So long and thanks for all the riffs.

I sold my Surfcaster to purchase a Bass VI. 

The new owner seems pleased so far.

Make some music, man & thanks for assisting my gear obsession!

 

Works in progress

I've got the parts for my next upgrade projects.
Well most of them.
Waiting on a roller bridge for the Les Paul and an adjustable wrap tail for the Surfcaster.

The Bigsby and Vibramate were easy to fit to the Les Paul, though the strap button wasn't quite in the right spot, so had to be re positioned.  Haven't got strings on there yet as I want to mess with the pickups again.\

I did a quick and dirty job of rigging up the Filtertron on the Surfcaster.
So far I'm quite happy with the sound of this guitar/pickup combo. It's now got the right kind of bottom end and bite. Very nice cleans, very "alive" sounding.

Both guitars will probably end up being setup for flat wound 12's.

Who knows, it might be awesome?

Am leaning toward Filtertrons on the Les Paul now too.
At least one in the neck and the P-Rail in the bridge.

Jackson surfcaster update.

Not my guitar, but the same config,
but with the TV Jones in the bridge.

Since I got my Fender Princeton, the Surfcaster doesn't sound all that great.
Acoustically it's got a nice tone, but the pickup combo isn't quite right.
I'm not getting the richness of the wood and it's all sounding a bit mid scooped and dull.


The Neck pickup has scooped mids and the bridge has no top end when it's set to series humbucking mode.
Overall the tone of the guitar with these pickups seems a little flat and without the dynamics and definition I have become accustomed to from my other guitars. So I've decided on trying completely different pickups.


Recently I was impressed y the sound of Grestch humbuckers with a Fender amp and have decided to order a Filtertron for the bridge position, my inclination was reinforced by a post by TV Jones himself about using one of his TV Classic pickups in a Surfcaster. I can't really justify spending $170 on a pickup when I haven't heard it, so I did the next best thing and ordered a $50 Gretsch filtertron reissue (I know they're not the same, but I can't afford more at the moment). Anyway the pickup is a few weeks away from arriving in the post so I decided to do a little experimenting.


You may recall from my earlier post, that I had placed the Seymour Duncan P-Rail in the reverse configuration.
Well this morning I decided to put it the "proper" way around. This did have an effect on the tone, but it's still not quite what I'm trying to achieve. One thing that I did notice, is that when the bridge pickup is set to the single coil rail mode and it's selected in parallel with the neck pickup, it becomes a hum bucking pickup of sorts.


Since the rail pickup is very low output, the neck's tone dominates. I get that bathtub sound from the neck pickup, but without the buzz. the P90 coil on the bridge doesn't do this unfortunately, and when in the humucking  mode, the buzz remains with the neck pickup selected.


The P90 coil being slightly closer to the bridge seems to suit it a little better. So I may keep it in there after all.
When the Filtertron arrives, I'm still going to try it out, just to see if it's the perfect pickup for the Surfcaster.


I'm also working on a design for a Vibramate type device to allow me to have a vibrato on the Surfcaster, but be completely reversible.

Custom Charvel® Surfcaster with TV Jones® Pickups

1993/94 - Sovtek Big Muff Pi

Long long ago in a land far far away (660km if you want this definition of far.) I learned to play guitar.
Most of what I knew of FX was what my friends had or was built into school amps.
The guitar store in town had a couple of cheap Arion pedals, but they were just overdrive and distortions.
I think I owned the overdrive for a while, but it was pretty tame so I just relied on the sound of whatever amp I was using at the time.

I was about 14 or 15 when I got into the Smashing Pumpkins (Siamese Dream) and was an avid reader of guitar magazines. In one, I think it was Guitar Player, there was an interview with Billy Corgan where he talked about an EBow(what they hell was an ebow?) and his distortion sound.

The distortion was the Big Muff. What a funny name I thought. I was interested right away. I had to have one. The only problem is that they'd been out of production for years and weren't easy to find. (Remember this was pre-internet and no ebay). Around this time I'd become a regular at a music shop in the larger neighboring city.
When I had nothing better to do I'd just hang out there and more than likely was considered a bit of a pest. In their front counter they had these big army green boxes that looked like they belonged in a cold war bomb shelter. These boxes turned out to be the first incarnation of the rebirth of the Electro Harmonix line (I had no idea at the time). They shipped in wood containers labeled in Cyrillic letters and just oozed cool.

If I remember correctly I purchased the Big Muff at the same time as I bought the JCM800. It took some months to pay off but when I got it home, I played all the time. This was my main distortion for years. Big and fat and dirty. It was all I knew of distortion for a very long time. And it was awesome!

I ended up parting ways with this pedal at the same time as my Classic 50. It was lost to me for all intents and purposes. But.... around 2005 I got it back! My friend that I'd sold them to when I left town, just gave this and the Small Stone phaser back to me.

At the time I was playing synth and a bit of guitar in a band and the return came when I was broke and in need of some FX. Unfortunately the reunion wasn't all that happy. They were a bit broken. As a teenager I thought it was indestructible. This pedal took an absolute battering between shows and rehearsals. We'd all thought we were punk rock and beat the stuffing out of our gear, I was probably the worst though. I managed to shatter the plastic input on the board. This was something I'd forgotten about until the return. Upon opening it up to fix the battery lead, I re-discovered some of my earliest solder work. It wasn't pretty! It was functional though and I vaguely recall fixing it with whatever the local Tandy had in stock, which was a chassis mount open stereo socket. I ended up re-repairing it with something closer to original spec and it works just fine.

Since getting it back I have struggled with the tone. It's a finnicky pedal in regard to the load that it needs to sound good. Humbuckers and high impedance pickups are a no-no. It just doesn't sound any good with it.
My only guitar that sounded ok with it was the Teisco. The Surfcaster and Les Paul just don't sound any good. So the Big Muff has lived in a drawer more often than it has on my pedal board. I pulled it out again the other day to play with my new amp and guitar. Guess what? It sounds great with the Mosrite and the Peavey Delta Blues!

The guitar has the right electrical characteristics and the amp can handle the low end hump!

So there's another pedal dusted off and ready to play

Now there's not much I recall about the purchase of the small stone, I suspect I bought it at the same time as the BMP, or at least so close together as makes no difference.

The Small Stone is pretty famous, makes a nice swoosh and I like it for the very slow LFO. It does have a bit of an issue with a volume drop when engaged. I modded it to stop this, but the mod changed the tonal characteristics, so one day I'll just change it back.

I've actually built one of each of these pedals for friends.

They were both tricky builds in a way, it took a while to get them working well.
The Small stone clone also had the "univibe" mod, nothing at all like the univibe, but allows the shifting of the phase degree by switching some capacitors. It was a bit quiet, so I added a small preamp booster to the input which overdrives the phaser circuit and creates a small stone phase tone with a twist.

I liked the sound quite a bit, and the last I heard, the guy I built it for was pretty happy with it too!



.

2010 - Peavey Delta Blues 115

Classic 50 head, with custom decal from a beer poster.

The last piece in the puzzle has been aquired.

About 12 years ago I owned a Peavey classic 50 head.
It was one of the nicest amps I'd ever owned. Unfortunately it had to be parted with as I was moving 700lm to a new city and the need for cash was greater than the need for a big valve amp.
I didn't have a speaker cab for it and it wasn't all that long after I'd injured the tendon membrane in my left hand and wasn't allowed to play guitar for a year. That was all a bit sucky and it left me ampless for a long time. I did have a BOS Gt-5, but it wasn't the same thing. So for years I'd regretted the unavoidable sale of the Classic 50 and have been trying to buy it back from the friend who I sold it to for the last 5 years. He won't budge. I've had a number of small amps in the years between then and now, but could never really justify spending a large sum of cash for an amp when a: I didn't have a car and later b: I didn't have a band.

I'd been planning on picking up a Classic 30 combo for a long time, but every time I'd found one, I had no spare cash. After getting the Mosrite a few weeks back I discovered that the classic series had two more amps in the line. The Classic 20 and the Classic Delta Blues. Since the 20 has no reverb, it was of no interest to me, as that directly affects my playing style. I like big gobs of reverb. I discovered the Delta was basically a Classic 30 with the addition of tremolo! Well, that was it. I was on a mission. I had to have a Delta Blues 115.

It didn't take long. I found two on ebay within a week of each other. One was in Brisbane and was a bit more than I wanted to spend, once couriers were factored in. Also i had no guarantee that it would have arrived in working order as the guy had not packing material. I let the auction go, only to find one for sale a mere two suburbs away!  I was the only bidder, so naturally I won the auction (all with the blessings of my dear lady). I took my $2 shop trolley along on the 109 tram and collected the amp. The guy I bought it from was really nice and we had a good old chat about amps and kids and whatnot. He even helped me tape the thing solidy to my trolley for the trip back home.

I got it on the tram in the opposite direction, fortunately it wasn't overcrowded and the trip up the hill took about 10 minutes. Not bad for peak hour.

It's not the heaviest am in the world, but I was glad to have the trolley as I had a half kilometer walk with it after the tram ride. Time was ticking and it seemed to take forever to get the thing home safely and fired up.
But get it home and fire it up I did.

I set it up in the middle of the lounge, switched it on and went for a cup o tea.
After letting it warm up a little while I was ready to play. I cracked out the Mosrite and got to playing.
The clean tone from the Delta Blues is big and rich and um.... I can't think of any other superlatives. suffice to say, it's particularly nice! Almost as good as the Classic 50 of old.

I've read a lot of reviews on the amp and have to agree about the dirty channel being a little disappointing.
Not so much disappointing, but not as inspiring as the clean channel. The lead channel has this bass cut which just makes the Delta Blues sound like and asthmatic bulldog. The amp has a 15 in cpeaker damn it, gimme some bass with my distortion. Fortunately it also seems to be a fairly simple mod to rectify that issue, if only one could overcome the fear of death at high voltage.

The reverb is pretty nice but is lacking a little. At maximum the reverb is just enough. But I want to gave the option to have far too much. Ok I can achieve this with an FX unit, but I don't always want to carry the m13 around. The schematic shows a simple 4558 opamp circuit which can be upgraded easily enough to get more gain and higher headroom. I've got some spare OPA2134's floating around which should take care of that rather nicely.

My last beef with the design of the amp is the tremolo, I've tread that there is a bit of a volume drop when it's engaged. It turns out that mine does it too. You can manage it if the depth knob is no more than 5, but then you don't have the full throb of a tube amp wit tremolo. The implementation is very basic, and I suspect it is to keep the cost down. It's much easier to create a tremolo effect via optical circuitry than it its to have a safe valve bias tremolo effect. 1/2 of the 4558 seems to be feeding the tremolo circuit and should prove fairly easy to correct for the slight volume drop.

I do plan to modify the amp some time down the track, but for now am happy as is and can augment it's function with an effects pedal or two.

The boost switch seems to get a lot of bad press. From my limited experience on the amp I kinda get it, but when I was playing my Jim Dunlop Octavio through the Delta Blues, the mid boost was actually quite beneficial in bringing out the dirt and octave up produced by that effect.  I've only used one pedal with it so far, but the Octavio sounds fantastic through this beast.

A couple of days after buy the amp I decided to try adding a master volume to the FX loop.
Worked a treat, I was now able to reduce the volume to something sensible for playing in a built up area.
I have my suspicions about the pot that I used, as the volume drop was a lot more than I had anticipated.
Since I broke one of the tabs off the pot this morning, I'll be getting a new one in there instead. Another option would be to use a rotary swtich with different values from 100k to 2.2m(which is supposed to be the return impedance).

I played around with it some more tonight, ran it on low volume, to keep the peace. The line 6 m13 really sounds great with this amp. I just went with it placed in the FX loop and discovered the reverb on the Line 6 is actually nicer than the real deal spring tank (go figure). This was mostly down to the level of noise the analogue version introduces.

After this I decided to run all of my guitars through the amp.

First up was the Surfcaster. It was light and cheerful, not particularly driven, which I found surprising. The lipstick pickup sounds great with this amp, as does each coil of the Seymour Duncan P-Rail.

Next was the Teisco Kadet. What has consistently been the quietest guitar on my other gear turned out to be a big fat tone machine! It sounds thick and powerful and its made of plywood!

The 3rd guitar I tried was the Guyatone LG127-t. Similarly beefy in tone to the Teisco, but it was a little quieter and the tone was more balanced than the others.

The 4th guitar... you guessed it was the Mosrite Ventures.
Very country. A lot more treble than the two vintage guitars, but thicker sounding by far than the Surfcaster.
I twanged away on it for ages, til the phone rang and I realised that my whole leg had gone to sleep when I went to answer it.

The amp does get very hot above the power valves. Too hot to touch. I think its normal, but could do with a little research. Overall the amp has excellent tone and volume, even with the mid range EHX valves on board.
In a year or so I might consider the mods and change the valves for better spec. I'm glad I bought back into the classic line. It's a great sounding amp, and with the right guitar, very fendery.

2000 - Jackson Surfcaster (1996 Made in Japan)

Ever since I saw a 12 string version in a music shop back in 95 I wanted one of these guitars. Later on I discovered a photo in a magazine with Scott Ian playing one (I think it was the Charvel model). The guitar looked out of place, but right at home with that metal guitarist. For some reason I didn't buy it. Can't remember why.

Soon after I'd finished school and I was broke for 4 years pretty much. At 19 I had an accident that rendered my left hand useless for music for over a year, I'd cut the membrane to a tendon while cutting a cardboard tube with a stanley knife. It's been 13 years and still not quite right. I forgot about guitars for a couple of years and just got on with working for peanuts.

It wasn't til I moved to a city in the south that my interest picked up again. I lived near a cool guitar store and there was the Surfcaster hanging on the wall all cool and black with the cream coloured binding. It had to be mine. I was broke, but I had to have it. I picked it up on a loan with some financier. 50% in 6 months the remaining 50% 6 months after that.


While I loved it, I really didn't play it that much again til about 2004 when I joined a local band... to play keyboards! (another story for another post).

Over time I realised the stock duncan designed bridge pickup was really microphonic.

I mounted the pickup upside down intentionally,
because I wanted more bass on the P90 coil.

Sounded terrible and the wrong kind of honk. I swapped it for a Paf Pro as that pickup had proven a good choice on Mahogany guitars. Not for this one. It sounded wrong, can't describe it well, but the tone was just not right and it didn't mix well with the Kent Armstrong lipstick pickup in the neck.
I let it stay that way for a while. A couple of years later I bought a Guyatone guitar which had the most amazing pickups. Not quite P90'sbut kind of close. That Was the sound I wanted from the Surfcaster.

I tried a GFS Mean 90 in it, but the tone didn't work well. Not enough bottom and a little too hot.
After that disappointment I nearly sold the guitar. In an idle google hit I stumbled upon the Seymour Duncan P-Rails. The Aussie-US dollar exchange was favourable so I took the plunge and bought the P-Rail bridge pickup.

The P-Rail is an unusual pickup with a p90 voiced coil on one side and a Strat voiced Rail pickup on the other side. It looks weird, but works!  I did the recommended wiring setup and used push/pull pots to swtich between P-90, Strat, Series Humbucker and Parallel Humbucker. The neck pickup even rejects hum in the middle position if the P-90 is selected.


This made the guitar tone improve beyond belief and got back on the rotation of favoured instruments.

Keep you safe from the cold by TheAwesomePowerOfRockets