HDTenEightyP/NetNews huggingface dataset:
From: plopper@husc8.harvard.edu (George Plopper)
Newsgroups: alt.guitar.bass
Subject: Re: Buying a first bass
Date: 21 Aug 92 05:18:54 GMT
Organization: Harvard University Science Center

In article <170rqkINN4pi@network.ucsd.edu> mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>
>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'.
>
I'll take exception to this. If it's strength you want, and if you think
high action is the way to get it, then raise the action on a good
sounding bass! Why have terrible noise, dead spots, lame pickups, etc.
just to get strength and coordination? We're talking apples and oranges
here...
>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.
>
I wholeheartedly disagree. My first bass, a Hondo tpos, sounded so bad that
I didn't know how to get anything to sound good on it. I thought I just 
sucked! Then I got a Rick and suddenly the same lines sounded a million
times better because I could actually use my tone control knobs! Nowadays
I still doubt I could make a Hondo tpos sound good. They suck, and it's just
masochistic (or however you spell it) to try one of them, especially if
you're trying to learn other people's bass lines. "How come it doesn't
sound right?" "Maybe because your bass SUCKS!"

>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.

I'll buy that 100%. Very good point. A good way to do that is to play
jazz or blues lines that require a lot of diatonic lines... better than
just playing scales all day!

>Have fun!

By all means. From the start!

George Plopper (UCSD alum, in fact, Michael!)
-- 
George Plopper 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
Newsgroups: alt.guitar.bass
From: jimlynch@netcom.com (Jim Lynch)
Subject: Re: Help the Newbie!
Date: Fri, 21 Aug 92 09:59:29 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <1992Aug17.224017.5349@raven.alaska.edu> cjg@hayes.ims.alaska.edu (Chris George) writes:
>i could use some help too.
>if anyone has scales they can send me or post or something.
>or if there is an ftp site with this info, i would 
>appreciate the help.
>
>-cjg

Hello and welcome, bassNewbies!

There are many important things you should do as a learning bassist (and don't
forget you are also a _musician_) such as finger excercises, developing those
callouses, etc. I will leave some stuff for others to say.

I'm working on this now... and it wouldn't hurt any one of us musicians to
also do this: Learn the notes on your fingerboard. Start on your E string
(the lowest) and go all the way up toll you get to the top note on the E
string. The notes (up to the double-dot) are: E (open), F, F#, G (first dot),
G#, A (second dot), A#, B (third dot), C, C# (fourth dot), D, D# and E. If 
you have a longer than 12 fret neck, just repeat that sequence till you get
to the top. Coming down from E, the notes are: E (double-dot), Eb, D,
Db (fourth dot), C, Cb (3rd dot), Bb, A (2nd dot), Ab, G (1st dot), Gb, F,
E.

Notice that I'm going up in sharps and down in flats: that's the easiest
way. Try to figure out for yourselves the other strings on your bass. Try
it without looking at your fingerboard or playing the note.

Once you have practiced these notes for awhile, start drilling yourself:
Where is the 1st A on the E string? (answer: 5th fret or 2nd dot)
Where is the 2nd A on the E string? (answer: 17th fret or 2nd dot above 
   the double dot)
Where is the first Bb on the A string? The 2nd Bb?
Where is the first D on the E string? The 1st G? The 2nd Ab?
Name the notes on the first dot position for all the strings (for a
   four-string, there will be four notes)
Finally, visualise playing a scale you know and start it on the
   E string, 2nd dot. What are _all_ of its notes _and_ the fret/string
   position at which they are located?

Have a friend who knows his notes give you more questions, and answer
them _without_ looking at your neck, instead, visualise it in your mind.

Learn the notes of your instrument! You will always benefit, especially
in the jazz and classical realm. The blues and rock styles will also benefit
because when you work out or jam with other musicians, you'll know where to
put your hand when someone calls out a key.

I'll repeat two things said earlier: 1) learn theory [then apply it to your
bass]; 2) the best way to learn to play is to play with other people.

One last thing: your second most important musical instrument is your ears;
the most important is your mind. It it this combination that _really_
makes the music.
From: slk6p@cc.usu.edu
Newsgroups: alt.guitar.bass
Subject: RE:  Acoustic vs. Electric Basses....
Date: 15 Aug 92 17:50:41 MDT
Organization: Utah State University

This is in responce to the discussion on Acoustic vs. Electric.

	As a newbie in this net forum I'd like to drop my 2 cents.....

From the postings it seems there may be some  confusion regarding the
distinctions between acoustic "Guitars" vs stand up basses.  Maybe it's just my
own confusion.... bet hey.. . anyway.

	I started on a cheep electric with a simple practice amp (Peavey TKO
80,  still running strong).  I would recommend beginning on an electric.  For
the sake of ease, tone abilities,  finger fatigue and all.  But do not write
off an acoustic bass GUITAR as an option.   I spent about the same amount on a
Sigma Guitars acoustic and hard shell case and I did on my Fender Jazz Combo w/
case.  
	While I love the Fender, and always will.  (It is EASIER to play) I
have found a special place in my heart - and under my fingers - for my
acoustic.  It is an acoustic/electric with an EQ and vol built into the guitar.  
It has a nice tone acoustically, and a wonderfully warm deep, or remarkably
bright and sharp tone (depending on EQ settings etc.)
	It is a bit larger overall, but that is part of the fun of it.  It is
definitely beautiful to look at.  It can really sing back at the amp if you
stand close, makes for some tremendous sustain!  I would never want to abandon
my electric,  but there are certain moments that really call for my acoutsic.
It certainly keeps me practicing, as I can easily pull it out, and fiddle
around watching tv or playing with music.  

It seemed that we had different basses under discussion before.  I don't use a
bow on this bass.  and the case (a very nice one) was ~$100 not $350.  I'd love
to try a standup bass sometime.  My dad played one in the airforce band.  I
just can't imagine it!

PS-  Amps:  I have an old home-made Peavey cabinet w/ 2x15's.  I got one
replaced from Peavey ( a black widow nowadays) and they were very nice to work
with.  I run it with a Crate head (200W).  It does the trick, and has held up
fine for several years of my use.  

			Harp on.........
_____________________________________________________________________
                                J. Wyllie (The Coyote)
                                SLK6P@cc.usu.edu

"As long as he's got 8 fingers and 8 toes, he's alright by me."  H.J.S.
_______________________________________________________________________

Newsgroups: alt.guitar.bass
From: barsz@bmtlh168.BNR.CA (Peter Barszczewski)
Subject: SWR and Groove Tube relationship?
Followup-To: alt.guitar.bass
Keywords: SWR bass amp
Reply-To: barsz@bmtlh168.BNR.CA (Peter Barszczewski)
Organization: Bell-Northern Research Ltd
Date: Wed, 12 Aug 92 15:41:29 GMT

I just got the classic "The Tube Amp Book" by Aspen Pittman of Groove Tube, and
I couldn't help noticing that the Groove Tube Studio Tube Preamp for Bass (GT
STP-B) looks remarkably similar to my SWR SM-400.  Coincidence?  I don't think
so. Does anybody know a little about SWR's history?  If GT was involved in the
design of the SM-400, then it is no wonder why I like it so much.

--
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: alt.guitar.bass,rec.music.makers,alt.guitar
From: whale@leland.Stanford.EDU (Stephen Schmidt)
Subject: Neck-through (was Re: Heavy guitars)
Organization: DSG, Stanford University, CA 94305, USA
Date: Sun, 16 Aug 92 21:07:29 GMT

Another problem with neck-through basses is that if you have a bass with
a neck-through and the neck warps, you have to replace the whole instrument
whereas with a bolt-on you only have to replace the neck. This is probably
one reason why no one makes cheap neck-throughs.
-- 
Steve Schmidt			<><		   whale@leland.stanford.edu

"We have met the enemy and he is us" - Walt Kelly
Organization: University of Illinois at Chicago
Date: Saturday, 22 Aug 1992 23:38:21 CDT
From: John Schulien <U21187@uicvm.uic.edu>
Newsgroups: alt.guitar.bass
Subject: Re: Bela Fleck on Tonight Show

In article <1992Aug22.165354.11576@news.iastate.edu>, jsturges@iastate.edu
(Jason L Sturges) says:
>
> Thanx for listening to me, I thought it was cool, and wanted to see if
>anyone else had anything to say about it.

Bela Fleck is definitely worth catching live. What you saw was a sort of
supercompression of their second set. In concert, the part where they play
each others instruments is more involved. Victor Wooten, their bass player,
takes a long solo during Sinister Minister that is just amazing.

Quite an interesting and unusual band.

If you want to catch them live, here's their tour schedule, from a
postcard they handed out in the lobby. It has proven to be *INACCURATE*,
but a close approximation of where they will be playing. CALL THE VENUE
TO CONFIRM!

From a postcard handed out at the show I was at (College of DuPage, near
Chicago):

Bela Fleck and the Flecktones Schedule:

8/22  Concord Pavilion, Concord, Ca
8/23  JVC Jazz Festival, Hollywood, Ca
8/24  Tonight Show, Burbank, Ca
8/25  Humphrey's, San Diego, Ca
8/26  Coach House, San Juan Cap, Ca
8/27  Loco Ranchero, San Louis Obispo
8/28  Anaconda, Santa Barbara, Ca
8/29  Squaw Valley, Lake Tahoe, Ca
8/30  Cadillac Club, Fresno, Ca
9/1   Blue Max, Chico, Ca
9/2   Arcata Theatre, Arcata, Ca
9/3   Rock and Rose, Portland, Or
9/4   Britt Fest, Jacksonville, Or
9/5   Bumper Shoot, Seattle, Wa
9/6   Villa Mondovi Winery, Saratoga, Ca
9/25  Amer. Music Shop, Nash
9/26  Oberlin Col, Oberlin, Oh
10/10 Jacksonville Jazz, Jacksonville, Fl
10/11 Sarasota?
10/16 Disney World, Orlando, Fl
10/17 Palm Beach?
10/18 Coachman Park, Clearwater, Fl
(There will be more added in Fl)

All dates subject to change! Please call before you drive!



Newsgroups: alt.guitar.bass
From: rost@rgb.dec.com (My name is Brian Rost)
Subject: Re: SWR and Groove Tube relationship?
Organization: Digital Equipment Corporation
Date: 13 AUG 92 10:29:35    


In article <1992Aug12.154129.14215@bnrmtl.bnr.ca>, barsz@bmtlh168.BNR.CA (Peter Barszczewski) writes...
>I just got the classic "The Tube Amp Book" by Aspen Pittman of Groove Tube, and
>I couldn't help noticing that the Groove Tube Studio Tube Preamp for Bass (GT
>STP-B) looks remarkably similar to my SWR SM-400.  Coincidence?  I don't think
>so. Does anybody know a little about SWR's history?  If GT was involved in the
>design of the SM-400, then it is no wonder why I like it so much.

The Groove Tubes preamps for bass and guitar are built for them by SWR.  The
bass version is indeed the front end of a SM-400 minus the power amps.  The
guitar version is truly weird, it'a actually has a low wattage  power amp
(tube, of course), like 30 watts, which can be used to drive speakers but is
really intended to drive the built-in speaker emulator.

					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.					   *
	*						   *
	****************************************************

Newsgroups: alt.guitar.bass
From: plopper@husc8.harvard.edu (George Plopper)
Newsgroups: alt.guitar.bass,rec.music.makers
Subject: Re: Interested in going wireless
Date: 22 Aug 92 00:42:03 GMT
Article-I.D.: husc3.1992Aug21.204204.15000
Organization: Harvard University Science Center

In article <1992Aug21.182731.23881@unislc.uucp> merk@unislc.uucp (John Merk) writes:
>I'm toying with the idea of buying a wireless, but need some advice.  For
>one thing, who makes good units?  Nady was the original, but I hear has
>lost some quality.  Audio Technica is supposed to be the best bang-for-the-buck
>or so says my smiling music dealer.  So, I was wondering what experiences any
>of you may have had as far as brands, problems, recommendations?

About a year ago some guy talked me into getting a single channel
(i.e., NOT true diversity) SHURE wireless, and I plunked down almost
$500 for two transmitters and the receiver. IT SUCKED. The bottom end,
especially on the 6-string, was mushy and always had a lot of hiss that
followed each note- kind of like waves on a beach (white noise, I guess).
It didn't get any better no matter where I stood or how I tweaked the knobs
or even if I put in new batteries. I finally traded it in (since no one
would buy it used) for $200. Ouch.

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 
Email: plopper@husc8.harvard.edu
"I wish somebody'd tell me what diddy-wah-diddy means."
Newsgroups: alt.guitar.bass
From: whale@leland.Stanford.EDU (Stephen Schmidt)
Subject: Re: What's "the 1-2-4 rule"?
Organization: DSG, Stanford University, CA 94305, USA
Date: Sun, 16 Aug 92 21:05:27 GMT

Sounds to me like he's talking about Simandl fingering (probably has other
names besides these two). Instead of using four fingers to cover four frets,
you don't use your ring finger (or use it together with the pinkie) covering
only three frets in a given position. I hear they teach upright bass players
to do this because of the longer scale, and if you have small fingers it is
a good idea on electric basses too. I can't imagine that this would speed
up your playing, though...?
-- 
Steve Schmidt			<><		   whale@leland.stanford.edu

"We have met the enemy and he is us" - Walt Kelly
From: harper@godot.think.com (Jim Harper)
Newsgroups: alt.guitar.bass,alt.rock-n-roll.metal.heavy
Subject: test
Date: 13 Aug 92 13:10:44
Organization: Thinking Machines Corporation, Cambridge MA, USA
Distribution: alt
NNTP-Posting-Host: godot.think.com


test
From: dhi00@ccc.amdahl.com (Dario H. Impini )
Newsgroups: alt.guitar.bass
Subject: followup to first bass question
Date: 20 Aug 92 22:55:17 GMT
Reply-To: dhi00@juts.ccc.amdahl.com (Dario H. Impini )
Distribution: na
Organization: Amdahl Corporation, Sunnyvale CA

i'm a guitarist interested in getting a bass for adding
lines on my 4-track.  obviously, i dont want to get a
top of the line model since i dont intend on investing
alot of time in getting the most out of it.  nor do i
want a crap model since i want the sound to be reasonable
for demo work (also want to be able to slap on it).

any advice/recommendations?

d
Newsgroups: alt.guitar.bass
From: jimlynch@netcom.com (Jim Lynch)
Subject: Re: Need amp Recommendations...
Date: Fri, 21 Aug 92 09:02:07 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <116910001@hpcvlx.cv.hp.com> fredh@hpcvlx.cv.hp.com (Fred Handloser) writes:
>>No problem- biamp, effects loop (with stereo returns), power as many
>>cabs as you need, following the amperage/watt rules, of course.
>>
>>George Plopper 
>
>
>What are the "amperage/watt rules" ?
>

In general, if you are connecting several cabinets to one amp or one section
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.
THIS RESULT MUST NOT BE _LOWER_ THAN THE OUTPUT IMPEDANCE OF YOUR AMP OR
SERIOUS DAMAGE WILL OCCUR! Now, multiply the rated power of the cabs by
the number of cabs and you have the power that can be handled by the
_combination_.
 
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.
 
One final note on impedance: So long as the _total_ speaker impedance is
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
power transfer will be to the speakers. For example, if you have a 4-ohm amp
driving a speaker cab combination totaling 8 ohms, you won't get nearly as
much power to the speakers as you would if the speakers were 4 ohms (the same
as the amp).
 
Hope this helps.
 
-Jim Lynch (jimlynch@netcom.com)

Newsgroups: alt.guitar
From: deadhead@grate.ugcs.caltech.edu (stephen thompson)
Subject: Re: Why few people have Perfect Pitch
Organization: California Institute of Technology, Pasadena
Date: Fri, 21 Aug 1992 22:52:11 GMT

peugh@wam.umd.edu (Arthur Dent) writes:


>  I agree with this method.  I just remember the E that opens up "Communication
>Breakdown" and that's what i tune the guitar against if i don't have a tuner
>with me.  It's usually pretty close, if not dead on.  If you hear the song 
>enough you'll eventually.  It'll probably help if the song has the note repeated
>about ten times in a row though :)

Try using _Goodbye, Cruel World_ from THE WALL (Pink Floyd).  It has an almost
endlessly repeating set of alternating bass and guitar D-strings (though it's
not actually a bass or guitar).  You get the point.  It helps to have the
two D's an octave apart, I'm not sure why.  I can tune my guitar to the
memory of this song now.  (I could probably tune a bass as well.)

--stephen



--
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% deadhead@through.ugcs.caltech.edu   | |   /USA/91126/170-25/stephenthompson %
%     " I'll let you be in my dreams if I can be in yours. " -- Bob Dylan     %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
From: bergman@proline.cs.unc.edu (Larry Bergman)
Newsgroups: alt.guitar
Subject: Re: CRD: Puff the Magic Dragon
Date: 22 Aug 92 01:46:51 GMT
Organization: The University of North Carolina at Chapel Hill

In article <ceZF3b_00UhBI1fvIw@andrew.cmu.edu> jd3v+@andrew.cmu.edu (John Marshall Daniel) writes:
>
>PUFF THE MAGIC DRAGON
>    by some mellow old folkster

	   Peter, Paul and Mary

         who some of us think of fondly unlike most of
	 you young whippersnappers.



-- 
Larry Bergman
bergman@cs.unc.edu
Newsgroups: alt.guitar.tab
From: schnitzi@cs.ucf.edu (Mark Schnitzius)
Subject: Re: Request: House of the rising sun (?)
Organization: University of Central Florida
Date: Mon, 17 Aug 1992 18:15:22 GMT

caesar@meaddata.com (Caesar Naples) writes:

> I'm not sure of the real name of this of this song, but I would 
> really like the tab...

> I think "The Animals" did the song (although I think they just
> covered it).

      Am   C        D        F
There is a house in New Orleans

     Am       C       E
They call the Rising Sun

         Am       C       D            F
And it's been the ruin of many a young man

    Am    E        Am
And God I know I'm one


That's the basic gist of it.  I'm pretty sure the Animals
did it originally.

mark
Newsgroups: alt.guitar.tab
From: walt@diusys (Walt Dabell)
Subject: Re: John Prine requests
Organization: University of Delaware
X-Newsreader: Tin 1.1 PL3
Distribution: na
Date: Sun, 16 Aug 1992 18:30:57 GMT

Sam Stone
by John Prine

    G
Sam Stone came home,
       C
To the wife and family
      D                       G
After serving in the conflict overseas.
        G
And the time that he served,
     C
Had shattered all his nerves,
    D                             G
And left a little shrapnel in his knees.
        C
But the morhpine eased the pain,
        C
And the grass grew round his brain,
     A                             D      D7
And gave him all the confidence he lacked,
       A                                D    D7
With a purple heart and a monkey on his back.

CHORUS:
          G                                 C
There's a hole in daddy's arm where all the money goes,
D                            G
Jesus Christ died for nothin I suppose.
G
Little pitchers have big ears,
C
Don't stop to count the years,
D                                                  G C G
Sweet songs never last too long on broken radios.


Sam Stone's welcome home
Didn't last too long.
He went to work when he'd spent his last dime
And soon he took to stealing
When he got that empty feeling
For a hundred dollar habit without overtime.
And the gold roared through his veins
Like a thousand railroad trains,
And eased his mind in the hours that he chose,
While the kids ran around wearin' other peoples' clothes...

CHORUS

Sam Stone was alone
When he popped his last balloon,
Climbing walls while sitting in a chair.
Well, he played his last request,
While the room smelled just like death,
With an overdose hovering in the air.
But life had lost it's fun,
There was nothing to be done,
But trade his house that he bought on the GI bill,
For a flag-draped casket on a local hero's hill.

CHORUS
---------------------
Credit where credit is due: I got the words from a lyrics ftp site and
am sitting here on a Saturday night with guitar and PeeC in hand transcribing
the chords when John Prine himself is playing in concert not 40 miles from
here at this very moment. Gosh I feel empty.
WORDS Transcribed by Rich Kulawiec, rsk@ecn.purdue.edu
CHORDS by Walt Dabell

--
         __________________________________________________________
         Walt Dabell  KD3GS (302)645-4225  walt@diusys.cms.udel.edu  
                  U of Delaware / College of Marine Studies
                      700 Pilottown Rd. Lewes, DE 19958
Newsgroups: alt.guitar.tab