Sparky Mark

Have you tried unplugging the headers on the red wiring and reseating them? I'd seriously recommend not poking around inside with your hands when it's powered up; use a plastic Biro if you have to.

I like to set any amp to optimally flat in two situations:- 1. When using my Tech 21 Para Driver DI or SVT VR pedals, as they also have a mid scoop at their noon settings. (Edit; for me, a double scoop is bad unless it's chocolate and vanilla). 2. When playing my acoustic bass guitar where I'm just wanting to amplify its natural tone, not add a coloured tone designed to sweeten an electric bass with a mid scoop and bass/treble boost. These settings are recommended also for returning a GK to optimally flat:-

This is how a GK MB500 Bass Gear Magazine lab test viewed the noon settings and where the EQ controls can be set to achieve an optimally flat signal.

I would suggest that the majority of jobbing pros are excellent musical technicians, not particularly creative and rarely genii.

Just read it; sounds absolutely exhausting! It confirms the level of effort and dedication a pro needs to be truly successful. I doubt I'd get placed in the metaphorical egg and spoon race let alone make Olympic qualification.

The Legacy series uses the same EQ frequency points as all the GK heads I can find user manuals for going back many years :-

Thanks. That's interesting, I've only seen plots that show GK heads to be slightly mids scooped with boosted bass and treble. Of course our individual experiences are a result of all the other elements of our signal chains; technique, strings, bass guitar, speakers etc.

This seems to be the common consensus of where the GK 4 band EQ should be set for a nominally flat signal:-

Totally agree Bill but there are those that critique and pronounce judgement on manufacturers complete range of products based on their personal audition at this setting. EQ sections are there to be used and most modern amplifier EQs are extremely flexible enabling the user to dial in practically any tone they desire; assuming they have the knowledge to do so that is. Some also seem reluctant to stray from this noon position as if it is sacred and any adjustments equates to a compromise or corruption of a pure tone.

I've also asked this question on Talkbass as I'd like to obtain as many informed responses as I can :- Does the 4 band Gallien Krueger active EQ implemented across many of its amplifier series produce an optimally flat voicing with these controls set at noon? If not, is it possible to adjust the 4 EQ controls to flatten any bumps and/or dips and what are these settings please? Many thanks in advance for your advice.

That's true, apologies. I got mixed up with all the talk of professionals needing to be personable to get on.

I think we've strayed a little off the topic but being an extrovert or introvert has no bearing at all on whether you are a nice or nasty piece of work. I'm sure both appear in either camp. Hopefully close friends do more than just accept your real personality and actually like it/you.

I get that a lot too. Once they realise I'm not the lead guitar, they're off!

And.......???

Aren't these used when someone (guitarists mainly?) is wanting to get the power amp over-driven tone but at a lower volume?

Unless your single cab has more than two speakers it's likely that your amp's 300 watts is already capable of driving it to its maximum sound pressure level. Once that is achieved additional power is only going to be dissipated as heat. The wattage rating of your cab is a thermal rating and doesn't necessarily correlate directly to how loud it'll go. As has been advised, if you want more volume, you need more speaker area.

My 4003S certainly looked too red to be rosewood but the website says rosewood still.

For me it depends on the bass. I had a Bongo with a lighter fretboard and I was fine with it. Rickys need to be reddish. However, for my Fender Jazz and Precisions, I want the rosewood to be as dark as possible so I use mineral oils (either fretboard conditioner, lemon oil or woodwind bore oil) to feed and darken them. I'm often amazed at how bone dry the rosewood is on some of my acquisitions. For an initial feed I use clarinet bore oil which feels slightly thicker to me than lemon oil and really nourishes a dry fretboard and brings out the beauty of the grain.

The first time I changed the strings on my Gibson SG bass I learnt that I should've removed and replaced the strings one at a time. Never had a problem thereafter as long as the strings don't have silk at the ball end. The original Rickenbacker bass bridge gets my vote for the most flawed design but once again changing strings one at a time helps a lot. I tolerate the idiosyncrasies of both of these original bridges because I much prefer their aesthetics over those of the modern replacements.