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Issue #288
February 9, 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:
Vintage Amps & Active Elec.
RE: Acoustic 140
RE: #287
Dating Rickenbackers
three-finger picking...
Eden 210T followup
More Alembic Questions +
re- "Booster" outputs
RE: TAB for Moondance (& first posting)
dating Rickenbackers, multifingers, benefit addendum
Pino & others
The Stick
** I TRIED THE PEAVEY MIDI-BASS **
RE: rick 4001 date
RE: The Bottom Line #287
"Portrait" query
RE: 4001 Rick & RE: BBE411
Hi BAbOLers...
Dream Theatre's bassist
Needed: reference to guitar/bass wiring book.
(none)
Peavey Bass-Fex
RE: acoustic 140 Bass Amp
----------------------------------------------------------
Date: Thu, 4 Feb 93 09:11:55 EST
From: arte@inmet.camb.inmet.com
Subject: Vintage Amps & Active Elec.
I have a Hohner "Jack" bass which has both active pickups and an active
preamp (which can be turned on and off). I bought an Ampeg V4B tube head
(c. 1974) at the same time as the bass. This amp can handle the pickups OK,
but not the preamp. The thing is just distortion city with the preamp on.
I've talked to others with similar setups and they seem to have the same
problem.
I had a Fender BXR300C which had two inputs: one for "regular" inputs and
another (I assume attenuated) input for "hot" inputs. Back in 1974, they
didn't have "hot" (or even "warm" for that matter) inputs like they have
now.
-- Arte Kenyon
----------------------------------------------------------
Date: Thu, 4 Feb 1993 09:19:17 -0500 (EST)
From: Len Moskowitz <moskowit@Panix.Com>
Subject: RE: Acoustic 140
Shin writes:
> So, I was wondering if any of my fellow BottomLiners
> play through Acoustic amps. There's an output on the
> back called "Booster Output," and I can't seem to make
> head or tails of it. Does anyone know what this is for?
> DOes anyone know how much power this amp puts out?
Acoustic has a checkered past. Jaco Pastorius played through an
Acoustic 360. It was the first good sounding, high power solid state
bass amp. It used a huge folded horn 18" cabinet. Its counterpart for
guitar, the 260, was one of the worst dogs ever made -- my guitarist had
one for years and couldn't give it away. I played their next model, a
370, for about 6 years. Then came the 470.
The original 360 was a wonderful amp. The guys who designed it left
Acoustic to found Amplified Music Products (wnderful amps but now
defunct) and SWR. The 370 was powerful and clean but lacked the 360's
character -- it was a typically sterile solid state amp. The 470 was
worse yet and Acoustics haven't improved since.
If you want a cheap practice amp, Acoustics are okay. They're reliable
and widely available second-hand. But if you want a distinctive sound,
my advice is to stay away.
Len Moskowitz
moskowit@panix.com
----------------------------------------------------------
Date: Thu, 4 Feb 93 06:22:31 PST
From: 04-Feb-1993 0907 <rost@tecrus.ENET.dec.com>
Subject: RE: #287
RE: Acoustic 140
>Anyhow, I ended up getting this Acoustic bass amp
>from a friend of mine. The model # is 140. He claims
>it puts out 100 watts into 8ohms. (dubious?) There's
>2 sets of controls, (vol, bass, treble) with 2 inputs
>each. One of the inputs has a pad on it, maybe
>something like 10db. Each set of inputs alos has a "bright"
>switch.
>
>So, I was wondering if any of my fellow BottomLiners
>play through Acoustic amps. There's an output on the
>back called "Booster Output," and I can't seem to make
>head or tails of it. Does anyone know what this is for?
>DOes anyone know how much power this amp puts out?
The 140 does put out 100 watts RMS, the booster output is a line out to feed
another power amplifier. If you're thinking of buying it, here in MA one would
sell for $150-250 depending on condition.
Re: Joni's "Mingus"
> I think that anyone who doesn't care for this record should listen to
>it on a rainy day a few times a year. Certainly you will learn to respect it
>if not become as enamoured with it as I have. Besides Joni's first record,
>(when she didn't always sing in tune) this is the only one I can stand.
I do drag it out once in a awhile for a spin. I still don't like it as much as
"Hejira" or any of the Mingus albums I have. Still hoping the light will come
on one day <grin>
Re: intonation on acousitc bass guitar
>I was recently recording with my Honer (sp?) professional acoustic, and I
>noticed that the intonation was *badly* off. When I'm just messing around by
>myself, I don't check that sort of thing, but when recording, the stuff sounded
>really off, and when I checked it, it *was* really off. The problem is, I don't
>know how to fix this. The bridge isn't adjustable. The only thing I can see to
>do would be to either try a different string gauge, or file down the plastic
>part on the bridge.
Yep, you need to change string gauge or file down the saddles. That's what
acoustic guitarists go through.
Re: objectivity in reviews
>Though I haven't noticed a blatant disregard for objectivity in BP (I only had
>it for a year), I'm sure the concept of biting-the-hand-that-feeds factors into
>a reviewer's analysis. This was certainly the case (IMHO) for the mag "Stereo
>Review", where you couldn't find ANY criticism of any equipment. It made it
>hard to distinguish the reviews from the ads.
Most magazines claim the reason they seldom trash anything in reviews is that
there is no reason to waste space on a negative review. I can buy that
argument, but on the other hand I have a friend who did a few reviews for BP.
The last one he did was edited to drop some very negative comments he made
about the product in question. He claimed this was done at request of the
manufacturer as part of the "mfr's response" process. Perhaps not
coincidentally he has done no reviews for them since. I have to say I was a
bit surprised when he told me this (FWIW, I do believe his story as he has
shown himself over the years to be a reputable person).
Another thing to consider is that most of what gets reviewed is higher-end
stuff. I'm sure that if BP reviewed low-end gear frequently you'd see comments
similar to what they had to say about under-$300 basses in the recent shootout.
A bass or amp selling for over $1000 is quite likely going to be pretty good,
eh? It might not be *your* cup of tea, but it's likely not a total dog.
You have to take reviews with a grain of salt anyway, since the reviewer's idea
of what's good and bad may be pretty subjective and not at all in line with
your own. The other thing to consider is that some people are so prerprogrammed
with prejudices that when a Peavey or Carvin product gets rave reviews they
figure it has to be a fix, rather than believe that those companies might
actually make worthwhile equipment.
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: Thu, 4 Feb 1993 17:57:24 +0200 (EET)
From: jpmakela@cc.helsinki.fi
Subject: Dating Rickenbackers
Mike Penner (mepenner@undergrad.math.waterloo.edu) asked
about how to date his Rickenbacker 4001 bass; according
to Tony Bacon's "The Ultimate Guitar Book" the key is the
first letter in the serial number. "A" means 1961, "B" means
1962 and so on; that means my dear Rick 4001 (#NJ6323) is a
'74. I have no idea what the company did after 1986 when they
reached "Z" (of course, were they using Finnish alphabet, they'd
had a couple more).
J. Pekka M{kel{ ({'s are a's with umlauts) jpmakela@cc.Helsinki.fi
-----------------------------------------------------------------------------
Lintupolku 9 as. 1; 01450 Vantaa; FINLAND tel. +358-0-87 22 014
----------------------------------------------------------
Date: Thu, 4 Feb 1993 12:19:25 -0500
From: mlaurenc@world.std.com
Subject: three-finger picking...
Ives wrote:
>My middle finger is (like most
>people's, I guess) about half an inch longer than my index finger. To
>accommodate this, I anchor my two fingertips on a string and rotate the
>rest of my hand about 30 degrees to the left. This tends to "even out"
>the length of my fingers so they have an even attack on the strings.
>Unfortunately, it pulls my shorter ring finger quite a bit away from
>the string, and it's not very practical for me to use it
Are you playing with your fingers straight? That will, indeed, make
your ring finger come up off the strings when you rotate your hand,
which you'll have to do. However, if you try playing with your fingers
bent at the first knuckle, you can even the fingers out without
having to rotate your hand. It's alittle hard to get used to, but
it works - not only does it just plain even out that discrepancy
between finger lengths some, but it allows you to raise your middle
finger a bit and even it out with the others as you play. You can't
do that with your fingers straight. Try it out.
Matt
----------------------------------------------------------
Date: Thu, 4 Feb 1993 11:09:01 -0800
From: Rick Auricchio <rick@taligent.com>
Subject: Eden 210T followup
I forgot something in my review:
I was quoted $495 and didn't bother to negotiate a lower price. It lists
for about $610. The small shop where I bought it has nice folks; they
encouraged me to test-drive it on a gig rather than try to evaluate it well
in the store. That kind of service is worth a few bucks more.
The 8ohm unit is standard and would've arrived quickly; the 4ohm one is a
special order unit and it took about 5 weeks. Eden also makes the
"AireHead" which looks very much like an SWR Redhead with nothing but air
in the 4-space built-in rack. It also has casters. I decided to keep my
rack separate.
--rick
------------------------------------------------------------------------------
Rick Auricchio rick@taligent.com 408-974-4227
Taligent Inc. 10725 N. DeAnza Blvd. M/S SE/1 Cupertino, CA 95014-2000 USA
"I don't have any solution, but I certainly admire the problem!"
----------------------------------------------------------
Date: Thu, 4 Feb 1993 10:24:03 -0800
From: carls@ingres.com
Subject: More Alembic Questions +
Hey TBLers...
I got the Alembic catalog in the mail yesterday - I was quite impressed with
the range of options they have (and the high prices that go along with them).
I had a couple questions, and called them up. I first asked how is their
7-string tuned, and they said that it comes with a high F. Think of the
hands you must have to play that beast. I then asked if they were making
6-string Essence basses - I had only seen 4 & 5 string ones - and they
said that they were. Has anyone seen the 6-string?
However, after all that, I think that a custom alembic would be out of
my price range...
I am thinking about buying one off the rack - either at Guitar Center
(where they list at ~$3400 & I figure I could get it for $2300) or at
Gelb, where they had pretty similiar prices.
One last questions - what music stores in the bay area stock the
Yamaha TRB6? I know that K&K sometimes have them in, but lately they have
only been special-ordering them...
A quick thanks to Andy Tran, Paul Arthur and Alan Henley (all from sun -
must be that "Have a big computer, need a 6-string" mentality.. :=) for
giving me info on custom ordering...
carl stanley
ingres
carls@ingres.com
I play in Imaginary Culture, a prog metal band, and in Fracture, a jazz/thrash
thang...
----------------------------------------------------------
Date: 4 Feb 93 16:00:25 U
From: Oz Barron <oz_barron@pharlap.com>
Subject: re- "Booster" outputs
Shin asks about the Venerable Acoustic 140. The first Real BASS amp.
The "Booster" output, I believe, is a line out that was designed to go to a
"slave" amp so you could play louder. I used to use a SUNN coloseum PA and it
had an arrangement like this.
Ah, those were the days...
I'm glad they're gone too!
-Oz
Oh and Kevin, what's this about 50 degree (F) wheather in Wisconsin?!? We've
been FREEZING!!
[ Well, that was up until today, when it came back down to 30 degrees,
and we got loads of freezing rain and sleet. :( :( This stuff is really
disgusting to someone with a fairly new pair of skiis (me). Oops, this is
starting to sound like a weather list. Bass Mgr. ]
----------------------------------------------------------
Date: Fri, 5 Feb 1993 01:53 EET
From: Jussi Haukioja <JHAUKIOJ@sara.cc.utu.fi>
Subject: RE: TAB for Moondance (& first posting)
Hi everyone!
Eric Giguere sent my transcription of Van Morrison's _Moondance_ in TBL #286
(thanks to Eric for that; I thought of posting it myself, but for some reason
never got around to it). I have to apologize for a couple of errors in the
chords in that tab; I wrote it down in a hurry and didn't take the time to check
it out on an instrument. All the G#'s in the bass line made me think that the
Am chord in the verse was followed by an E7 chord, but it's really an Em7
(sorry, this is really quite embarrassing :-). Another mistake is in the very
last chord of the song: it's really more of an Am9 than an Am7.
[ You may wish to send mail to Erik (habbinga@csn.org) about making sure
the correct version is at the ftp site. Erik, can you take care of this?
Bass Mgr. ]
Anyway, since this is my first posting in TBL, I might as well tell you
something about myself. I've played the electric bass for nine years and the
upright for seven years. I like to think of myself as mostly a jazz bassist,
but for the past year or so, I've been doing theater gigs and a lot of other
things (R&B, soul, folk-rock). My main influences are (in alphabetical order;
these guys shouldn't be put in any order according to musical & other
accomplishments :-) Paul Chambers, Charlie Haden, Scott LaFaro and Jaco
Pastorius (as you can see, I play mostly double bass nowadays).
I also have a question about Paul Chambers: I haven't been able to find out
what happened to him. From what I've heard and read, he apparently died in
the beginning of the 60's, but exactly when and how? If you know anything
about this, please let me know!
Jussi Haukioja
JHAUKIOJ@SARA.UTU.FI
Finland
----------------------------------------------------------
Date: Thu, 04 Feb 93 22:42:56 EST
From: bluemuse@aol.com
Subject: dating Rickenbackers, multifingers, benefit addendum
Someone (sorry, I forgot who) asked about dating Rickenbackers. When I owned
one (poor thing was stolen!), a dealer here that was on a first-name basis
with the folks at Rickenbacker told me that the first letter in the serial
number was the clue: They started with "A" in 1961, so just follow up from
there. That meant mine, which started with "R," was from 1978. Of course he
told me this years ago, before they would have reached "Z" in 1986, so even
if he was correct, I don't know what they did after that.
Rickenbacker seems to be offering a number of vintage and replacement
parts lately; you might do best by contacting them directly or finding a
local dealer for your missing pickup cover.
Re: the two-three-four finger thread. I've noticed that I sometimes tend
to go the other way, favoring ONE finger, and I think the reason I do (not
having thought very much about it) is for consistency of sound. I find that
if I use two fingers, the notes will sound a little different. I don't know
if this is sloppiness on my part, but sometimes I use it to advantage, when I
*want* to vary the sound. I also remember reading in Standing in the Shadows
that Jamerson used one finger exclusively.
Last issue I posted about a benefit concert in New London, CT. Another
band has been added, Rattle and Hum, which is a U2 tribute band. I believe
that the four other bands all play original music. The starting time has been
changed, so the doors open at 7pm, and the first band (mine) goes on at 8pm.
Hope to see you there!
--Bob Farace
----------------------------------------------------------
Date: Thu, 04 Feb 93 18:48:07 EST
From: bammons@scotmhs.fred.org
Subject: Pino & others
>there seems to be alot more tasty fretless playing being laid down for
> alot of these projects. Off the top of my head: Elton John, Richard
>Marx, the former Eagle drummer whose name escapes me, Wilson Philips,
That's Pino Palladino on the Elton John and Don Henley stuff, I'm not
sure about the rest....
Underratted player: John Fisher of Fishbone. Great band! Love that
funky stuff.. I saw someone mention 24-7 Spyz - I agree. Another
great band and bass player in the same mold: Jamie Turner of
Follow For Now. These cats really play. Great sound from a MM Stingray.
I don't believe Fisher plays a Stingray, does anyone know what kind
of bass he plays?
[ I think he's been using Warwicks lately. Has anyone heard what Fishbone
is doing these days? Bass Mgr. ]
Butch Ammons
----------------------------------------------------------
Date: 5 Feb 93 08:56:45 U
From: Oz Barron <oz_barron@pharlap.com>
Subject: The Stick
There was a recent inquiry about "THe Stick". The Stick is a stringed
instrument designed by a guy in CA named Emmott Chapmann (sp) It was
originally a 10 stringed instrument that is now also offered as a 12-string.
It hangs verticallly on your belt and has a loop from the head that goes under
your arm to hold it upright. This is not as uncomfortable as it seems. The
strings are played by tapping, not plucking, with both hands. The lowest
pitched strings are in the middle, and the higest at the ends. There are a
variety of tunings that are used, but generaly it's 5 strings of bass (tuned in
5ths) and 5 strings of treble (tuned in 4ths).
Though it's very bizzarre looking instrument, it sounds very beautiful. Tony
Levin is probably the most well known Stick player, along with Alfonso Johnson.
There is a Stick list, which is very low traffic, but interesting none the
less. Most of the people on the list do not play, but are interested. There
are Sticks for sale on a regular basis on the list.
They're at stick%moliere@uunet.uu.net
When you sign on, you get a whole thing about the Stick, where to get more
information, etc.
I had a Stick for a short time (had to sell it due to a monetary shortfall :-()
and enjoyed it. I will own one again, 'cause it was a real kick! {Ready to
sell yet, Jon?}
Hope this helped! See ya!
-Oz
----------------------------------------------------------
Date: Fri, 5 Feb 1993 10:15:40 -0800
From: joel.ruffin@noc.ocs.drexel.edu
Subject: ** I TRIED THE PEAVEY MIDI-BASS **
I got a chance to try the Peavey MIDI Bass. It is *** G-R-E-A-T ** the
tracking was excellent and the Bass itself has a real good sound. Peavey
has really "struck oil" with this product. I suggest that you call you
nearest Peavey dealer and put money on the Bass because when they really
start shipping they WILL BE IN GREAT DEMAND !!!!!!. They are not really
shipping until the end of this month - I think. The Bass I tried was not
for sale.
[ Any idea how much a typical MIDI bass setup would cost
Joe Bassplayer? Did they have prices listed? Bass Mgr. ]
============================================================================
Joel E. Ruffin, Network Programmer / Administrator
Drexel University, Office Of Computing Services
32nd Chestnut St., Philadelphia, Pa. 19104
E-Mail: joel.ruffin@noc.ocs.drexel.edu * PRIDE IN EXCELLENCE *
Phone 1-(215)-895-5881
============================================================================
----------------------------------------------------------
Date: Fri, 5 Feb 1993 14:14:52 -0600
From: rsmith@cwis.unomaha.edu
Subject: RE: rick 4001 date
It just so happens that I have "Gruhn's Guide to Vintage Guitars" with me at w
work today. I borrowed it to date my Rick 4001. anyway, according to Gruhn
all Ricks from 1960 to 1986 have a serial number of the form AA### where the
AA is two letters on the jack plate above the jack(s) and the ### is two or
three numbers below the jack(s). The first letter is the year with A='61,
B='62...Z='86. The second letter is the month it was made with A=Jan...L=Dec.
The numbers are the serial number, I suppose within the year or month, the
book is unclear on that. So for example mine's an OC xxx which makes it from
march of '75.
----------------------------------------------------------
Date: Fri, 05 Feb 1993 00:28:02 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 #287
This messege is in response to Oz's question regarding SPACEONICS products.
I'm not competent enough to send it to him, and I truly appologize for the
inconvenience I may have created by sending this messege through TBL-"re...".
So, anyway, Polytone's SPACEONICS devision is based in Hollywood, Ca. I
believe. Their claim to fame is a line of " TRUE STEREO " amplification
devices. They mean to provide the good consumer with this wonderful "true
stereo" sound by splitting their systems into seperate pre-amps, power-amps and
speakers. They make seperate heads and cabs, sometimes powered cabs, usually
with a pair of eight inchers, to give you that real tasty 1 khz-and-up sound.
They're also into installing alesis (sp?) reverb components and other neat
gadgets to ameliorate their prized stereophonic setup. They love describing the
sound of a well ping-ponged delay through one of their systems. They dabble in
guitar, bass and keyboard stuff. And that's about all I know, other than the
fact that they incorporate a drawing of a space shuttle in their logo.
Good-bye and good luck,
Dan.
----------------------------------------------------------
Date: Sat, 6 Feb 93 11:42:39 CST
From: Tania M Davis <tania@csd4.csd.uwm.edu>
Subject: "Portrait" query
Sorry this is kind of hackneyed, but this missive goes out to a
Michael Patrick Swain, whose e-mail address I seem to have misplaced.
Mike, not to be a pest or anything, but I haven't yet received the
copy of the portrait of tracy tab you were going to send me. I don't
know if U forgot or if the mail really does take this long, but I was
just curious. If U don't hear from me in another week, could you
PLEASE resend it? Thanx again, Mike.(Bass Mgr.: If U could post this,
it would be greatly appreciated. Double thanx).
[ The tab is also available at our ftp site, if you can get to it.
Bass Mgr. ]
----------------------------------------------------------
Date: 08 Feb 1993 08:47:46 +0100
From: Peter Vermeeren <ELMEMG@urc.tue.nl>
Subject: RE: 4001 Rick & RE: BBE411
Hi !
Two short ones:
ON MIKE's 4001 RICK (BL#287):
This is what I got from the music store that helped me to date
my Rick:
Post 1960 serial number code (look at the two letters) :
first letter: J year: 1960 (Nov and Dec only)
A 1961 (complete year again)
B 1962
... ...
I 1969
... .... etc etc
second letter: month: A stands for Jan and so on (L: december).
ON SONIC MAXIMIZERS:
I own the BBE 411 and use it in the fx loop of my SWR SM-400 and don't
have the slightest problems with it (the only problem is that the
BBE blows its fuse once and a while for unknown reasons). As said,
the fx loop hookup is the PREFERRED one. If you're having problems with
this, you could try another effect in the loop. If this doesn't give
good results either, your FX loop is likely to be gone wacko or something
like that... Be sure to adjust the gain setting of your preamp properly;
if you set this too high, the send signal might be too large so the
BBE clips (this should light the CLIP led on the BBE however... Does it ?)
and the preamp itself doesn't clip so you assume your gain setting is OK.
Just some suggestions. Succes.
In addition to this, I'm curious how you guys (M/F) set your amp EQ.
First EQ and after this BBE adjustment or the other way around ?
Peter
----------------------------------------------------------
Date: 8 Feb 93 11:01:45 U
From: Oz Barron <oz_barron@pharlap.com>
Subject: Hi BAbOLers...
No I don't have a date yet, but I had a neato idear! (Ideah in Bosspeak;-))
We need a BAbOL tape! My suggestion is: We each bring a cassette of something
we've done that we would like to share along with a blank tape. I will take
all these tapes home, put them together into one big compilation, which I would
then copy onto the blank cassettes supplied.
Cool idea, yes?
Sooo... Start thinking and taping now, and I'll let you know when the next
extravaganza will be!
Virtually yours,
-Oz
oz@pharlap.com
w) 617-661-1510x264
----------------------------------------------------------
Date: Mon, 8 Feb 93 9:08:23 MST
From: Erik Habbinga <habbinga@csn.org>
Subject: Dream Theatre's bassist
Hey!
Could anyone out there enlighten me on the name of Dream Theatre's
bassist? Also, could you tell me if his playing is audible on their
albums? I caught them in Denver Sunday night, and either he is incredible
and the sound man should be shot, or he has the most inefficient technique
in the world! His fingers were everywhere, but I couldn't hear it.
BTW, the drummer for the opening act had drumstick tricks that Rikki
Rocket of Poison could only dream about!
[ I caught a video of Dream Theatre recently, and the bass was pretty
much drowned in the mix there as well. Sad, eh? Bass Mgr. ]
Erik
----------------------------------------------------------
Date: Mon, 8 Feb 93 10:17:33 PST
From: alh@notrees.pen.tek.com
Subject: Needed: reference to guitar/bass wiring book.
Well, I've looked through the FAQ, 'cause I really thought this
one would be in there, but it's not. Maybe the powers that be would
like it in there...?
A while back, I vaguely remember a reference to a book which
goes into great levels of gory detail about how the internal wiring in
guitars and basses is done. Lot's of theory, alternatives, info on
pickups, and lots of other good information on these things. I've got
electronics background, and I'm entertaining the idea of doing some of
this kind of work on a bass I have, but I'd like to get a copy of this
book first.
If anybody knows the title/publisher of this book, I'd really
appreciate a quick note. Thanks!!
-------------------------------------------------------------------------------
The story so far: In the beginning the | Al Hooton, SW Quality Guy
Universe was created. | Telecom Products
| Tektronix, Inc.
This has made a lot of people very angry and | (503) 627-4216 (wk)
has been widely regarded as a bad move. | (503) 626-6849 (hm)
- Douglas Adams | alh@tekig1.pen.tek.com
-------------------------------------------------------------------------------
----------------------------------------------------------
Date: Tue, 9 Feb 93 16:20:25 GMT
From: Rod Blackwood <rtb@semagl.co.uk>
Subject: Washburn Status 2000 for sale
Bargain of the Month !! (on the east side of the pond)
Washburn Status series 3000 bass complete with four strings, frets,
graphite neck, no head, wood finish, hard case, strap.
Immaculate condition - two months old and never gigged.
reluctant sale to fund new fretless Stingray
250 pounds or will haggle for quick sale
Kevin Thomas, +44 41 204 2737 extn 2291
c/o Rod Blackwood, rtb@semagl.co.uk
----------------------------------------------------------
Date: Tue, 9 Feb 1993 15:23:35 EST
From: webb@chopin.udel.edu
Subject: Peavey Bass-Fex
Recently I read an article in Bass Player Magizine about
the new Peavey Bass-Fex bass processor. Does anyone know anything
about these units?? I know Peavey had a bad reputation but I am
thinking about trying one out, and if I like it, Im buying it.
Previously I was thinking about buying a ART Nightbass but
I've heard MANY horror stories about the unit breaking down.
Comparitively, the Peavey has a lot of the effects that the ART
does, and the price is about $200 less(runs about $450) Also the
Peavey unit fits into a 1 rackmount space, as opposed to 2 by the ART.
It sounds comparitively very good.
I hope somebody tells me about thier experiences with RECENT
Peavely digital equipment so that I can make an educated decision about
buying this. I'd hate to be the one to post a horror story about it later.
Thanks,
Webb
+-------------------------------+---------------+-------------------------+
| ___ ____ | Factor | webb@chopin.udel.edu |
| ( `--' .-' ___ |Hartke Cabinets| Webb Pickersgill |
| |8) O O ||||||||||||||[_-~) | GHS Strings | (302) 837-1861 |
| (__.--.__| Kubicki Factor |Samson Wireless| Bassist For:Seven Wishes|
+-------------------------------+---------------+-------------------------+
----------------------------------------------------------
Date: Tue, 9 Feb 93 13:24:45 PST
From: jack@acuson.com
Subject: RE: acoustic 140 Bass Amp
Shin,
Yeah, I guess I'm used to the transistor age too. Over the
years I've used both the V4B and an acoustic - the V4B was
definitely a backbreaker.
About the acoustic - the one I used was a 150B. It was a
separate cabinet/head style model with two 15" speakers.
From your description of the 140 I'd say that the electronics
are very similar in the two models. The 150B is indeed 100
Watts into 8 Ohms or 150 Watts into 4 Ohms, hence the name
"150B." The "Booster Output" is there too - it's a line-level
signal output to drive an additional amplifier either through
a standard instrument input or directly to a power amp.
I used the acoustic during my rock days and I was a bit
dissatisfied with it - just not enough kick for that kind
of music. Also, the 15" speakers wouldn't have enough
brightness for my taste these days. However, if you're
looking for a nice round sound at medium loudness the
140 is probably a nice choice. Just be sure you try it out
in an actual playing situation before you buy. Actually
you're lucky - this is much better than trying out amps
in a music store.
Best of Luck!
Jack.......
P.S.: My amp of choice these days is a Gallien Krueger
800RB. It's got more power than I'll ever use and
(yep, it's solid state) it's not too much to lug
around. Team one of these (or even the smaller
400RB) up with a good cabinet of your choice
(one or two 15's or two or four 10's or 12's) and
you'll be kickin' great bass in almost any situation.
Cheers!
----------------------------------------------------------
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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_, 1993
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 #288
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