Operating Theater: Ampeg SVT-200T

Ampeg rewrote the book on high power amplification in 1969 with the introduction of the SVT. That was the Super Valve Technology amp which pumped out, a then unheard of, massive 300 watts from six huge valves (or “tubes”). Marshall invented THE rock guitar amp and Ampeg followed it with THE rock bass amp. And then… through the ’70s and ’80s, they never topped the SVT. Sure, they had a few other good products, in-between changing ownership as numerously as Michael Jackson was changing his nose. So in the late eighties, they just started throwing the SVT name around like baby batter at a bukkake convention. And hence, the SVT-200T, produced from 1987-1994: featuring no valves at all.

Ampeg SVT 200T

I like to think I’m less dumb than I used to be. When I bought this SVT-200T solid-state amplifier, I thought I had an SVT. It was loud, the right shape, it said SVT… shit, I just played grind core, what did I know? It had that “Ampeg” tone they dial all their amps towards and it sounded awesome. Sounded. One night in 2005 it took a dump. Or maybe I took a dump. Did I have the wrong speaker set up? Was the club’s power screwy? Was it just old? It took me a lot of learning over seven years, but I finally got this tubeless, sad sack out of the closet and farting again.

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Ghoulection 2012: Transmission Twelve

It’s not often our band is known for doing something nice. In light of the tragedy that befell our local music community, how could we do otherwise? Last Friday, we played one of many benefit shows that have been organized for our fallen comrade, Jef Leppard, and for his recuperating, beloved wife, Nikki.

written about before that I restored, but in great condition. After the show we spoke about how he wasn’t too happy with his tone. He had an Ampeg SVT-4Pro to match the cab. I explained how he could bi-amp the set up to achieve a fuller sound. The SVT-4Pro has correspondingly named speaker outs to match the two sections of speakers in the 1540HE cabinet. With two speaker cables, the lows can be sent to the 15″ speaker and the highs to the four 10″s and dialed in to match dB levels. I know it’s the propensity of men to charge forward without reading instructions, especially musicians, but sometimes it pays to go over the literature. I’ll be curious to see how it works for him the next time I see them play. 

Our set was… well, it was fucking chaos. It’s cute when a couple security guards on stage sit on the sides while I’m forced to push people off the stage, bass in hand. Ah well… those tigers really just hate the fuck out of Sean’s mic stand. They want it DESTROYED. I would like to advise folks who want to jump on stage with us and actually grab a microphone: please learn the lyrics. It’s really embarrassing for all involved when you just scream incoherently along with the beat.

On me and Sean’s side of the stage, there was a piece of shit power strip plugged into an extension cord. That was power for our amps. Oi vey, I had no idea the problems it would cause. Sean sounded like he was coming out of a Marshall 900, sans gain, and I was losing a lot of oomph while my power light flickered. That power strip was more like a weakness strip. I was worried about our gear. Autopsy was borrowing this stuff, sight unseen, for their headlining stint. After we played, I had the club switch to a more robust power strip and the problem was solved. That’s just one more thing for the pre-show checklist, I guess.

I first remember seeing these Autopsy when I was a scared young teenager going to death metal shows. I had few friends. I remember seeing Chris covered in green slime. I thought that was so fucking cool. Obviously. What an impact those shows had.

And what an impact this one had. Holy fuck balls, they are still so good. And they sounded great on our shit, if I do say so myself. And I think I just did. Autopsy was a great kicker to what was an awesome and fulfilling evening.

Even after the show was over, poor Aimee was still giving away prizes to the peeps who bought raffle tickets. Madness! I imagine the show was an extremely successful benefit, but little can defray the loss and suffering…

My one, my biggest piece of advice I can give here is to remember the loved ones around you. Give a hug, hold tight, give a kiss (if appropriate, natch). It’s easy to forget in the humdrum day-to-day bullshit. All the folks who came out this night remembered to show the love… just like Nikki and Jef always did.

Nikki is still recovering and her medical costs will be enormous. So much has been done, but every little bit helps. If you haven’t been able to, and can, please try and give so that her hard road to hoe is just a little bit less hard.

You can donate here: Nikki Davis – Caring Bridge Page

Tools of the Trade: Light Bulb Limiter

It’s easy to slap an LED onto a pedal. At least, it’s easy for me now. I’ve moved onto bigger and badder. Largely through trial and error, I’ve managed to make a few sick amps well again. I’m still a novice, but I’m learning and it’s fun. The online world is a treasure trove of knowledge and helpful people. Those helpful people told me I was doing some stupid things. I was able to rectify at least one of those things.

light bulb limiter

This is a light bulb limiter. You can’t buy one and they’re all built a little different. It’s extremely helpful when dealing with a broken amp. In a previous repair of a Peavey XXX guitar amplifier, I was blowing fuses left and right (maybe center, too). The light bulb limiter is a D.I.Y. device that coulda saved me a lotta pain.

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Ghoulection 2012: Transmission Eleven

It had been almost five weeks since the end of our headlining tour. I swear, it felt like I had concrete shoes, lugging all that shit out of our practice place and back into the trailer. What the fuck? Is five weeks really that long? We was outta god damn shape. Did we really have to do this again? The metal gods commanded we play festivals in Portland and then San Francisco, and we obeyed! Ja wohl!

That was at our friend’s house, Emily of Ashland. She’s an insanely good tattoo artist and makes these detailed masks by reconstituting the paper of a wasp’s nest as a kind of papier-mâiché. Kinda makes throwing some latex over foam to make a robot seem trite, in comparison. 

We decided to ask Emily if we could stay at her place the day before we’d play, and break up our drive to Portland into two days. That stretch of Highway 5 from the Bay Area to PDX just isn’t worth taking all the way overnight. It’s too long and too much bad mojo on that road. You can’t pass a landmark like “Jump Off Joe Creek” and not think bad thoughts. Anyway, Emily was kind and let us check out some of her awesome art, make some breakfast, and shoot arrows in her backyard. This delightful guy was lucky to be out front. He was left bereft of arrows.

We arrived in Portland a bit earlier than necessary. Our name was in lights! We got billed above karaoke… for once. 
How perfectly appropriate we would be playing on Friday the 13th… KnowhutImean? 
Revelations of Death was a two day fest at the Hawthorne Theater. Long time promoter and new club owner Mike Thrasher asked our old friend Jozy of Murderess to take up the reigns of booking again. She got us and Autopsy to headline the two day extravaganza. Sadly, we couldn’t stay the second day for Autopsy, Murderess and the rest, but thumbs up to our pal Jozy for getting us up here, again! 

Those fucking five weeks before this had really made us lazy. Our friends in Weregoat, who were also playing, offered to lend us some cabs. At the time, I thought it was a great idea. When we arrived early and were staging items, like our amps, I immediately regretted it. Here we were, headlining, but we’re too fucking lazy to bring our own shit? I started stressing out. We have enough to do before we start playing, let alone plugging in amps and shit. Eventually, we opted to split the one guitar stack we brought so Sean and Dan could plug in, and I just had to wait. And play a cabinet that was decidedly un-Ampeg. Sad (it turned out fine). Next time, we’re bringing everything just so I can have some piece of mind. 
I love when six bands all set up, one in front of the other, and it looks like a god damned NAMM showcase. 
There wasn’t a lot of people when the fest started. Was it the early start time? What? I don’t know, but I much enjoyed the first band. Lord Dying was great. C’mon, folks, some times ya need to show up early, dammit. 

Next up was our buds in Weregoat. Not only are they face-smashing old-skool black metallers, but also quite the carpenters, too. Kevin showed me the lovely joints they’d fashioned for their decidedly evil looking microphone posts. Sometimes it takes order to create chaos. 
And Weregoat are quite the fashionistas, too. Just check out Kevin’s tres chic mink stole! 

Next up was the tour package of Speed Wolf and Witchaven. I’ve enjoyed both of these bands many times before and I did again this night. Speed Wolf brought the yummy meat and potatoes metal while Witchaven nailed the thrash to the wall. 
Right before us were the actual old schoolers, PDX’s own Wehrmacht. They blasted through a classic sounding set, but not without plenty of reminiscing ala a 27th year high school reunion. I couldn’t help but notice the fancy dancy custom gear. This weird plexi Fender mod with custom blue LEDs was the first thing I saw, then the cabs with switching blue LEDs. What says old school more than flashing LEDs? 

Before we went on, I felt like I’d lost my sea legs a bit. I barely knew how to set up. But once we came out, it all fell into place. Well, mostly Sean’s mic stand fell… into the crowd. I think they musta hated Sean’s vocals, because all the people attempting stage dives decided to take Sean’s microphone down with ’em. 
We called a “girls only” stage dive song, and that was awesome. Apparently, the ladies like to do it in pairs. Moral support? The guys thought they could take on our robot. Seriously, though… leave the robot the fuck alone. I’m sick of having to ACTUALLY hit you. It’s a show, folks, and while we appreciate lots of enthusiasm, the show is FOR you, not WITH you. Leave the poor man behind the curtain alone. He’s fucking TIRED.

The next day, we made food errands, because we is fat kids. Portland, while being short on people who are non-young, non-white, and non-hip, is plentiful with the good food stuffs. First stop was Voodoo Donuts… the second location, ’cause fuck the tourists. A dozen wasn’t enough. We needed two. 
Next stop, the weird-o vegan health food store that allows us to buy cases of this. That’s just the way it is in Portland; we have turn up the ends of our mustachioes, roll up our pant leg, and be ironic just to get some of my favorite hot sauce. Why the fuck isn’t this amazing shit just at Safeways everywhere for everyone to enjoy, dammit?!?

On Saturday the fourteenth, we headed back to San Francisco. The next day, we were participating in the second day of the Tidal Wave festival, a tradition in it’s 13th year. Was 13 becoming a theme? Well, it must be good luck, or something, because we had a blast. 

Early in the day, there weren’t that many folks about, but that’s because it was god damned 11:30 AM! It filled up later, but I couldn’t tell ya how many. We were given excellent beer from Prohibition Brewery, a local SF joint that’s just a bit over the top in regards to alcohol content. My senses were altered. Yum. 

Tidal Wave is like a stay-cation in the city. It’s free, ya bring your own booze, and a mass of metal heads eventually congregate, eating and drinking merrily. The sounds of real heavy metal like Slough Feg hits your eardrums. Or these, guys, Haunted by Heroes… seriously, these little dudes are like 11 years old each and they ruled it. It makes me want to steal their lunch money and break their stupid, talented fingers. 
[youtube=http://www.youtube.com/watch?v=MDG3tKMv25U?version=3]
Christy and friends in Beercraft were actually sober when they hit the stage early on and set the tone for all the day’s revelry. They jammed some folk metal dedicated to (what else) beer. Gravehill came up from L.A. to fill the quotient of Satanism required at any metal show. The Lord Weird Slough Feg did what they always do… jam it the fuck out and rule. They even have costume changes. Yeah, that’s metal as fuck. 
Before we went on, the promoter Tonus had us a sign a seven-string guitar they’d been donated for a raffle. Sean signed it, “Guitar has too many strings: Defective – Return” 
And then we went on at the earliest hour that Dan, Dino, Sean and me have ever made it onto stage together. Or at least, it was the most daylight we’d all seen. We jammed it out it out while the local park constabulary, or “nature pig,” as I like to call them, looked on at us… aghast. And that’s how ya do it. Piss off the old people. Oh wait… we are the old people. Well, that’s what the masks hide.

[youtube=http://www.youtube.com/watch?v=jMUQOwsG0Kk]

It was another good weekend with the boys, but that was it for now. I forgot how much shit we had and kept in the trailer, as I unpacked and watched our once mighty loft bow under all the weight. Fucking christ. Please, someone call Hoarders and let us please play in a normal band where I’m not stained red at the end of the night! 

Nah, fuck it. It’s too much fun. 

Building a better Rat trap 2

Just why does Pro Co only make one pedal? Because they got it right the first time. The Rat distortion box is legendary and it sounds killer, in my humble opinion. Okay, okay, Pro Co has made a few other stomp boxes, but they’re all based around the original Rat circuit and the legendary LM308 IC op-amp. The Turbo Rat, the Rat2, the You Dirty Rat, the Deucetone Rat, and the Rat R2DU rack mount are all descendant of the original: the gnarlier then gnarl white face Rat.

This is a white face Rat from around 1984. There are a few cosmetic differences, however, as I put some modifications into this little guy. A fella I knew asked me to do this before either of us realized the value this pedal could have probably scored on the eBay marketplace. So be it… he ended up trading it to me for some other work I did and I’m happy to call it “mine.” One of my earlier forays into pedal modifications, I’m pleased with the simple changes I made.

Class or ass: Morley SEL Select-Effect

When Tel-Ray Morley was started, guitar effects were in their infancy. It was novel for a guitar player to have even one effect on stage. The Morley design didn’t seem so ridiculous then. Wouldn’t you want your one pedal to be a nice, big, beautiful chrome monster? As the 1970s continued, guitar players only added a couple pedals to their line-up, the price being prohibitive and the pedals being enormous. Then BOSS introduced their still distinctive line of affordable, compact pedals in the 1980s; the world of ridiculously large pedal boards began. Enter the Morley SEL.

Morley SEL

As far as I can tell, this must’ve been Morley’s attempt to keep up with the times. It’s got that distinctly enormous Morley look they kept for over a decade, but it doesn’t do something new. It’s an effect switcher. It’s not a true-bypass box, it just bypasses up to five effects. So do those effects’ on-off switches. Pointless? You can see where this is going.

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Operating Theatre: Peavey XXX

During the months we traveled with GWAR, Sean “Bloodbath” McGrath’s Peavey XXX performed robustly. It’s modeled after a Mesa Boogie Triple Rectifier, but minus the almost baffling amounts of bells and whistles and the outrageous price tag. Sean likes his stuff simple and cheap. Other than the embarrassing faceplate I replaced previously and the goofy knob names, it’s been a champ and sounded awesome.

Peavey XXX

And then the XXX crapped out. It stopped working two minutes before stage time at one of the last dates on our headlining tour. Sean was supposed to take his head into the shop upon our return, but was aghast to find it under a dog pile of costumes in our practice place. He said, “Nah.” Well, I dug it out to see what I could accomplish.

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Wrought in Hell: Road Case Revisionism

There used to be a day when I would put my amp under my car seat for travel. It was an Ampeg B2. I found out that was a good way to have all the EQ knobs broken. Years later I toured with an Ampeg SVT-2Pro rack mount amp… and never bothered rack mounting it. Sure, a guitar always goes in a case. Why bother with an amplifier? It’s just that thing that MAKES IT LOUD.

I got older and poorer, though, while my amp choice got older and more valuable. The folly of youth left me. There was no way was I going to leave on a huge tour again without making sure every amp had a case, especially the vintage Ampeg V4B I was now playing through. When we headed out with GWAR, Sean borrowed a case, we got Dan one while on the road, and I… of course, I had to cobble something together that was special.

I started with this little gem that was tossed for junk outside our practice studio. It was broken and battered, but had a lot of potential.

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