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212Mavguy last won the day on February 23

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  1. 212Mavguy

    Guess What Amp you Play - Quiz on Reverb

    Haaaaah! Awesome! BTW, screw the survey, just buy and maintain the stable of amps you want just like your guitars. It's never done. And it's fun. Boutique amps for boutique guitars! Boutique guirars for boutique amps!
  2. 212Mavguy

    Super Eagle workout

    Very, very, very....nice playing!
  3. 212Mavguy

    Mesa Boogie Subway Series... opinions?

    The Mesa ill likely end up being more versatile in application than a Princeton will. It will respond well to tube and speaker rolling. Since price point is always a consideration, the Mesa should not be a high stress item. Relatively easy come easy go. That era of Mesa Amps are easier to work on than the new low watt ones tend to be. I think that the versatility and quality of tones avaiable between the options will be worth a lot in the decision. The Princeton circuits are simple as well as great sounding, if a bit one trick pony-ish, but a great trick... I'd get a builder to do one up with top quality iron and parts on a fresh fiberglass eyelet board for about what it would take or less than to buy a demand driven overpriced vintage real one having had potential issues accrue over time. Always best to personalize your new amp anyway.
  4. 212Mavguy

    Amp wattage vs Speakers

    @ the OP... What matters is how many watts you are using to play with and whether you are playing clean or dirty tones. It's an interesting subject... Sometimes a speaker can be blown when using an amp rated for less than the speaker is. For instance, I had Hughes & Kettner tube 20. Was playing in a loud jam situation, I had lent that amp to a friend. He had the amp cranked up and also had a dirt pedal in the fx loop. The speaker was a vintage Jensen P12n. It was a fairly high rated speaker for wattage when compared to their less beefy P12R and P12Q. It died in about an hour of loud, distorted playing from an amp running a pair of el84's!!! Got it reconed with a 50w rated VC, put it back in, and I killed it again. Never did recone that speaker again yet... The square waves I was pushing through from high volume clipping was the culprit, operator error so to speak. The stiffness in the suspension was also a factor...All other things being equal, dirty tones are harder on speakers for a given wattage than clean ones are by far. One of my friends is a Mesa lover, has a few Mark !! combos. He used to run EVM12l speakers, now has switched to using a Tone Tubby Nashville ceramic in his favorite Mark II C+ simul-class, a 100 watt 1/12 beast that runs a pair of el34's biased in class A and a pair of 6l6gc biased in class AB. The tone from the Nashville is tight, punchy, articulate, detailed, plenty of top end that never gets harsh, and very expressive to pick touch like the EVM's are, but the TT's weigh ten pounds or so less per speaker. He uses a 1/12 Mesa Thiele cab also containing a ceramic Nashville in additon to the combo amp. I think that the Nashville sounds better than the EV's and he thinks so too. He plays fairly loud when gigging, and has used that Nashville speaker rated for 75 watts, for a long time gigging out frequently without any problems. He plays country and uses dirt pedals. In his case, the speaker handles his tones well, both because he is not using more power at the gig than the speaker is rated for, and also that the speaker is well made, and has a screen dust dome. I have had great luck with JBL G125 and MI-12 speakers, they are vented and that venting helps the voice coils cool. The Jensen that got killed twice has no ventilation. The Altecs I like are sealed, but they employ the metal dust dome both as a way to extend high frequency response, and also as a heat conducting radiator to cool the voice coil. The material that the vc former is made of has a gread deal of effect on how well the speaker handles heat. Paper or cardboard voice coil formers do not handle heat as well as Kapton or aluminum formers do. So if I am looking for a speaker to handle dirty tones, I like to see some kind of ventilation, either a hole through the magnet or some sort of screen dust cover that allows air movement through it. I personally prefer speakers that to not have cone breakup at higher volumes... at all. I like to hear what the amp and guitar is putting out, clearly and well detailed. I spend a lot of $$ and time to get that harmonic detail, so I want to hear the selected tone set sounding consistently similar at loud or soft volumes without having to mess with tone knobs. Recently I switched to using tone Tubbys, and have found that they sound fantastic for what I like to do and are waaaay worth the money spent. Have a lot of 12 inch Altec and JBL speakers to sell now because of the way that the Tone Tubbys sound. YMMV. Hope this helps.
  5. Thinking foggily back in the not so certain memory that the PRS are/were designed and at least some early ones built by a man named Douglas Sewell...one of his amps was called the Wampus Cat, cool name! Might be wrong about that Sewell is the PRS guy. Ever investigate the amps Andy Fuchs builds? They are PCB also, designed with more common sense than the newest Mesa amps are, IMHO. They have killer tones, and great feature sets...several models have Dumble roots. In addition, if you have a spare real (vintage not reissue) Fender Bassman that you want some more versatility from, Fuchs amplification does the Bassman to Dumble style conversions, they have a great rep for that one. Pcb's done "right" are great sounding. Eyelet and turret board builds are better for prototyping or one off builds, PCB's are better for large production runs. My current fave amp builder besides Ceriatone is RedPlate, their main boards are a mix of eyelet and turrets, they do sing like few others clean or dirty. Their Tweedyverb trumps the 5e3 builds, more features, versatility, and wonderful tones. They are a great value on the used amp market, and the RP is a small enough operation to be able to offer great customer service.
  6. 212Mavguy

    Best amp ever

    My "Hairy Noise" Custom 30 head. Serial 03 built by the legendary Harry Joyce. Loudest sweetest 30 watts ever. Neener Neener! Oh, and I just got blocked by the forum program for adding any more reactions today! Yaaay!
  7. Haw haw haw! Which one? I have six d-styles... BTW, I asked for it, and just got it! Way to stir up the pot! hehehe!
  8. Haaaaaaaaaaaaaah! Luuuuucky! And would some folks please start posting in this area of the forum? it's too damn quiet. Time to stir up some amp drama. There already is plenty of drama written about the 225 Parsons Street sh...tuff. Somebody please get ornery and start an amp argument...or SOMETHING!
  9. I have pot cleaner, thanks. Am thinking that a previous owner might have used some that left a residue behind. All the other pots are dead silent. A note to RP about what happened resulted in a same day response indicating that trimmer had been an issue in other amps, now they do the loop buffer with a fixed value resistor in place of the trimmer. I do like the customization in response by having that trimmer in the circuit. From now on any time I have the chassis out I'm going to cycle both trimmers back and forth. Those RP guys packed a lot of features into my Blues Machine. I played it out last night and it flat out ROARED! Had some singing sustain notes that were easily controlled for as long as I wanted as well. Having a Tone Tubby Nashville ceramic in it was a definite upgrade. Thanks for your advice, BTW
  10. Just did a successful repair on my RedPlate Blues Machine. I used relentless application of logic and a bit of deduction to come up with a guess... and that ended up being what was wrong, once I found out, was the easiest fix ever. The amp was making what is called shot noise, a roaring kind of sound that often comes when a bad tube has a short in it. The noise happened when the amp was taken off standby to operate, at first fireup it would last up to thirty seconds, then fade to nothing. If a chord was hit hard and them muted, the sound would start, last several seconds and then fade. If the dirty channel was engaged and the player were to play continuously the noise would gradually build and take over some of t he tone the guitar was trying to send, causing a muddy mess instead of clearer notes. I tried swapping out every tube in the amp, no joy. Was a PITA to swap and rebias the power tubes for no joy. Then I thought about how I had heard a dirty pot do that in Igor, my Frank-en-Champ. So I started turning every single front panel pot knob I could, back and forth thirty times from stop to stop...No joy! AAAAAAUGH! What could it be? I tried to figurre out what part of the amp it was coming from, I hot socketed every preamp tube from first through the phase inverter, noticed the noise happened each time a freshly inserted tube got hot enough to start to pass current. I turned off the reverb circuit, no joy. I removed both reverb tubes, no joy. I removed the loop effects buffer tube, no audio and no joy...The next morning I got up and had the day off, I was going to do the dreaded thang, take the chassis out of the cab and put it on the amp cradle to see if anything visible or electronically measureable was happening. There were two small trimmer pots inside the chassis, one for the tube effects loop buffer level, and another for balancing the sides of the phase inverter. I was thinking that perhaps the pot for the loop buffer was misbehaving. I put on a powerful LED headlamp, disconnected the speaker jack, disconnected the reverb tank, and unscrewed the chassis. Carefully, I slid it out of the cabinet and placed it on the amp cradle. started looking over the main board, the headlamp was a great help to illuminate all the parts inside, an amazing amount and variety of them...then I looked at both trimmer pots, the socket in the center of each where the screwdriver blade went was white on the PI trimmer, and gray on the loop trimmer. I had a suspect...then I noticed the sheet medal radio frequency shield glued to the inside top of the speaker cabinet that covered the top of the chassis when the chassis was installed. There was a gray splotch of discoloration an inch and ahalf across, right over where the loop trimmer pot was. Both these trimmers were made by Piher in spain, a maker of the uber high quality resistors used in early Hiwatt and Harry Joyce amps. Top shelf stuff, so was not worried since nothing looked charred or melted. RedPlate uses super high quality parts and wire in it's amps, nothing is compromised. They are a full on boutique builder of fantastic tone machines. I fired up the amp, had the reverb and presence knobs turned off, they are a part of the feature set of the RedPlate Blues Machine for picky players to tailor their tones. Those features on or off made no difference...no joy. The speaker jack was connected with a six foot speaker cable to a 2/12 cabinet close by. Took the amp off standby, and the dreaded noise ensued for a good thirty seconds, reliable and aggravating, well, it at least it was consistent...Then I touched the very narrow screwdriver blade to the pot, some loud crackling happened. Eureka! I had found it! when I turned tha pot back and forth from stop to stop a LOT of noise came out of it. I kept turning it back and forth, after the sixth repetition all was silent...so to make sure I turned it from stop to stop around thirty times more. Take that! Then I put the amp on standby, crossed my fingers, and flipped that standby switch to play...dead silent...the noise was GONE! I played that amp for a few minutes, took it on and off standby a half dozen times, and all was good. Turned it off, waited a few minutes for the power tubes to cool so I wouldn't get a blistering skin burn when trying to reinsert the chassis into the cab. Slid that sucker in, inserted and snugged the bolts, hooked up the cab speaker and reverb tank,then turned it on, waited thirty seconds, and turned the stanbly switch to "on". All good! I noticed quite a bit more clarity in the tones than before, had so much fun that I kept playing through it quite loudly for a full hour, gleefully making some loud noises with it as the speaker was still new and needed some pummeling to finish breaking it in. I decided that from now on every time I play a guitar I'm going to cycle the volume and tone pots back and forth twenty or thirty times to keep the wiper and plate from gunking up. There is a change in the tone towards clarity when the pots are kept clean from use...That amp had sat unused for several months because I was playing and working on a couple other amps in the harem. At least I know where that noise is coming from the next time it happens, if it ever does again!
  11. 212Mavguy


    Puuuurty wavy gravy this one does. GREAT work, Brent. You are a fearless leader................................................................................................................... ...RESPECT!
  12. 212Mavguy

    Change at Heritage Guitar

    HOC crew, remember about common sense. Wait and see. Don't get yer panties in a bunch. Right now, if you don't work there you don't know the whole story...don't spead useless gossip...keep the faith. Bumps in the short term, better for the long. Shit happens. Flexibility and adaptability are what keeps a worker competitive in today's environment. External forces to a company have more effect than the old days. In the mean time, if you have the resources, stock up as much as possible on what you can afford to what they aren't gonna make for the next few months. Supply and demand will reward in the medium and longer term for sure.
  13. 212Mavguy

    NSD's...Hemp content...

    @Steiner...That combo was the H-bomb...and it used the older design speakers, the 40/40 ceramic and red alnico. Today you can use the new models to do the same thing, the 75 watt Nashville comes in both ceramic and alnico constructions, the Winterland ceramic should pair well with the Purple Haze alnico. It looks like Tone Tubby took a page out of the James Bullough Lansing speaker design book, they have a new model of alnico called the Green Monster Crush, in regular and low profile versions, 50 watts, it uses a double roll cloth surround attached to their hemp cone a la JBL and Altec. That one is supposed to be their brightest speaker yet. Another new model is called the Double D black. The cone has been dipped twice in a hardening agent for a brighter tone as well. Have to say that the ceramic Nashville is a viable replacement for the very heavy to carry (18 pound magnet) EVM 12l. My Purple Haze pair really gets singing and sustaining like no other I have heard when the gain is cranked up a bit. And that's befor breaking in... These speakers are just amazing. They have kicked some incredible speakers out of the cabs that were installed before. I have a pair of JBL MI-12's, four g125's, and an Altec labeled EVM 12 S to get rid of now, and those in their own right are fantastic sounding guitar or bass speakers. Such a dilemma! (wink)
  14. I purchased three Tone Tubby 12 inch speakers last week, a very expensive purchase...One was for my RedPlate Blues Machine 1/12 combo, the other two were for a 2/12 Seismic Luke cab. I was pretty happy with the JBL MI-12 in it, that speaker had a girthy, well detailed tone set. It was an 8 ohm speaker, the amp has an oversized Mercury Magnetics output transformer that could work with a huge variety with different speaker setups, it has 2, 4, 8, and 16 ohm secondaries! On the RedPlate, the main and auxiliary speaker jacks have the same impedance, there is a knob nearby to set the desired value. I rarely have seen a guitar amp that offered so many impedance selections. Earlier, I had the opportunity to witness a Tone Tubby speaker shootout at a recording studio that featured several of their speakers in the same room for folks to try. I first heard the Nashville ceramic there. I liked the tone of that speaker a lot. I ended up buying one in a 16 ohm rating to install in the RedPlate Blues Machine combo. In the past I had tried some hemp cone speakers from a custom builder on eBay, spent a lot of money on those, and they ended up being too dark and compressed after breakin, they sit unused now. The Nashville is a very fast, tight speaker with a very articulate tone set! There is a lot of treble content, but the top end is never nasty sounding, it stays sweet even with the gain cranked up into the Marshall-y face ripping category! The low end is very big and has a lot of punch a well. This speaker will reward a player with a great sense of touch on the strings, and will expose every thing that a sloppy player does as well. It is a very honest speaker. I loved both the clean and dirty tones! There is a great amount of harmonic detail, great sounding clean and dirty. It worked perfectly in the RedPlate, I'm absolutely thrilled! The pair of Purple Haze speakers I purchased for the Luke cabinet were 8 ohms, to be wired in series to replace the JBL G125's in it, a true favorite guitar speaker of mine for it's huge sound and versatility in different gain settings, all sounding great. A lot if not most guitar speakers sound great either played with clean, or dirty tones, but not both. The JBL's did both very, very well and can be used in both low and high wattage amplification scenarios, they are incredibly versatile. Buuut...they have huge heavy magnets, close to 13 pounds for the magnet alone per speaker. So that cab was heavy to move around, even on casters. It was a huge leap of faith to choose to purchase the Purple Haze alnico speakers. They are among the most expensive guitar speakers made today. I had an idea how they might sound both from the description of construction as well as a few reviews. They absolutely met those subjective descriptions of how they sound, right out of the box with zero break in time. Earlier, when I listened to the TT Red alnico speaker, it had a big bottom end and a decent amount of top end, with plenty of mids to boot. Compared to the Nashville ceramic, the red had plenty of bottom end, but it was more loose, not as articulate and "fast" in it's response to pick touch. I actually preferred the ceramic Nashville sound over the alnico red, even though the red was more expensive. What set the Purple Haze speaker apart from other TT models was that the PH has a thinner, lighter cone. So the voice coil has less mass to move back and forth, the result is a more responsive, detailed tone set. I found the same kind of tight bottom end and quick response that the Nashville ceramic had! There a nearly as much punch in agressie pick attack as well! In addition, when playing the neck pickup, I could hear details in the mids that I never heard out of other guitar speakers, stunning! This was particularly true when playing a guitar with TV Jones classic and powertron humbuckers, Throback PAF's and HRW's would also benefit. What ever the fingers or pick was doing to the strings, that came out of the speaker. The level of detail was more than the JBL's and both clean and dirty tones exhibited an incredibly amount of detail as well. I have some alnico speakers that sounded farlu detailed clean, and very smooth almost to the point of being muddy when distorted. Not the Purple Haze! I would not hesitate to play a Marshall or especially a Hiwatt through these, I seriously doubt that even the revered purple cone Fanes sound as good as the Purple Haze does, we have a new winner! In addition, both of these Tone Tubby models need no tone knob tweaking between living room volumes and high sound pressure levels when the amp is cranked. That linear quality is like a holy grail for speaker building, both of these Tone Tubby models had no problems in doing just that. Both of these speakers deliver holy grail tones, the Purple Haze gave me the tones I have been imagining in my head, for the first time ever simply the best, most pleasing guitar speaker these ears have EVER heard. The Nashville is right there too. Strat and Tele heaven, the ceramic Nashville is! I have a collection of a few hundred vintage tubes, more than a dozen nice handwired tube amps, from six to 100 watts, and I have learned from repeated experiences that the output tranny and speaker choice deliver more impact to the amp tone than the tubes do. YMMV, but I am hugely satisfied with these Tone tubby speakers. The tone sets are versatile, linear, wonderful sounding and personally WORTH EVERY DAMN PENNY SPENT! The better the amp is, the more difference these speakers deliver, if you have a good set of ears, they will be more than amply rewarded! Boutique amps for boutique guitars! Boutique guitars for boutique amps!
  15. 212Mavguy

    NAD Bartel Sugerland

    The simple circuits are often some of the nicest sounding ones. Thinking about George Alessandro's high end stuff. The Bartel line diligently defines what a boutique amp should be.