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Mr.Grumpy

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About Mr.Grumpy

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  • Birthday 01/01/1962

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    Dallas, Texas USA

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    guitar, elecrtronics, bicycling

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  1. It's almost a certainty that this bass - like almost all "active" basses - has passive pickups paired to an internal preamp. True active pickups are rather rare, the most common ones being EMGs. The problem with this bass is the pickups are Yamaha OEM (Original Equipment Manufacture) are may or may not be a standard size. Measure the outside dimensions (length and width) and see if any aftermarket pickups will "drop in" - otherwise you're looking at routing out the bass body to accommodate different pickups, and expensive and non-reversible procedure. My suggestion is to try a fresh set of strings and maybe consider upgrading your bass amp. If you insist on upgrading your pickups, I hear Nordstrand makes good ones., but I have no experience with them. Here's a place to shop for pickups! The underlined bit is a web link. PICKUPS at Best Bass Gear.
  2. Mr.Grumpy

    Bugera amps

    The bugera amps that caught fire was one particular, early model. One of the internal modular connectors was undersized, and over time would get hot and melt/burn. I don't know that any amps actually caught fire. The T-50 is a newer amp so it shouldn't have this problem. And it's in a non-flammable metal case. Just use common sense and make sure the amp has adequate ventilation when it's in use.
  3. Here's a link with a more detailed (and larger) illustration. You can skip the technical stuff at the top, but just look at the "Example 2" and "Example 3" to see the difference between series and parallel wiring. You want to wire your speakers like Example 2. Amplifier output goes to the - terminal on one speaker, the + terminal on the other speaker, then a wire jumper connects the remaining - and + terminals together. https://www.amplifiedparts.com/tech-articles/speaker-impedance-power-handling-and-wiring
  4. "Is your soul for sale, or is it just for lease?" Midwest almost-made-it band, BF Trike. A former bandmate found this recording and released it in the 90s on vinyl. I believe the recordings were orignally a demo for RCA records.
  5. I haven't bothered to take my Liddle' Mesa downtown to be fixated. I ended up buying this used solid-state Marshall combo amp at my local big-box music store, just under $200. No, it's not a Valvestate nor a MOSFET amp, but it gets the job done. At least it has a genuine spring reverb, and not a Belton Brick digital reverb. I was worried it might not have enough clean headroom, but it's got plenty and it's still clean even with the gain at noon. I didn't have to turn the master volume past noon either, I could be heard clearly. I did put this on one of those slanted amp stands, that helped a lot. I get my drive sound from pedals, so clean headroom is what I need/want. Compared to a Fender type tonestack, I have to crank the bass and mids up, and back off the treble to keep it from being to shrill, but it cuts through the band mix very well. *edit* I believe it's an G80R-CD. I suppose it's 80 watts output power, reverb, and a CD input. 1 x 12 open back cabinet with an OEM Marshall speaker. I considered returning this one and exchanging it for a used 100 watt Valvestate 2x12 combo at another store, but this one is more than loud enough for my needs. And it seems pretty heavy for an SS amp.
  6. Pick one: Fender Rumble 25 Ampeg BA 108 Acoustic B30 When I got my cheesy bass practice amp, a (GC) Acoustic B20, I was glad I got one with a 12" speaker. My advice: get the most watts and biggest speaker you can afford. Without knowing where you live, it's hard to recommend anything more specific. "Buy online" most likely means NEW, which is unfortunate because they're bargains to be had in used bass combos.
  7. This is very common on bass guitar practice amps. Most likely nothing's wrong with the amp. They're just designed with more gain than they can amplify cleanly. I have a newer Acoustic B30 practice amp and it's the same way, it's starts distorting at about 5 on the volume.
  8. Thanks for the information Roger, that was interesting, if a bit sad what happened to your business. The certainly looks to be well-made. I see it has an interstage coupling transformer, apparently that was common with early solid-state amplifiers.
  9. Cliff notes: The second guitar pedal ever made was a circuit clone of the first pedal ever made. When was it? About 10 or 15 years ago, it was a big deal in the "effects community" (i.e, this place) because it was gradually becoming apparent that many "boutique" pedals were straight up copies or slight modifications of mass-produced pedal designs. And so started an informal project by the effects community to reverse-engineer boutique pedals and reveal their secrets. Boutique builders did NOT LIKE THIS EXPOSURE, and some threatened legal action against platform where this damaging, infringing media (like electronic schematics of effects pedal) was for a time, prohibited here at HC. You also weren't allowed to link to, nor EVEN MENTION what came to be known as the "forbidden forum" (freestompboxes.org) because they were a 'rogue' forum where you could see for yourself that the Fulltone FullDrive is tweaked version of the Ibanez tubescreamer. Somehow, the boutique pedal business has survived and thrived. There's more pedals for more companies - big and small - than ever before. The thread about the first Tonebenders sent me on an internet search, as I don't think I had ever seen a schematic for the "MK I" tonebender. Well, it turns out that the second guitar pedal ever made (Tonebender Mk 1) was a tweaked copy of the first (Maestro FZ-1). The "designer" tweaked the design by running the circuit at a higher voltage, and presumably had to adjust resistor values to match the higher voltage and different transistors used. But it's a direct copy of the FZ-1 circuit, and I find it surprising that Maestro/Gibson didn't do more to protect their intellectual property, as the device was patented and it would have been easy to show that the circuit had been copied.
  10. The difference between this type of power supply and the OneSpot daisy chain is the 'tiny box' power supplies do have individually regulated outputs, albeit with a common ground. That should help in those situations where some pedals seem to put noise on the power supply chain, usually high-current draw digital pedals. OneSpot is a switching regulator, I'm guessing these tiny box units use linear voltage regulators.
  11. Props to EHX for not using the misleading and over used phrase "isolated outputs". The EHX unit is a daisy chain in-a-box, and they say so. Nothing wrong with that as long as you know what you're paying for, and most pedal boards don't need a true isolated ground power supply. Isolated outputs is not the same as isolated ground.
  12. I finally found a schematic for the Mk I Tonebender and was surprised to find it's a xerox COPY of the Maestro FZ-1, exact same circuit design with different transistors and component specs. It also operates at 9 volts versus 1.5 or 3 volts of the original Maestro Fuzz-tones. So, the "attack" control in fact controls the biasing of Q2, which leads to the 'gating' of the signal. I suspect that the "good" tonebenders are those where the transistor gains were closest to the designer's original. That's the problem, those old germanium transistors, crummy by today's standards, are a big part of why those old fuzzes sound the way they do.
  13. Sometimes, dumb luck works in one's favor. I repaired a "vintage" (early 70s) Acoustic 170 (?), a HUUUGE solid state combo amp with a single 15" driver in a "horn loaded" cab. I used it as a bass amp, then found out it's more of a 'general purpose' amp for keyboard or PA use. When I bought it, it made sound, but the volume was extremely low. Opened it up, and there were a couple of bulged electrolytic caps, I replaced them, and the amp worked perfectly. I wish I hadn't sold the damn thing, it was cool. Electrolytic caps aren't just used in the power supply.
  14. There's some COOOOL non-guitar stuff towards the back of the auction, it's not just guitars and small, high-end combo amps. There's quite a few effects pedals, most sorted into lots by manufacturer, including a Gold Horsey Klon and some other 'rare birds' like a Mu-Tron Bi-phase. A couple of keyboards, including a Rhodes piano and Hohner Clavinet. Several racks of effects, and what appears to me to be some seriously high-end tube (valve) hi-fi amplifiers and systems.
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