Super Bass Minus One

by John Clayton

Presents an informative, step-by-step guide for double bass and electric bass and electric bass study. Though primarily intended for jazz ensemble use, this text covers improvisation basics that all beginning and intermediate bassists need.

The subwoofer is responsible for low frequency sounds, like the rumbles of an explosion in an action movie or the bass guitar and drum in your favorite music. It adds rich bass tones and deepens the sound quality you hear. However, since the subwoofer only plays low tones, it will stay silent when low frequency sounds are not in use.

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When I started this project I only had the MPC, Analog Rytm, Pocket Piano and the Moog Minitaur. The Minitaur is important to mention because all of my bass comes out of it. Then Moog gave me the Sirin as I was asking them like crazy to make something like the Minitaur for higher octaves.

Ware grew up in Chicago where he taught himself to play drums, banjo, bass while playing at church. In the 1940s, he worked with Stuff Smith, Sonny Stitt, and Roy Eldridge.[2] He recorded with Sun Ra in the early 1950s.[1] Later in the 1950s, settling in New York City, Ware played with Eddie Vinson, Art Blakey, and Buddy DeFranco.[2] His only album recorded as a leader and released during his lifetime was The Chicago Sound, from 1957 when he worked for Riverside.[2] He made jazz instructional albums for Music Minus One. In 1958, Ware was one of 57 jazz musicians to appear in the photograph A Great Day in Harlem.[3]

Ware was a member of the Thelonious Monk quartet from 1957 to 1958. He also performed and recorded in 1957 with the Sonny Rollins Trio at the Village Vanguard. Largely self taught, Ware had an unorthodox but highly unique and percussive approach to the bass.

The LM386 is quite a versatile chip. Only a couple resistors and capacitors are needed to make a working audio amplifier. The chip has options for gain control and bass boost, and it can also be turned into an oscillator capable of outputting sine waves or square waves.

my god what a lovely loud sound every thing o.k. but to pin 1 and 8 conected with a jumper with out any capacitors

my friend shouted that it is not a publicmeeting.Really the gain is very high superb earlier i was thinking to increase the volume .After seeing this site i wondered LM 386N-4 is a great chip. Also u can try with LM386 M1-DIP8 (not sop8)

I am working on a research paper for my senior design class at UCF. Would it be okay to use your LM386 audio amplifier with bass boost figure as a reference design in the paper? The figure will be cited appropriately. Thanks.

Built this one today, in stereo set (1 for right channel and 1 for left channel). I used the LM386-1 and looking to replace it for the LM386-3. Only negative thing is when I connect the bass boost that there is a lot of dB loss.

Can you build a more powerful stereo amplifier with at least 4 microphone inputs and with ability to play mp3 music files from a pen drive. There must a mixing circuit to mix the pen drive music with the microphone inputs in such a way that we can sing a song with the instrumental music playing from the pen drive. If a bass treble mid circuit can be added, it will be a wonderful amplifier every home should possess. The amp should have three modes of working. In one mode, we will be able to play a song from the pen drive. In mode 2 we can speak through the microphone. In mode 3 we can sing along with the music playing from the pen drive. Buying such an amplifier from the shop will be very expensive. But if we can make one circuit for this, it will be very good and inexpensive. I request all the readers of this forum to contribute your ideas to this project. Thank you

Hi Circuit Basics.

I am a relative newbie to electronics. I need a small amp to act as the output stage for a regenerative valve radio receiver I have just built. This looks ideal. Can you tell me if the 10K potentiometers that you specify for the volume, gain and bass boost are logarithmic or linear?

Thanks and regards,

Ian

I'm not clear on the lineup/recording credits for the '91 demo, but I've seen data online that suggests "Karate" Chris Bozeth (guitar) and Eamon Carney (bass) were still with Merauder at that time. By 1993, however, it was Minus fronting the lineup that would eventually be responsible for Master Killer: guitarists Javier "Sob" Carpio (R.I.P.) and Anthony Muccini, Rick Lopez (bass), and Vinnie Vitale (drums). [Edit: It seems that the 1991 demo was recorded in Brooklyn at Sty in the Sky, and Anthony Muccini had already replaced Chris Bozeth by that time. Source.]

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Bass describes the low-end spectrum of frequency response and ranges from 20Hz to 250Hz. It's the deep and heavy tones in your music, like low rumbles, kick drums, and bass instruments. Depending on your listening taste, well-balanced bass is essential for optimal audio reproduction.

For bass performance, we measure the low-bass, mid, and high-bass frequency response, then use these values to test for the standard error of the bass reproduction. We also use descriptive language to help conceptualize frequencies that are over and underemphasized, so if you're looking to brush up on your audio lingo, you'll also want to check out our sound quality glossary.

An over-hyped bass profile will cause the bass in some tracks to overpower the mids and highs, which might not suit everyone's listening taste. Inversely, an under-hyped bass profile will cause bass in some tracks to sound hollow and feel lacking, especially if the tracks didn't have much bass to begin with.

However, personal taste is important when making a selection, as different bass profiles suit different listeners. Also, the importance of bass depends on listening activity. Movies, for example, require more bass than podcasts or audiobooks.

Standard Error for the Bass Range shows the amount of deviation of the measured bass response from the target bass response. It is calculated using a formula similar to the STDEV.P in Microsoft Excel.

However, a perceptual weighting filter is applied prior to the Std. Err. calculation since humans are less sensitive to accuracy in the sub-bass region. They are more sensitive to the extension of sub-bass, which is determined by LFE (low-frequency extension).

A low-bass value of +3dB means that the average low-bass amplitude of the headphone under test was 93dB. This value can be considered as a metric for the "amount" of low-bass produced by the headphones, rather than the "accuracy" of the reproduction, which is determined by Bass Std. Err.

Since the low-bass region is where the most thump and rumble in sound come from, a headphone with a negative low-bass value would be perceived as lacking in low-end thump and rumble, and conversely, a headphone with a positive low-bass value may be perceived as having too much low-end and thump. It should be noted that some users may prefer a bit of an elevated low-bass since it could increase the visceral feel of the headphones on certain tracks.

A bass value of +3dB means that the average bass amplitude of the headphone under test was 93dB. This value can be considered as a metric for the "amount" of bass produced by the headphones, rather than the "accuracy" of the reproduction which is determined by Bass Std. Err.

Since the bass region is where kick drums and melodic bass instruments sit, a headphone with a negative low-bass value would be perceived as lacking kick and bass guitar/synth, and conversely, a headphone with a positive bass value may be perceived as having too much kick and bass guitar/synth.

The high-bass value, just like low-bass and bass, is calculated by averaging the amplitudes of each frequency within the high-bass region. The final value is then reported relative to our target amplitude of 90dB.

A high-bass value of +3dB means that the average high-bass amplitude of the headphone under test was 93dB. This value can be considered as a metric for the "amount" of high-bass produced by the headphones, rather than the "accuracy" of the reproduction which is determined by Bass Std. Err.

Since the high-bass region is where warmth and fullness in sound come from, a headphone with a negative high-bass value would be perceived as thin and lacking warmth, and conversely, a headphone with a positive low-bass value may be perceived as sounding boomy. Out of the 3 bass regions, high-bass is the most sensitive to overemphasis and a little bit of excess high-bass easily muddies up the sound.

Excess high-bass is a very common issue with certain types and brands of headphones. Most closed-back in-ears show overemphasis in the high-bass (and low-mid) region, which makes their sound quite muddy. Also, some open-back over-ears, especially the ones made by Sennheiser, have a distinct bump in the high-bass (and low-mid) region, giving them a warm and slightly muddy character.

This thought was brought sharply back into focus when I received a nice email from a long-time friend and pro guide, Dale Knupp, who I have bass fished with on the tidal Potomac for close to 20 years.

Franco: tag_hash_109___________________ (Sterns Africa)An overview of the rumba master's final decade: two CDs, 148 minutes,and just 13 tracks, of which I'd previously heard three. After not toolong, however, "Kimpa kisangameni," anchored by Decca Mpudi'sbewitching bass line, and "Bina na ngai na respect," with Ya NtesaDalienst threading his near-tenor through a web of soukous tricks,feel almost as familiar as the famous not to mention super "Mario,"presented here in an alternate version that will have special meaningfor all you Lingala speakers out there. Don't think these expansivetracks are all unimpeded up-up-up, either--the first 18 minutes andtwo songs of Disc 2 soar slow and majestic on expressiveness alone(well, melody, sure). Franco's forthright baritone and broad guitarare constants. But for all his skills as a player, singer, and writer,what made him not just Congo's but Africa's greatest musician was hisbandleading. And unlike his counterpart James Brown, to whom hecondescended for no good reason, he did his damnedest to hireunderlings who were even better at singing and writing than he was.A PLUS be457b7860