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212Mavguy last won the day on September 7 2015

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About 212Mavguy

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  1. Hi, Watt?

    There are two in my stable...and both of them sound absolutely fantastic. The first one I got was a Harry Joyce Custom 30 head, early 90's build on turret boards, serial #03, signed by the man. It's running a pair of Siemens el34's in the power section, with VOS euro and US glass in the preamp, I measured plate voltages more like what are found in a 50 watt amp, and the amp behaves like it has way more than 30 watts. It has a four hole input system. It does some really sweet, harmonically complex tones. cleans, riding the fence, or all out dirty roar, it delivers the goods like nobody's business. It sounds great playing out by itself, at home messing around I like to use it as the clean tone amp, running the slave out to a Dumble clone, Hiwatt cleans dominate until I hit the D-clone's boost and or dirty switches to do up some amazing Dumble dirt, wooooooooeeeeee! Talk about opera star singing tones for days...The master volume is good enough to do small clubs, that is what it is designed to do, guitar straight into amp and tweak the Normal, Bright, and Master volume knobs from song to song while playing ol' school style. This amp illuminates the player with mad skills in ears and fingers. The other one is a '74 Hylight DR112 Custom PA 100 head with the famed Partridge iron in it, all the raves about those transformers are true.... It features some stuff that IMO makes it the most desirable of all the Hiwatt amps to play guitar through, period. It had been victimized by a tech that did some sloppy work before the seller put it up, but I found and fixed the freakups on my bench. This amp has been played out by one of the best bands in the state, I have a friend in that band that likes to run my rigs. In the course of several gigs he's played through my RedPlate, Hiwatt, and Harry Joyce rigs. The other guitar player in the band is an amp builder that loves to build and play through JTM45 and Plexi circuits. The best part is that since the head has a non buffered serial fx loop, you can do things with effects that most Hiwatts can't handle, namely time based effects while playing in the dirt...and the ability to play the quietest venues by running a Dumble style tube loop buffer in that loop just like the fat man did in his legendary amps. The Dumbulator is the secret sauce of Howard Alexander Dumble's amplifier designs. Here's the old thread on that amp. Pete's as well as David's tones are all in there, in spades from chamber music levels on up to a gorgeous pant flappin' ROAR! The way I got those tones out of that amp is found in this resurrected HOC thread. The PA heads are the secret weapons from Dave Reeves that the Hiwatt herd doesn't know to follow.
  2. NAD: Orange Rocker 32

    Orange amps have been made for a very long time, like Hiwatt, the old British monsters that are still alive provide a vivid glimpse of great amp building craft. Am going to include a link to what any proper nose in the air cork sniffer would call a "real" Orange amp: one having four times the power of the OP's. The old ones were gloriously loud beasts, pet fire breathing dragons at their owners' bidding. http://www.ebay.com/itm/Vintage-1970s-Orange-OR120-Pics-Only-Graphic-120-Watt-Head-Amplifier-SERVICED-/122644156704?hash=item1c8e295120:g:ZkgAAOSw1VRZjhZe The gut shot displays a totally different way of building compared to how the Orange amps amps being made today. The build is better than a Marshall from the same time period, but not quite up to the milspec standard Hiwatt layout and build. The old Orange amp could be made today on turret strips by a dedicated boutique builder with relative ease and true to original sounds. It would not be inexpensive, the old amps used very large transformers and chokes that cost a lot to have built today, parts cost to do hardcore "right" could go over a grand. This old amp will be always easier to work on than the new ones. I looked at the guts of a modern Rockerverb 50 that died on the store floor, the PCB looked like a Chinese solder flow table build, quite a few 1/4 watt resistors were present, half at minimum of the ratings that the same spots in original circuits would have used. The iron on top of the chassis looked impressively stout, flipped over, what hooked it up wasn't so hot. I don't covet this old Orange amp though, 120 watts out of today's el34's is going to push those tubes pretty hard, factor in the increase in US wall voltage today compared to 70's, and I don't know whether there is enough of a bias supply to get today's produced el34's set so they don't fry and die quickly. For the money spent the amp gotten would be difficult to play out in today's clubs from volume control standpoint without attenuating the output. There's no serial fx loop to stick a dumbulator circuit into for improved volume control capability either. It would be awesome in a studio plugged into an isolated cabinet for recording, though. I'd rather have the new 32, PCB and all, than the old 120 watter to play out through by far. A pair of el84's sounds great on stage when pushed up to distorting levels at the same time as the preamp tubes are in order to keep up with the rhythm section's volume level(s). Adding double the power would work great for some classic country cleans at the flipping of a couple switches, back and forth from pushing half power to grind on. I'm guessing this new one has only two or three 12ax7's in it. Won't break the bank to shop vintage old stock eurotrash glass. What I like about the old amp and this new one in common are those graphics around the controls as well. They kept those after all these years. Crazy good. I hope for a long time no breakdown happy relationship for the new 32, the Heritage guitars playing through it, and the enjoying ears of the listeners! Nice dragonet! Big time thrilla'... through a 4/12 killah! Rock on!!
  3. The 633 Drive King gets a service

    Very nice set of D-tones...I could hear the differences in guitar/amp tones even through my laptop...because your cab was on the floor, as well as the native guitar/amp tone set, you had bass in your tones, Dumble proper, the other amp lifted off the floor on the tilt back stand didn't. Not a criticism...Contrast between two tone sets is better than two identical sounding guitars. All great players, was a real treat to see polished professional performers! The 633 delivered a huge palette of tonal width on just that one tune because it had a reeeeally nice guitar being played by a very skilled operator's fingers feeding it! Both amps sounded great, there was a lot of energy in the audience, yet the musicians were playing in a restrained, well controlled manner. Tone is subliminal, when an instrument sounds pretty, you get a sonic synergy upon combining two or more that relentlessly wrestles hips to wiggliing, feet to moving, and faces to smiling and more. It takes a lot of effort to put together a great sounding tone chain. Very well done! This clip plays living proof of the refrain once again: Boutique amps for boutique guitars! Boutique guitars for boutique amps!
  4. Have enjoyed the sounds gotten of this particular cab design, it is not super heavy duty, for size it is light in weight The ply is half inch, and the tolex is half the thickness of what I'm used to seeing, the corner protectors are made of thin metal, careful handliing has kept them working perfectly for years. Here's what they are, and where to get them. I look for the lowest price one of a given model, the discounted ones arrive with sloppy hole cutouts and incomplete speaker fastening hardware. A bit of time with hand tools was always worth the discount, and personally selecting and installing the kind of hardware you want to mount the speakers delivers a personal advantage. One of the auction pics displays the back baffle clearly, it is helpful to glance at it before reading on... http://www.ebay.com/itm/Seismic-Audio-212-GUITAR-SPEAKER-CABINET-EMPTY-12-Cab-2x12-Tolex-/382219815054?epid=1400466129&hash=item58fe13888e:g:8twAAOSw4kVZrvXI I had a mixed pair of Lansing designed ceramic and alnico speakers in one identical to this cab, the alnico 417C has a metal dust dome that imparted a slightly excessive crackle to the edge of the distorted tones where something smoother and glassier would sound more appropriate. Both of the speakers together had strong, but not overwhelming bass response out of this cab. The ceramic was a JBL MI-12. I had a couple of his big brothers...JBL G125-8's. I knew from using them with other amps how they would basically sound, but mainly had run them in 1/12 applications. When I put them in and ran them they were fantastic except that they became unusually and excessively bassy in this cabinet. This speaker is a secret weapon, out of production but can be had, often for nearly double this example went for. They sound great clean and particularly nice dirty, have a great feel to play through, and are very, very durable with their power handling. http://www.ebay.com/itm/JBL-G125B-8-12-034-speaker-8-ohms-works-superb-with-no-issues-/263226675518?hash=item3d4988513e%3Ag%3A1iEAAOSwvGZZx73l&nma=true&si=%2BsjGVfvm1z9Ns2My1EH4Q6i1i4U%3D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 I started playing through the cab after unscrewing the back, with it set on end for a vertical speaker arrangement, and experimented with moving the back to one side a bit at a tine to see how increasing the size of the back baffle opening effected tone, well, it did, and the effect was huge. The more open, the less overwhelming the bass was. I have a total of four of these cabs, so decided that none of them were sacred, at all, so I got out the 18 volt circular saw, adjusted the blade depth and went hacking. The first cuts were to divide the back into equal halves, but the cuts were made more towards the kitty-corner direction rather than straight down the midldle. That way one end had more opening than the other, and that bigger opening would be toward the bottom side when conventionally placed, or when positioned on end the more open end of the back baffle could be placed top or bottom depending on what the player wants to hear. Each cut area had a narrow second pass to leave a narrow gap between the segments, no rattle against each other during loud playing. in addition, the cut placements allowed fasteners from the cab's bottom and sides to hold each segment in place with significant rigidity. The half that did not have the jack was cut again into two, one part roughly twice the size of the other by design. With the smallest chunk of rear baffle removed, the opening doubled in area. The next chunk when removed left the jack's half remaining, resulting in about two thirds of the cab back open, and for those speakers it turned out to be just about perfect. But what is perfect for an indoor venue with a wall a couple inches to a foot or so behind an amp will result in a thin and nasty tone set when the same setup is used for an outdoor gig with no wall or anything else for a "sonic backstop" is present...That is where the missing chunks get put back in, the cab can be quickly tuned on the fly with one or both missing chunks replaced, the screws are left torqued down some distance into the holes so won't get lost, a driver drill gets the job done in less than two minutes tops, hand tools... five. If I did not use these speakers I would not have had enough bass on hand to be able to get away with modding the cab to its present versatility. They are part of a small, heavily researched secret tone weapon JBL speaker family few know about, G125 in 12, G135 in 15 inch, long out of production because the herd did not want to pay what they cost $$-wise new at the time. The build quality is insane in a good way. Either of them can handle a hundred watt tube amp dimed all day and laugh, yet can be driven with less than one watt to surprisingly loud and great sounding volumes. The amp tone knobs don't need to be touched going from soft to loud, either. This cab is driven by my '74 Hiwatt DR112 PA head as first choice, that amp is reminiscent of a huge cathedral's pipe organ through it, but that same cab surprisingly does Fender, Marshall, and Dumble circuit tones, what ever is playing through it, all exceptionally well, each tone set comes through with a fullness and clarity like nothing I've ever played through before. This speaker, this cab, and this simple back baffle mod came out with an unusually cost effective and incredibly useful (for me at least) result! The cab itself is very light weight for the dimensions, but at over 13 pounds each, these speakers are not. The amp heads it is primarily intended for tend to be heavy also. It's a lot more compact and lighter than any 4/12, though, with the capability to dial in the kind of huge, full, bottom to top tones and rodent killing volumes reminiscent of the bigger, heavier cab type.
  5. WTF??? Cooooooooooooool!
  6. AC30 Heads

    Well, here's one. That is one screaming deal even if a PCB layout. Personally, I favor a point to point eyelet or turret board build or Ceriatone kit for that circuit, because the AC 30 runs power tubes right at their operating limits, an if a tube lets go it's much easier to fix if that tube takes out other parts when it dies. An amp personally built is the easiest one to fix! That price is awfully tempting, flippable even. Would be fun to chase some Brian May or Beatles tones with this one. http://www.ebay.com/itm/VOX-Custom-Classic-AC30CCH-30W-Tube-Guitar-Amp-Head-w-Original-Packaging-/192304021799?epid=664936543&hash=item2cc6368127:g:GHAAAOSwyLFZrXvG
  7. NAD on the way

    I wish...not. My work speed is too slow. Am way too picky about parts selection. Takes too long to get some of the point to point connections mechanically crimped properly tight before soldering... I'd go broke. Case in point: I got into the guts of the Hiiwatt again today for a bias check, some more reflowing of suspicious looking solder joints, an inventory of what original tone caps had been replaced, and a lot more tube rolling. The 5751 I put in the PI was a tad noisy. It took all day, but it is finished and sounds absolutely glorious. The crashing sound I heard at mid gain pick attack and the horribly crackling distortion at higher gains during the time playing before now turned out to be crossover distortion from the power tubes being biased waaay too cold, around 35-40% instead of 55-65%. In addition, matching was slightly off on one side. After measuring 500 volts on the plates, I decided to go for a 65% setting. At that higher setting, I swapped two tubes so that the el34 plate current going to the OT primaries was as closely balanced between the sides as possible, less than 3 ma difference between the two pairs when finished. Then rolled some tubes, yanked the Siemens e83cc in v3 for channels 5 and 6, stuck in a very rare old British Tungsram build with an incredible, sweet sound, then found a late 50's Mullard long plate 12ax7 with very strong and tightly matched sections for the PI. I rolled 5 different vintage tubes for that spot alone, listening to each twice for ten minutes apiece to allow for full warmup. The gloriously, breathtaking results from times long gone were worth it!! But it took all day to get there, no way I could charge for all those hours on the bench. Then I let Poirot out for a look with the magnifying glass to see what the story was with all the tone cap replacements. That amp got harvested of fourteen treble caps, some of the most difficult to locate high dollar ones. The replacements sound fine, but they ain't the mama and are worth maybe a fifth to a tenth of the replacement costs of NOS Mullard Mustard originals. That's another way that a tech can make money working on amps...grrrrrr. Lots of pots, resistors, and tone caps in a tube PA amp, way more than a guitar amp.
  8. The 633 Drive King gets a service

    That sounds like a blast! I wish I lived close to one of my amp builders! Great way to get a lesson.
  9. NAD on the way

    Haah. then I'm sure he has a Pittman 85 stashed around somewhere in the motor collection...
  10. NAD on the way

    Actually this tech did a very clean looking job. All of the solder jonts were neat, no excess solder. Probably close to 15 vintage tone caps were yanked and replaced at the same time as all of the massive filter caps as well as all of the cathode bypass caps in the preamp. The volume of work performed on this amp before I got it was significant. There are a lot more parts in a PA head than a typical Hiwatt. There are 20 pots on this thing. It will be pretty expensive to source the original parts, the replacements were well chosen tonewise. I think that actually he was pretty meticulous to find that many leaky tone caps in the first place! But the root cause was his soldering iron that was too low in wattage to properly heat the work. When I was a young teen racing slot cars I did a lot of soldering on brass tubing as well as rewinding Mabuchi can motor armatures for more speed than stock. My iron was a Weller 25 watt pencil. I still have one of those. But I like their 40 watt unit more, it runs hotter and is almost as easy to get into tight spaces. Plus, the 40 watter comes with two different tips, one with a small end and one with a fat one... but each tip is made of a way more massive chunk of metal than found in the 25 watt unit. If they put a tip that big in the smaller iron it would take too long to heat up.. The fatter one is capable of doing chassis grounding solder joints very well, the massive tip ensures a lot of heat storage for dissipating into the work. It also has small lights that let the operator know that it is plugged in.
  11. NAD on the way

    The honeymoon continues...There was a major hiccup this morning...This Hiwatt head had a fair amount of work done right before I bought it, the seller played it only a half hour after picking it up from the tech before putting it up for sale. When I took it out of the box, channel five did not pass signal. All the others worked fine. The project of the day was supposed to be running the guitar into four of the six channels in parallel. When I fired up the amp this morning channels one and two were dead now. Half the channels 86'ed. No good. So took the chassis out of the headshell, hooked it up to a cab, powered it up and started off by pulling the preamp tube shields. The selller had said that he thought that all the preamp tubes were original. Well, they turned out to be a sextet of Shuguangs. Oh well. I yanked them.. Subbed in a sextet of vintage mostly 12ax7 glass salad. I looked at all the wiring inside, and came up with a suspect for the phase inverter. After putting in the other tubes, I placed a 12ax7 in that position and played to a certain volume. To verify I ran a 12at7 for a few minutes. Sure enough, my hunch proved out. Then I started looking at heater filaments in all the pre tubes, I was thinking that maybe the heaters were out on v1 and that would explain both dead channels...Sure enough, my suspicions were confirmed. V1 was cold. While looking at the sockets I noticed some recent soldering...on v1 and v2 I found what looked like cracked or cold solder joints on the heater pins, courtesy of the tech. I reflowed with a 40 watt pencil, pretty hot but quick to the touch. After reattaching the power cord I hit the mains switch...le voila ici! V1 is a go, that took care of dead channels one and two. Yanked the power cord again and started on the other dead one. Channel five turned out to be a couple cold solder joints, I noticed a couple resistor bodies lightly touching a ground bus wire, I adjusted the lead dress. Still no go. I started wiggling wires and found another funky solder joint. The Iron was hot, a couple seconds later it turned out that was the fix needed. With all six channels now functional, I filled up the preamp with the first three tubes all different makes, an Amperex globe print Mullard Blackburn went into v1, an RFT went into v2, and a Siemens E83cc went into V3, the phase inverter in v4 was rolled, and a nearly new GE green print 5751 was chosen from the candidates. Buttoned everything back up and did some four channels in parallel stuff, experimented quite a bit with multiple gain and tone settings. The tones were amazing, could get plenty of grind or some of the most sparkling gorgeous, dynamic cleans I have ever heard. Sounds easy? Nope, I'm not that smart at all. Took my all day to figure out what was wrong and how to fix it, no schematic, and luckily found all the faults without breaking out the multimeter. When wiggling the stuff, I looked for things moving at the solder joints. In channel 5,there were two bad solder joints from that tech again...a quick touch with a hot iron tip fixed all.
  12. NAD on the way

    Keep yer eyes peeled, sir. The PA heads are the least expensive, yet possibly the most capable and versatile of the Hiwatt builds. I probably paid not a lot more than what you passed on back then given the value of a dollar at that time. The quad of NOS-ish RFT el34 cost the seller almost half of what the auction ended at. Including shipping, I paid less for this Hiwatt than the suggested retail for today's Chinese Fender Deluxe Reverb in a music store. Something that is and has been going on in the amp building world underground is folks buying old Sound City amps for the chassis and Partridge Iron and then going to sources like Mark Huss' Hiwatt Pages online to get the Hiwatt model schematics and gutshots, then cloning those later, more refined Hiwatt circuits into the gutted Sound City heads with the Partridge Iron. When completed correctly the results are spectacular. Further playing through the Hiwatt caused another experiment. These amps have always been well known as great pedal platforms. I have stuck my pedals in front of as well as different styles of effects loops in various amps of mine in the past. I was not prepared for how the Hiwatt interprets those effects. They sound realy, really attractive to the ears! I did a dry/wet two amp setup with that Hiwatt and a 50w clone of Robben Ford's Dumble #102. Both amps have serial effects loops. 102 has clean and dirty channels with channel select and preamp boost switches on a control pedal. I used the Hiwatt as a dry amp, sent the signal from the Hiwatt's slave out to the D-clone's instrument input, then ran the effects pedals in that amp's loop. I ran my Hilton volume pedal into the front of the Hiwatt. Usually I run that pedal in the loop, but wish for similar volumes from both amps while playing louder or softer dictated sticking it in front of the dry amp. So now the amalgam of tones was the equivalent of stepping up to an a mythical soda fountain with 45 year old mixers offering hundreds of different milkshake flavors crafted from home made ice creams. That sweet... The D-clone has a great master that works well at practical volumes, the c-lator takes care of the need to control the Hiwatt's volume output at the same time. And as is the case with using a Dumbulator type of tube effects loop buffer in a traditional solo amp setup, the overall rig volume is handles by a single knob on the C-lator, retaining the balance between both amps as volume rises and falls. Schweet!
  13. Frankie Ballard and Keith Urban

    The funniest part was when neither of them took the lick and nothing was there but the side man guitar player, who was the glue for the song anyway while the big boys gratified each other.
  14. NAD on the way

    Thanks! I had been drooling over this type of Hiwatt for some time. My first big tube PA amp is a Fender 160PS vocal amp. It's a lot of fun to play through. But compared to the Hiwatt its preamps are noisier. This 1974 vintage head runs as quietly as can be...like Dumble clone quiet. I have had more playing time accumulated and have really, really REALLY had a blast playing through it! The first thing I checked out was running the instrument into each input. Well, channel 5 was dead silent. I looked in to see whether I could wiggle the preamp tube, but a massive metal power tube shield is in the way. I'll have to yank the chassis to investigate, no biggie since if it's not a socket issue I can take pin voltage readings and find what to fix that way. That left five inputs working. It sounded like channels one and two each came from the same tube, three and four from another, and there was a third tube's unique palette out of six. I grabbed an a/b/y switch and went to the next set of questions: could I get the smooth rich girthy lead tones territory? Would be cool to get tones that sounded David Gilmour-ish. I started off by using what I though were sensible volume and tone positions, straight up noon on channels three and four volume, treble, and bass. When I combined the channels by using that switch an increase in girth was readily apparent. As I was playing the amp, I really enjoyed the way that the clean notes sounded. There was a nice reaction to touch. Harmonic content was full and rich. The notes seem to sustain more musically than with other amps, It is difficult to describe the big Hiwatt amp cleans with any words. My ears have not found any more pleasant than what Dave Reeves and Harry Joyce's works of art produce. However, there are a lot of high frequencies present, and they really pop during aggressive chord hits thanks to the Partridge Iron and rock solid power supply. There is a reason why Hiwatts have a rep for being both very bright and very loud... Then I started cranking the gain knobs. Hiwatts are not known for having or being operated with huge amounts of gain. I found trouble, plenty of it when I cranked those gains way up with traditional tone knob settings. Whether playing through a single input or using the a/b/y box to play into two in parallel, the problem was that the distortion sounded crackly, and at an aggressive chord attack a loud crashing sound ensues, like in some of Pete's chords when he is playing aggressively in old recordings, you can hear that crash sound for a short time after the pick attack, most of the time for a small fraction of a second, but ti's most definitely there. So now I know how to get authentic tone...great. Now how do I solve that and get the breakup to sound more like my Harry Joyce Custom 30? I know that amp's dirty tones are gorgeous, and I can hear that in the decay of the Hiwatt once the bad attack sounds die out. So I started to treat this PA amp with two channels going more like what I do with my Harry Joyce. It's a four holer like most Hiwatts, normal and bright inputs, higher and lower impedance holes for each input. I set about creating a similar situation with the Hiwatt, I used the tone knobs to artificially create a normal and bright channel. In earlier experiments to get a Gilmour-ish singing lead tone I had found the best results by having the gain in the normal channel a good amount more than the bright, like a quarter knob turn difference. The bright channel's relatively cleanliness covers the grunge up, and the extra gain from the normal channel enhances sustain and harmonic bloom. So I started messing around with the tone controls. in channel 3 after a lot of listening and comparing I set the bass nearly maxed, and the treble nearly off. The other channel had been set with the bass at noon and the treble to 1:00. In most amps, a high bass setting is a harmonic killer. So be it, so what? I have another half of a tube to run the other, bright channel for the harmonic detail, there would be no loss when adding them together. And that's exactly how it worked out. It was smoother now, and nicer sounding in the sustain, but still things needed smoothing out more at the attack. Everything was there from a nice big bottom all the way up to the pixie dust on top, 3D tones for sure! I had been thinking that maybe the high preamp gain and the low master volume might not be helping that situation. Soooo...I added a bit of Dumble tech...Ceriatone's c-lator was placed in the echo in/out sockets, which was another name for a serial effects loop. This was the "big" experiment. To my knowledge I'm the first person to stick a C-lator into a Hiwatt PA head FWIW. This ability of this particular amp model, having a serial effects loop is definitely the most important feature I was looking at in choosing this PA head over the 4 holers. Could using a C-lator in the Hiwatt's loop offer the same benefits as when using one in a Dumble circuit? I had spent some serious coin to find out...I anticipated that the c-lator in the loop would solve the "HIwatt loud" volume control issues handily, what I did not count on was how while using it all of the horrible distortion sounds at attack went completely away and I was left with the choice from richly gorgeous filth to pristine cleans. The c-lator allowed me to set the master volume at noon instead of 8:00. The output of the C-lator dropped what would have been an injurious volume amount down to small room gigging levels and the nasty noises at attack WERE COMPLETELY GONE!!!!!!! So now I had this incredible medium gain singing tone, so I dialed the gains back into the clean zones for both channels. I was STILL getting a wonderful, singing sustain with CLEANS.and the top end which was easy to have way too bright had mellowed to just about perfect. The C-lator circuit as well as extra cable length capacitance added some high cut to the tones. While all this was going on, I was playing through a TC Nova multi-effects pedal in the loop. When I added the C-lator, I ran the C-lator into the amp loop and ran the Nova in and out of the C-lator's circuit now effectively embedded into the Hiwatt. Now I had high gain tones with delay and reverb that sounded sweet instead of the ragged decay from shoving time based effects into the front end of a highly distorting amp. All of the effects came through gorgeously. I doubt other non loop equipped Hiwatt players can get these tones at all. I also doubt their abilities to operate at practical gig volumes as well as self-indulgently, deafeningly loud. And I have only combined two of the six pre channels...so there is a lot more tonal ground to cover. Might have to plug that Heritage bass into it... Before I yank the chassis out and fix channel 5. There's likely more to come, this is just from the first day playing through it.
  15. NAD on the way

    Just got through unpacking and running it. Live at Leeds anyone??? WoooooooooHoooooo!