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212Mavguy

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212Mavguy last won the day on February 8 2020

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  1. I went down the speaker rabbit hole big time, but not for what is found in the music stores. Did the vintage thing on Fleabay. I bought them and rolled them. Speaker has larger effect on tone than output tranny or rolling tubes. I have lots of 12's and 15's. Some of them were real surprises for dirt cheap in a good way. Best of luck. Don't believe what you are told or read, your own ears have to be used. Once you have heard most of the common stuff, then you will know the basic tendencies of those models. Just like rolling tubes, but more expensive. Yes, it is a lonely pursuit. Glad for what I know as a result, but yep, $$$. Need to thin the herd in a big way now. Glad I took that path though!
  2. For once I wasn't misbehaving. Glad someone took up the slack! Gladder that you got it going well. If you used an appropriate cleaner on those pots go ahead and put it back together, if just rotating them back and forth with no cleaner put it back together, but it will get noisy again sooner than if you used an appropriate cleaner.
  3. +1 for preceding post... times many. Careful approach with safety is correct. On those switches, yes, contact cleaner...wiggle them when wet then let them dry a good hour.
  4. KBP went the front end route...great. He knows. From the back end, the power section... Make sure all four of the power tubes are straight in their sockets. Look for a bit of blue glow in all of them when taken from standby to operate. A lightning show with loud crackling means shut it off NOW. Could be a short inside the tube. If you got to see the light show remove the tube(s) that did the lightning show to the exhibition cabinet or safe disposal. Could be that a tube went out and took out a screen resistor. Should not be a horribly difficult repair with that amp in worst case. If it were mine and it went silent or nearly so I'd yank the power tube glass and measure voltages at the pins of each tube socket in the power section. Tubes die. Power sections get hurt more often than the preamp, power tubes are more delicate as a tendency than pre's are.
  5. This morning with coffee there is an Antique natural pre core H555 on the stand, seventh of seven RedPlate Aurora 34 amp heads driving a pair of 2/12's stacked Dumble style with Altec ER-12S and JBL G125-8 in the bottom one, Tone Tubby Purple Haze and Fane AXA Alnico 12 in the top. A TST one of one Hiwatt DR504 build running a pair of Minuteman nuclear missile tech Bendix 6384's instead of el34's drives the two rotor Leslie. So much fun even at dinner house 80's DB sound levels! Then the week after all that overdone geekery Igor the Frank-en-champ will come out alone like the mouse that roared...
  6. The girls of the week from my amp harem...one to drive a cab. the other to drive the Leslie. Or a pair of combos or amps/cabs in stereo. Sometimes I like one at a time, other times two is more fun. Any more than that gets tedious.
  7. You have it, perfectly. Yesterday RJ's cousin Cinderella ('61 Harmony H-306A) got laid down and pulled train on three speakers in a row. The longtime regular was the University diffusicone 12, first strange was a vintage Pioneer 12" alnico hifi speaker, which is a low watt jensen p anything killer, then finally she did a JBL MI-12. The University is a full range speaker, great for my Stephen Stern Duo Jet, and the Pioneer had almost the same amount of range, was a bit less efficient bot wonderful sounding that pioneer would be great in a Fender Deluxe circuit. The JBL had the best voice clean and dirty so it's the new regular now... move over little dog cause the big dog's moving in...
  8. Put her on the carpet face down early this morning, removed the back baffle of the combo cab, removed the nuts and washers from the four studs. Plugged in my fave soldering iron and stuck a dry terry wash cloth under the work areas to keep molten material from falling on and sticking to the cone. Used the hot iron to remove the wires from the speaker terminals. It was then that I realized why it was a bit compressed and not super loud on the db meter...i had hooked up the 8 ohm tap when there was a 16 ohm tap available from the waaaay upgraded output transformer. The speaker I removed was a 30w rated 8-16 ohm 1962 vintage University Diffusicone 12. It was a great sounding, light weight speaker that delivered a full range response. That amp was magical in touch and tone while using a speaker never designed for guitar amp use. The speaker replacing it was. It is a much newer Tone Tubby Nashville 16 ohm with a 60 oz. "yank the screwdriver out of your hand" ceramic magnet. It is rated for 75 watts. Its sweet, velvet covered hammer palette sonically evokes the 60's 200w EVM 12s produced under the Altec Lansing label sitting in another cab. This time I soldered the 16 ohm tap. The diffusicone was a fantastic sounding speaker. The more efficient TT sounded significantly more more dynamic to touch, tight controlled attack clean as well as distorted, and still delivers the full range response of the diffusicone at greater headroom and max volumes as well. Kinda like putting a diamond earring in a pig snout at the TT wallet bite, but at the first note she sounded so fine I didn't care where the money went...
  9. I apologize. It appears that i am so technically guitarded that I tend to do the ten thousand words approach on a fairly consistent basis..
  10. rwinking, the dust dome is the bulge in the middle of the speaker cone, can be paper, metal, or cloth.
  11. What Steiner said. Wire the cab in series for 16, use the 16 ohm out on the amp.
  12. Dan, you got to hear the real thing. You have pretty much everyone here at a distinct disadvantage. One thing to keep in mind is that quite a few of existing Dumble originals have not been disturbed inside, and likely glass wise as well. So their today tones might not be exactly the same as when the original players first got theirs, could be a fair bit darker sounding overall. Bias can also have drift if not maintained on a regular basis on a regularly played amp over time, so that can drift the tones to another place as well. The cabs and rigs at my home won't be exact but they will be right in the neighborhood for sure. Bring your pedals and a few axes for until you're tired or done. I know what glass the great fat one used in his 80's builds. For that time it was nothing special, but for today a bit of searching and $$$ is in order to duplicate. Especially 100-300 watt heads. The 50 watt clones are so much easier to glass to greatness in their own right, not necessarily for chasing any past or existing player's tone set, but personal signature tone set.
  13. Actually, unused for that amount of time and formerly stored in the original box was a Fane AXA 12 alnico 100 watt guitar speaker. It was ruined by an amp tech before I ever got to use it. I bought it for my first eBay amp purchase, a problematic, cursed for Ampeg POS engineered design combo Mesa Boogie wannabe called VT-120. While gluing on the gasket to the front side of the frame for it's original installation he dripped some glue onto the cone's dust cover. I was wondering why it sounded like something was bouncing back and forth inside the speaker...when I removed the speaker some time later I discovered his screwup and pulled the well cured booger off the dense, fine weave cloth dust cap. Just the presence of that glue booger on the dust dome caused it to deteriorate and shed particles inside. This speaker retailed well in excess of 200 bucks new back in early 2000's dollars. I stuck it in it's original box disgusted. Discovery was after the tech had gotten fired from the shop. Not much recourse available, so in the box it went and on a shelf it existed as a f-up to be forgotten. Earlier this week I was pondering whether I could cut the dust cap open and have a look inside. Nothing to lose...200 bucks plus to send off for factory recone or take a chance on getting a few hundred hours at least for free...it is a super top end speaker. So out of it's long protective cardboard cocoon it came, I strapped on the illuminated magnifier glasses, grabbed a new single edged razor and sliced a one inch by one inch pair of cuts intersecting at a right angle. I peeled it back and saw some material that looked like tiny fragments of dust cover on the center pole piece face. Stuck in my finger and it came out with stuff sticking to it. UGH. The presently rattling speaker was presently an unusable recone candidate, which would end up over 200 after shipping both ways. The Fane's voice coil was a hi temp plastic Kapton material, substantially tougher compared to the hardened paper that most guitar speaker builders use for theirs. I razor cut the dust cover off to the point that the hole was larger in diameter than the Kapton, almost none of the cloth remained. Then I put the raw speaker face down on a towel covering the floor carpet. Plugged it into a 50 watt head and started thrashing it loud and dirty for a few minutes. Some debris was on the towel. Flipped it over cone up, did the same thing again with things REALLY set loud, (the two conure parrot tone nazis were not amused) after a few minutes there was more debris visible that had landed near the center of the pole piece. Used loops of white paper soundboard gig label tape to pull up the visibly tiny to microscopic debris from the pole piece and sides of the voice coil former. Flipped the speaker over, thrashed it, back up, thrashed it. blotted with the sticky tape again, now it's clean, rattle free, (YAAAAAY!) and after mounting it in a combo cab it surprisingly sounds as full, but warmer overall and a tad more rolled off on the top end sonically than the Tone Tubby ceramic Nashville it replaced. We are talking warm sweet and gorgeous as adjectives. Any further particles of the dust cap remnant will get bounced forward, fall and end up as a microscopic pile at the bottom of the cone getting knocked out through the grill cloth as fast as it accumulates. By the time the VC gap gets too full of crap or dust I will be pushing up daisies. The grill cloth will work well enough on its own. The nice thing, besides the fact that the speaker doesn't rattle anymore is how nice it sounds, as well as a friendly response to touch, a tad less snappy than the Tone Tubby it replaced. I had completely forgotten what a sweet set of tones it could do, all over the map. I'm going to leave it in my RedPlate Blues Machine combo for a while, the warmth it brings is nice and the bottom end is every bit as substantial as the TT ceramic Nashville. Unlike some alnico 12's Ive owned, the Fane delivers defined crunch where others were blurry. Yet, the thing I like the best about the Fane is how it sounds in single note work, there is an amazing warm throatiness, particularly. The overall slightly warmer Fane tone palette has kicked ut the Tone Tubby, but that speaker is waiting to rock in another cabinet of mine. It won't ever sit like the Fane did. It's too good sounding. Think EVM 12L at a third of the weight. Winner winner Filet Mignon dinner...
  14. The guys not touring with their original Dumbles presently is more of a risk of catastrophic loss than anything else. There are some dedicated builders doing the D-circuits very, very, well, with repairability in the build design, right here in the USA. Overseas builders for US market, best bang for buck by far with authenticity in circuit, layout and parts choice is the Ceriatone lineup. There are more than a dozen D-circuits available. For US builders, RedPlate has taken the original work to next logical evolutions, they sound great and are built to gig full time. $$$ wallet bite is huge and worth every penny in my experience, have two of 'em. Some talk about the smoothness in Dumble lead tones...not necessarily smooth at all. The internet is flooded with clips with their "Dumble" tones sounding like someone threw a wool blanket over the speaker, well meaning but naaaaah....ignants spewing. Originals were tailored by HAD to that player's tone set by adjusting a small trimmer pot on the eyelet board itself, then the preamp part of that board was encapsulated in hardened, cured plastic similar to Permatex auto gasket sealant. That trimmer controlled the gain of the first triode of the overdrives tube's two additional, cascading gain stages. Now that part is often found as a full sized pot with it's own full size knob on the back panel of a modern D-clone from Ceriatone and many others to adjust how the basic texture of the overdrive addition to the clean's output sounds. Four out of my five D-derived amps will deliver anything from the fattest lady at the opera to ripping HANGAR 18's face off in an unusually tasteful sounding fashion when the second tube is activated with the foot switch. Any player's lead tone texture is easily controlled as the result of having that formerly hidden part available as a regular knob on the outside of the amp to twiddle. Low setting is opera singer, high is the face ripper, starts right there. The second triode of that second, overdrive tube is controlled by the traditionally placed gain knob on the front panel. On the 80's Overdrive Supreme circuits the Ratio control controls how much of the signal gets dumped to ground before going to and through the fx loop area to the phase inverter...on the 90's style HRM Hot Rubber Monkey/Hot Rodded Marshall builds the lead channel has an actual separate master volume in place of the 80's builds' ratio control knob. I have only seen two separate gain controls for controlling the two sections of a twin triode preamp tube on Dumble designs. That is a huge difference for a player's control of their tone set compared to what comes from other amp circuit topologies. It is at the phase inverter section of the circuit where the real difference in a real honest to goodness Dumble lies, a subtly small but mighty one part difference huge in sonics...Howard Alexander Dumble used a tunable, adjustable phase inverter. Howard was the first put a small trim pot on one side of that circuit, on the eyelet board itself to get the two sides of the PI tube's outputs driving the two sides' pair(s) of power tubes matched evenly. That adjustment effects both sustain and harmonic content. Then the other thing that less than one percent of electric guitar players understand is how Howard Alexander Dumble could get his 100 to 300 tube watt amps to sound great at less than harmful sound pressure levels...a tube fx buffer of HAD"S original design is placed in the rudimentary Dumble circuit effects loop. Effects get plugged into send and return of the DUMBULATOR, which is placed into the host amp's amp's effects loop, send and return jacks or it is run with no effects inserted as the new master volume control for the entire amp. It was originally built as a one space fit in a rack mount. The effect of the DUMBULATOR is to allow the operator to set that amp's master volume on stage for a more musical sounding result. Ceriatone's C'lator is a refined version of the original, and offers wonderful flexibility in what it can do. They also do up a solid state version that is much more compact. Without the D-lator the amp's master volume pot is near the bottom of it's available settings, with extreme sensitivity to small adjustments even with high quality pots. With a DUMBULATOR, the amp operator adjusts that formerly cranky master volume pot waaaaaaaay higher, on up to that fabled sweet spot from 2/3 to flat out DIMED... for the most harmonic content in clean or dirty tones. THERE IS THE HIDDEN MAGIC...The D-lator becomes the new master volume control for the rig, a simple pot controlling how much signal is fed to that also HAD designed, tunable, balanced phase inverter. An original is worth around 15-35 grand, the 100-300 watt original Dumbles greatly benefited when paired with one, they were designed to be used with each other originally. They are way rarer than the amps that they are to be paired with. The C-lator units from Ceriatone are wonderful for the same reason when put in effects loops of 100-300 watt or larger Marshall, Mesa Boogie or other monster, difficult to control bossy badass behemoth tyranno-raptor pant flapping killers of small animals and your sense of hearing. If they are equipped with a simple interrupt effects loop, the D-lator circuit in the loop makes them become as tame as an old hound dog resting on your feet and the tones become as harmonically, jaw droppingly rich as the amp is capable.
  15. This post is not intended to but is going to offend some folks... but not the ones who have painstakingly done due diligence on this OP amp's parent's circuit...the high labor, high quality and high parts count Dumble Overdrive Supreme. This one appears to be denigrating an American genius's original, hand crafted art to a lowly price point presentation to the buyer... I believe that this particular so called D-clone insults Howard Alexander Dumble's work. There are those who have closely followed the story since Overdrive Supreme #124 got bought for around 50 grand somewhere around a decade ago and then uncovered the encapsulation around the formerly secret circuit, then first duplicated by a small handful of dedicated, skilled guitar amp mavens. Those guys, some now deceased, the first handful of Dumble Overdrive Supreme cloners would definitely agree... Come time for a potential repair those hand wired as close to exact original Ceriatones and even the slightly more deviant, next generation Dumble derived eyelet and turret board builds from RedPlate of mine can be repaired at home in my experiences. I've had a few small glitches and have done an output tranny swap on one of the Ceriatone #124-ish circuit board U. S. assembled Marsh Overlords with more than satisfying success...not original, not sacred, just easier to work on and actually dial in a real, semi unchaseable signature tone set on. I would run from the OP's D-clone amp even if it were offered to me for free. YMMV
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