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Shergold Marathon - sweet


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[quote name='CamdenRob' timestamp='1434696326' post='2801842']
I'm shallow and the refin puts me off... the checked and cracked finish is part of what makes these basses appealing.
[/quote]

I think that's why it hasn't been snapped up. I was intending to refin my black Marathon in white, but I like the 'Shergold Peel' so much that I'm going to leave it as-is.

Also 'the peel' makes it easy to tell if a Shergold has been refinned or not.

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[quote name='Happy Jack' timestamp='1434700657' post='2801893']
It was me who asked him about the output sockets. That's what put me off. Had it been in original stereo format I might well have gone for it.
[/quote]

Jack, it [i]is[/i] in original stereo format. When you have both sockets connected, you get one output from the E and A strings and the other from the D and G strings. With just the first socket connected you get normal mono output from all four strings. With just the second socket connected you get output from the E and A strings (or possibly D and G strings) only.

My 1979 Marathon is exactly the same, it's all stock and how it should be.

Edited by discreet
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Bloody hell! What I read was:

[color=#002CFD]One socket is wired for stereo output from d-g strings but the other one appears to have been rewired for mono output for all four strings.[/color]

What you've written puts a rather different slant on the whole thing!

So what's the thinking with splitting the stereo by way of E-A and D-G? Would you treat each pair of strings to different FX pedals? Would you run them through different amps?

Not sure I understand the benefit.

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[quote name='Happy Jack' timestamp='1434704592' post='2801957']
So what's the thinking with splitting the stereo by way of E-A and D-G? Would you treat each pair of strings to different FX pedals? Would you run them through different amps? Not sure I understand the benefit.
[/quote]

What he's written is basically correct, but he doesn't seem to understand that you need to have two jacks connected to properly split the signal. I have no idea of the benefit either... your suggestions are as good as any. It's faux-stereo at best. I think the FX theory more likely, you could have a solid low-end happening on the E and A and have FX on the D and G for some solo-type shenanigans. Don't see the point of bi-amping a split pickup, unless you were going for a Chris Squire-type set-up. Which may have been the angle at the time. I think it's more of a gimmick really, but it's true that in the 70s there was loads of wacky way-out stuff going on. Remember quad PA systems?? :blink:

It would have made more sense (to me) to 'stereoise' the Modulator Bass, which at least has two pickups.

Edit: You should get that Marathon in any case Jack, I think you'd really like it! :) I'm loving mine! :gas:

Edited by discreet
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[quote name='Happy Jack' timestamp='1434721615' post='2802191']
Tempted, tempted, very very temped. I'm very tempted.
[/quote]

Buy it - if you don't like it after a few weeks I'll have it off you. Seriously. :)
Though I strongly suspect you'll fall in love with it like I did with mine. Lovely, lovely, lovely, everything! :D

Edited by discreet
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[quote name='CamdenRob' timestamp='1434722119' post='2802202']
So this thread has taught me that my chances of aquiring a nice original shergold for a resonable price are entirly reliant on Jack not seeing it first :blink:
[/quote]

Yes, and on me not claiming DIBS on it next! :lol:

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[quote name='Meddle' timestamp='1434750617' post='2802625']
...Great idea, but there is a lot of bleed through each pickup half. For example, the A string pole pieces sense a good whack of the D string and even the G is detectable. This means you cannot truly isolate each pair of strings without some slop...
[/quote]

There is less bleed from a Marathon pup, the split seems quite well-defined. I don't know if it's something to do with how the pup is wound, or what. The electrics seem a bit nuts, too... given it's a P-type split pickup with one volume and one tone control, I'm not 100% sure why each control has stacked pots and a tropical fish cap... a set for each output jack? There are other electrical shenanigans going on too... far beyond my somewhat limited knowledge. I'm sure I'm missing something, here. Any ideas..?



I was going to remove these guts and install a much simpler mono KiOgon P-Bass loom as an upgrade, which would have had 250k pots and a 0.1uF cap, leaving one output jack unconnected... these original pots are apparently 100k and the caps are 0.47uF... however, the bass sounds epic, and as I decided not to refin the body I thought I may as well go the whole hog and leave everything totally original. I have the stock perspex bridge cover, too. :)

Edited by discreet
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[quote name='discreet' timestamp='1434714477' post='2802088']
It would have made more sense (to me) to 'stereoise' the Modulator Bass, which at least has two pickups.
[/quote]

Of course! The whole concept of the Modulator was that you could fit different modules according to what 70s wacky shenanigans you required. There was a stereo module AND a quad module (!) And several others, including a 'Recording' module... :)

The modules were completely interchangeable across the whole Modulator range and could be shared by basses, six- and twelve-string guitars AND double-necks... wild!

The Super-Booster Module was powered by a PP3 battery and must surely be an early active circuit?

[url="http://www.shergold.co.uk/modules.html"]http://www.shergold.co.uk/modules.html[/url]

Edited by discreet
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