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There are many scale/pattern apps online, but, I wanted a simple one. I also regularly work with Claude, ChatGPT, and Gemini AI, and I thought it would be interesting to have one of them build a simple one. I am sharing it in the attachment.

Download the file. Rename it so the extension is .html not .txt. From a Windows machine, simply double click it in File Explorer to open it in a browser.

It's fairly self explanatory, but here are some quick notes:
- First Set a Folder you want the program to save to and load from
- Type a name of the pattern/scale/chord into the Pattern Title box
- Choose from the settings - Dots or Notes, Dot Color, # Frets
- Click on the fretboard to select notes
- Click Save Pattern to save the pattern to a data - json - file.
- Click Save PNG to save an image of the pattern. Not necessary, if you have the data file, but, you can if you like.
- When you fill a folder with several pattern/scale/chord data files, when you restart the program next time around and set to that folder again, the program will show you a list of all of those in the left Recent column.

Let me know if you have any questions.

I got this cool V1 because I liked the “ZeroAmp” on my HX Stomp so much.



Super clean with the box and paperwork. Sounds great too.

They also make great small stage, desktop and pedal board friendly DI boxes with their Dim Stick and MiniDI.






ENJOY your tap switch!!!

To say they are amazingly talented would be a huge understatement.

Just got a foot switch for this. My Nav has a 7 pin midi plug and the switch has a 5 pin midi plug. FYI, the 5 pin cable plugs right into the 7 pin jack and the switch works perfectly. There was info online that suggested this would work and I have confirmed it. Thought I'd share.

yngwiewho1 said:

Thank y’all so much! I don’t have any pics currently, but I’m refinishing a dingwall NG3 in matte black. They don’t come with inlays so I had a guy make one and am going to add it to the headstock.

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In that case, I would install the inlay, mask it carefully, spray the black, remove the masking and clean up any edging, then I would spray clear and bury it so the whole headstock can be leveled. At that point, I'd either top it with matte clear or do a hand-rubbed matte like Fodera. I used to spray mattes but I moved to hand rubbing them without looking back. Way easier to return to matte when touch points eventually polish out.

Its a cool song we cover it in my blues band.

Jack Cassady has his own style.
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Some general comments..

The Ampeg procedure, step 7, wait 10 minutes in playing mode, can be extended. I like to wait half an hour. Playing through the amp allows it to warm up faster. You want it to reach a thermal steady state where components are no longer drifting. The readings at the tubes should be consistent from one reading to the next.

In North America, the bias procedure assumes 120VAC at the wall. Always note the AC wall voltage when setting the bias. If your wall voltage is higher or lower, the target bias setting will change.

There is hysteresis in the bias pot caused by slack. Initially turn the pot fully CCW as instructed. Then turn slowly up to the desired bias voltage. If you exceed the target, turn the pot CCW again, then turn CW to the desired bias voltage.

Note that the optimal bias voltage is within a range that both sounds good and which allows the amp to remain within a safe operating envelope. Their procedure is basic. A tech can optimize the bias setting using test equipment.

I forgot that this thread existed...

luthier_wannabe said:

Woah, ok, I'll have that in mind. By any chance, do you know about any book or resource about bass and guitars electronics that you can recomend to me, please?

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There are several; the Stew Mac one looks to be expensive.

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Ricky Rioli said:

..... The ceramic MFD pickup reversed made a boxed-in sound ..... I'm happy with what I've done .....

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A few months later — and I've had enough of the ceramic reversed. It's been really picky about strings, and I've only found one basic sound that I'm happy with (and not especially happy with it neither)

The traditional alnico will be going back in, but in the newer, reversed routing.

I’ve had a BA2-10-3 cab (or whatever is the official nomenclature) for quite a while. I use it with my MG800. I am always amazed at how many venues that setup is perfect for. That cab has a sweet and articulate tone with plenty of useful volume, handles the highs and lows (doesnt sound “boxy” to me, like many very small cabs), and the array helps me hear it well on stage. If I want more stage volume, such as typically with 6 piece and keys in larger room, I’ll grab a different setup, but the BA10 is pretty nice and versatile for many of my needs.

Podgorny said:

As you said, the U-Bass mimics the low end decay pretty well, but it's completely missing the mids and highs. I think the original Ashbory's strings did it better, but even then, nobody wants to be seen playing these silly things.

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The sax player referenced in the opening post doesn't care that the Ubass doesn't sound exactly like an upright bass in the mids and highs.

The Ubass has the rounded attack and quick decay of an upright, which is all that matters to a jazz soloist looking for support from the rhythm section.

Played pizzicato, the upright is a tuned percussion instrument, and the Ubass pulls that off convincingly enough.

Thanks @pb9717

I felt the same way about a 5-string ReBop I used to have. 35" scale + horizontal balance + the neck jutting out too far to the left made first position feel miles away.

So it's cool to hear that 4-string Spectors fare better in that regard.

I'm currently at Chris Thile's Acousticamp and getting to work with Paul quite a bit, and his copy does indeed sound awesome in his hands.

You might consider a blend/loop pedal, and place what effects you don’t want to impede the low end in that loop, like the one from Saturnworks

Due to loss of function in my hands, I'm becoming more interested in trying to continue making bass noises with something like a bass register console steel, maybe with a palm bender or two.

Anybody building anything like that?

My decrepitude seems to have progressed beyond DIY at this point.

HeavyJazz said:

"Casa Dega" was the first band name to come to mind. Nothing like a deep cut to name a cover band.

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Maybe too deep, and a bit misleading; it sounds like they could be a Mariachi, Norteno, or Banda outfit.
The song title is a variation on an old school Mexican restsurant, Casa Vega, on Ventura Blvd…


I would guess that Tom and the band was fond of the place, but altered the name to avoid any legal problems that might occur.

It’s just down the street, in the backgound of the thumbnail pic here(at 1:38)…
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After you’ve gotten a brief glimpse of Casa de Cadillac at 1:29. These places are all in the strip including the Sherman Oaks Guitar Center, which closed due to a recent flood after a car hit a fire hydrant in front, and the burst of water went up on the roof before the flow could be shut down, eventually collapsing it.

DirtDog said:

Chord inversions will help out here. Also not needing to play full chords but just the outlines (eg root-third, root-fifth kind of thing). Season to taste.

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Definitely, with two guitars, experiment, use the fretboard, try different voicings, which my help with lead stuff.

Well, I think those two are in a real pickle because of this. This ain’t kosher and this would make a classic Judge Judy case.

Two things for sure are gonna happen here. Their immediate termination from the CC and more the a few “Sap” rules are going to added as part of continued membership of the rest.

jcburn said:

I also have a volume pedal in the drive channel of the EBS set to zero volume, which lets me run the EBS on with the compressor engaged but without the drive just in case I want either a completely clean tone or the overdrive of the Blackberry only.

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I might use JHS mute switch placed in the drive loop to achieve the same result... I just need to get second ICY-30 cable...

My Basslab #1 (07/2022)