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1993-03-10
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Issue #295
February 23, 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:Stu Hamm>Blue Powder Bass Solos
TAB:Stu Hamm>If Your Scared, Stay Home
Hipshot D-Tuner *FOR SALE*
Blue Tube and Real Tube
Peavey combos...
Pearl Jam
Dead Spots
Help w/ self-teaching...
Extra long strings ?
The Bottom Line #292
RE: The Steve Harris Sound
Getting that "growly" sound on fretless
----------------------------------------------------------
Date: Thu, 18 Feb 1993 15:12:32 EST
From: webb@chopin.udel.edu
Subject: TAB:Stu Hamm>Blue Powder Bass Solos
Hello, well, here's some more TAB i was just inspired to
fugure out. It took me a good hour to get it all right so,
I really hope you slapping and tapping freaks love it. :)
I am absolutely, positively sure that this is the EXACT transcription
of the solo section to Steve Vai's Blue Powder. Stu Hamm plays
it. Any questions gladly welcome. The numbers under the TAB
mark the beat.
Good luck with it,
Webb
+-------------------------------+---------------+-------------------------+
| ___ ____ | Factor/Hartke | webb@chopin.udel.edu |
| ( `--' .-' ___ | Samson/Alesis | Webb Pickersgill |
| |8) O O ||||||||||||||[_-~) | GHS/SKB | (302) 837-1861 |
| (__.--.__| Kubicki Factor | Crown/Furman | Blind Ambition 7 Wishes|
+-------------------------------+---------------+-------------------------+
Blue Powder (Bass Solo Section)
First Riff (all slapping)
+------5---5---5h7-X-----5---5---5----+
|--------------------5h7---X---X------|
|--0----------------------------------|
+-------------------------------------+
1 a 2 a - 3 - a - 4 - a -
+-------------------------------------+
|--X-7p5-5h7-5h7-X--------------------|
|------------------5h7-X-3h5-X--------|
+------------------------------3------+
1 - a - 2 - a - 3 - a - 4 - a
Second Riff (all tapping)
All notes are even quintuplets. Accent every fifth note.
+------------14----14----------------------14-16-14------------+
|---14----19----19----19----14----14----19----------19----14---|
|12----19----------------19----12----19----------------19------|
+--------------------------------------------------------------+
+------------14-19-14----------------------14-21-14------------+
|---14----19----------19----14----14----19----------19----14---|
|12----19----------------19----12----19----------------19------|
+--------------------------------------------------------------+
Third Riff (all slapping again)
+---X---X---X---X-5h7--------------+
|---------------------X-5h7--------|
|-X---X---X---X-------------X-5h7--|
+----------------------------------+
1 - a - 2 - a - 3 - a - 4 - a -
+-X---X-----5--------------------+
|---------X---7p5----------------|
|---X---X---------5h7-X-3h5-X-2--|
+--------------------------------+
1 - a - 2 - a - 3 - a - 4 - a
----------------------------------------------------------
Date: Thu, 18 Feb 1993 17:18:04 EST
From: webb@chopin.udel.edu
Subject: TAB:Stu Hamm>If Your Scared, Stay Home
Well, here we are, TWO IN ONE DAY! Yes! Wow,
I have no Idea what inspired me. It can't be women! I haven't
had any prospective dates in a while! Hmmm ... Oh well Enough
of that. Here it is. THe solo section to Stu Hamm's "If your
scared stay home" ENJOY!!!!!!
Webb
+-------------------------------+---------------+-------------------------+
| ___ ____ | Factor/Hartke | webb@chopin.udel.edu |
| ( `--' .-' ___ | Samson/Alesis | Webb Pickersgill |
| |8) O O ||||||||||||||[_-~) | GHS/SKB | (302) 837-1861 |
| (__.--.__| Kubicki Factor | Crown/Furman | Blind Ambition 7 Wishes|
+-------------------------------+---------------+-------------------------+
If Your Scared, Stay Home (Bass Solo)
+---X---|-3-3---3--------------------------+
|---X---|-----------0-5430-5-3-------------|
|---X-X-|----------------------5-4-3-------|
+-0-X---|----------------------------6---X-+
4 a . . 1 - a - 2 - a.-. 3 - a - 4 - a -
triplet
+-3/4-----4/5-----6^----15---------+
|----------------------------------|
|----------------------------------|
+----------------------------------+
1 - a - 2 - a - 3 - a - 4 - a -
bend^ ^tapped
Fretless(dubbed in)
+------------/19-15----------------------+
|---------------------17-15----17-15-----|
|---------------------------17-----------|
+----------------------------------------+
1 - a - 2 - a - 3 - a . . 4 - a -
^triplet
+----------------------------------+
|-----10----8-------------8\-------|
|-8\7---7\6------------------------|
+-------------------------6\-------+
1 - a - 2 - a - 3 - a - 4 - a -
+-------------X-----------------X----+
|-------------X---8-8---8-------X----|
|-------------X-----------------X----|
+-----------0-X-X-------------0-X-X--+
1 - a - 2 - a . . 3 - a - 4 - a . .
+-------------------------------------+
|-10-10---10-----12--14^-14--12-------|
|-------------------------------------|
+-------------------------------------+
1 - a - 2 - a - 3 - a - 4 - a -
+-10h12-X-----------------------------------------------------------+
|---------10h12-X-8h10-X--------8h10-X------------------------------|
|------------------------8h10-X--------8h10-X-6h8-X-----------------|
+---------------------------------------------------6h8-X-----------+
1 a 2 a 3 a 4 a
all triplets^
+-3-3-2-0-2---------5---6-------------+
|-------------------------------------|
|---------------0-3---4---5-----------|
+-----------3---------------~2--------+
1 - a - 2 - a - 3 - a - 4 - a -
Thats All I can fugure for right now. The Effects on the bass
are making it hard to figure it out. More later....
----------------------------------------------------------
Date: Tue, 23 Feb 93 12:26 EST
From: dwd@usl.com
Subject: Hipshot D-Tuner *FOR SALE*
hullo bottom-liners!
i am selling my Hipshot D-Tuner (Ernie Ball/Music Man Stingray model). i've
had it for about a month--it just isn't my cup of tea. it's in essentially
mint condition (except that i stripped one of the screw heads taking the
beast off of my bass--what a nightmare--you'll need new screws), so i'm asking
$30.00--i'll pay the shipping. please send me email if you are interested.
here's a summary of what you get:
o Hipshot D-Tuner (EB/MM Stingray model)
o installation instructions
o three (out of four) screws (sorry)
o free shipping and handling
dave "bass is NOT a fish" dougherty
dwd@usl.COM
----------------------------------------------------------
Date: Tue, 23 Feb 1993 09:48:49 -0800
From: Rick Auricchio <rick@taligent.com>
Subject: Blue Tube and Real Tube
In response to Peter Vermeeren's questions about Blue Tube and Real Tube:
I've been using a BT 2 rackmount for 2 years and love it. I didn't bother
with the pedals since the rackmount is my preamp (with the MosValve for
power amp).
The Real Tube (black faceplate) is better for guitar since it has more
distortion.
The Blue Tube 1 is good for bass like the -2, but it doesn't have the
effects loop or the switchable/stackable channels.
I run mine stacked and basically never change the settings.
The rackmounts are available still.
The Contour control adjusts the "tone" of the distortion component. One
end is more Marshall-like, with a trebly distortion, the other end is more
like a Boogie with bass distortion. I use it full "Boogie" setting.
The Bias control on the BT1 is similar to the Drive control on the -2. It
controls drive to the first stage preamp and hence the distortion. You can
set it from full blast to just an edge of distortion.
Be advised that it will take some time to get used to the controls. Slight
adjustments make a difference, so you have to try it, tweak it, and listen
till you find what you like. I drew a front-panel layout with my Mac: I
then penciled in the knob settings and notes as I learned what sounded
best. Now I carry the "final" settings page with me so I can "fix" the
knobs if they get bumped.
Ask for TBL back issue #38 to see my review of the BT1 and MosValve power
amp. I wrote the review then changed to the BT2, but it's mostly similar
to the -1. (Mike Kobb, didn't I update you on the -2 recently? If you can
find that e-mail you might post the part about the BT2 I wrote.)
You'll like the growl from the Blue Tube preamps without the fuzz.
--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: Tue, 23 Feb 1993 19:06:58 UTC+0100
From: gui <gui@cpd.uva.es>
Subject: Peavey combos...
Hi, TBLers.... I own a GK 400RB amp working with Crate boxes (a 4X10 and
a 1X15, botho with Electro-Voice speakers) and I think it's a great equipment
for me.... but as I am beginning to work with another group with very huge
space trouble I am considering to buy a second amp, because I don't like to
take my GK and Crate's with me everytime I go from one local to the other.
I know Peavey has two combos that may be interesting, but there's no shop in
my town where I can test them.... They are the TNT-160 and the Combo-300 models
If anyone can tell me something about this amps (features, sound, personal
opinions,....) I'd be very pleased... :)
Oh, I play with a Hohner The-Jack (active pickups and full low
frequencies) and a Carvin fretless so I need a Combo that supports both sounds.
Thanks a lot....
Luis A. Fuente
gui@cpd.uva.es
University of Valladolid
Spain
----------------------------------------------------------
Date: Tue, 23 Feb 93 13:28:20 -0500
From: Jason <affouj@rpi.edu>
Subject: Pearl Jam
I saw the Pearl Jam Unplugged...It was pretty cool to say the least. As to
what Ament used, he played an acoustic bass - Guild maybe ? I'll have to go
back and check my tape of it...also - if anyone out there in TBL land has
goot tab on line, please e-mail me. I have all that's kept at the archives
like kappa, and syrinx and nevada - i.e. jaco, rush, stu. I'm looking for
pretty much anything, but my fave stuff if Primus (I have the bits that are
included at the kappa archives), Rush, any metal, etc... Thanks in advance.
-j
-------------------------------------------------------------------------------
| Internet - affouj@rpi.edu "When a man lies, he murders some part |
| Bitnet - userHAF7@rpitsmts.bitnet of the world. These are the pale deaths|
| Belushi reincarnate which men miscall their lives..." |
-------------------------------------------------------------------------------
----------------------------------------------------------
Date: Tue, 23 Feb 93 10:40:59 -0800
From: fredh@hpcvusd.cv.hp.com
Subject: Dead Spots
I have a question about these "dead spots"
What are the usual places for dead spots and what cause these
dead spots?
> The only suggestion I'll
>make to you is to check the neck thoroughly for dead spots. I had an annoying
>dead spot on the original fretted neck that came on the bass (I've since
>replaced it with a Warmoth fretless neck - a killer combination). If you get a
>price you like on the G&L, jump on it!
> The stock set
>ups all had the dead spots in the places one would look for them, but
>the bass with the Badass not only had no dead spots, it had notes that
>went on forever.
----------------------------------------------------------
Date: Tue, 23 Feb 1993 13:09:27 -0600 (CST)
From: Kenneth Churchill <churchil@plains.NoDak.edu>
Subject: Help w/ self-teaching...
Well, I am teaching myself how to play, and I wanted to know,
other than the wonderful lessons from _TBL_, what you would suggest to
use. I would like to learn as much as I can, including, but not limited
to the following: Standard notation (How to play it on bass. I can read
it, since I played trumpet for years.), funk, rock, and jazz.
Any info on books, magazines, or whatever would be really nice.
Thank you in advance for your help. Either E-Mail me at one of the
addresses below, preferably churchil@plains.NoDak.edu, or post if you
think anyone else will benefit.
+-----------+ +------------------------+
| | I am: Ken Churchill | Reality is for people |
| Haerh? | churchil@plains.NoDak.edu | who lack imagination. |
| | ud191217@vm1.NoDak.edu | Save energy, |
| | churchil@cs.und.NoDak.edu | be apathetic. |
+-----------+ +------------------------+
(((((((((((((((((*********************.*******************)))))))))))))))))
----------------------------------------------------------
Date: Tue, 23 Feb 93 11:39:36 PST
From: matt@sybase.com
Subject: Extra long strings ?
I've got this extra long 5 string which I love but I'm having trouble finding
strings that are long enough that I like. Any suggestions ?
Matt Tidmarsh
----------------------------------------------------------
Date: Tue, 23 Feb 93 16:34:36 EST
From: Simply Red <H781@NEMOMUS.BITNET>
Subject: The Bottom Line #292
Yo gibby! you got that right!
Blues Traveler has been around, in case anyone here heard their first
album, it is great!!!!!!With a capital B for bass and a capital h for
harmonica. Their new album has some of the best, well.. I don't think
thereis a righteous way to grasp their musical genre in one term, other
than buy that ! P.S. In case I haven't before, I'm Mark J. from NMSU in
K-ville, MO. I play a 1983 pre -Ernie Ball Music Man Stingray, It
rocks! and if anyone is ever in a shop that has a Music Man new or used,
check it out, if it's used and not in two pieces, Buy it, it is the best
bass I have ever laid my hands on!
----------------------------------------------------------
Date: Tue, 23 Feb 1993 11:35 EST
From: GA94J85@WOOSTER.BITNET
Subject: RE: The Steve Harris Sound
M. Favinsky writes:
My question is, short of getting a Fender P-bass, what do I have do to
get a "Steve Harris Sound." Every time I hear him play, his tone is
just awesome, but no matter how much I fiddle with my EQ, I can't seem
to get it just right. He also has this way of making the strings
"thwack" every time he hits them. Is this because of the bass he uses,
how hard he hits the strings, or is there some special way of hitting
them to produce that kind of sound?
_____________________________________
I, being a fan of Harris for years myself, posted a response to a
question similar to this last yeAr I believe. I'll explain, but in any
case, ther's a good article in BP about Harris in the Marcus Miller issue.
I have many many influences in my playing (as many as I can get), but
Steve HArris was probably who made me notice the bass as an instrument
singled out. This was years ago, and a good reference is the album
"The number of the beast".
Anyway... Steve Harris has a number of P-Basses, of which his famous
sparkle blue one (now the West HAm white one) has the best and deepest
tone. He uses thisa one and the Lado in recordings usually.
He plays flatwounds (!!?) ... Rotosound L77, but I know he changes them
quite often (or his roadie does, hehe), and he also has a nice custom
preamp and so and such with the stack of Marshalls.
Now in regards to his technique, which plays the biggest part in his
sound in my opinion, there are several aspects:
I can emulate his tone the best when I have new strings (I use blue steels
but will try DRs thanks to MKobb~!), semi long index and ring fingernails
and a good warm up. Thanks to practicing to his stuff I have gained strength
dexterity and MONDO speed. He says that when he plays live, he like it to be
somewhat cool or cold so his hands are dry (not sweaty) and he can have a
brighter tone - this is semi bullshitistic cuz if you're hands and fingers
get too cold you are F***ed! You might get an injury trying to play the
stuff that he does.
So as far as technique goes, I use sort of a hook method (get a video
of Iron Maiden and watch@!), and I try to chop the string from above
with the tip of my finger (using the fingernail as well), and all this
while my wrist is ankored (when I have to move it, I do though). There's
not much more to say, except I am quite satisfied with how close I get to
his sound, but here's the catch - I would disregard your J pickup at all
man... I know he doesnt have one on his Pbass, but if you want to think
this is cheating, then get the SAME exact gear he has in it's entirity
and I 'know' it won't sound the same unless you have the technique, and
still, there are subtleties of style that are impossible to imitate
anyway...It's a learning process, but not the most important (to emulate
another player that is).
Joe Garcia
----------------------------------------------------------
Date: Tue, 23 Feb 93 14:56:57 PST
From: jack@acuson.com
Subject: Getting that "growly" sound on fretless
Hi Tania,
Yeah! That "voicy growl" is a really neat sound. There are a couple
of things you can do to get it to happen. Here's a list (approximately
in order of usefulness):
1) Use bright sounding strings. Roundwounds tend to sound more growly
than flat wounds, though they will chew up the fingerboard after a
while. (see 5)
2) Set the action (bridge adjustment) low enough that you can control
the growl; too low = growly all the time (even rattly. yuk!),
too high = no growl at all.
3) Use mostly the back (bridge) pickup. The classic Jaco Pastorius
sound comes from a Fender Jazz bass with the bridge pickup up
full and the neck pickup just up part way. Try combinations like
this with extra bass dialed in on your amp for extra warmth.
(Personally I also like to use the "contour" button on the GK to
take out the muddyiness.)
3')Replace the bridge pickup with a narrow-aperture pickup (like
a Jazz bass pickup or copy) will also help brighten and focus the
the sound - your big soapbar pickups may be naturally muffly
sounding.
4) Finger with good firm pressure and small contact area (I'm speaking
of left hand technique here) -- that is, use the tips of your fingers
rather than than their sides. This helps with sustain and growl.
5) Coat the fingerboard with some hard material. This is another
Jaco trick. He swore by Petit's Polypoxy -- an epoxy-like stuff
designed for marine use. Anything that hardens up the fingerboard
surface will enhance the buzz and also protects it from round-
wound strings.
6) Tricks that enhance the sustain of your instrument also help a
bit - the usual one is to replace the bridge with something more
massive. The BadAss is really popular and works well.
Well, that's probably enough (too much) for now.
Best of Luck, Jack.......
----------------------------------------------------------
Anonymous ftp access for back issues, etc.:
kappa.rice.edu (128.42.4.7) in the /pub/bass directory
(Username is 'anonymous', password is your e-mail address.
Try typing 'help' for more info once logged in.)
_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.
***************************
End of The Bottom Line #295
***************************