The World of Computer Software/World_Of_Computer_Software-02-387-Vol-3of3.iso/b/bl258.zip/BL258.TXT

Text File | 1993-03-10 | 28KB | 667 lines

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                                                    Issue #258
                                                    November 17, 1992

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Today's topics:
                  hi
                  Effects: the verdict
                  RE: Sonic Maximizer
                  RE: more LOW (was: Various & Sundry stuff)
                  Victor Wooten, etc..
                  G-K 400 RB
                  Questions & Tirades
                  DC Area Bassist Seeks Gig!
                  (none)
                  Hipshot installation; Eden cabs
                  Flecktones in Boston; Wooten Wisdom
                  RE: Amp question
                  Greeting from a new subscriber.
                  Corespondance
                  Necking
                  Now What Do I Do? (summary)
                  Shadowfax/Jaco

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Administrative notes:

Interesting issue here, folks. But first, a short tirade by
yours truly.

First off, I'm going to try to organize the _Bass Player_ 2-for-1
deal again. However, I need to do a little more research into the
matter, so don't send me any offers to be paired up *just yet*.
Watch here for more info.

The user survey thing is still in the works. Erik is in Las Vegas
until Wednesday, so it'll be a few more days before we formally
announce it. The main concern now is gaining usable information without
sacrificing privacy.

Last evening (Monday) I attended a clinic with Billy Sheehan in
Madison, WI, as he was there with Mr. Big to open for Brian Adams.
I taped the entire two hours, and when I have time, will try to
transcribe the more interesting parts. Billy was very knowledgable,
intelligent, and extremely humorous. However, aside from the
general tips given (holding bass at a constant level, anchoring the
thumb, etc.) that I already practice, I found most of his technique
incompatible with how I play, and of very limited use. More on this
later. However, a particular insight which refers back to a
previous issue, is that Billy uses servo-drive speakers for ultra-low
air-moving on stage. He tells me that they literally take your breath
away. :)

Lastly, on a sadder note, Michael Manring is no longer with the list
due to lost network access. :(

Kevin

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Date: Sun, 15 Nov 92 18:47:57 -0500
From: Jason Patrick Affourtit <[e-mail]>
Subject: hi


Hi, I'm a fairly new subscriber, and figured I'd send out a little post.
I've been playing for only about 3 yrs, and currently have a new Fender
Precision Squier.  (of course, what I _really_ wanted was a Kubicki, but
alas, I don't have quite the income that Stu has ;)  )  I was wondering
what ppl could tell me about their feelings on this ax ?  (the precision)
It's working out really good for me, I like it, I played an Ibanez Roadstar
II for a while (Wasn't mine, borrowed it for a bit) and really liked that too.
        My main influences are Victor Wooten (_love_ them Flecktones!),
Jaco Pastorius and Flea - and Les Claypool, as if I could play any of that
hardcore slappin' stuff...yeah right!  I'm into funky stuff, metal stuff
as well as just about everything, from jazz to hard rock.  I think this
digest is definitely a good source of information, it has been for me.  Good
work guys, I know how it is - I manage the Metallica digest...

l8r..

jason


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Date: Sun, 15 Nov 1992 19:57 EST
From: Mike Hutchinson <[e-mail]>
Subject: Effects: the verdict

Thanks to all who responded to my query on fattening up my band's sound
through effects.

Apparently, how to sound like Tony Levin = use drumsticks on the end of
your fingers! which doesn't surprise me because he has a very "percussive"
tone.

Thanks Oz for your suggestions re the band.  Tuning was a problem for me
in the past because the guitarist & I are often playing chords at the
same time, and if I was even slightly out of tune it sounded like crap.
So now I leave my tuner plugged in for whole gigs and try and retune
whenever necessary (thankfully not too often).  When I said "fatten up
my sound" I actually meant "fatten up the band's sound" ... since it's
only me and a guitar player, when the guitarist is soloing there's no
one to play rhythm parts and the overall sound can get thin.  I have
been trying some different techniques (like playing chords) to fix this.

-- Mike

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Date: 16 Nov 1992 08:46:23 +0100
From: Peter Vermeeren <[e-mail]>
Subject: RE: Sonic Maximizer

Hi !

Mike asks for Sonic Maximizer experiences (BL #256).

I happen to own the BBE model 411 Sonic Maximizer (one channel device).
What you wrote about these sub-bass notes makes me think of an
octaver, but has nothing to do with the Maximizer (yes, I must admit
that I like my BBE, so I continue in writing 'Maximizer' instead
of 'maximizer').
It certainly is a useful addition to my rack but it works subtle.
Sometimes it's better to bypass it (I seem to use more treble than
other bass players. This in combination with the added definition
of the BBE can result in too much 'bass-presence' sometimes), but I use
it about 95 % of the time. When I bypass the BBE, something seems to
miss (read what Mark King has to say about it in Bass Player), so I
quickly turn it on again. (Zappp !!! And your dull sound disappears !)

(Sort of a) conclusion: the Sonic Maximizer is very nice, but perhaps
your money is better spent (spend ?) elsewhere in your signal chain.
Try it ! (I'm not related to Barcus Berry Electronics so the above
is everything but some kind of sneaky advertisement...).
Bye,

                    Peter

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Date: Mon, 16 Nov 92 04:19:35 -0700
From: John Friedman <[e-mail]>
Subject: RE: more LOW (was: Various & Sundry 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?

If you like the sound of 10" cabs for lows, try biamping with another 4x10
for the lows!  I biamp with a GK800 and an Eden 4x10 for the highs (down to
around 200Hz) and a 1x15 for the lows (below 200Hz), but I'd rather have
another 4x10 for the lows.  By the way, I play a 5 string with a low B, also.

John

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Date: Mon, 16 Nov 92 12:08:12 EST
From: [e-mail]
Subject: Victor Wooten, etc..



So I finally got to see Bela Fleck last night at Berklee.
Victor is truly one the greatest players I've seen.  His
chops are outstanding, but the thing that really got to
me was the fact that he could be so technical, and yet
still *exude* the groove.  Sometimes it seems that "chops
players" lose sight of the groove and just end up
showing off.  Yes, Bela Fleck and the Flecktones
show off, but the groove remains intact!

Um, someone posted about V Wooten's gear:  I think he
uses Fodera basses...

On an unrelated note:

I have a Hohner 5-string quasi-Stienberger, and the truss rod
rattles.  This bugs me a lot.  Is there a way to fix this?  Or
am I stuck with the buzz?

Thanks,
Shin

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Date: Mon, 16 Nov 92 12:08:06 CST
From: [e-mail]
Subject: G-K 400 RB

I swear by my GK 400. It has 200w at 15 lbs, making it the _ONLY_ amp I've
needed for the past 5 years. The Mid Contour button stays punched; since I
play blues, my EQ is usually rolled up to be bottom-heavy, but I can get a
nice clean pop when I need it out of my stock Fender J.

Between that and the PV Futura cab w/ the JBL E140, I've got a real good
sounding, easy to carry system. I keep getting compliments on the way I sound
from other blues bass players in town. (I just wish I'd get a compliment on
the way I play 8-)

Sleepy

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Date: Mon, 16 Nov 92 17:37 GMT
From: Stuart Mawby <[e-mail]>
Subject: Questions & Tirades

First, a Question of the equipment sort:

I (well, my girlfriend really) have an original Kramer Flying-V bass with
the imfamous aluminum neck.  There is one pickup:  a double-coil humbucker.
It has all original hardware and electronics and the original Kramer case.
It is red and in absolutely beautiful condition.

Q:   what is it worth?  Being a history related major in college (now moving
     on toward a doctorate in same) I think that the bass should be worth
     somthing merely for the aesthetic and historical values alone.  Back to
     reality, however, how much can we get for it?  Anybody want it?

Now a Tirade of the usual sort:

A few issues back, Oz wrote at length concerning the U.S. reluctance to
accept influences from other areas.  He was speaking specifically of influences
that are from foreign countries, but I believe we can say 'foreign' in a much
broader sense.  People in the U.S. are basically afraid of anything different.

This country has a long history of xenophobia, elitism, and basic conservative
fingernail biting.  Look at the late 1800s and the 'reform' movements related
to the 'City Beautiful' and the women's clubs (not to pick on women).  These
well-intentioned people set out to purge 'America' of all that *they* thought
was unhealthy and 'Un-American'.  At least we do not actively engage in such
behavior today; there is an outward show of tolerance.

The problem remains, however, that we have a mind-set clouded by prejudice.
I realize that my thoughts are colored by this past, but in realizing this, I
attempt to adjust.

Now on to my point:  as musicians in the world community (that means *all* the
people on the list, not just U.S. citizens), we are uniquely positioned to
shake people up.  (you know, those low frequencies and all....)  We need to
expose people to changes and differences.  If we can make people accept
these two ideas in music, then they will be easier to accept in life:  art
imitates life.

Do not cower behind the usual line:  "It's not what people want to hear."
People also do not want to hear that they owe money to the bank; that children
go hungry; that the environment is in danger; that wrongs go unrighted....
(sorry, a bit carried away)

Make music that feels good, sounds good...  People *will* like it because it
*is* good!

        - Stuart

comments from abroad?

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Date: Mon, 16 Nov 92 13:59:30 EST
From: [e-mail]
Subject: DC Area Bassist Seeks Gig!


Hi-

I've just moved to Washington, DC and am looking for a casual gig. I play
fretless bass and some keyboards. I'm into Brand X, UZEB, King Crimson,
Magma, Rush, the usual odd stuff. I'd also like to explore song-oriented
groups with interesting music.

Drop me an email ([e-mail]) or give me a call...
[phone] has voice mail.

Oh yes, I have equipment and transportation.


Patrick

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Date: 16 Nov 92 23:37:10 EST
From: Larry Stephens <[e-mail]>

I'm going to be in Tampa in mid-January.

1. Does anyone know if by chance Bela Fleck would be in that area
    then?

2. Does anyone have any recommendations on anyone really great to go
    see?  (Jan 13 --> Sun.)

3. Are there any great bass stores in that area?

Thanks.

                               Larry Stephens
                                812-855-9758
                     Poplars 705, Bloomington, IN 47405
                          ~~~~~~~~~~~~~~~~~~~~~~~~
                    IU NETWORK: STEPHENL  @IUIS  @PRISM

                    INTERNET: [e-mail]

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Date: Mon, 16 Nov 92 23:57:49 -0500
From: [e-mail]
Subject: Hipshot installation; Eden cabs

Greetings!

  Okay, a quickie.  I just bought a Spector NS-2 (I know, I know.  I
can't afford it, but I couldn't pass it up).  Anyway, it's got the
same Schaller tuners as my Zon, so I was interested in getting the
same sort of Hipshot I have on the Zon for the Spector.

  Considering the investment I've made in the bass, though, I'd like
to avoid further expense, so I was wondering:  how hard is it to
install a Hipshot?  Are there extra holes to drill, or does it use
the existing ones?  Anybody ever done this?  If it's simple, I'll do
it myself, but if it involves more holes, I'll let a pro handle it.

  While I'm online, a quick comment: while I was playing the
Spector, I got the chance to A/B the SWR Goliath II and the similar
Eden 4x10.  I agree with the other folks who've posted good things
about the Edens here.  It sounded great (better, to my ears than the
SWR, but I didn't have much time to adjust the tweeter limiters,
etc.).  I think it'd be a mistake not to try this one before buying
a cabinet.  Give it a look!!

Thanks,
--Mike

----------------------------------------------------------

Date: Mon, 16 Nov 92 23:39:39 -0500
From: [e-mail]
Subject: Flecktones in Boston; Wooten Wisdom

Greetings!!

  Well, this past Sunday, two momentous things happened:

  1)  I met the great Oz!

  2)  We went to the Bela Fleck and the Flecktones concert!

  It's always fun to meet people you've "met" on the net, and this
was a great opportunity.  Both of us were totally flattened by the
show.  We were both contemplating just going home and breaking our
basses over our knees and taking up knitting.  Of course, we both
play graphite instruments, so we decided against it.  Orthopedists
are expensive... :-)

  They played to four standing ovations, with two encores!  I was
sweating afterwards just from watching Victor play.  What a guy.

  The show (to be brief) was awesome!  They played just about two
hours, playing material from all three albums, plus some stuff I
didn't recognize.  They had a lot of energy, and were clearly having
fun.  It's impossible to describe how good the show was.  Just go.
At $15, it was a huge bargain!

  I had great seats (TicketMaster surprises me!) in the 14th row, so
I had a good excuse to hang around a bit as people were filing out
the back.  Bela, Future Man, Howard and Victor came out on stage
after the show, and came down to the floor to talk with folks.  I
only got to talk to Victor, sadly, before the house folks
"requested" that people leave.  But, I did get his autograph, and I
managed pick up a few interesting tidbits:

  -Victor's been playing the Fodera for 8 years.  In person, it's
obviously seen quite a lot of wear.  That worn spot between the neck
pickup and the neck is actually starting to get gouged.  He said
he's played the Fodera almost exclusively during that time, and just
got the fretless five and the six recently.  It was sorta funny
watching him as he was playing in the early part of the song where
he does the around-the-neck bass swing.  He kept sneaking a hand
down to the straplocks to make *sure* they were tight! :-)

  -He's not playing the six much anymore.  He says he just doesn't
enjoy playing something with a neck that wide.  During the tune from
the new album that formerly featured a really high-on-the-neck solo
on the six, he played it on the Fodera, and bent the G up to a
couple of the notes.

  -He's been playing for 25 years.  ALL of his brothers (there are
five Wootens; Victor's the youngest) play bass at least somewhat,
but he's the only one for whom it's the primary instrument.  Roy
("Future Man"), of course, plays the drums, and one of his other
brothers plays guitar, and taught him to play bass.

  -Somebody asked him about his unusual up-and-down thumb style, and
he had a really interesting comment.  He said, (not really a direct
quote) "Well, I found that when we [bassists] play with our fingers,
we all sound different, but when we play thumb style, we all sound
pretty much the same.  So, I decided that I really wanted to try to
make my thumb as distinctive as the other fingers."  Interesting
comment, no?

Well, that's it.  See the show if you get the chance!!
--Mike

----------------------------------------------------------

Date: Mon, 16 Nov 92 15:58:38 PST
From: bit![e-mail]
Subject: RE: Amp question


In #257: [e-mail] writes:
>is just not suitable for clubs. I would appreciate some opinions on some
>amps, both combo or head a cabinet, that would fill in the void between
>practice and big clubs. I have heard that the GK 100 watt combos are fine
>for most clubs and the Hartke, SWR, and Trace Elliot combos are also quite
>suitable. But how do these stack up to a single 4x10 cabinet and a head,
>either biamp or mono?

I had just the same thought process. I wanted something small for practice
and something a little bigger for gigs. I ended up with the GK150S combo
for practice and an SWR Goliath cabinet for gigs. This works great because
the GK is tiny for ease in practices yet has enough power to drive the SWR
cabinet to sufficient volume for most gigs. The sound is also quite
exciting. Other have pointed out that the amp is not crystal clear when
pushed but I like the sound. It's especially nasty sounding when my old
acoustic bass growls through it on the low notes (warms my heart). This
combination can be had well within your stated budget.
-grego

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Date: Tue, 17 Nov 1992 11:55:32 UTC+0100
From: gui <[e-mail]>
Subject: Greeting from a new subscriber.

        Hi, bass players. I'm a spanish new subscriber that wants to greet
all the people that loves this wonderful instrument. I am playing bass since
I was 10 years old, and it has been one of my best confidents and friend since
  then. My equipment consists of a Hohner The Jack Steinberger type Bass, and I
have recently built a fretless bass modifying one old low-priced bass I met,
polishing every part of it and fitting new circuits with 2 active EMG's. My amp
is a Linebacker 100 by Laney, not a very powerful unit but (in my opinion) the
sound of the fretless with this amp is very interesting. I also play piano and
keyboards, but with a classical formation; and have a Roland-JV-30 synth and a
Yamaha TX-16 sampler. Now I'm interested in a MIDI interface for my bass, but
in Spain it results almost impossible to get information about this. Can anyone
send me information about models, price... and about the possibility of buying
it by mail?.
        Well, nothing more to say by now. If someone has any question related
to keyboards, basses, pianos or MIDI, you can e-mail me. I'll try to help you
if I know how.
        Bye.

                Luis A. Fuente

                        [e-mail]

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Date: Tue, 17 Nov 92 12:39:24 EST
From: [e-mail]
Subject: Corespondance

Hello,

        Would all those who helped me with my SVT please leave
your internet addresses with me so I can respond personally and
get to know you. The piece of paper I originally wrote them all
down on has been eluding me. I would appreciate it!

Thanks,

--ROB

[e-mail]


P.S.- I also need Doug Wellington's too.

----------------------------------------------------------

Date: Tue, 17 Nov 92 15:03:45 EST
From: [e-mail]
Subject: Necking

Various folks around here took a close look at my playing style, trying
to see if there was anything wrong with my hand positioning that might
have caused my tendonitis.  One noticed that I tended to twist my hand
around and down when reaching for a note with my pinky finger.  This
turned out to be absolutely true, since I do have small hands and that
finger is a bit shorter than it should be, having lost the top of it to
a steel door when I was younger.  This twisting was especially
pronounced when I use my P-bass, which has a thick, fat neck.  I asked
Jim Mouradian at Cambridge Music (Boston area folks- I've mentioned Jim
in the past- he is truly the best in the area) if anything could be
done, and he said he could cut the neck down to any width and thickness
I wanted.  So I had him rework my vintage P-bass neck into a '66 Jazz
bass profile.  It is absolutely a joy to play, although I can't really
play it extensively 'cause of the tendonitis.  Just wanted to let folks
know that if you like everything about your bass except the neck profile,
you can have something done about it, for less money than a new neck
would cost.

rm

----------------------------------------------------------

Date: Tue, 17 Nov 92 14:49:09 EST
From: [e-mail]
Subject: Now What Do I Do? (summary)

Thanks to everyone who posted or wrote to me with suggestions on what to
do with all my new-found free time now that I have to lay off playing
for a while due to tendonitis.  There were some great and funny
suggestions, somewhat summarized below, but the general empathy
expressed was equally important to me.  Thanks again.  Now, for some of
the suggestions.

Rage
    A number of folks suggested that general outpouring of rage
    might help, and it is true- jumping around and screaming really
    does make me feel much better.

Substituting Something Else You Like
    There were a number of suggestions that fell into this category,
    including everything from taking a course to drinking to more
    sex.  They all sound like great ideas to me.

Substituting Something Else You Don't Like
    Well it did turn out that there were a number of projects that
    fall into the general category of "home repair" that I've put
    off for the last few years that are now in the works.  This work
    is not really pleasant for me, but at least I won't have to
    feel guilty for the next couple of years once they are done.

Taking Up Those Musical Studies That You Just Don't Have Time For
    I've been working on my reading some, using Louis Bellson's
    book.  Once I'm through that, I'll go on to some solfage
    exercises.  This really does take some time, and I NEVER have
    time for this stuff when I have a busy playing schedule.

I've also started to spend some time just doing picking-hand exercises.
I could do three and four finger slap/pop patterns, but I'm working at
being able to do them fast enough to be useful.  I've also picked up an
Earl Scruggs banjo method book and started working on thumb-and-finger
picking patterns (Victor Wooten, watch out!).  I can't do anything with
my fretting hand other than mute the strings, but these new picking
techniques may come in handy some day.

Again, thanks for all the help and sympathy.

rm

[ I'm glad the digest could be of help and inspiration. Good luck
  in working out what must be a very frustrating time.   Bass Mgr. ]

----------------------------------------------------------

Date: Tue, 17 Nov 92 23:20:14 -0500
From: [e-mail]
Subject: Shadowfax/Jaco



Thursday night I had the pleasure of seeing Shadowfax at a club called
Rockefeller's, here in Houston, Texas. The band was scheduled to do two
sets, but only sold enough tickets to do the first. The second was cancelled
and the band was bummed, not wanting to go back to the hotel at 10pm. I ended
up taking Phil Maggini, the bass player, out for drinks at another club where
some friends of mine were playing.

Mild interjection here: Phil plays a Fender Percision, a Yamaha fretless, and
a Clevenger 6-string upright. He had a Crybaby wha pedal and an octave pedal,
along with a Yamaha REV-5 reverb.

Phil got slighly smashed, and proceded  to force-feed me Shepherd's Pie as we
watched my friends play. An odd exprience, I must say.

He did have an interesting Jaco story that he told me as I was driving him back
to his hotel:

It seems that Shadowfax, in one of its earlier incarnations, was playing the
Lone Star in New York one night. Jaco was at the bar, doing one of his
"Give me a beer, an I'll give you my bass," to no success. The band announced,
"We have a celebrity in the audience tonight we'd like to bring onto the
stage." Jaco, with his well deserved ego, naturally assumed they were talking
about him, and started heading for the stage. Then they introduced Don Cherry,
who they wanted to sing "Brown Rice." The only thing that kept Jaco from
getting upset was the fact that he had never seen Don Cherry, so he held back.
He did end up getting on stage with Phil, standing next to him, and playing
some amazing "Air-Bass" lines while Phil was laying down some "Goose-Egg"
whole-note line...

OK, so the whole thing is weird, but I did end up exchanging addresses with
Phil by the end of the night, so with some luck I might get heard by some of
his friends in Laurel Canyon...

--
 . _____________________________
/:|____________________/__/__:_=| Chapman Stick         Chuck Ivy
\:|___________________/__/___:_=| White Oak #240        [e-mail]
                       ++

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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.

***************************
End of The Bottom Line #258
***************************