Walker

Thanks bremen, is that a polite way of saying "of course you won't get them to sound similar you daft bugger, just get on and play it" ?! Thanks also for the resistors, that's appreciated. Chris

I have an Ampeg SVP-Pro preamp that I absolutely love. I feed it into the power stage of my GB Shuttle 9.2. This weekend I bought an Ampeg SVT 4 Pro from a fellow BCer and again, it’s wonderful, but as you would expect, slightly different to the SVP when using identical settings. I’ve fed the SVP into the power stage of the SVT and it sounds pretty much the same as when it’s into the Genz, again as expected. The thing is, the SVP has a tone I would like to emulate– it’s hard to put my finger on it, but it seems to have a more defined attack, if that makes sense. It sounds more ‘snappy’ at the front of the note. I’ll stop there with the descriptions! I must admit, I’ve yet to spend lots of time tweaking the SVT, but it seems like a fundamental difference in tone rather than a tweakable thing. Question: if I take the tubes from my SVP and try them in the SVT would that help or is it just such a different beast that I’ll need to get used to the SVT tone? I know the audience or even my band mates would never be able to tell the difference, but it would make me really happy if I could get that defined attack back. Any thoughts or am I being a nerd? Thanks, Chris

Bought an ampeg svt pro from David, willing to meet me halfway between wales and kent. A true gent, lovely amp, easy deal despite me having to pull out for a time (sorry!). Very happy

Thanks again for the advice from such esteemed members of BC - Jon Letts and Will himself.

[quote name='Doddy' timestamp='1358867432' post='1946276'] I think what will be better for you at this point would be to focus mire on the chords than try to blanket them with a scale.In this case it's all in E major,but look at the chord tones- E major-E, G#, B...A maj- A, C#, E...B maj....B, D#, F# [/quote] Cheers Doddy - funnily enough, what you mention above is exactly where I am at the moment (I know I only mentioned root/5th, sorry), so I need to up my game a bit, hence the scales question. I had a fiddle last night and I'm starting to see how this all works. So thanks for the help everyone!

Thanks for the info, it's appreciated!

Thanks very much indeed - I'll experiment tonight.

Thank you very much for your help with this. That’ll give me something to play around with this evening. So if I understand this correctly, if I devise a bass line using the Em Pentatonic scale, can I play it if they are strumming E, A or B or will I have to shift it with the chord changes and I would if I were doing the root/5[sup]th[/sup] thing?

Thank you for this. This is exactly what I needed. For the initial fitting (number three), do I turn the truss rod so that it just bites or leave it totally loose? Thanks again, Chris

I have an allparts neck arriving soon – it’s brand new. Can anyone advise on process for fitting a new neck? I do my own setups so I understand the basics, but I’ve never started with a brand new neck with a totally loose truss rod. Thanks Chris

Title changed to better reflect the question!

Title changed to better reflect the question! We are planning to cover Texas Eagle by Steve Earle AND I'm trying to learn some music theory and scales too. In E. So rather than just banging the root / fifth on stuff like this, I want to improvise during the instrumental sections. The chords the guys are playing are EEA and EBE, [b]Question:[/b] what scale(s) should I riff seeing as the notes E, A and B are in E major, E minor, E minor pent and E blues scales? Apologies if this is a daft question - I'm trying desperatly to get away from being a slave to tab! Thanks! Chris

I bought a VT Bass Deluxe from Shannon. No problems at all. Quick and friendly comms, quick delivery, well packed - thanks very much! Chris

[quote name='philw' timestamp='1357904484' post='1930249'] ...why would you want your eye drawn to the exact position where you don't want your fingers to fall? [/quote] That's what I thought TBH, but thought there must be a good reason why it wasnt the norm, not just manufaturing efficiencies! I've got side dots at the fret position on my unlined upright, so I'll follow that I think. It works for me. Cheers gents.

[quote name='mckendrick' timestamp='1357841096' post='1929419'] If you're having a lined board, surely you want the side markers [i]between[/i] the frets as per norm...? [/quote] I've just done a little research and it looks like you are absolutely right! On an unlined board, Phil is right. Dropping bass off tomorrow, so just in time!

Yup, hadn't even thought about that! That's why I love this place. I'm going for a lined fingerboard to retain the look of the original as closely as possible - and make it easier for me So yes, position markers on the frets. Thank you, thank you, thank you!

Thank you David, I'll work through this over the next few days and let you know when I get to the bottom of it all! As ever, your help is really appreciated. Thanks again, Chris

I have a lovely 2003 Fender Japanese 51 Reissue Precision, with an original 1971 Fender Telecaster pup that was overwound by the bassdoc. I've fitted with good tapewounds and I get the most amazing woody upright 'thunk' from it - IMHO it's my dream tone for the music we play. I bought it from a BCer many months ago. To get a little nearer to the upright tone and to get the flexibility a fretless gives (sliding to notes, etc.), I was considering getting it defretted, but it's just too lovely to ruin, just in case I ever want to play it fretted again. So I'm having a replica (but fretless) maple telecaster headstocked neck made by a well respected local luthier. He's sourcing wood at the moment and it's going to his workshop this weekend. He's suggested a satin two-pack polyester finish, colour matching the existing neck. The poly is tough enough for a maple fretless fingerboard, although I can only ever imagine using tapewound strings. Before I hand over my pride and joy - have I missed anything stupid? Is there anything else I should be considering before commissioning this neck? Thanks very much, Chris

Thanks for your help David. I did try the capacitor/resistor combo you suggested, but it didn’t seem to make any difference. I’ve included a few photos of what I did so you may be able to spot where I went wrong! Ignore the random bits of heatshrink, I was experimenting! The photo of the box below shows where I am now. It’s deadly quiet until I add a second preamp into the mix. The in’s and out’s grounds have been disconnected from each other and the box. To keep things simples I’ve decided to only use 2 preamps now, with no mute or tune, so would switching the grounds using a different switch now be a better idea?

I've had my rack in bits this evening. In my switch box, I have the grounds of all the 'ins' joined and the grounds of all the 'outs' joined (serial). Then I join them to the case. When i disconnect them from the case and disconnect the ins and out from each other, my hum stops. Is this dangerous? Or OK. But if I add the 2nd preamp to my switchbox, back it comes!