The World of Computer Software/World_Of_Computer_Software-02-387-Vol-3of3.iso/b/bl256.zip/BL256.TXT

Text File | 1993-03-10 | 23KB | 520 lines

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                                                    Issue #256
                                                    November 12, 1992

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Today's topics:
                  Various & Sundry stuff
                  RE: Tendonitis
                  GK400 info...
                  Hello / amp advice sought
                  RE: RM╣s Tendonitis from #255
                  RE: Now what do I do?
                  Effects
                  Speaker How-Do
                  Need equipment advice
                  JACO PASTORIUS

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Administrative notes:

   Well, it seems Kevin is still busy with studies, so I get to do another
issue.  Thanks to all who sent in their opinions on the database.  Please
let us know how you feel on this subject, we would like as much subscriber
input as you can provide.  Once again, there has been some requests for
a subscriber information database, containing such information as:
full name
city
state
country
electric/acoustic/both
discipline (rock, jazz, C&W, classical, etc)
net address
main equipment
main influences
any bands involved w/
other instruments played

If you have any opinion on the creation of such a database, let your thoughts
be heard at either [e-mail] or [e-mail] (please don't
send to both!)

Now on with the show!
Erik

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Date: Thu, 12 Nov 92 02:54:28 EST
From: [e-mail]
Subject: Various & Sundry stuff

Just a few things I've had on my mind:

I saw in an English Guitar magazine, a review of a prototype Trace Elliot
Preamp that solves all of the shortcomings (I Think, anyway) of the current
GP12x & xv, the tube model, which I've got.  The GP12 SMX (SM stands for
"Sound Management)  has a knob that blends between a tube and solid state
input section, like the Hartke Series, has 2 pre-shapes, a stereo FX loop
(FINALLY!!!!)  an EQ balance knob, and (the extremely hip) separate high and
low compression circuits with a knob each.  the FX loop has a mono full-range
out, a mono Low-Pass out, and STEREO high-pass outs, if
your into that kind of thing.  It's not out yet, but in the UK will retail
for  L499, which by today's rate of $1.50 to the L1 is $750 list, although
Chris Maury from the Bass Centre informs me that that price will be
considerably higher in the states.

Also, Who of us are going now to music colleges?  I'm interested to hear from
others on this topic.  I'm currently at CalArts and am probably going to end
up at University of Miami in Jan., but at CalArts, I'm taking lessons with
Gary Willis, and I would have lessons with Chalie Haden if I were a good
enough
doghouse player...

Sorry I'm cramming in lots of stuff...
As a multiple 10" speaker user, I love the sound of 10's, but my B string
cries out for more LOW.  I've tried 15"s but a 4x10 box actually has MORE low
end than most 15's.  I want to try an 18" box for this purpose, but I don't
want to sacrifice the punchy, tight sound of the 10's lower mid by Biamping,
or scrapping them completely.  I'm thinking of running the 10's Full Range
into one channel on my amp and then using the other channel for the 18" cab,
but having the 18's output from the Preamp be Low Pass, for just the low,
like 250hz or under, so this wouldn't actually be true Biamping.  Are 18's
too flabby, with Runaway Train Bass, or are they the answer to my prayers of
Ultra-Deep low for my 5th string?

Thanks;

Dan Pinder,
[e-mail]

P.S.: any Colin Moulding fans out there?

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Date: Thu, 12 Nov 92 05:52:44 PST
From: 12-Nov-1992 0848 <[e-mail]>
Subject: RE: Tendonitis

In #255, [e-mail] wrote:

>I've somehow developed myself a case of tendonitis, and I have to lay
>off playing for (at least) a couple of months.  This turns out to be
>very difficult for me- over the last three years, playing has become by
>far the most important activity in my life.  I find myself going home
>from work and wandering around pretty aimlessly, trying to think of
>something to do other than play.  And of course my bass is always
>sitting there, staring at me.
>
>My question for any of you who have gone through a period where you
>couldn't play is this- How do I deal with the jones?  Any ideas of other
>related things I could do to keep me busy and feeling like I'm making
>some progress?

I have also recently been diagnosed with tendonitis although the doctor has not
yet suggested totally laying off.  That may come, however.

My advice: work on studying music.  Transcribe solos and bass lines.  Take
theory classes.  If you sing also, take some vocal lessons. The sort of stuff
you didn't have time for because you were playing too much!

                                                Brian Rost
                                                [e-mail]
                                                508-568-6115
                                                DEC, Hudson, MA

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   "There's too many hands in your persimmon pie, when one hand is my desire"
                                        -Roosevelt Sykes
*******************************************************************************

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Date: Thu, 12 Nov 92 10:50:50 -0500
From: [e-mail]
Subject: GK400 info...

  Dear Fellow bassists;
  I am not a new subscriber but I have never posted here. Here
goes: I have been playing bass for a *long* time if I judge from most
people's experience in this collumn. I played in the 70's (yup, as a
teenager) with several configurations of power trios, as they were
called at the time. I then gave up playing for some time, as I was
putting myself through graduate school. I picked up the bass again, a
little more than a year ago. Played with a blues outfit in the Montreal
area, I am currently in a pop/jazz/funk (read these in any order you
wish)  sextet: "Kameleon". I play a middle-of-the-line Yamaha rbx-550:
sounds ok and gets the job done.  So here's the question: I am looking
for a reasonably good used amp. I found a GK-400RB, at $500. Canadian. I
think it probably is an ok deal. Some time ago, somebody in TBL
complained about the small headroom on the GK-400 design. Some people
disagreed: what is the feeling out there about the amp? Let me know your
good or bad experiences, please.
   In closing I just heard Alain Caron and his band: "Le Band" last
night at a jazz club in Montreal. The American readers are now more
familiar with the guy, as Bass Player featured him two months ago. An
*amazing* show by a great band (guit., keybrds., drums, bass) ! Alain
used two F-basses (see this month's Bass Player), one fretted
the other frettless (the "Alain Caron Model"). This man is truly
a gifted player worth checking out....

   Bye for now and thanks for the info,

-----------------------------------------------------
Charles Gale                       phone: [phone]
Physics Dept.                      fax:   [phone]
McGill University            Internet: [e-mail]
3600 University St.          Bitnet:   [e-mail]
Montreal, Que.               Hepnet:   muhep::gale
Canada, H3A 2T8
------------------------------------------------------

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Date: Thu, 12 Nov 92 10:06:31 CST
From: [e-mail]
Subject: Hello / amp advice sought


Hello,
  I'm a new subscriber. Just found this group last week. My name is
Bill Sallee and I've been playing electric bass for (gulp!) 21 years.
I play a Jazz Bass that I bought new in 1975. It is setup with a Badass
Bridge and EMG active pickups. I use Rotosound round wounds.  I worked
my way through college playing rock at frat parties, proms, and clubs.
I also had a steady good paying 3 night a week job with a C&W house band
for several years. I have also done 3-piece Jazz and 19 piece big band.
I use two cabinets: a Cerwin-Vega top-loaded 18 inch bin and an Ampeg
B-40 4x10 cabinet. Both are about 15 years old.
  My amp is an old series 400 Peavy that I bought used 16 years ago and
this is my problem. The amp is getting to be very noisy and must finally
be replaced.  As I now have a wife and three kids and no longer make any
significant money playing. ( Usually just a pick-up job once in a while ).
I would like to go Bi-amp without spending a lot of cash.  It won't take
a fantastic amp to beat what I'm getting by with now. Any suggestions?
Thanks.
[e-mail]

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Date: Thu, 12 Nov 1992 10:20:35 PST
From: [e-mail]
Subject: RE: RM╣s Tendonitis from #255

RM - You didn't describe your tendonitis so this may not be of any use to you.
Try flipping your bass over and playing upside down lefty.  You'll be using
different muscle groups that may not aggravate your condition.  Remember the
first time you tried to pick up a stringed instrument and play?  This is worse!
You'll feel totally inept, but at least you'll be able to play alittle.  I did
this about a year ago after injuring the tips of the middle and ring finger on
my left hand during a kitchen remodeling project.  I got myself a heavy guage
pick and flipped over whichever bass I felt like playing (Did I say "playing"?
That's stretching it!).  It'll feel weird and unnatural, but given enough time
you may even develop a new technique for yourself.
Hope this helps.  If not, try taking up blues harmonica.  It's self endulgent
and fun!  Besides, you should be able to play better than Bob Dylan AND Neil
Young within one day!

Regarding Bass Player's upcoming 2 for 1 deal - all I can say is aw sh*t!  I
just sent in my subscription form about three weeks ago and paid bust out
retail.  Last year I was too late to get in on this deal and this year I was
too early.  Damn!  Oh well, I've never had any luck in the lottery either...

See ya...

Graham
[e-mail]

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Date: Thu, 12 Nov 92 11:36:30 PST
From: [e-mail]
Subject: RE: Now what do I do?

Some advice for rm:

>I've somehow developed myself a case of tendonitis, and I have to lay
>off playing for (at least) a couple of months.  This turns out to be
>very difficult for me- over the last three years, playing has become by
>far the most important activity in my life.  I find myself going home
>from work and wandering around pretty aimlessly, trying to think of
>something to do other than play.  And of course my bass is always
>sitting there, staring at me.
>
>My question for any of you who have gone through a period where you
>couldn't play is this- How do I deal with the jones?  Any ideas of other
>related things I could do to keep me busy and feeling like I'm making
>some progress?

First of all, if your doctor is telling you to stop playing for a couple
of months, then by all means stop.  If you don't give yourself time to
heal, you could make the problem a lot worse.  I know it's tough when
you're hot to play and you're being told not to.  (Just ask Joe Montana!)

The main thing is not to despair, this could actually wind up being a good
thing.  I stopped playing regularly when my daughter was born and I'm just
now getting back into it (she's nine now).  During that time, I would go for
months without playing.  It's taken a while to shake off the rust, but I
feel that taking the time off made me a better bass player than I would have
been had I continued with a full-time gigging and rehearsal schedule.  The
inspiration for playing great music comes from the things we do that are
unrelated to music (IMHO).  So try to look at this as an opportunity to go
out and get some inspiration.

Some suggestions:

        * Read lots of books.  It's amazing how many writers get ideas from
          books they've read.  Movies are also good.  So is live comedy.

        * Take some classes.  That'll suck up some spare time!  Try a
          drama class if you just can't do without the performing rush.

        * Home improvement.  This is somewhat like aversion training... After
          banging your thumb a few times with a hammer you won't feel like
          slapping that bass a whole lot!  Besides, if you're anything like
          me when it comes to mechanical stuff, home projects take forever!
          (Don't believe me?  You should see my (ex-)lawn.)


Things not to try:

        * Picking a fight in a bar.  This didn't work for Jaco either.

        * Live concerts.  This will just frustrate you by making you hot
          to play.  This is kind of like abstaining from sex at the last
          possible moment.  Your fingers get stiff, swell up, and turn blue.
          The only cure is a cold shower.  Kind of unsatisfying.

And of course, one ridiculous idea:

        * Some people try to diet or quit smoking by substituting sex when
          they feel the urge to eat or smoke.  If you did that every time you
          wanted to play, you'd eventually be too exhausted to pick up your
          instrument (bass, that is ;-)).

          Of course, this approach requires a dedicated, tireless, (and
          willing) second party.  Someone not afraid of sacrifice.  Someone
          willing to lay down their... their..., (well lay down, anyway)
          and share this burden with you.  Better start those interviews now!
          (See?  I told you this could be a good thing!)

Hope this helps.

Alan Henley

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Date: Thu, 12 Nov 1992 14:55 EST
From: Blues <[e-mail]>
Subject: Effects

Hello all --

Well I finally took the plunge and started shopping for effects.  Up till
now I have been a "purist" in the sense that I only used EQ on my sound
and nothing else.  But now I am faced with the need to "fatten up" my
band's sound (I play in a typical quartet, b, gtr, d, voc).  I have been
doing this up till now by playing chords under our guitar player whenever
appropriate.  But that is getting to be a pain!  So here are my questions:

- Does anyone have any experiences with BBE's Sonic Maximizer?  I've heard
  that you can program/set it to play sub-bass notes under the notes
  you are playing.
- Ditto for compressor/sustainers.  Brands?  Features to look for?
- Does anyone know how Tony Levin gets the sound he uses on his work for
  Peter Gabriel?  I have already heard several opinions including
  "Buy a Trace Elliot" or "Buy a Chapman Stick" but I'm not convinced
  of either.  (If you have not heard his playing, it is a very growly
  midrange tone with lots of rumbling bass underneath.)

If anyone has any ideas about this please let me know or post to the list.
Thanks!
-- Mike
   (hutchins@ithaca)

ps  In my introductory post I said something about "learning as much as
I contribute" which sounded kind of elitist.  What I actually meant was
the other way around ... I guess I should stop writing at 2am!       -m

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Date: Thu, 12 Nov 1992 17:01 EDT
From: [e-mail]
Subject: Speaker How-Do

Dear Gentle Readers:

Someone mentioned a magazine called Speaker Builder. Here is an excerpt from
Elektor Electronics Magazine:

Speaker Builder
The Loudspeaker Journal

The Magazine that finally deals seriously with the art and craft of speaker
building....

Rates: 2 years (12 issues) $45.00, 1 year (6 issues) $25.00
Canada add $6.00 per year postage.

Audio Amateur Publishing Group
P.O.box 576, Dept E92
Peterborough, NH 03458-0576

[phone],  fax:[phone]

Looks like just the magazine for all you speaker builder types out there!

Ritchie

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Date: Thu, 12 Nov 92 17:25:42 EST
From: [e-mail]
Subject: Need equipment advice

Fellow Butt Shakers,

[  That's a gretting I've never heard before!     bass-mgr ]

Now that all the chatter on amps and speakers has quieted down,
I'll stir it up again.

I have been trying new amps as well as speakers.
The sound difference is astounding! I brought my current amp
(Peavey mark III (1978!) and basses (Fender Jazz Plus V
and an old Ibenez Musician)

First experiment:

        Try Hartke 3500 amp with "state of the art" SWR (2 10" + horn)
        speakers, my bass, and then
        swap in my amp to A/B the sound.
        Conclusion:
All Amps are not created equal! Both amps are supposedly similar in output
(210-240 watts into 4 Ohm), but the sound is totally different.
The Hartke was ballsy on the bottom and then clean all the way up.
(It does have the advantage of both a tube and transistor preamp that
is mixable.) Wow! People of told me my Peavey amp is lacking in bottom -
here's the proof! - no wonder I am always turning up the bass knob -
to compensate! (I ran the Hartke *FLAT*)
Ok, I need a new amp.

        Next: (at a different store) Try out a recommended
        inexpensive speaker enclosure -
        Peavey 210TX, 2 x 10" with tweeter. Try with store amp (Peavey Alphbass)
        and then my amp, using my basses again.

This speaker sounds great! It sounded as good as the "state of the art (SWR)"
one from the previous store (from memory, of course)
It didn't sound as good w/ my amp - same issues -
but didn't suffer nearly as much w/ swap out of amps.

Where to go from here?
'The misses' frowns on both an amp and speaker
purchase at once. There are also
Impedence problems. Third, There is an inexpensive 4 x 10" cab that is also
supposed to be good that I need to give a listen to.
It is a Sonic 410, which is an SWR ripoff for much cheaper ~$360 US.
Anybody tried this one?

The Amp I like (Hartke) costs ~$500 or ~$800 in a biamp config - that is -
2 amp sections, each producing 240 watts at 4 ohm.
(PS, I called the factory for an RMS rating -
they said about 180 watts at 8ohm, 220 watts at 4 ohm) I will need the biamp
if I get the Peavey 210TX as it comes only w/ 4 Ohm and my
current speakers (15" Thiele) are 8 Ohm - an impedence mismatch when
used together. ( I THINK that I will need to use both speakers on louder
gigs). If I like the Sonic 410 speaker I
will be in better shape for a gradual upgrade. It is an 8 OHM cab, so
I can use it with the existing 15"' sprkr without disaster (Yeh, I know they'll
be mismatched, but compared to my currnt sound it will be heavenly.)


Anyone out there using this stuff?
        Hartke 3500/7000
        Peavey 210TX
        Sonic 410

Are there other amp/spkr combinations in the definately < $1000 range for
both that I should be listening to?

My apologies for this long posting

Thanks for your time,
Tom

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Date: 12 Nov 1992 21:24:19 -0600 (CST)
From: [e-mail]
Subject: JACO PASTORIUS

        Hey -  Just to introduce myself, my name is Matt Knea - I play a '76
fretted Fender Jazz bass and I love the sound of it.  My main music influences
are: Jaco, Led Zeppelin, Steeley Dan, Sting, John Coltrane, and great jazz in
general.
        Anyway... so there I was shopping at a second hand music store here in
Chicago , looking for some Coltrane and some Jaco, when a friend of mine comes
across an album by the Brian Melvin Trio.  This album has Jon Davis on drums,
and Jaco on bass (Brian on keys).  The name of this album is "STANDARD ZONES"
and the music features two really tight rhythm guys playing straight ahead jazz
tunes with Jaco on bass.  I love being able to hear Jaco in this sort of
setting because it's a different sound than Jaco with Weather Report, Joni
Mitchell, ect.
        I mention this album because I think it must be hard to find (I could
be wrong).  Also I mention it because I guess this is the same trio that
recorded the album "NIGHTFOOD" which I saw a post about a while ago - or maybe
a long time ago.    By the way, does anyone know when Jaco's biography is
coming out?  I've heard a lot of people ask this but never heard an answer.  A
Japanese friend of mine already has it in print in Japanese (go figure).
 That's all    *celebrate Jaoc's b-day on Dec. 1*     ---    bye.

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_The Bottom Line_ is a digest dedicated to the art of playing
electric and acoustic bass. It is distributed on a basis that
coincides with the amount of material received, from the
University of Wisconsin - Platteville, USA;
Kevin Tipple, Erik Habbinga, editors

Copyright _The Bottom Line_, 1992

The contents of _The Bottom Line_ are solely the opinions
and comments of the individual authors, and do not necessarily
reflect the opinions of the authors' managements or the digest
management. The editors do not assume responsibility for
copyright infringement of submitted material.

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End of The Bottom Line #256
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