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  1. Visited Dave at 'Valve Amp Repair Service' in Gravesend yesterday - took my Trace Twin Valve to him for sorting (new caps probably). The place is a vintage mine. He works from home and every space and corner has some vintage amp gear in it. Mesa, Vox, Marshall, Ampeg stuff n bits all over the place. He builds his own Blues 30 and Blues 60 valve heads - nicely done for the guitar players.
    Happy to do older solid state but avoids Class Ds as he reckons they are not designed to be serviced in the old way. This guy is a find, and really looking forward to getting the Trace back.

  2. Thanks @ped and @dannybuoy. Main thing first was to use the effects loop or not. So not. The tuner can tee off the pre so I'm guessing sits aside the signal path. I will try a few sequences but I'll start with pre>comp>chorus and see how it goes. Thanks for the help
  3. I've messed with the odd effects pedal over the years just putting the chorus (say) between bass and pre-amp in. But I now have 4 boxes to hook up and I'm not sure the best way to do it. The boxes are a Darkglass SS comp, Sadowsky pre; chorus, tuner. The main amp I use is a GB Streamliner (valve pre) with send/return on the back. Do I series all 4 between bass and pre-input, or series all 4 between pre and power (through the send/return), or do I need to split the pedals and put some before pre-amp, and others into the send / return. I'm guessing the Sadowsky in particular would be best before the pre-amp, but compression may be better post pre-amp. Basically, don't know.
  4. I aim to get the things I use most as close as possible - so all the marking tools, mallets, scrapers etc. On the 6' bench I have 2 cantilevers screwed underneath (2" x 2" anything) and they project out the back about 6" or so. I built a long box which sits on those and lies so top is flush with benchtop. Put several dividers in and keep all the smaller and much used tools in there, including 2 small planes, marking knives, gauges, squares, pencils, mallets etc etc. Basically I aim to not move around! Planes under, saws very close by, chisels the same. The good old 80/20 rule - i use 20% of tools 80% of the time - put those within immediate reach. I know benches and workspace is a personal preference thing, but it all works right for me.
  5. Here we are. This one is all beech (oak wedges for the stretchers so it can knock down). I'm still using this one after 4 years so that's a good sign The big one in background was the 8 footer, twin screw vice etc. Too far to walk from one end to the other...
  6. I've built quite a few benches for myself over the years and they have become more simple as I realise that (for me anyway) is better. Chris Schwarz in the U.S. has done a book and many articles on the subject (when he was editor at Popular Woodworking) - worth a quick Google. A few things I think worth considering: - frame stiffness - really important, especially when using hand tools. - work height - CS goes rather low but kitchen worktop height (900mm) is usually too high. My current is about 820mm I think. Hand tool users tend lowish, power tool users a bit higher, a compromise is always involved. - depth front to back - 20" is enough. Tool recesses are loved or loathed. I'm the latter - just fill up with shavings and lose tools in them. - vices - I have 2, a face and an end. On my current I have 2 Record 52 which is the smaller 7" and is way powerful enough even when making a door. The 7" is faster to use, a little more compact and can be found with quick release (I use that all the time) and an option of the pop-up end stop (on my end vice). I use that with 3/4" dogs along the top for clamping panels etc when planing. Generally I like quite small benches (current is 6 foot). I made an 8 footer with sliding deadman etc once but it was bigger than necessary. So basically I would say fairly hefty legs and stretchers (for mass and stiffness), can be softwood but chunky is good. Personally I'd be using solid softwood top, 3 x 2 turned on edge, 10 of those bonded together then planed flat. Reason for that is mass (always very good in a bench) and stiffness (I mainly use hand tools though). Benches are fascinating to me - I've made several commercially for other woodworkers and it becomes a thing - I just need to do another one... that kind of thing (quite like basses then). But I'm happy with my 6 footer now - I called it the Hemingway after 'The Old man and the Sea - that line about humility. It's a humble bench but a real good user. Do have a look at what Chris S has written (he's a bench obsessive) and I can do some pics of mine if it's of any interest. btw, the Records can be found on the bay around £30-ish,, but look for the QR ones. Here's a thread on the Hemingway build https://www.ukworkshop.co.uk/forums/post1007933.html?hilit=hemingway#p1007933
  7. 4 string set off my Jazz (thru-body). I think they are 45-105. Silk ends a bit marked but strings as new. Free to good home
  8. I did a search but missed it:
  9. Just been through the exact same issue in Kent / SE London. Found a place in Guildford - but my point is it would be a great database for the forum: amp techs and guitar/bass techs by area.
  10. Yup, I think so. Sounds very straight and clean. Seller says 'sensible offers considered' so I suspect 300 might do it - that's £100 a lump which is nuts. Surely you can find a corner for that Mick? I'm a bit tempted but it would cause trouble at home...and abroad, given the volume levels
  11. Maybe someone can find a home for this lot on Gumtree, asking 350 - that's a pound a watt with 4 x 10s and a 15 thrown in, plus some boxes and a load of sliders... lights up too. https://www.gumtree.com/p/guitar-bass-amplifiers/trace-elliot-bass-rig-ah350x-with-gp11-graphic-preamp-mkv-plus-speaker-cabs/1351202381
  12. Just bought a DarkGlass comp from Banjo - really well packed in original box etc, looks mint. Arrived super-quick. Recommended without hesitation - top BCer. Trade with confidence.
  13. I've been doing the top-line (vocal, lead instrument whatever) 'practice' for a long time now, esp on fretless. I reckon it's the very best way of opening up the fingerboard, becoming far more confident with bigger intervals, breaking out of the habit boxes of usual noodling playing. All round really good. Try some Jerry Douglas lap steel solos, Lady Gaga's Joanne vocal; a part of a Bach 'cello suite or some Miles Davis trumpet.... if you feel a bit boxed into safe shapes (normally within one octave) try this for a while, you'll never look back.
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