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U.S. Peavey Club

#10,041
jmlee said:
OMG
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Tom McClintock said:
That can't be original. Can it?
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This is a current, well respected Bartollini with about the same features. Difference is the Peavey's 1990s tech PCB which has large scale parts and is repairable if the magic smoke comes out. The Bart's PCB is small scale, encapsulated and non-repairable. Add the 6 pickup wires and bridge ground to the Bart wiring and there is no difference in the snake's nest. The Peavey's wires are much more flexible and easier to tuck in. I prefer a repairable preamp. That's why I'm always looking for Peavey's older preamps that have been "upgraded ???".

1.jpg
 
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#10,043
@mech
Fancy fixing this if things go south :laugh:
View attachment 2803217[/QUOTE]

THAT would go back to Peavey!!!! FWIW....fixed a Roland keyboard that had one note out with an old tech buddy last week. We've had no experience on modern keyboards, only a volt-ohm meter for testing and of course no manual. It was a good feeling to find our trouble shooting skills still intact.
 
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#10,044
A little update on my cheap Foundation S:

I was able to reassemble the tone pot. You guys were right; it just came unclamped. I bent the clamps back and was back in business. Another thing: the tone knob itself doesn't change tone drastically, either. It just growls no matter what. Not that it's a bad thing...

I don't know what one of these looks like stock, but the electronics on this thing are definitely modded and probably not original. The pots themselves are all 250k pots, and all the extra wiring/solder bridges everywhere (not to mention the SGC P-pickup) is just strange. I'm not sure what these came with originally, but it's definitely not the way it came when new.

All that said, I love playing this thing. I had a few minutes to sit down with it and ran through a few Metal classics (Maiden, Dio, Queensryche, etc...) and it's well suited tone-wise to this stuff. I'm digging it.
 
#10,046
SilverFleet said:
A little update on my cheap Foundation S:

I was able to reassemble the tone pot. You guys were right; it just came unclamped. I bent the clamps back and was back in business. Another thing: the tone knob itself doesn't change tone drastically, either. It just growls no matter what. Not that it's a bad thing...

I don't know what one of these looks like stock, but the electronics on this thing are definitely modded and probably not original. The pots themselves are all 250k pots, and all the extra wiring/solder bridges everywhere (not to mention the SGC P-pickup) is just strange. I'm not sure what these came with originally, but it's definitely not the way it came when new.

All that said, I love playing this thing. I had a few minutes to sit down with it and ran through a few Metal classics (Maiden, Dio, Queensryche, etc...) and it's well suited tone-wise to this stuff. I'm digging it.
Click to expand...
The Foundation S is a cool, catch-all P/J bass. Pretty much does the gamut of rock tones.
Here's the wiring diagram for the typical Foundation. You just have to wire it to make sure your current pickups are in phase. All 250K pots.
peaveyfoundationschematic_zps294a7da0-gif.gif

If your current tone cap is a .022, it can sound more growly as it only really rolls off the highs, a .047 allows more cut into the mids (this is where I start with a bass tone cap), a .068 will get it much darker when rolled off and a .1 is vintage mud, in a good way. A .033 is a nice compromise between growl and darkening. In the past, when experimenting with tone caps, I would get a $3 package of 6 small, 50V .015uF caps. They would be stacked in parallel until the preferred tone response is found for the bass ( one cap is .015, adding another is .030. then .045, .060. .075. .090...). If the stacking takes up too much room, you can then sub in a larger cap that is close to the value of the stack. You can get more coarse results with .022uF caps since they add up faster at .044, .066, .088.
FWIW, there is a subtle effect/darkening of the tone even when the knob is on 10 with the larger caps-results vary.
 
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#10,047
Giffro said:
I need to replace my jack after 26 years too Rdbeast as its got very loose feeling and a bit spluttery over time. I guess the little plug contacts spread and get tired with longtime use.
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I have this same problem with one of my TL6's. The jack works, but it doesn't hold the instrument cable plug tight enough. I normally use a cable with a Neutrik Silent plug on it and the spring pressure from the collar switch on the plug is enough to push the plug out when it wiggles around. It doesn't come all the way out. Just far enough to let the collar switch turn the cable "off". If I use a regular cable plug, I think it would be totally fine.

Is there any way to fix the jack that's there, or do I need to replace it? If I need to replace it, anybody got a link to the correct part? I can handle the soldering myself.
 
#10,048
I haven't been on here much lately. But, I really had to drop by today just because of my newest acquisition.

I had 2 First Gen TL-Sixes. I have been gigging them exclusively for a year or so. Recently, thanks to @MTMTEX, I got my new baby - a mint, all-original 1st Gen TL6 in the impossible-to-find Eerie Dess color. I gigged it last night for the first time and got a photo. The color doesn't really show, unfortunately.

The band I was playing with last night is a community Big Band jazz band. Thus, the nerd look. :)

The Eerie Dess is now my #1. I have a trans black one that is even more minty and all-original that will be my backup. My honeyburst, which is not quite as mint and has a couple of mods (gold knobs and brass nut) will be up for sale as soon as I can get pictures together.

It took me a few years to get here, but a 6-string P bass is The One Bass To Rule Them All - for me, anyway. :D

23270495_1655490854514478_4240809976586116706_o.jpg
 
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#10,050
I opened it up and looked at it a few weeks ago. I didn't see anything that looked tweakable, to tighten it up. I believe it is what you referred to as an enclosed jack. As opposed to the "open" style jack on, for example, my Fury or Jazz basses.

I did not remove the jack from the bass, though, to see if there is something hidden inside the hole through the bass body that would let me tweak it. I think I have read before about this problem and that, for the jack in this bass I just have to replace it. I'm hoping somebody like MNAirhead or mech can confirm and point me to the correct replacement part (if I need one).
 
#10,053
That looks right. At least, the part that you can see on the outside of the bass does.

Do they only come in one length?

I've been trying to avoid taking the original out then having to order a new part and wait before I can put it back together. But, maybe that's just what I need to do. I wonder if this is a part that Guitar Center would have in stock.
 
#10,055
StuartV said:
I haven't been on here much lately. But, I really had to drop by today just because of my newest acquisition.

I had 2 First Gen TL-Sixes. I have been gigging them exclusively for a year or so. Recently, thanks to @MTMTEX, I got my new baby - a mint, all-original 1st Gen TL6 in the impossible-to-find Eerie Dess color. I gigged it last night for the first time and got a photo. The color doesn't really show, unfortunately.

The band I was playing with last night is a community Big Band jazz band. Thus, the nerd look. :)

The Eerie Dess is now my #1. I have a trans black one that is even more minty and all-original that will be my backup. My honeyburst, which is not quite as mint and has a couple of mods (gold knobs and brass nut) will be up for sale as soon as I can get pictures together.

It took me a few years to get here, but a 6-string P bass is The One Bass To Rule Them All - for me, anyway. :D

View attachment 2807164
Click to expand...

Good for you! Personally, trying to read big band charts on a 6-string makes me mental.
 
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#10,056
jmlee said:
Good for you! Personally, trying to read big band charts on a 6-string makes me mental.
Click to expand...

Ha! I prefer the 6 for that because it makes it easier (to me). Once the chart goes above a high C, being able to play up to a high F without having to shift my hand out of "first position" is easier (for me) than using a 4 string and having to shift my hand back and forth without looking. My sight reading is much better than my hand positioning (without looking). The charts I've been playing rarely go higher than a high F. I don't think any of them have ever gone past a high G. So, playing the 6 really helps me.

I have thought about stringing my 5-string EADGC and using that. I certainly don't need the low B for Big Band. But, I like the P bass sound - especially for Big Band stuff.
 
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#10,057
StuartV said:
Ha! I prefer the 6 for that because it makes it easier (to me). Once the chart goes above a high C, being able to play up to a high F without having to shift my hand out of "first position" is easier (for me) than using a 4 string and having to shift my hand back and forth without looking. My sight reading is much better than my hand positioning (without looking). The charts I've been playing rarely go higher than a high F. I don't think any of them have ever gone past a high G. So, playing the 6 really helps me.

I have thought about stringing my 5-string EADGC and using that. I certainly don't need the low B for Big Band. But, I like the P bass sound - especially for Big Band stuff.
Click to expand...

I play upright in my big band, and the odd "funky" chart on a 5-banger. In recent years, I've really noticed that I can easily shift up for high F and G without looking on the upright and increasingly cannot on my electrics. On my Cirrus 6, I'm a complete idiot reading and nearly always seem to be one string off. To each their own, eh?
 
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#10,058
jmlee said:
I play upright in my big band, and the odd "funky" chart on a 5-banger. In recent years, I've really noticed that I can easily shift up for high F and G without looking on the upright and increasingly cannot on my electrics. On my Cirrus 6, I'm a complete idiot reading and nearly always seem to be one string off. To each their own, eh?
Click to expand...

Sometimes, I switch to my 4 string fretless J for a week or two of rehearsals. Just for something different. If I go without playing my 6 for 2 or 3 weeks, it does usually take a whole rehearsal before it starts to feel not-completely-awkward again. OTOH, a 4-string (or 5, really) always feels "good", even if I haven't played it in months.

I sold my Cirrus 6 (and all my other 35" scale Peaveys) because I just couldn't hang with the 35" scale. The extra 4mm reach from fret 1 to fret 4 was just *that* much too much for me. Going Ab to Db (G1 to A4) was hard. Trying to play Ab octaves (between G1 and E4) was *really* too much. And, for me, there are just some charts where that is much preferable to shifting over to play D6 and E4. Someday, my ability to shift around reliably without looking may get "there"... *sigh* That's another reason I play my 4 some - to force myself to do those shifts and, hopefully, get better.
 
#10,060
58kites said:
Does in need to be gold?
$22 is pricey.
Open your control cover and measure your length.
Here is a link to Marktek who will sell the part cheap and free shipping.
Switchcraft 152B 3 Conductor Double Open Circuit 1/4in Jack Nickel
Click to expand...

Thanks. I know the one in my Honeyburst is gold. But, the one I need to replace is in my black one and that one probably is chrome. I really just wanted confirmation that that is the correct part. Good point. All I need to do is open the cover, measure the length, and confirm the lugs on the end look right.

Thanks for the link. That is half the price that Allparts charts for a chrome one.
 

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