SVT VR Ultra Lo switches

[GBassNorth]

Originally Posted by Wild Steve

What do you make of the Sublime? I find it's got a great sound on its own but once in the mix with guitars it tends to disappear almost completely - perhaps this is the case with all fuzz pedals, or are there ways to set it so that it cuts through better?
Just like the SVT and the Berg though, it sure is big and impressive, that's the main thing!
Steve

I use my Sublime on about 10% of our set list for the very reason you mention. The impact of the fuzz does lessen with a driving set of lead and rythm guitars out front. It really shines in the intro and solo parts however, so that's where I focus most of its goodness.

[JimmyM]

I am Polish, at least in large part. My mom and grandparents love(d) polka music and used to go all the time when they were younger. And cabbage rolls and coffee are, indeed, mmmm mmmm good. I am a bassist. I do not like polka. If I played accordion, I would love it.

But I do know a guy who once said he played in the only polka band in a 4 state radius and he got every single call for polka bands, so they worked constantly. It was at that point that I realized just how much money there was in playing music that musicians hate, and that's been my philosophy ever since. Unfortunately, I have to find another niche since all the doo wop (and polka bands) come to Florida to retire and play Century Village.

[CL400Peavey]

I hate playing polka too... but my grandpa was an accordion player and he was born in poland. My dad plays guitar so we got roped into playing our fair share.

[One Drop]

Originally Posted by JimmyM

I am Polish, at least in large part. My mom and grandparents love(d) polka music and used to go all the time when they were younger. And cabbage rolls and coffee are, indeed, mmmm mmmm good. I am a bassist. I do not like polka. If I played accordion, I would love it.

But I do know a guy who once said he played in the only polka band in a 4 state radius and he got every single call for polka bands, so they worked constantly. It was at that point that I realized just how much money there was in playing music that musicians hate, and that's been my philosophy ever since. Unfortunately, I have to find another niche since all the doo wop (and polka bands) come to Florida to retire and play Century Village.

Worked for the Schmenge Brothers:

New Wave Shmenge - YouTube

Cabbage Rolls and Coffee Polka (from The Last Polka, the legendary concert film (!):

The Shmenges - Cabbage Rolls and Coffee Polka - YouTube

[oinkbanana]

Originally Posted by majortoby

Yeah, but with the doom/stoner craze sweeping the doomed/stoner community, I'd imagine the SVT will get more guitar use in the coming months

that's what I use it for with a baritone guitar.
let me tell you that I LOVE it when it's loud.
this is my rig: pic
the ampeg brings those air moving frequencies even without the ultra low engaged.

[beans-on-toast]

Originally Posted by One Drop

Worked for the Schmenge Brothers:

New Wave Shmenge - YouTube

Cabbage Rolls and Coffee Polka (from The Last Polka, the legendary concert film (!):

The Shmenges - Cabbage Rolls and Coffee Polka - YouTube

You gotta love those Schmenges! As a kid I spent my weekends watching polka wedding bands from the wings of a local hall. Those bands showed me how to be an entertainer, they could really play, made a big noise, and got the crowd up. Really great stuff. And the accordion players often used Ampeg amps.

[schridb]

I use the ultra lo and the ultra hi bump the mids a bit and control tone from the bass. I rarely touch the settings from there. Really, no one else uses ultra lo?

[Wild Steve]

Seems to me the ultra lo just sucks all the life and punch out of it. Might sound mellow on its own but with a band you'd probably disappear.
Ultra hi is a bit harsh too - though with overdrive it's pretty wild!
Steve

[ThisBass]

Originally Posted by Wild Steve

It says nothing in the manual about boosting lows, only cutting mids. And how else do you explain the very noticeable drop in volume? It's not marginal. It's significant.
Steve

The original manual of the 70s vintage svt amp tells that at the "+" position (the cutting mids) a proper correction with the volume knob is necessary to compensate the loss of loudness.

Ähm yes I own a 78s svt and I remember on this point of the "original" manual.

The "Ultra Low" of channel 1 can be switched to:
- / flat / +

Whereas the "Ultra Low" of channel 2 can be switched to:
flat / +
only


The schematic of "Ultra Low" is a passive schematic design whereas the "Midrange" is an active design.
The "Ultra Low" schematic can't boost anything, whereas Midrange can do that.

The "Ultra Low 3-Way Switch" schematic of channel 1 is totally independent to the "Bass-Pot" schematic.

The "Ultra Low 2-Way Switch" schematic of channel 2 is totally independent to the "Bass-Pot" schematic.

The "Ultra Hi" schematic is totally independent to the "Treble-Pot" but "Ultra-Hi" depends on the setting of the Volume.

[ThisBass]

Originally Posted by schridb

I use the ultra lo and the ultra hi bump the mids a bit and control tone from the bass. I rarely touch the settings from there. Really, no one else uses ultra lo?

As I told above the "Hi bump" is working depending on the volume setting.

For low/little Volume settings => very strong "Hi bump"

Volume at full => zero "Hi bump"

[ThisBass]

Originally Posted by Wild Steve

Seems to me the ultra lo just sucks all the life and punch out of it. Might sound mellow on its own but with a band you'd probably disappear.
Ultra hi is a bit harsh too - though with overdrive it's pretty wild!
Steve

Harshness of "Ultra Hi" can be changed to soft brightness by larger Volume settings.

[will33]

I for one say, pfft......to all you polka haters.


I grew up on German polkas, waltzes and the occasional schottische. Got a pretty steady internal timeclock which I credit to playing all that 2/4 without a drummer. :-) played all the tuba parts on a Pbass and myself, my Dad and my Grandpa all 3 played clarinet as well.


Though not us, here is one we used to do.....enjoy.


http://www.youtube.com/watch?v=LZFodEyweAs

[will33]

Oh, and by the way, us germans use the concertina rather than the accordon. Of course, it's way better.

[ThisBass]

Originally Posted by will33

Oh, and by the way, us germans use the concertina rather than the accordon. Of course, it's way better.

A very great and nice instrument.


Although I'm playing a lot off Funk and Soul and R&B stuff but at my wishing list just this time stands a Zupan or Kärntnerland Harmonica.

[will33]

Originally Posted by ThisBass

A very great and nice instrument.


Although I'm playing a lot off Funk and Soul and R&B stuff but at my wishing list just this time stands a Zupan or Kärntnerland Harmonica.

Some of the best concertinas we could get in our part of the country were handmade by Christy Hengel in New Ulm, Minnesota. Beautiful instruments. I got to meet him once as a kid, in his shop.

[prd004]

I never engage any of the ultra-high, ultra-low, ultra-anything switches on any of my Ampeg's.

They should be renamed ultra-suck your tone switches

[ThisBass]

Originally Posted by prd004

I never engage any of the ultra-high, ultra-low, ultra-anything switches on any of my Ampeg's.

They should be renamed ultra-suck your tone switches

Ultra suck your tone switches, yeah but, If you don't spend some work to understand how all the interactions of controls work all together then yes, all these switches will suck your tone.

A great idea is the following.
Engage the "Ultra hi" and try to find out the proper intensity with different volume settings, the next step is to reduce a bit of treble content with the Treble Pot. But remember doing any change to one (eq) parameter impacts the setting of the next which you did not changed.

Understanding the svt eq's working provides a very wide band of sound settings. Not understanding this svt eq knocks the sound variety of the "vintage" svt to only one sound.

The schematic of svt II pro is very different, probably that was done due to all the confusions and misunderstandings to the "vintage" eq behavior and schematic.

[ThisBass]

Originally Posted by will33

Some of the best concertinas we could get in our part of the country were handmade by Christy Hengel in New Ulm, Minnesota. Beautiful instruments. I got to meet him once as a kid, in his shop.

Nice to see.

As far as I remember we don't have manufacturers any more in Germany since many years.

[JimmyM]

Originally Posted by prd004

I never engage any of the ultra-high, ultra-low, ultra-anything switches on any of my Ampeg's.

They should be renamed ultra-suck your tone switches

I like the ultra-hi when I'm playing Poison songs