  In the article, he talks about both his 12
string and an 8 string that he also plays.  I believe the article also talks
about string gauges and the like.  If I can remember to do so, I will check
for which issue it is, and let you know.

---
Anthony Collins
Xerox Corporation
Internet: collins.escp10@xerox.com


Newsgroups: rec.music.makers.bass
From: jimlynch@netcom.com (Jim Lynch)
Subject: Re: reply to Pickup question
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Mon, 16 Nov 1992 05:11:28 GMT

In article <93120001@hpspdla.spd.HP.COM> garyr@hpspdla.spd.HP.COM (Gary Rosen) writes:
>>(Ralph Gonzalez) /  1:53 pm  Nov 14, 1992 /
>
>>From my own (limited) experience, I suspect that you need a 
>>new guitar, not new pickups. I think Chris Squire played
>>a Rickenbacker bass, which is relatively lightweight and
>>"lively" sounding. If you pick one up and play it without
>>an amplifier, you hear a lot of tone. My Kramer, by comparison,
>>sounds pretty "dead" with or without amplification.
>
>Good answer, Ralph.  I second the notion you imply, that it is the bass
>itself and not the pickups which determine the tone.  The pickups have
>an effect, of course.  But the basic *sound* you are amplifying comes
>from the string resonating on the instrument - this is as true of a
>solid body electric bass as it is of a Stradivarius violin.  The pickup
>is essentially just a filter.  The type and weight of the wood, as well
>as the construction of the bass are the critical factors.
>
>- Gary Rosen

You're right: the bass you play is the original tone producer but the pickup
has more effect than you imply. However, a pickup _cannot_ make up for a
substandard instrument.

If you have a good (or at least reasonable: stays in tune, fair tone)
instrument, the pickup choice becomes very important. A terrible pickup
makes a $3000 bass terrible.

Newsgroups: rec.music.makers.bass
From: battlec@cs.rpi.edu (Clark Battle)
Subject: Re: finger/pick/flipper maneuver...
Date: Thu, 19 Nov 1992 17:41:04 GMT

Victor wooten is the GOD of this technique.  He does it when he slaps.
his thumb slaps the string on the downstroke and pops it on the upstroke.
He can keep up with fingerpicking banjo players as well as tapping
circles around Stu Hamm.  See Bela Fleck and the Flecktones LIVE.  He'll
make you get down on your knees and worship :^)
From: boutin@verbosa.ncd.com (Paul Boutin)
Newsgroups: rec.music.makers
Subject: Looking for ways to lower Marshall volume
Keywords: marshall amplifier
Date: 18 Nov 92 15:14:34 GMT
Reply-To: boutin@ncd.com
Organization: Network Computing Devices, Mt. View, CA, USA

I want to get a Marshall Super Lead 100 to sound as much 
like it does on 10 without the fighter-jet sound level.  This has 
probably been Marshall FAQ #1 since 1969, so I figure there must be
a known reasonable solution by now; in fact I saw a couple of postings
on the topic recently but didn't get a chance to read them.

I'm not interested in physics lectures; I'd like to hear from people 
who are actually playing some sort of setup about what works and what 
doesn't work in real life.  Email replies to me and I'll summarize if
it hasn't been done already.

-- 
Paul Boutin      User Interface Software      Network Computing Devices
boutin@ncd.com                                350 North Bernardo Avenue
415 691-2115                                  Mountain View, California 94043
Xref: sparky rec.music.makers:10977 rec.music.synth:18484 news.groups:21980 news.admin:8545
Via: uk.ac.leeds.scs; Wed, 11 Nov 1992 22:19:14 +0000
Distribution: world
X-News-Gateway: NewsGateway@phaze.UUCP (NewsGateway 1.0 by Pierre Rioux)
Date: Wed, 11 Nov 92 22:19:17 GMT
Newsgroups: rec.music.makers,rec.music.synth,news.groups,news.admin
Organization: The University of Leeds, School of Computer Studies
From: ross-c@scs.leeds.ac.uk
To: usenet@phaze.cam.org
Cc: 
Subject: Re: *BAD* music group reorg will not be honored

In article <cuz.721347201@chaos.cs.brandeis.edu> you write:
>	Yes, Subjects of little or no relevance are posted to groups
>all the time. RFDs and CFVs are not crossposted to groups for no
>reason however. If people can't realize this, IT IS thier fault. We

It is *NEVER* anyone's fault to not know something they were never told.
I was never told about RFDs and CFVs. Can I call for a straw poll to 
find out what percentage of USENET readers were told, and who found out
by accident. To say that RFDs and CFVs should obviously stand out as important
in a acronym-full group like rec.music.synth (typical subject line: "Does a
JX8P have a DCF or a VCF?") is NOT a solid argument.

Pity the founding fathers of the US weren't expected to follow "the rules"
as strictly as rec.music.synth readers or the UK might still have a bigger
colony than the Falklands :-)

Ross-c
(Ross Clement)
Xref: sparky rec.music.makers:11112 rec.music.funky:1824 alt.rap:6354 alt.rave:5183
From: rojohnso@libws2.ic.sunysb.edu (Ronald Johnson)
Newsgroups: rec.music.makers,rec.music.funky,alt.rap,alt.rave
Subject: Rare
Date: 23 Nov 92 22:01:41 GMT
Organization: State University of New York at Stony Brook


Hey...

Ive been trying to find some rare CD's...I know what label they are on, etc.
I have other CD's by artists under that label..I was just wondering...most
if not all CD's/Cassettes have this little message that says Marketed and
Manufactured....and they list the record label and an address...I was just 
wondering if anyone knew if it was possible for me to just visit that address
and hope to find info on getting the CD's, or is this address like an exec-
utive office,not really open to the public? Any info would be appreciated..

Please email me personally if you have any info concerning this...

                                                             Thanks in advance
                                                                    RJ
Xref: sparky rec.music.makers:10995 rec.music.bluenote:8840 rec.music.folk:7881 news.answers:4025
From: bmaraldo@watserv1.uwaterloo.ca (Commander Brett Maraldo)
Subject: Re: TASCAM MS-16 FOR SALE
Organization: Unit 36 Research
Date: Thu, 19 Nov 1992 16:06:13 GMT

In article <66@bbx.basis.com> scott@bbx.basis.com (Scott Amspoker) writes:
>In article <0105009A.ik5as0@david.roth-music.com> david@roth-music.com (David A. Roth) writes:
>>I think it's more like...When are digital machines going to have the
>>warmth of good analog machines.  I'm not trying to stop a war on digital
>>vs analog but digital has not become all things to all people.
>Last I heard, some companies are developing boxes that will add the
>"warm" analog tape distortion to a signal.  Whether these boxes will
>succeed at capturing all the nuance of analog tape distortion remains
>to be seen.  (I recall that rotating speaker simulators never quite
>matched the real thing but have gotten progressively better over the

	Consider the significance of the rotary speaker on the making of
music.  That Leslie(tm) sound is sought out and it is to every studio's
advantage to own a Leslie.  People put their guitars, keyboards, voices
and horns through those grundgy rotating speakers.  The same will probably
be true of analogue recording in awhile.  I can see a time when there will
only be a few pure analogue recording studios left and their services will
be sought out.  Afterall, the last Bruce Springstein album was recorded
in analogue (he specifically wanted that sound). 
	Digital is good for some things, analogue for other.  It's the same
sort of issue as the relevance of the minimoog and the sampler.  The minimoog
is an old piece of junk in technological terms but it is still the most
powerful bass synth you can get.  Everything has it place and use.

brett maraldo
plexus productions
'where analogue meets digital... and wins!;


-- 
               --------     Unit 36 Research     ---------
	                "Alien Technology Today"
  	 	      bmaraldo@watserv1.UWaterloo.ca
  	           {uunet!clyde!utai}!watserv1!bmaraldo
Newsgroups: rec.music.makers,rec.music.synth