bremen

It'll be the best thing since the NME got Mark E Smith, Nick Cave and Shane McGowan together in a bar with a bottomless tab

A list of non-twâts, notoriously prone to twâttish behavior, with whom I'd gladly have shared a stage/studio: Ian Dury Mark E Smith Miles Davis Keith Moon Morrissey...oh hang on, I said non-twâts...

Sometimes my exaggeration for comic effect misses the mark. Happens a million times every day.

Well, I've let the drummer hear the singer's material and he likes it. So...onward! To be clear, neither drummer nor singer is a twât - both are strong personalities. One's fire, one's ice; it's the bass player's job to be luke warm water.

"Life's for living!" "Well it's hard to know what else to do with it" -Noel Coward

I'm the opposite. Used to bother me but I'm getting a lot better at shrugging.

My thoughts exactly, all of you,thanks.

Might be a good name for my new band, but that only occurred to me once I'd typed it. I'm playing in a new band, looking for a singer. I know someone I'd like to introduce to the drummer and guitarist; I've worked with him before and really enjoyed his performances and his company. However, both he and the drummer are very...wilful might be the word. As in horses that resist being "broken" or toddlers that throw their toys at their siblings. They are almost certain to fight. Possibly to the death. My question for you, dear agony aunts is: should I risk it? Apart from the risk of bloodshed and involvement of law enforcement agencies, what's the worst that could happen? I've been in bands where the female singer is in a relationship with other band member(s). Surely if I can deal with that I can deal with the occasional trip to A&E? I wonder what Roger Daltrey or Steve Hanley would advise.

If you can get a schematic, I'd be happy to do a new board. Might even be able to do it from photos of each side of the board; pm me.

Sounds comfy 😉

A year later... ...cabs still look great. Thanks for the various top tips.

Update on my JJB-300. Loving it even more than when it was new.

I'd like to see that, can you link?

You haven't heard Live at Leeds, have you? 😉

Beedster: I waant it, I waant it, I waant it All: Caaant havvit!!!

First album I ever bought (Who's Next shortly after) and by Timothy was it magical and visceral to an impressionable adolescent.

Live at Leeds was the FrankenP (a Precision rebirthed from the wreckage of Precisions that Keith or Pete had had arguments with), I'm led to believe, no Gibson parts were used.

As shown though, it's not a notch-T filter. It's a 1st order high pass. I suspect the kit you have is based on a schematic that's missed a few bits. Easily done. Anyway. Build it, see if the mid control does as it should, if not we can look at what might be missing.

I mentioned in Bert's original thread that, having looked at the schematic, I couldn't fathom how the mid control was anything other than a bass cut. Here's the relevant section: With the mid control anticlockwise, C7, C8, R9 and the subsequent circuitry form a high pass filter. Turning it clockwise progressively bypasses this, so bass is restored. Now here's the "CL" circuit from the Ampeg SVP-CL (essentially a mid-cut "scoop") C18, R33 and C17 are the HPF here. But parallel to that we have R37, C16 and R36, a low pass filter. I think that by adding a circuit like R37, C16 and R36 (but with different values (the following stage of the Ampeg has a high input impedance) across the middle pot in the Traynor-a-like, the mid control would become a variable 'scoop' rather than a bass cut. Or, as Neepheid might say: a meringue?

I know Beedster loves him a Precision, so why not P neck on a Thunderbird body?

Have you built this yet? I think there's an error in their schematic. Adding a couple of resistors and a cap to the middle control would turn the control into a variable "scoop". Like the "classic" setting on the ampeg svp CL. As it's shown on their schematic it's just a bass cut. I can post an annotated schematic if you're interested, and when I'm near a computer.

His state variable crossover fits the bill nicely, continuously variable f so you can experiment. I've built and use a couple. Very useful. Shipping isn't too bad, well worth the $.

I haven't, but thanks for the share - that's a really interesting circuit, never seen anything like it. It's like a dirty version of the Trace dual band compressor, only with three bands and clipping instead of 'nice' compression. That 'middle' control - I can't see how it could do anything other than cut the bass as it's turned anticlockwise. Fully clockwise C7 and C8 are out of circuit and the preamp goes straight to the tone stack. Am I missing something? Also a Shellac/Jesus Lizard/Big Black bass tone fan. I believe a Rat might also be an ingredient of David Wm Sims' tone. cheers