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Everything posted by 212Mavguy

  1. +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.
  2. 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.
  3. 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...
  4. 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.
  5. 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...
  6. 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...
  7. 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..
  8. rwinking, the dust dome is the bulge in the middle of the speaker cone, can be paper, metal, or cloth.
  9. What Steiner said. Wire the cab in series for 16, use the 16 ohm out on the amp.
  10. 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.
  11. 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...
  12. 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.
  13. @HANGAR18... I think that the phenomenon you are so aptly describing is normally called "sag". It happens in tube rectified tube guitar amps when the power tubes write a check that the tube rectified power supply doesn't have enough cash on hand to give. It takes a few moments to finish paying off the electron debt. Sag is part of the touch and tonal magic of the amp. OK, great, but...to get that to happen that 20-30-40 watt push pull power section (output tubes in pairs) amp has to be caaaaranked up waaaay too loud for it to happen under 88-98db venue front of house volume ceilings. It's more of a relic from Woodstock type of presentation to the front of the house in outdoor venues allowing old school, huge stage volumes. One thing that happens, during that time the power tubes are being starved while being thrashed is a drastic increase in distortion with lots of harmonic dressing on the tone salad, evident in chords when struck hard on the strings, sag causes a very compressed sounding, distorted chord attack Single note work, in contrast, seems to have a compressed attack, more singing sound in the sustain, harmonic content increases in long sustained notes when sag is occurring. One boutique builder's short lived but great build and sonics is the Maven Peal line of tube guitar amp heads. They featured amps from 15 to 100 watts in their line. They were solid state rectified tube amps but they had an adjustable sag control knob. Only amp I have ever known of that had that feature, used ones infrequently can be found 1500-2000-ish on eBay. The build, iron, and tone sets are sensational. Any of them can run in a practical stage setup volume and still deliver the goods in spades. You could use an attenuator to get that to happen at sensible settings, but there will be a darkening of your basic tones from them that increases with how much the output gets attenuated, along with a significant decrease in output tube life... So if the manufacturer of that amp talking about no sag in his amp, likely it will be solid state rectified and have a substantial power transformer...
  14. So exactly mimics my Frank-en-Champ experience. The single ended 5k primary 4/8/16 secondary bolted in the bottom of Igor's cabinet is closer to 6 pounds than five. It's rated at 30w RMS. Sounds like a much larger amp, and gets way louder. Filthy little Igor can keep up with a decently loud band all by his lonesome. Nobody rolls output trannys because it's inconvenient. If they could sales would quadruple.
  15. Great posts! RE: the OP...What you are hearing is a fabulously crafted masterpiece. It is a Dumble type of amp circuit. I'd be as pleased as the OP to own a 633 like this one in 50w for sure. The build is complex, yet actually easy for the knowledgeable to repair... like any great amp build is. This one has a huge variability in it's tone set built in. That's why it is so expensive, D-circuits musicaly express a huge, tasteful sounding palette width, a velvet covered hammer in this demo. Today's boutique builder D-clones can be set for the two channels to be as gorgeously clean, maniacally, metallically, monstrous, belligerently bellowing, or "That" fat lady from the opera in the hands of the right player with the right head and hands. The most true to original cloned circuits from today's boutique-ers aren't encapsulated in a Permatex type of cured plastic substance like the originals were, easy for the tech savvy to take measurements, fix, and customize for the player just like the originals now worth over a hundred grand apiece. Considerations for a future amp purchase? For my more well financially off buddy's son going to his freshman semester at full time music school college in Washington state... told dad to buy him a Tone King Sky King a couple months ago. I picked it because of the builder, the feature set, the in amp tones it does from practice room to full on recital hall volumes, and portability. They are both waaaay delighted. The world class tone set is in the amp's bones. A year ago told dad to pick up a Ceriatone Son of Yeti 20W head, a Seismic Luke 2/12 cab filled with a pair of Tone Tubby Nashville Alnico's. The kid got himself a used 450 dollar Chinese Fender Hot Rod Deluxe combo because he heard that Curt Cobain liked to play on inexpensive amps. I told the dad to tell his kid that Curt's "good amp" money went up his nose. The friend's son's bandmates waaay prefer the Ceriatone setup. So the Chinese Fender HRD will see a lot less use after the TK purchase Not sorry. On the prospective amp purchase...How is it built? Parts quality? Versatility? Portability? is it easily repairable? Does it provide the desired tone palette without modifications? What tubes does it use, how many of each type, and are replacements easily found? If used, how much worst case $$ to get it working and sounding it's best or at least like is supposed to? Worth the effort and resources to obtain what it takes? All of those come before price point to obtain true value. A couple thousand dollars over even 5 years of something really satisfying is definitely worth the butt hurt of the wallet and maybe wife bite(s). How does it hold market value and will it be easy to sell in the future? Certain brands and models do way better than others for both deserved and undeserved reasons for holding value over time. If you buy your tone retail or used, research, buy seldom, and buy well...then you will be most satisfied. Boutique amps for boutique guitars, Boutique guitars for boutique amps. Whether practicing or live, when plugged in, never compromise your tone, enhance it.
  16. My .02... Daniel, likely preaching to the choir here as far as you are concerned, but for others...on the P12N thang, the one with the ring alnico magnet, I have one and it fried the VC to a sudden stop twice, original and 50w heavy duty VC re cone with a Hughes & Kettner Tube 20, pair of SS rec'ed el84 being the death blow dealer. I still have that frozen POS. Any recone of that speaker ought to have a mesh dustcap for the VC's heat dissipation. The stock engineered setup can't handle dirty wave forms very well. If I wanted to spend money to re cone it I would put a lightweight hemp cone, a kapton VC, and yes, that mesh cap. Have some 60's Coral alnico 12's 16 ohm way better made better sound in the P12 tonal ballpark that are not being used. So that Jensen frozen carcass sits inside a cardboard box in de basement down in de deep cold ground doing suspended animation. In stock form it will do an articulate, musical clean tone. @rwinking you have me grinning. JBL/Altec sound great in my Fender circuits. My one off "Super Vibroverbed" has an Altec 418H II with a swapped in now unobtanium Classic Tone same size same iron same wire 2/4/8 ohm OT driving it. Kills any stock Super I have ever heard like an imaginary amp Witcher...Over immediately and dead, dead, dead. Vibroverb eater for breakfast. It's down tuned to around 30-32 watts running 5v4 supplied 60'svintage RCA 6bg6ga backplates on adapters. Think that gorgeous, musical Big Fender amp RCA black plate 6l6 tone set and you have it. Bedroom volume is as easy as pant flapping pic frame rattling. That speaker is more efficient and delivers significantly more detailed, dynamic, musical response than the 4 cheap CTS 10's it replaced because of that swapped OT. A vintage BF Bassman 50 OT would do the same thing. So would a Mercury Tone Clone. Vintage 80's JBL G125-8 is one hard rock/metal speaker of all time, right up with the fabled for reason EVM 12L and 12S. The same vintage JBL MI-12 and MI-15's are some of the best do it all guitar speakers of all time that nobody knows about. Acoustic guitar or drop tuned droning grunge, both delivered hugely, linearly, from moderate to cop calling volumes. great clean and great dirty tones from expensive construction now had for around a c note apiece now. Love mine. They ARE old school heavy. Get a rubber tired dolly from Home Depot...hehehe. The G125 and 135 have a 12 1/2 pound ceramic magnet and 3 inch VC, paper dust cap, the MI- series have 2 1/4 inch VC, paper dust cap, and 6 1/2 pound magnet. MI series sound great driven by small wattage amps as well as the powerful ones. My 2/12 Maverick Boogie is somewhere up in Seattle in the protective care of it's outlaw country playing owner. Vintage glass made that amp more musical. It had a wonderful clean channel, effects loop, great line out to the board, and overall was really set up well for a gigging musician... with the strong back that I don't have any more.
  17. 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
  18. @Bolero... Yes, exactly. Russky k40 y-9-s in .01 and .015, .033's were Russky k42 greenies, think everything either 400 or 630v rating for these tone caps. Also yank the original coupling caps and put some of those Russky PIO's there, nice sweetening in tone just from that. I strongly prefer to revoice an amp from the speaker forward. Get the speaker, then the new OT, those two are bigger than anything else to get right first. Then you get to start messing with filter and tone caps, Get the tone caps a dozen at a time from eBay. Takes a bit of time to arrive but the Russian sellers have been great. Way cheaper in lots of 10-15. Did forget one thing...I did a no-no and soldered some radial filter caps on top of the original can cap, pretty much doubling all the stock values with 400-450 -ish volt rating piggybacked on top. A real amp fab repair badass would have fabricated something more sanitary looking but dang, it works and sounds great. I notice better dynamics at attack now, and improved bottom end. When that old can cap finally swells and lets go a JJ can cap should work there. I'm not replacing that old original can cap, the amp runs dead quiet now. Over and over again I have increased filter cap values to double in what comes in tube rectified old guitar amp circuits with only great results. With that said, I did not increase by giant amounts, not trying to see how much I can pack in there, there is a sweet spot with how much filtering goes to different parts of the circuit. The single note work is more dynamic now, and the chords are still limited by the rec tube output anyway, they will distort and sag, while the single note work just freakin' soars...double stops split into chords during multi whole note length sustain on these circuits, with that bloom enhanced even more when the tremolo is going. The bias wiggler style tremolo starves the output tubes, they squeal sweetly in protest at the low point, and that added harmonic output is sustained when the rising current hits the plates hard again. Speaking of sustain, both of these circuits provide unusual, long sustain if the player is patient enough to utilize it, and both of these can run at bedroom volumes sounding fantastic. I always jumper two of the four inputs so that the preamp has one pair of inputs' signal going through a triode in V1, while the other pair of inputs utilize a triode in V2. The parallel inputs richen the tone, and in Rhonda Jean, her four glory holes are arranged a la Marshall, a pair in a darker, normal channel and a pair of inputs are set up as the bright channel. The Harmony H306-A (AKA Cinderella) has four similarly voiced inputs, both input channels similar, unlike her younger cousin Rhonda Jean.
  19. Forgot to mention that on both of these the original output transformers were yanked for being cheap and unworthy of what the circuits deserved. The replacements in both cases were too large and heavy to mount on the chassis so they were through bolted into the bottom corner of the cabinet. The Harmony got a late 50's early 60's vintage Magnatone 6v6 PA amp unit that was several times the mass of the original, great iron, and the Lectrolab got a rooty tooty snooty japanese super iron super wire private small builder unit with an 8k primary and 35w rating. Big iron made a giant difference in these amps.
  20. It's been a while since posting here... I have had this 1965 Lectrolab R600C, 6ca4 tube rectified, 2xel84, 14-ish watts for a few years, courtesy of Fleabay. She has just the right amount of janky beat up chintziness to her stain spattered sides, chewed wood corners peeling out under the tattered dirty blonde cloth covering, and slightly sexy sagging grill cloth to have some decent visual mojo on stage. She came with a Censen C12R that was working fine but got immediately yanked. The clean tone was too mid scooped and the dirty tone of the amp as opened out of the packing box with the volumes cranked up reminded me of a jar of angry crickets, unique for sure not as musical as I thought that the circuit should do. There was something in the circuit that was making the speaker sound like that, and all of it had to GO. Yep, the late 50 year old dirty blonde sleaze bag somehow still out to do her hustle is the look fo sho Mojo. This was the second to last operation she'll have done, then I'll be finished with a long satisfying process. While I had the chassis out I noticed that one of the wood end mounting blocks had been broken loose from the cab side and had a staple leg preventing closing the gap back up. Either shipping or more likely the previous owner had a hard drop incident. Snipped of the staple and glued the block back. Then I swapped out the four remaining low quality tone caps for some really nice Russian mil spec ones at the same values. All of the originally (chosen for cheapness, screw the sound, just get the values within 20%) tone caps have now been replaced by some sort of foil and oil super top end Russky mil spec stuff, and yes, there is a huuuuuge difference in the sound going to the swapped in speaker, a 60's vintage all original University Diffusicone, which makes the original jensen of similar age sound like what it is, a cheap crappy speaker in comparison. Now I have an amp that looks crappy but sounds very, very, boutique-y expensive. There is a real warmth to the tones with great balance from a big bottom to the pixie dust on top (Diffusicone 12 has 35-10,000 freq response) now that was not there earlier. If you ever find one of these Lectrolab R600C's, snag it. Also if you can find a Harmony H-306A they can be tweaked to sound astonishing as well. The circuit is very close to the Lectrolab's but the Harmony runs 6v6's and a 5y3, or in mine, a Bendix Red Bank 6106. They are vintage cheese amps with what looks like spaghetti true point to point wiring but these run very quiet and their bias tremolo has that unique harmonic singing thang going on in the sustain that other tremolo topologies just can't do. Only one operation remains, I am going to go to my tech and determine the best place to break the circuit for a simple interrupt FX loop. For the first time I will drill holes in the chassis (gasp) but again, even though quite rare, this was only a cheesy amp to begin with. Not sacred. Right now the amp sounds great with the fx going into the front end but I have this Dumbulator style tube loop buffer waiting. There us a lot more out there online to make it easier to learn about how to work on and how these old simpler smaller tube amps work than just a few years ago. These two models of vintage cheese amps mentioned are very good rabbit holes to explore. The results for me in terms of quality of sound improvement has been flabbergasting, frankly. Grab and go greatness here.
  21. I have one of these 2000's in Almond, anyone know how many were made? This one's really gorgeous!
  22. Thanks FredZepp, Have never posted a pic on a forum before. Am ignant on that one. The Frank-en-champ is a buttload of fun! Appreciate the welcome...very much. Wheaties
  23. First post here, name is Gary, my friends call me "Wheaties." Not a full time professional musician, but play as a hobbyist. Have been a ski instructor for 35 years, currently in my 29th consecutive winter at Deer Valley, Utah. I have a few very special hand wired boutique amps. Also a couple of pcb designs, a personally voiced Hughes & Kettner Tube 20 , also a Mesa Boogie 2/12 Maverick without a single Mesa tube or speaker in it. Just got a Weber MASS 100 watt attenuator, wish I had gotten it sooner, WOW! Have collected a few hundred vintage tubes, mainly 12ax7, 5751, and 12at7 types. Love the smell of solder fumes when tinkering with project amps as well, have gotten some amazing results with what started out as a silverface Fender Champ that only has the cab, the metal chassis, and the pots remaining as original parts. When running it through the 2/12 or 2/15 semi closed back cabs I have filled with JBL g125/g135's even with a full band present I have to turn down on stage to less than half volume with only a single 6v6 for power tube. Enough gain and volume is present for "sustain for days" and controlled feedback kinda thang. It is wired to take el34's. Most of the time it has a vintage TS 5881 in it. Have two Heritage guitars, one is a 555, antique natural with special woods package, Seth Lovers. Am one of those strange persons that names their guitars. Simply gorgeously stunning in appearance and sonics, her name is Miss D. Buttercups. I play out with this guitar. The other is a Milennium Limited Edition Ultra 2000 in Almond, has Lindy Fralin 8k/9k HB's. Her name is Miz' Uber, as in Uber-guitar. She's more lively sounding than any Les Paul type that I have heard. Not exactly fair to compare, because of the different construction in the Milennium series. I play that one mainly at home, she's pretty minty in appearance and from what I have learned is at least semi rare as far as production numbers go. The tones out of both of these instruments are to die for, and the looks on stage are truly spectacular, performing on stage for others is where Heritage guitars belong IMHO. Peace.
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