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Issue #266
December 14, 1992
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
To post: Subscriptions, deletions, requests:
bass@uwplatt.edu bass-request@uwplatt.edu
(Bitnet: bass@uwplatt.bitnet) (Bitnet: bass-request@uwplatt.bitnet)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Today's topics:
Thanx for replys & etc.
Dave LaRue's album
RE: The Bottom Line #265
The high end
Upgrade of an ok bass?...
BassNet T-Shirt
Music Man StingRay
RE: The Bottom Line #265
Long Time/Personics/X-Mas
Warmoth Parts; BYOB
Mesa Boogie for sale
Carvins/ Satan's Loins
RE: Dave La Rue, Bodyless basses
My first time.
RE: #265, small bodies
Warmouth
Warmoth Products
RE: Carvins 'N Such
hey kevin!
----------------------------------------------------------
Date: Sat, 12 Dec 1992 03:57:11 -0600 (CST)
From: richardr@stolaf.edu
Subject: Thanx for replys & etc.
Thanks to all of the people who responded to my posting regarding
Carvin's and such. On top of that, I found a guy on campus who has a
Carvin LB70 with the exact options that I would get. (Thanks Matt!)
Things are looking better and better for my buying the bass and now
all I have to do is sell my Ibanez to cover the rest of the cash.
On a weirder note...
Strange as it was, all of the responses came back calling me "Rich
R.", and my name is Roman. The weird part is that my nickname in high
school was Rich. No one even knew my real name. Now in college I go
by my true name...only to be called Rich once more. Odd. Well, I've
been called worse. hehehe
[ Take a look at your email address. I've probably called you Rich
once or twice myself. :) Bass Mgr. ]
One more thing...
I have a Roland BN-60 combo amp...and idea how much it's worth?
Later,
Marcus Miller is a God, but only a little one.
--
Roman R. Richardson |Ibanex-RB800 Deluxe, Roland BN-60, R.Cocco Strings
St. Olaf College |Disciple of the All-Mighty Geddy!!!
Northfield, MN 55057 |Judoka from Hell...still seeks revenge on Rene Capo
(507) 646-2639 |Claim to Fame: Had lunch with Clive Barker at McDons
----------------------------------------------------------
Date: Sat, 12 Dec 92 8:44:18 MST
From: Erik Habbinga <habbinga@csn.org>
Subject: Dave LaRue's album
Alex Slotkin writes:
> - I recently saw an ad in an issue of Bass Player magazine advertising
>a new solo album by Steve Morse & new Dixie Dregs bassist, Dave LaRue, titled
>"Hub City Kid." Has anybody out there heard this album? Is it any good? And
>where can you get it?
I've tried to hear this album for almost three months now, but with no luck.
There is an address included with that advertisement, which is where you send
your money to get the CD. I did that way back in September. At the beginning
of October, I received a postcard from the president of Audio Image Records
(oooh!), Dave's label. He said "We apologize for the Delay! Dave LaRue's
"HUB CITY KID" recording has been delayed at the pressing plant. We now
expect to ship in mid-November. We goofed by advertising a little too soon!
We appreciate your patience." It goes on to say that I can request my money
back. Well, mid-November was almost a month ago, and I still haven't seen
the CD. I just wrote Bob (the president) a few days ago asking about the
CD. I'll let everyone know when I get it, but I wouldn't order it until then.
Erik
----------------------------------------------------------
Date: Sat, 12 Dec 92 11:55:28 -0500
From: Jason Patrick Affourtit <affouj@rpi.edu>
Subject: RE: The Bottom Line #265
OH my.....how should i start this ????? Well, lets just say that I _finally_
saw Bela Fleck....FU*KING UNBELIEVABLE! I mean, I've been a fan since the
first album, and have seen the videos infinite times, heard all the songs
many, many times....but _nothing_ can compare with the experience of watching
Victor Wooten flail away live!!!!
I saw them at the Bearsville, NY (outside Woodstock) show on 12/11.
To put it mildly, I was severely impressed by all the Flecktones, and I have
never heard/seen anything like Victor playing "Sinister Minister" before in
my life. The man is a bass god, but I mean I knew that before....
The way they had the place set up, their dressing room was a few
feet down the hall from the public bathrooms at the theater (300 seater...
pretty small theater), which was separated by only a little screen. Anyway,
i staked out the screen for the hour preceeding the show to try and meet the
mightiest Flecktone of them all....VLW of course :) ANyway, I got to talk to
Bela and Future Man for a bit, they were both really friendly, and then all of
a sudden it was 10 min to showtime, so I headed upstairs, in dismay becuase I
couldn't find Victor! Well, right as I got up the stairs I saw him kinda
sneaking down this hallway....I yelled "Victor!" I talked to him for a few min
minutes, damn cool guy, kinda quiet though. We talked about Fodera basses
and related bass stuff for a few, and did a lotta complaining about the weather
(very messy out....snowing all day). After a few, he mentioned that he had
_just gotten there_ and had to get ready to play...
To to sum it all up, it was a kick ass show, i was definitely impressed,
and I'm gonna defnitely go and see them again. That kind of bass-playing
is just so unique, and unsurpassed by anyone. He made me want to go home,
chop up my bass and light it on fire, saying "I'm not worthy!"
Anyway, I've gone on long enough....l8r!
-jason
[ So, let me get this straight... you *liked* the show, right? :)
Bass Mgr. ]
-------------------------------------------------------------------------------
| Internet - affouj@rpi.edu "Ever play roulette ? |
| Bitnet - userHAF7@rpitsmts.bitnet On occasion... |
| Belushi reincarnate Always bet on black." -Passenger 57 |
-------------------------------------------------------------------------------
----------------------------------------------------------
Date: 12 Dec 92 13:48:57 EST
From: Larry Stephens <LVS@rmgate.pop.indiana.edu>
Subject: The high end
I have solved the problem of getting good tone from the D and G
strings, but I still have problems getting enough volume - relative
to my B E A. Part of the problem is that the D G tones tend to wash
out with the guitar tones.
If I understand the dynamics of the P style pickup, the two work as a
pair. What are the possibilities of having two pickups the size of P
halves but wired separately so I could set different volume levels
for the high | low strings?
[ You could do this, I think, but the hum-cancelling effect of the
reverse-polarity P-bass design would be lost. Bass Mgr. ]
I'm working on a software deal that, if it goes through, will allow
me to talk to Carvin about THE BASS I want, so I'm tossing around a
lot of ideas. (Of course, this is probably moot since I will
undoubtedly win the Peavey MIDI Bass giveaway in BP, unless at least
one other person entered...but it doesn't have enough strings!)
Larry Stephens
812-855-9758
Poplars 705, Bloomington, IN 47405
~~~~~~~~~~~~~~~~~~~~~~~~
IU NETWORK: STEPHENL @IUIS @PRISM
INTERNET: STEPHENL@ucs.indiana.edu
----------------------------------------------------------
Date: Sat, 12 Dec 92 13:56:17 -0500
From: gale@hep.physics.mcgill.ca
Subject: Upgrade of an ok bass?...
Hi People,
Thanks to the people that responded to the posting asking about
info on the GK-400. I finally bought one and like it a lot. Today's
question is this one: I am currently playing a middle-of-the-line
Yamaha rbx-550. I find I have to do a reasonable (?) amount of
slapping with the band I'm playing with right now, and I's like to
improve my slapping sound. I am really only satisfied when I have brand
new strings (either GHS boomers or Ken Smith). Money-wise I am not right
now in the position of investing in a new bass so: should I consider
getting the pickups on my Yamaha changed? How about a new bridge?? In
the pickup and bridge area, I understand that good values are EMG and
Badass. Is this endeavor worthwhile?? Thanks for any info and/or
experiences you might share with me...
I have tried a Bass Collection 5-string in a local store last week
and was really impressed with the craftsmanship and the overall sound and
playability! Seems to be a really good value for the money. Any echoes
on this?
-----------------------------------------------------
Charles Gale phone: (514) 398-6495
Physics Dept. fax: (514) 398-3733
McGill University Internet: gale@prism.physics.mcgill.ca
3600 University St. Bitnet: gale@physics.mcgill.ca
Montreal, Que. Hepnet: muhep::gale
Canada, H3A 2T8
------------------------------------------------------
----------------------------------------------------------
Date: Sat, 12 Dec 1992 14:27:04 -0500
From: mlaurenc@world.std.com
Subject: BassNet T-Shirt
andrejkow@tbosch.dnet.ge.com wrote in issue 265:
>Has anyone ever thought of putting a "Bass-Net" t-shirt together
>so we can spot each other at events?
Actually, yeah, I have thought of that! I do the T-Shirt for the
PhishNet, and I have some fairly reliable connections at type
house and printers, and if people are truly interested, we could
get something rolling here. Any suggestions from the crowd as to
a design? I have some ideas, but let's hear yours. Please e-mail
me with suggestions rather than posting them to keep down the
traffic. Also mail me to show your interest even if you don't have
an idea - I'd like to get an idea of the interest before undertaking
such a venture.
Matt
[ You've got my blessing, as well as my order if things go through.
My suggestion for design: incorporate a drawn version of the title
ASCII graphic, as created by Paul Desjarlais. You wouldn't mind,
would you, Paul? Bass Mgr. ]
----------------------------------------------------------
Date: Sat, 12 Dec 92 18:26:41 EST
From: moskowit@panix.com
Subject: Music Man StingRay
(I posted this to the rec.music.makers.bass newsgroup last week; thought
some Bottom Liners might enjoy it too.)
>swanson@sn1.cvm.ncsu.edu (Cliff Swanson) writes:
>:
>: I test-drove a Music Man four-string the other day that had a bottom end
>: made by God himself! Sorry, I don't know what model it was, nor can I
>: remember what pickups it had, but I know a local professional bassist who
>: swears by his Music Man. Give it a try!
>:
>: Vera Gregory
>
>Definitely ... I played on one of these a number of years ago while playing
>in a top-40 lounge band. This bass has a wonderful sound, LOTS of low-end,
>and it played beautifully. I think someone has re-marketed this model but I
>wouldn't imagine it would have the same sound/feel. Anyone know about this?
I bought a Music Man StingRay yesterday so perhaps I can comment.
Every week or two I mosey into my local Sam Ash music store (Paramus,
NJ, 201-843-0119, ask for Bill Karcher) to check out the bass wall and
see what's new. Monday I stopped by and there was this very attractive
StingRay there. It hadn't been up more than a few hours. The finish
was gorgeous -- a transluscent red/orange over deep grained ash (or
alder or poplar, I can't tell which). The neck was eye-popping
birds-eye/flame maple, satin finished. It had the 3EQ option, so it had
active treble, mid, and low boost/cut controls plus volume.
Looked great. So how did it sound?
I couldn't believe how good this thing sounded. Into a SWR head and
Goliath II Jr. bottom, this thing went down solidly as far you could go.
The tone controls are done very smartly so that between them they cover
the whole band -- it's really a 3 band equalizer. Shut all of them down
and you get almost no output. Full up and you get incredible boost with
no apparent noise. Set at their mid-scale detents and the thing sounds
as clean as can be. I played it for over an hour and got just about any
sound I could imagine short of out-of-phase effects.
This was one hot bass. I hadn't planned to buy a bass when I walked
into the store but I just couldn't let that StingRay go. I asked my
friend the manager to price it ($755 plus $95 for a hard case, $850
total). Then I asked him to put it in the back for a day while I
considered how I could afford it.
Before I forked over the credit card, I stopped over to the vintage
guitar shops in NYC (Chelsea Guitars on 23rd Street and We Buy Guitars
on 48th Street) to try out some old StingRays and see if there was any
appreciable difference. There was. The new ones were better! They
were quieter, had more flexible sound, a *six* bolt neck, simpler truss
rod adjustment, their finishes were better, and the wood quality was
much, much nicer. They didn't need the hard-to-find super long strings
the old ones needed. They were also three to five hundred dollars
cheaper. As you can imagine, I didn't have any problem making up my
mind.
By the way, after I bought the new bass I saw that the new Bass Player
magazine (with Les Claypool on the cover) has a Roger Sadowsky review of
the StingRay. Sadowsky is a respected NYC luthier who builds basses for
Marcus Miller and Will Lee. He prefers the 2EQ version (only bass and
treble controls). It's a matter of taste but I strongly disagree -- the
3EQ is much better. His words of praise:
"The Music Man StingRay has only improved under the ownership of
Ernie Ball. This instrument is extremely well made, with
excellent materials and workmanship, and it sells at a very
reasonable price."
"The result is the Music Man StingRay, one of the best
production basses made in the U.S. today."
I won't disagree!
By the way, Jay at New Jersey Guitar Center (in Edison New Jersey, area
code 908) matched the price (actually $6 less, $844 total) and had a
good stock of StingRays, both 4 and 5-string. I preferred Sam Ash
because I'm in there all the time, and know them well. If you call Jay
at NJ Guitar Center, please mention that I referred you.
--
Len Moskowitz
moskowit@panix.com
----------------------------------------------------------
Date: Sun, 13 Dec 92 08:07:47 -0800
From: jimlynch@netcom.com
Subject: RE: The Bottom Line #265
Actually, this is reguarding my bass teacher. He has posted a note in a local
paper announcing his availability and has requested that I post here.
This is for those of you BLers who are in the bay area.
John McLaughlin's ex-bass player is accepting aproximately 5 regular students.
For info, call (510) 845-2594. This is Kai Eckhardt who toured with John in
his acoustic trio with Triloc Gurtu. I first saw Kai with John at Yoshi's in
maybe 1989, and then again with some local talent this year at Kansaki Lounge.
He will actually create a curriculum for you and monitor your progress with
very specific goals and tests for the technical things such as scales, chords
and such. He will also emphasize creative musicianship as well.
-Jim
----------------------------------------------------------
Date: Sun, 13 Dec 1992 15:22 EDT
From: GA94J85@WOOSTER.BITNET
Subject: Long Time/Personics/X-Mas
Hi fellow Bassmen,
(oops, and women too!)
It's been so long. I've been swamped with work AND my TBL issues
are getting dorwned by an umbelievable affluence of Spanish list mail...
Anyway... There were several things:
* First of all, finals are upon me and I will be goign backhome soon (Spain)
so MERRY Christamas to you all and Bassy NEw Year! This is my first post in
a WHILE, so I felt compelled...
* I found out about a company called PErsonics, which has a catalog full of
100s of songs and styles. You choose the songs you want and they record
them from CD to a decent quality tape (Dolby NR, etc). I sent $1 for a
catalog and I got my tape. Verdict= great, I'm very pleased.
I spent $20 instead of $200 to buy each album. How does this relate to bass?
Well, I got a bunch of kick ass old tunes on there, and there IS great stuff
so here is their number if you are interested: 1-415 592 1700.
* I got the original version of Gladys Night and the Pips of "I heard it
through the grapevine" (which is covered by Will Lee on The Shadows of
Motown - Jamerson Tribute). And I had a question.... Who playsbass on
Earth Wind and Fire's "September", is it Verdine White?? It's got such
a groove man,... I also got Ain't too proud to beg, by the Tempations
(which is also Jamerson on bass)...
* Could anyone give me some feedback on two things:
- The new Bela Fleck album (how is it.., how does it compare to hippo, etc)
- The Dean Markley SR 2000... are they what the hype claims??? what what..
* BY any chance does anyone have any idea of what might be the cost of
a Carl Thompson bass (ball park since they are custom, and so forth).
That's a prety nice one Les C. plays... The Rainbow bass!! Geessh.
* Lastly, regards to KTippmeister, DougDocDUDE, RWilliman & Co., MJKobbitude
, AHenleyBar, McKeemaster, and the rest of the groovin, slappin, tappin,
poppin, strummin, pluckin, meodizin, harmonizin COMMUNITEEE.
- And remember 2 things: Never pick your callousses.
And when constipated, think BP back issues!
Since early,
Joe Garcia
College of Wooster
Wooster, Ohio
(216) 287 4179
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
----------------------------------------------------------
Date: Sun, 13 Dec 92 15:22:30 PST
From: Preston Carter <carter@hpdmsbja.pa.itc.hp.com>
Subject: Warmoth Parts; BYOB
RE: Warmoth
| Are they all "kit basses"?
Yes.
| Anyhow, I was wondering about quality, cost, etc.
I think the quality is great. But the cost is a little surprising.
For a long time I wanted to own a Jazz Bass. Considering that the Jazz
is now a collector's item and you'll probably never find one for sale
(a GOOD one, that is), your alternatives are to buy one of the
high-end replicas like the Sadowsky, buy a low-end copy made of (so to
speak) particle board, or build your own. I decided to build one using
Warmoth parts.
It turned out great. Sounds great; feels like a real pro instrument;
the quality of the wood is topnotch.
But it's not cheap. I think it cost about $800. (I can't say for sure;
I bought the parts piecemeal starting several years ago; don't
remember how much everything cost.) Someone please tell me if $800 is
a good deal. Sometimes I wonder; esp. after reading all the raves for
Carvin.
You need to know what you want. You must choose from all kinds of neck
and body woods, veneers, pickup configurations, neck widths, fretwire,
hardware, electronics... If you don't know what your preferences are
you can be overwhelmed by the number of choices.
And it's a lot of work. You have to finish the body and the neck, wire
it, mount tuning machines, pickguard and other hardware, and, to
really do a good job, dress the frets. I've taken shortcuts in several
of these areas in favor of having a usable instrument in short order.
In exchange for your efforts you get a great instrument that's
equipped the way you want it. You also get a kind of test bed -- an
instrument made of standardized parts where you can try out the
effects of different woods, hardware and electronics.
My preferences:
Maple neck
Rosewood fingerboard
4 strings
P-bass neck width and profile
Medium frets
Swamp-ash body
Standard Jazz pickup configuration
Rear-routed body w/ large cavity for electronics
Bartolini Quad (?) pickups (4-pole hum-free design x 2)
Bartolini TBT (?) tone control (on-board 2-channel mixer w/ Bass, Treble)
IMHO the neck is the most important choice. The sound of the neck
determines the sound of the bass. (IMHO!!) So I bought the neck from a
local music store that had it in stock where I could check it out
before buying it. (I used a mechanic's stethoscope to try to hear what
it sounded like unfinished.)
Result: A solid instrument with lots of sustain; a bright, thin sound
that's pretty agressive. Love that big, fat neck; can't get those
anymore.
I'd recommend the kit approach, and Warmoth, to anyone who feels
confident with woodworking and electronics; who wants a Fender
replica; and who wants to find out what makes different electric
basses sound different.
--------------------------------------------------------------------------
| Preston Carter Hewlett Packard Corporate Offices |
| carter@hpdmsbja.pa.itc.hp.com Product Generation Processes Group |
| 1 -857-2152 1501 Page Mill Road MS 4UR |
| 415-857-2152 Palo Alto, CA 94304 |
--------------------------------------------------------------------------
----------------------------------------------------------
Date: Sun, 13 Dec 92 13:46:32 PST
From: "That's Just the Way It Is...." <daddieco@groove.enet.dec.com>
Subject: Mesa Boogie for sale
***** MESA BOOGIE BASS 400 AMP *****
WITH
TWIN (2X15) ROAD READY THIELE CABINET
PURCHASED NEW IN MAY OF 1988 - ONE OWNER
PERFECT CONDITION
$1500.00 OR BEST OFFER
CALL DAN AT 603-881-0743 OR AT HOME AT 508-692-9318 OR SEND MAIL
----------------------------------------------------------
Date: Sun, 13 Dec 92 21:04:06 EST
From: psunspot@aol.com
Subject: Carvins/ Satan's Loins
I should hope everybody by now has the new Robben Ford album with some
A-MAZING Roscoe Beck on it.
anyhow, I've been reading a lot about people's interest in Carvin basses and
I thought I'd add my $0.02 worth. I'd played the LB75's quite a bit, but was
never really jazzed about their feel. I've been taking lessons from Bunny
Brunel for about a year and a half, and he hipped me to his BB75 model that
he designed with Carvin. For some reason Carvin doesn't feel it's that
important to advertise this bass, but it's the best thing they make. I thing
the Bunny Bass is superior in all ways to the LB75: The fingerboard is wider
at the heel and narrow at the nut. This makes the string spacing more like
Precision, and leaves more room to get your index finger under the D string
(for you slap-types). The neck is asymmetrical (thinner on the bottom where
your fingers curl around and thicker at the top to give you something to grab
on to. The balance is better because you've got this enormous horn extending
to the 12th fret. wearing it with a strap is nicer with this horn. most of
the redone electronics in the LB series came from the newer P/U's and preamp
in the BB. the fretless model is available with a coating on the fingerboard
for a little extra. (I had to beat them up to put it on, but they finally
agreed. now they offer it as a real option). also, because of the 3 x 2
headstock design, it looks less like a pointed-death-bass-from-Satan's-loins
bass than the LB's (unless, of course, that's what you want). before you
decide to wait all that time, think about the BB. their 30 day MBG applies,
so you don't have anything to lose.
----------------------------------------------------------
Date: Mon, 14 Dec 92 10:44:14 +0000 (GMT)
From: I Stephenson <ian@ohm.york.ac.uk>
Subject: RE: Dave La Rue, Bodyless basses
Dave La Rue's album is available only via mail order from
AudioImage
P.O. Box 4201-C
Davis, CA
95617
USA
Price US$14.95+shipping($3 - for the US, $5 for Canada, $? Elsewhere)
I heard that the album had been slightly delayed so may not be quite
available yet (Don't quote me on that - I heard this about a month
back so its probably ready now).
The other rumor was that Stu Hamm basicaly pulled the rug out on an
almost signed deal with relativity, claiming this label just ain't
big enough for the both of us. I realy hope this isn't true, as I'm a
big fan of both of them (all Stu fans check out the Morse bands
"Coast to Coast" to here Dave in action - its awesome, might try
learning some real soon) and this sort of stuff is difficult enough
to get hold off (or to sell if you're on the other side).
This info came from the Dregs Mailing list -for more Dregs info
contact blickstein@dregs.enet.dec.com.
Re:Shin's comments about bodyless basses.
I'm one of (it seems) numerous people who've moved from a Hohner
bodyless to a Kubicki. The Kubicki felt a little odd when I first
picked it up but I gave it a hug, and we've been friends ever since.
I now play the Hohner very occasionaly, but both feel very
comfortable. However i have _*NO*_(get the emphasis!) wish to move
back to a traditional (full size/full weight) body shape. Occasioanly
I pick up my (very cheap) precission copy and just buckle under the
weight. Well prehaps its not that bad, but the prospect of a 3 hour
rehersal carrying that load is fightening. Call me a wimp if you like
(WIMP!) but if I have to die for my art, I plan to do it in a
slightly romantic fashion than of sore shoulders and an aching back!
Ian Stephenson
P.S. Thanks for the encouragement Rob.
----------------------------------------------------------
Date: Mon, 14 Dec 1992 07:47:00 +0000
From: "Oliver (O.R.) Sampson" <olsam@bnr.ca>
Subject: My first time.
Hello everyone,
This is my first post so I'll just start with a little about
myself and direct my comments to things we've been talking about.
Gear: Charvel Model 2 (4 strg), ADA MB-1, Alesis Quadraverb, BBE
411 Sonic Maximaizer, Ramsa Power (soon to be changed) and
an old Peavy 4x12 (also soon to be changed)
Influences: Billy, Geddy, Stu, Les, Steve Harris, (.etc)
although now I find myself listening to James Jamerson,
Fishbone, Flea, and more groove stuff.
Someone was asking about a D-Tuner a little while ago.
I used to have one on my old B.C Rich Warlock. I had
no problems installing it or using it. After about 3 years
of use (lots and lots of gig sweat near it) it finally
rusted and corroded and died. I haven't had the cash to
pick up a new one yet but I will. I had transplanted the
D-tuner from my Warlock to my Charvel about 3 months before
D-tuner bought the farm and had no troubles installing it
on my Charvel either.
Col. Bruce Hampton and the Aquarium Rescue Unit: I first heard
of these guys about 6-8 months ago. A drummer friend of
mine was raving about them. I listened to them and my jaw hit
the floor. Absolutely, a must listen for a musician, not
just bass players. They played here in Raleigh, NC a couple
of months ago, and I was not quite prepared for what I saw.
He plays a 6 string fretted and slaps, taps, and fingers,
his way through some monster grooves. He may also be the
finest Scat singer I've ever heard.
Carvin: I've been thinking about getting a Carvin for some time
now. I have heard NOTHING bad about them. However, I've heard
the resale value to a music store is poor because they don't know
how to handle them (Carvin ships direct). The question to be
asked is "Why would someone sell their Carvin anyhow?".
----------------------------------------------------------
Date: Mon, 14 Dec 92 05:55:53 PST
From: 14-Dec-1992 0842 <rost@tecrus.ENET.dec.com>
Subject: RE: #265, small bodies
In #265 shinh@nmr-r.MGH.Harvard.Edu writes:
>I play a Hohner Steinberger copy, and I'm relatively happy with
>it. however, I really would like to get a bass with a full-sized
>body. I've had the Hohner for a year now, and I still miss the
>solid feel one gets with a regular sized bass. Does anyone else
>feel this way?
I have a real Steinberger L2 and it was a big adjustment going from playing a
P-bass to using this. It took me about two months of playing it before I felt
comfortable with it (I shedded on it for a month before taking it to a gig).
Now I feel weird when I strap on the Fender!
The real Steinbergers have a superior strap hanging system, that weird
boomerang shaped thing, it makes the balance much better than the clones. I
did have to learn some new ways to anchor my hand since I no longer could rest
my forearm on the lower edge of the body. The other thing that was tough was
relearning how to do long slides, since the bass would tend to move as I
swooped up the neck. As soon as I got the Steinberger I could appreciate the
sound and the portability, it just took a while to get used to the feel.
I wouldn't say that the Steinie doesn't feel "solid", rather it just feels
"light". It certainly *sounds* solid!
Brian Rost
rost@tecrus.enet.dec.com
508-568-6115
DEC, Hudson, MA
*******************************************************************************
"There's too many hands in your persimmon pie, when one hand is my desire"
-Roosevelt Sykes
*******************************************************************************
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Date: Mon, 14 Dec 92 9:10:47 CST
From: derek@wubios.wustl.edu
Subject: Warmouth
I have yet to see an all-Warmouth bass, but I haven't been around that much. I
do know that they are considered the best replacement wood company for basses,
and I have a Warmouth neck on my Jazz Bass body. It's a little heavier than
the original neck, and I need a new strap, but the tone and the feel is great.
I would say that you should (if you're going to build your own) use Warmouth
woods, and use the pickups, bridge, and tuning keys you like most...
-"Sleepy"
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Date: Mon, 14 Dec 92 12:44:58 EST
From: rrathgeb@ultrix.ramapo.edu
Subject: Warmoth Products
Hello Fellow Cablepluckers,
In the last TBL there was an inquiry about Warmoth guitar
products. Well, here goes.....
Warmoth makes bodies and necks to Fender and Gibson specs. They are
direct replacement parts. They offer a wide variety of wood choices
and combinations as well as various routing configurations. They also
have a decent selection of any needed hardware. Of course these parts
are also Fender/Gibson compatible. They also sell raw materials
like planks for bodies and inlays for a fingerboard. They are considered
second to none as far as construction, quality, customization, and
compatibility. The service I recieved via phone was excellent; the rep
answered all of my questions in full and provided me with up to date prices
and informed me of any discounts they might have been running at the time.
I ordered a 1-peice Koa jazz bass body with rear routing(includes a cover)
and a birdseye maple fretless neck with a rosewood top. Paid $600. This may
sound steep, but the parts are absolutely beautiful and all necks come
with a satin finish. Here is there address and telephone #:
Warmoth Guitar Products Inc.
6424 112th St. East
Puyallup, WA 98373
(206) 845-0403
(206) 848-2415 FAX
I called direct to get a catalog and they sent it to me free of charge. The
catalog is excellent, no problem understanding anything and everything is
fully explained. The prices in the catalog are the prices you will be charged,
no games, however one peice construction of a body tends to be about $50 more.
Hope this cleared up any confusion about Warmoth. They make excellent products
and anyone interested in buying from them can't go wrong.
Thanks,
_ROB_
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Date: Mon, 14 Dec 92 12:44:39 PST
From: Joshua Loftus <Joshua.Loftus@Forsythe.Stanford.EDU>
Subject: RE: Carvins 'N Such
In TBL# 265, --ROB (rrathgeb@ultrix) did some pretty solid plugging
for Carvin basses, comparing them to Ernie Ball Stingray and
Steinberger, all in the realm of 5 strings. Well, for my $0.02, I'd
say a Carvin is probably a best bet for the money, 4,5, or 6
strings. HOWEVER, note as BP Magazine did that you can get a
non-Carvin bass for a considerable discount off of list $$$. With
Carvin, you only get the price they offer low as it is. IMO, this
means that getting an $800 Carvin (4 strings with some goodies) is
about the same price as a Stingray 4. Given all the glowing reviews
I've seen lately on Carvin stuff, I'd say that you'd be just as
happy with the Carvin as any bass you'd buy for up to say $1500
discounted price. Bassically, the Carvin represents a great buy of
an instrument of quality in the $1-2k range.
What I want to know is if the Carvin instruments can compare to a
Warwick, a Zon, a Modulus, an Alembic, etc. My guess is not! BUT,
if the difference in quality, sound, playability, etc is between a
Carvin and a $2,000+ bass is relatively small, I think I'd go for
the Carvin to save the $1000+. If a Carvin doesn't even come close,
then I think I'll try to be content w/ my Yamaha and keep on saving
my milk money until I can afford a truly great bass.
Anyone out there willing to post a Carvin vs Zon shootout? Do I
sound like an instrument snob? :-)
--Josh Loftus
----------------------------------------------------------
Date: Mon, 14 Dec 92 12:48:06 PST
From: Joshua Loftus <Joshua.Loftus@Forsythe.Stanford.EDU>
Subject: hey kevin!
Bass Manager:
Please post any comments you desire on the Warmouth neck you have
ordered. I am deeply curious.
Thanks in advance!
Josh Loftus
[ hey josh! Yeah, I'll probably post something after honking around
on it over Christmas break (assuming I get it before then). Bass Mgr. ]
----------------------------------------------------------
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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 #266
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