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1993-03-10
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Issue #286
February 1, 1993
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
To post: Subscriptions, deletions, requests:
bass@uwplatt.edu bass-request@uwplatt.edu
(Bitnet: bass@uwplatt.bitnet) (Bitnet: bass-request@uwplatt.bitnet)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Today's topics:
TAB for Moondance
Vintage Amps & Active Elec.????
RE: #283 (various)
RE: The Bottom Line #284
Loving strings..., Underrated bassist and Chapman Stick.
RE: #285
Quadraverb
Bad Gig!
casters for Eden
Warwick Thumb Bass
Objectivity?
recording with bass
guitarron
Three Finger Playing
"Jazz Club" CD
RE: Hartke 3500 Head & Alesis Quadraverb Plus (and BBE 422)
Spector Bass Update
----------------------------------------------------------
Administrative notes:
Hang tight, more lessons on the way in the next couple of days.
Kevin
----------------------------------------------------------
Date: Tue, 26 Jan 93 1:52:47 EST
From: Eric Giguere <giguere@csg.uwaterloo.ca>
Subject: TAB for Moondance
A while ago I posted a request to Usenet asking if someone had transcribed
the bass line to Van Morrison's "Moondance". Jussi Haukioja was kind enough
to send me his transcription, which he gave me permission to post to the
newsgroup. I'm including it here for those who are interested. I take no
credit for this, you can email Jussi at JHAUKIOJ@sara.cc.utu.fi.
MOONDANCE by Van Morrison
Transcribed by Jussi Haukioja (JHAUKIOJ@sara.cc.utu.fi)
NOTE: I've transcribed only the first chorus; it wouldn't really
serve any purpose to transcribe the whole song, because you should
actually play walking bass according to the chord changes below
the notes. (Besides, IMHO it's the song that is great, not the
bass line). All positions are marked the way I'd personally play
this on the double bass: on an electric you might want to play it
differently.
The whole song is played with triplet feel, so all eighth notes
should be played as the first and third triplets of a quarter
note.
I've marked the time values as follows:
q =quarter note
e =eighth note
q.=dotted quarter
t =quarter note triplet
h =half note
h.=dotted half note
Pauses are marked as P on the g string.
INTRO:
q q q q q q q q q q q q q q q q
|2-2-4--|2---4--|2-3-4-4|5-4-4--|
|------2|--2---2|-------|------2|
|-------|-------|-------|-------|
|-------|-------|-------|-------|
Am7 E7 Am7 E7 Am7 E7 Am7 E7
VERSE:
q e q.e e q e q.q q q q e e e e q q q q q q e e e e q q q
|2-P-4---1|2-P-4--|2-3-4---1|2-2-0----|2-3-4---1|2-2-3-4--|
|------2--|------2|------2--|------4-2|------2--|--------2|
|---------|-------|---------|---------|---------|---------|
|---------|-------|---------|---------|---------|---------|
Am7 E7 Am7 E7 Am7 E7 and so on.....................
q q q e e e e q q e e q q q e e q q q q q q q e e q q q e e
|2-2-4---1|2-2-------1|2-3-4-3-4|5-4---0|---------|-----9-7--|
|------2--|----3-2-1--|---------|----2--|7-7-9-8-9|10-9-----9|
|---------|-----------|---------|-------|---------|----------|
|---------|-----------|---------|-------|---------|----------|
Am7 E7.....and similarily.....................................
q q q e e e e q q e e q q q q q q q q
|---------|------4---1|2-3-4--|2-2-0--|
|7-8-9---6|7-7-4---2--|------2|------2|
|------7--|-----------|-------|-------|
|---------|-----------|-------|-------|
Am7 E7 Am7 E7 Am7 E7 Am7 A7
CHORUS:
e e q q q e e q q q q q q q q q q q
|------0-1|2--------|----0-1|2------|
|0-0-3----|--2------|0-3----|-------|
|---------|----0-2-3|-------|--0-3-4|
|---------|---------|-------|-------|
Dm7 Am7 Dm7 Am7
q q q q e e q e e q t t t q q t t t q q q q
|----0-1|2-----P----|P-------P|P------------|
|0-3----|--2--------|--0-0-0--|--2-2-2------|
|-------|----0---3-4|---------|------------0|
|-------|-----------|---------|--------0-3--|
Dm7 Am7 Dm7 E7 \__ (bound note)
e e e e e e e e e e e e e e e e
|--------P------|----5-7-P------|
|------0-----5-7|7-7------------| repeat last two bars TWICE...
|0-0-3-----7----|--------------0|
|---------------|----------0-3--|
_/ \_/ \__
Am7 Dm7 Am7 Dm7 and so on....
e e e e e e e e q h e e
|--------P---0-2|P-----1|
|------0---2----|--2----|
|0-0-3----------|-------|
|---------------|-------|
_/
Am7 Dm7 E7
repeat the whole thing (without the intro) once for more vocals...
repeat another time for solos...
and once more for still more vocals...
play the verse once and go to the ending:
ENDING:
q.e q.e q.e q.e q h. q h.
|2-2-0-0|-------|--P-|P---|
|-------|3-3-2-2|0---|----|
|-------|-------|----|--0-|
|-------|-------|----|----|
Am7 G F E7 Dm7 Am7 (held on...)
All corrections and comments are more than welcome!
Jussi Haukioja
JHAUKIOJ@SARA.UTU.FI
----------------------------------------------------------
Date: Wed, 27 Jan 93 14:30:48 EST
From: rrathgeb@ultrix.ramapo.edu
Subject: Vintage Amps & Active Elec.????
Hello TBLr's
Just a quick question. What's the deal with active electronics
and vintage amps? Can the amps handle a "hot" signal without getting
muddy, or are they just not compatible without mods? Are only specific
amps capable of handling an active signal? I've been getting to many
different explanations.....Please Help!!!!
_ROB_
----------------------------------------------------------
Date: Wed, 27 Jan 93 13:48:25 PST
From: 27-Jan-1993 1637 <rost@tecrus.ENET.dec.com>
Subject: RE: #283 (various)
>From: rrome@bssv02.hac.com
>Subject: Fender Bass amps under $300
>Fender's Sidekick 30 and Bassman 60 pack enough punch for me but I can't
>get past the fact that they're made in Taiwan and look it. Knobs and
>plugs look like Tandy equipment at best. Compared them with a 60 Watt
>Peavey (no flames) and the Peavey had no punch at all, even though
>it looked like a competent Made-in-usa unit.
Surprised you said this, because I used to own a Sidekick 30 and it was a total
dog for *me* while the Peavey Basic 60 seems a nice amp to *me*. If you like
the Sidekick buy it, I doubt that at home use is going to stress it that much
that you need to worry about reliability.
>Any opinions on the Fenders? Haven't tried the RAD bass yet, but
>I hear it has a smaller speaker and less watts than a sidekick.
The RAD also has no EQ other than some "presets", so if you don't like the
factory's idea of a bitchen tone you're out of luck.
>Subject: Warwick Thumb Bass
>A fellow I know is offering to sell me a Warwick Thumb bass (5 string) for
>$1000 canadian (sorry I don't have the foggiest about exchange rates today).
>Assuming I like it, is this a deal, a steal...has anyone had any problems
>with 'em?
In the U.S. that price would be *incredibly* cheap, go for it!
>can anyone recommend other joni albums with jaco?
"Hejira" has a lot more space for Jaco, many of the songs are duets with just
Joni and Jaco, Larry it or not, this was the first time I heard Jaco and it
floored me. As a Joni album, I think it's far better than "Don Juan".
>Second point. I was under the impression that Fender (and others) had taken
>to making bodies out of Alder, which is a very light wood that gives a nice
>natural slap tone.
Most U.S. made Fenders use alder, some are ash. Japanese imports are mostly
basswood. Fender doesn't even specify what they use for Korean and Indian made
instruments.
>I have recently acquired the use of a Peavey TKO 100 combo. It is probably
>late 70's or early 80's vintage and has no grounding pin in the power plug.
>I haven't experienced anything bad so far, but two of my band mates have
>gotten very slight shocks from touching an effects box which was sitting on
>the amp, and from the pickup of my bass.
>My question is, am I risking life and limb using this amp, and if so, is there
>any relatively inexpensive way to ground it?
You may be risking life and limb. Either buy a continuity checker/voltage
tester (they are a bit over $1 in most hardware stores) and check your
grounding all the time or wire up with a three-prong cord assembly. It will
wire similarly to the existing cord, except that the additional *green* lead
should be attached to the metal chassis.
Brian Rost
rost@tecrus.enet.dec.com
508-568-6115
DEC, Hudson, MA
*******************************************************************************
"Have you noticed how the hole in the ozone layer has grown
progressively larger since rap got popular?" -Anonymous
*******************************************************************************
----------------------------------------------------------
Date: Fri, 29 Jan 1993 03:02:37 EST
From: I'D RATHER STAY A CHILD & KEEP MY SELF RESPECT IF BEING AN ADULT MEANS
BEING LIKE YOU <levined@kenyon.edu>
Subject: RE: The Bottom Line #284
Dear Carl,
A. Are you aware of the price range involved with Alembic six-strings?
Not to mention any custom work. Alembic six-strings (uncustomized) can run
upwards of $7,000 (and worth every damn penny).
B. Being a great Alembic affecionado, I take the responsibility of
pointing several issues regarding your interest in an Alembic:
1. You will make the initial contact through an Alembic dealer and
they will refer you to young Mica Wickersham, at Alembic H.Q. in
Santa Rosa. If Mica deems you worthy of an "A" bass, then you
can go on to discuss the details (neck radius, wood, elecs, etc.)
2. As I understand it, you will then be quoted a price and given a
"window" of delivery. If all goes well, you will have one of the
finest, most interesting, most wonderfulest electric basses on the
face of this here earth.
I hope that somewhere in my enthusiastic discourse you find something
of use. Goodbye and good luck -- Dan Levine, Alembian scholar, waster of time.
----------------------------------------------------------
Date: Fri, 29 Jan 93 9:40 GMT
From: CEREBUS THE AARDVARK <WDFB1@VAXA.YORK.AC.UK>
Subject: Loving strings..., Underrated bassist and Chapman Stick.
Howdy bass-fiends,
There seem so many interesting discussions going on in this digest that I find
it hard to get round to replying to any of them, but I thought I mail a few
contributions before the mornings seminar.
First of all, on the subject of string care, I find that for general
maintainence cleaning after each time I play (theoretically!) with a cloth and
some light oil (such as WD40) keeps the sound reasonably bright as well as
lowering the friction. I got this idea from a professional guitarist I know-
it also works with heavier oils such as 3-in-1. Bass-mgr - what type of
alcoholwere you advocating for the task? Beers, spirits, wines,.......
[ Rubbing alcohol (isopropyl) seems to work fairly well. Would try wine,
but I'm not sure whether red or white would go best with a five-string. :)
Bass Mgr. ]
As far as underrated players go, I can think of lots, and I agree with many of
those suggested so far - when I've heard them. The only problem with the
question is that it allows for virtually unlimited answers - it the art of good
bass playing is in contributing to a song in a way which enhances it, or makes
the whole song, then surely all the bands which we all really enjoy have bass
players who deserve a mention. I can see this theme going on for a very long
time.
The main-man I'd like to propose is Nick Beggs of Iona (a Christian 'Celtic'
rock band available on Word UK, and I don't know where in the States, though
I might be able to find out.... he used to play with the pop band Kajagoogoo).
I went to see them at the York Arts Centre last Saturday night and I was
impressed at hearing the same warm, almost vocal, expressive sound and style
that I've enjoyed on the CDs (Iona, and Book of Kells). In addition to his
playing skills, he entertained us - well, me at least - with his amazing range
of facial expressions. Have any of you guys ever seen the Kabuki masks used
in Japanese theatre.....
Furthermore, much of his playing was done on a Chapman Stick, so you can add the
aforementioned CDs to your discography. I'd never seen one of these
instrumentsplayed live before. Can any of you tell me a little more about it,
such as how
it is tuned (and how long it takes to tune up - it looked as much fun as a
Sittar).
[ We had a pretty complete post on the Stick quite a while back, but I'm
not sure where it currently resides. Could someone steer this person in the
right direction? Bass Mgr. ]
And may I take this opportunity to say what an excellent digest this is. Bass
players are great, IMHO....
Wulf.
----------------------------------------------------------
Date: Fri, 29 Jan 93 05:49:57 PST
From: 29-Jan-1993 0841 <rost@tecrus.ENET.dec.com>
Subject: RE: #285
Michael Stebbins sez:
>My recently acquired Zon and and Steinberger both seem unusually
>sensitive to buzz while other wooden necks allow the technique of
>damping the string by lifting slightly. Have I just gotten away
>with bad technique all this time or must I chuck this mode of damping
>to enjoy a graphite neck?
I found when going to a Steinberger that the whole bass was just more sensitive
to "mechanical" noise than any of my wooden basses. Since I seldom use the
bridge pickup and usually have the tone rolled off, I assume it's a combination
of the graphite and the pickups. For studio recording, I even found it helpful
to stuff foam under the strings by the bridge to damp some of the buzzing and
clanking noises. So I guess my experience says that it's normal.
On Alesis, rm sez:
>3. Reliability and repair. I have had 5 different Alesis effects boxes
>at various times- three of the analog micro series boxes, a Midiverb and
>a quadraverb. The analog boxes were all quite bullet-proof. The
>Midiverb was in for repairs three times and the quadraverb once.
Calling the micro series "analog" is incorrect. Some of the effects certainly
are analog, but the Microverb units are *digital*. Many of my friends have had
mixed rsults with Alesis gear, their quality control in the past left much to
be desired, but they were always good at quick repairs or replacements so it's
hard to fault them *too* much.
Brian Rost
rost@tecrus.enet.dec.com
508-568-6115
DEC, Hudson, MA
*******************************************************************************
"Have you noticed how the hole in the ozone layer has grown
progressively larger since rap got popular?" -Anonymous
*******************************************************************************
----------------------------------------------------------
Date: Fri, 29 Jan 93 16:06:33 EST
From: rrathgeb@ultrix.ramapo.edu
Subject: Quadraverb
Hi TBLr's,
Thanks headed to those who added important subjects on the Quadraverb!
By the time I started typing, I had a million ideas floating around my head to
type about. As far as the power cord goes, it does seem to be a rather
under-engineered aspect. I have decided to mount mine with some industrial
velcro in the back of my SKB. This should avoid most problems of it coming out.
I don't have a problem with it not reaching an outlet because I'm using a
juice goose. That surely is a Quadraquirk though. I'm not so sure I'm hearing
the same thing though regarding the low frequency drop off. It seems I have
been able to maintain the bottom end by tweaking knobs on my amp rather than
adjusting the Quadraverb. I could be missing the whole point however..... I'll
have to do some more experimentation. Thanks again, anymore input? Grumbles?
Praises? Also, let's hear from more users of BBE products! I'm very curious
about setups, signal paths, etc.
Adios,
_ROB_
----------------------------------------------------------
Date: Fri, 29 Jan 93 17:01:57 EST
From: rrathgeb@ultrix.ramapo.edu
Subject: Bad Gig!
Hi Again,
Last night was my worst gig ever. My band is/was a classic rock
cover band. We were made up of 5 guys. Our sound was extremely tight
and our singer/keyboardist was a virtuoso and a hell of a good singer.
Our lead player was talented as was our rhythm player and drummer. I myself,
of course, the bassist. We were scheduled to fit in 40 min of music
in the middle of a technopop spinning DJ's set while he took his break. Already
I had a bad feeling.... The event was a benefit which was supposed to generate
donations to a rape counseling group. Two of the guys volunteered our services.
Being they were frat brothers and their frat was supporting the event, we had
to play. Now, we hadn't practiced in three months due to a lack of desire by
the keyboardist and the lead guitarplayer. Things were worsening....
We were however, locked into the gig. Three of us show up and waited until 10pm
before we had to take the stage, oops! I mean a couple of risers on milk
crates. The keyboardist/singer and lead player ditched! My rhythm player plays
rhythms for an obvious reason and can sing half-heartedly. We, the three of us,
set up on one side of the #@!@#?*!! stage due to a lack of outlets, and played
to roughly 20 people for 40 min. Some songs we played without lyrics because
our rhythm player didn't know them! Not one song had a solo...He even broke
down and explained to the "crowd" our situation so we at least could generate
some sympathy....I am totally convinced the five people who clapped did so
out of guilt and sorrow. The lighting was horrible, good thing, and I sure was
glad none of my friends showed up! As it turns out, the 20 people who showed
up-er' actually stayed through the whole set were frat boys who were obligated.
We started with a decent crowd considering the circumstances............
Jeez, I hope I never do that again too soon! Oh yeah, I haven't talked to the
two ditch'ees, but I will give them the official boot with an explicit verbal
explanation if you know what I mean! It was so bad, I didn't even get
embarassed. The funny part of it was, when all was over with, we hung out and
jammed until 1 in the morning before security kicked us out. They should have
stayed and watched that instead! These are the times I'd rather not remember...
Oh well,
_ROB_
----------------------------------------------------------
Date: Fri, 29 Jan 93 16:03:14 PST
From: Chris.Jercha@EBay.Sun.COM
Subject: casters for Eden
This question is directed to those people who have purchased Eden
cabinets. I ordered a 4 x 10 cab which took months to get because
of the rep., but that's another story. The cabinet came with holes
drilled in the bottom to put casters in. It came with casters, but
without the plates that you screw in to insert and lock in the casters.
I told the salesman and he claims he called the rep who told him
Eden 4 x 10's don't come with casters and I "got lucky". Is this B.S.
or what? Are they supposed to come with casters or not?
Thanks,
Chris
[ Sounds like BS. Every 4x10 I've seen has come with them. However, the
2x10 doesn't and they may have mixed up the two. Bass Mgr. ]
----------------------------------------------------------
Date: Fri, 29 Jan 93 12:27:39 PST
From: Ives Chor <ivesc@microsoft.com>
Subject: Warwick Thumb Bass
<bass mgr: I sent this on Tues but haven't seen it in the last couple
issues and thought I would resend it.>
[ Something nasty seems to have happened to the first copy. Thanks for
the resend. Bass Mgr. ]
$1000 Canadian is about $900 US, right? That's a great deal for a
5-string Warwick Thumb Bass, assuming it's in OK shape. Here's my take
on the bass, for what it's worth: The keyboardist I've been playing
with bought one (a floor model for $1800) and is loaning it to me. It
sounds amazing; everything's really bright, and there's a great low end
("punch", perhaps).
This is not a bass for beginners, though. I don't what it is about the
bass, but I seem to miss some notes by a half-step much more often than
I do on other basses. I've been playing for six years, and I very
seldom miss by a fret on my $120 Ibanez Roadster. Maybe the scale on
the Warwick is slightly shorter? It has 26 frets. I dunno.
Other stuff about the Warwick: It seems to be head-heavy. This,
combined with the slick natural wood finish on the back, makes the bass
rotate counter-clockwise from the player's standpoint when it's
strapped on. Playing fingerstyle with the right thumb on the pickup
isn't as comfortable as it could be, so I find myself playing with my
thumb on the end of the neck, a la Stanley Clarke.
But the thing sounds golden. Buy it.
Ives
----------------------------------------------------------
Date: Sat, 30 Jan 93 15:38:35 CST
From: ssriv@casbah.acns.nwu.edu
Subject: Objectivity?
This is my first post, so I guess I'll shame myself with the
obligatory equipment/experience profile at the end of the message.
I'm posting because the Ron Carter discussion made me think of a
somewhat related issue which I've wanted to broach for a while (don't
worry, I'm not going to touch netiquette or the whole flame vs. free speech
issue).
It concerns _Bass Player_ magazine. My question is: how possible
is it for a magazine to give "objective," or at least sincere critical
analysis of products which supply huge amounts of advertising dollars, or
of players who are on the magazine's staff (or "advisory board.")? Look at
BP's favorite product brands, and look at who takes out full-page ads:
Carvin, Peavey, Trace Elliott, etc... Not to inject any judgment of the
quality of these brands, but sometimes it seems that the staff of BP seems
to push these products just a little much. And look at the reviews: folks
like John Patitucci, Andy Jackson, and Dave LaRue seem to be guaranteed an
A+ for every project they work on, without even a smidgen of _constructive_
criticism.
There is no doubt in my mind that these are quality products and
talented players. But, especially in regards to the players, it seems to
present something of a conflict of interest if you are reviewing the work
of one of your magazine's columnists. Are you going to criticize a player
who is ostensibly making your publication money by lending his/her name to
a monthly column?
I would be interested to see if anyone else has noticed this trend.
One thing that especially disturbs me is when I see a product reviewed, and
a large ad in the same issue (sometimes on the same page) for that product.
Yes, the advertiser wants to capitalize on the good press. But is the
magazine offering a good review simply to draw in advertisers?
I hate to make my first post to TBL such a negative one, especially
since I am usually very happy with BP and I think it has done a lot in
terms of giving bass players a sense of identity and legitimacy. Oh
well...
Anyway, here's the intro post that I promised. Being a poor
college student, I can't really get into big-name equipment. My main
(read: only) axe is a Guitar Research 5-string, which doesn't sound too
terribly and is surprisingly playable. My main (only) amp is a Crate
B160XL combo amp. My only effect is a Ibanez PDM-1 modulation-delay, which
I got an incredible deal on ($300 list, got it new for $50): I primarily
use it for a little flanging.
I play a multitude of styles, depending on who I can find to jam
with. Lately it's been mostly small-combo jazz and funk, though my
interest is primarily in progressive/alternative rock.
-Sanjay
----------------------------------------------------------
Date: Sat, 30 Jan 93 12:36:30 CST
From: wgreene@oldblev.lonestar.org
Subject: recording with bass
Having produced sessions with contemporary folk bands and an occasional
rock band, I've always had the engineer run the electric bass directly
into the board. The are plenty of devices onboard in a modern
recording studio that you can pretty much make the bass sound however
you wish it to. After you lay the basic tracks, if you are not
recording live as a band, due a rough mix to get a feel for how
the bass will sound. If it doesn't sound right to you, let the
producer or engineer know. Taking the time to do a quick 'rough mix'
will take some of the mystery of the ambiguous 'we'll fix it in
the mix'.
Wayne G.
-----------------------------------------------------------------------
oldblev!wgreene@oldblev.lonestar.org (Wayne Greene)
Old Blevins Productions +1 214 352 0544 | GEnie: R.GREENE17 |
PO Box 7427, Dallas, TX 75209-0427 | Fidonet: 1:124/4115.245 |
----------------------------------------------------------
Date: Sat, 30 Jan 93 12:40:51 CST
From: wgreene@oldblev.lonestar.org
Subject: guitarron
Guitarrons are frequently seen in Texas due to the popularity of
Hispanic music. (there are alot of Hispanics down here). I would
suspect one of the major music stores in San Antonio would be
a good place to look. Sorry, but I don't have any names.
wayne g.
-----------------------------------------------------------------------
oldblev!wgreene@oldblev.lonestar.org (Wayne Greene)
Old Blevins Productions +1 214 352 0544 | GEnie: R.GREENE17 |
PO Box 7427, Dallas, TX 75209-0427 | Fidonet: 1:124/4115.245 |
----------------------------------------------------------
Date: Sun, 31 Jan 1993 11:39:37 -0500 (EST)
From: Peter C Norton <spacey@gawain.cif.rochester.edu>
Subject: Three Finger Playing
Hi, I'm a reletively new reader, so I don't know if this is a new thread ro
just a re-hash, but I'venoticed that more and more I'm playing with three
fingers, instead of the usual two. This seems to give me much more speed
when I play scales, but also, it creates some problems when I go from string
to string. I know that this technique is a matter of taste, but do any of
you out there play like this? Are there any drawbacks, or specific problems
that this brings on in the long run (aside from the one I mentioned before,
which will probably go away with time, I hope...)?
Anyway, have fun...
---Peter
----------------------------------------------------------
Date: 1 Feb 93 10:27:25 U
From: Oz Barron <oz_barron@pharlap.com>
Subject: "Jazz Club" CD
I just bought a CD called "Jazz Club Bass". It's put out by Verve cat no, 840
037-2 (Marketed by Polygram Classics)
What it is is a selection of great bassists (Jazz) and cuts featuring them.
The line up includes Mingus, Ray Brown, Slam Stewart, Percy Heath, Jaco, Paul
Chambers and others. Cool huh? I would not have chosen the Jaco selection
"Foreign Fun" and the vocalist singing "How Hogh The Moon" is fairly dated, but
the disk is a must own! Another cool thing is thatit only cost me $9.00, but
I'd a paid more!!!
-Oz
oz@pharlap.com
----------------------------------------------------------
Date: Mon, 01 Feb 93 16:45:30 -0800
From: Chip Chapin <chip@hpclbis.cup.hp.com>
Subject: RE: Hartke 3500 Head & Alesis Quadraverb Plus (and BBE 422)
Regarding the BBE sonic maximizer... I recently purchased a 422 myself
and I thought Rob's comments could be somewhat misleading regarding
its theory of operation. So let me try...
The BBE really performs three functions:
1) "phase correction". The BBE delays the low frequencies by
2.5ms, the mids by somewhat less, and the highs not at all, in
an attempt to correct (in advance) for the physical limitations
of loudspeakers. The result (to me) is barely audible.
2) Dynamic HF compression/expansion. This is the neatest trick,
and it's what the "Definition" knob controls. The BBE will
dynamically compress or expand the high frequency portion of
the signal, depending on the relative signal levels of the
highs and mids. The result is a general improvement in
"clarity", with a *dramatic* improvement for muddy vocals
(IMHO).
3) Bass boost/cut (shelving). Ho-hum, but it means you can
probably eliminate EQ somewhere else.
I actually bought the 422 for use in a PA, and for recording, and I
haven't used it with my bass yet. Rob implied that the model 411
would be better for instruments, but I don't understand that at all.
From the BBE manual, it appears that the difference is simply that
the 411 has a high-gain stage to handle mike-level signals, while the
422 handles line-level. The 422 in an effects loop should be fine.
Rob also said that BBE plans to discontinue the sonic maximizers,
which I find surprising since people around here (Silicon Valley)
swear by them. You may be right, but I'd like to know where you heard
it.
As an aside, I'd like to second Rob's complaint about gear that
generates loud pops and/or squeals when switched off. We deserve
better! Even my spiffy SWR SM-220 amp produces a nasty oscillation on
the XLR output (though the speaker output stays clean), which means I
have to be careful to unplug the amp from the mixing board before I
switch it off.
Chip
--------------------------------------------------------------------
Chip Chapin, Hewlett-Packard Company, California Language Lab
(HP/CSO/STG/STD/CLO/CLL)
Internet: chip@cup.hp.com HPDesk: Chip Chapin/hp4700/um
uucp: ... {allegra,decvax,ihnp4,ucbvax} !hplabs!hpclbis!chip
or ... uunet!hp-sde!hpclbis!chip
USMail: MS42U5; 11000 Wolfe Road; Cupertino, CA 95014-9804; USA
Phone: 408/447-5735 Fax: 408/447-4924 HPTelnet: 1-447-5735
--------------------------------------------------------------------
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Date: Mon, 1 Feb 93 20:46:02 GMT
From: Paul.Arthur@Eng.Sun.COM
Subject: Spector Bass Update
Just got a price list and flyer from Stuart Spector. Here's the
specifics from the price list dated 10/1/92:
All prices include hardshell case, figured maple and gold hardware
Model List Price
NS-4, SD-4, natural oil finish $3500
NS-5, SD-5, natural oil finish $3600
Options
High gloss finish: clear, amber, red stain, 350
blue stain, black, white
sunburst: antique cherry, tobacco +150
Piezo bridge and control circuits:
4 string 300
5 string 350
Standard Features:
34-inch scale length, solid figured maple bodies, machined solid brass
gold plated bridge, active electronic EQ systems, pau ferro fretboards,
mother of pearl and abalone inlays, 24 jumbo nickel silver frets, three
ply rock maple necks, neck through body construction, dual action reflex
truss rod, locking strap buttons, carved contoured bodies, hand rubbed
oil and wax finish, solid brass nut, molded resin military spec knobs,
hardshell case
Included was a flyer with a color photograph of each bass in natural
finish. 4-strings looked the same. 5's look like the one in Bass
Player awhile back. Both have EMG's with the 4 using P/J and 5 using
humbuckers and what looks like a master volume knob. Initial run is
no more than 100 pieces per model per year. Best contact either of the
places below if you have any questions.
Sales/Orders:
On The Road Marketing
178 Sixth Ave.
Patterson, NJ 07524
Phone (201) 523-1561
Fax (201) 523-1658
Manufacturing
Stuart Spector Designs Ltd
PO Box 142
Woodstock, NY 12498
(914) 246-1385
Fax (914) 246-0833
Kevin was asking if the Japaneese "Shadows and Light" CD was a double. Yes
it is. Price is ~ $30.00 from Audiophile Imports.
later
paul a.
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End of The Bottom Line #286
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