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I've got an early Ampeg VT-22 non-master volume with original giant-rear end gently caress-off magnet Altec's. Feel free to ask questions, but you'll have to speak up because I can't hear you.
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Jul 8, 2010 00:06
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Has anybody done any mods to their Blackheart BH5-112? I swapped the Eminence speaker for a Pre-Rola Celestion G12M and it already sounds less like barf and more like sex, now I'm wondering if swapping the tubes could give me a little more crunch. It's got a 12AX7 pre-amp tube and an EL84 power tube, unsure of the brand but since the amp is made by Crate I wouldn't imagine it to be anything too special. What are some popular replacement tubes for this?
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May 18, 2011 19:11
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Sirius Sam posted:Not sure what brand of EL84 comes stock in Blackhearts but I know a popular replacement for EL84 type tubes is the JJ EL84 or the Mullard EL84 depending on what type of sound you want out of your amp. The JJ is just a great all around tube where as the Mullard is a straight dirty as hell nasty aggressive tube if that's what you're looking for. Yes, I want disgusting overdrive. Mullard it is!
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May 18, 2011 20:12
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Has anyone ever built their own cabinet? My uncle gave me his old 4x12 that he built out of plywood back in the 70's but the thing is gigantic; the speakers are spaced way too far apart and I can't even fit it in the trunk of my car and have the trunk closed. Are there build-guides online for 2x12 and 1x12 cabs? I already took one of the speakers and put it in my Blackheart, so now I have 3 Greenbacks without a proper home, and I'm thinking this might be a great project for my Grandpa and I to spend time together working on.
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May 22, 2011 20:25
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I just pulled the guts out of an early 80's Peavey Rockmaster 120w head I've had lying around for a while to see what brand of tubes it's got, and I'm stuck. Anyone have any info about these? (Not my pic, but same tubes)  12AX7's marked "Peavey Super 7's, Ruggedized Premium Selection, STR-395, Made In USA, AKY, 34/10/29, 12AX7A/ECC83/7025". It had two of those, and one Made in Hungary Tungsram 12AX7. I pulled that one and put it in my Blackheart BH5-112; a huge improvement. But alas, these Peavey Super 7's tubes have me stumped. The amp also has 4x6L6 "Peavey Super 6's". One forum post seems to indicate that they're rebranded Philips or Sylvania tubes. How well regarded might those tubes be? Edit: Also last week I went to a vintage guitar store and asked for a pair of 12ax7's, any pair, and the guy sold me one Russian groovetube in a Sovtek box, and an ElectroHarmonix 6CA4, claiming it would work just as well as a 12AX7 since they look the same and have the same pins. Put that one in first and almost fried my amp, burnt smell all over the place, motherfuck. 
XYZAB fucked around with this message at 23:33 on Jun 18, 2011 |
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Jun 18, 2011 23:27
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I guess I should post this here. Legend Model A 60w on a Sovtek 2x12 with two 25W/16Ω Pre-Rola Celestion G12H greenbacks in parallel for 8Ω load. I'm going back up to Calgary on Saturday to trade my 7-string Epiphone Korina V for the matching Legend 4x12 cabinet. I'd be an idiot to separate the two, even if I don't end up using the cab all that much. On that note, the Sovtek is wired at 8Ω impedance, with the two 25W speakers in parallel giving it max 50 watt rating, no? So am I in for any trouble by using a 60 watt head with a cabinet wired for 50 watts? Edit: Brettbot posted:Very cool. I used to be in a band with a guy who had a Reverberocket (actually two at one point), it always sounded great. I've got a Jet re-issue, myself. Ampeg guitar amp party on this page?! To anyone on this page talking about stoner rock amps...  XYZAB fucked around with this message at 05:05 on Aug 30, 2012 |
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Aug 30, 2012 04:55
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 Just got the one sandwiched in the middle. It sounds like heaven. 
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Feb 15, 2013 02:48
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Went to pawn shop today, emptied my pockets of $100, walked out with one of these: 1975 Sunn Concert Slave power amp. I can't seem to find much info about its exact specifications other than it's got between 150-200 watts RMS power. I've got an Ampeg VT-22, and yet that's just loving ridiculous. Seeing that I have no use for it and I know a bass player who could use a bit of raw power, it'll probably be going to him. Edit: Took a peek inside, solid-state, date of manufacture sticker says 1975. XYZAB fucked around with this message at 23:56 on Mar 12, 2013 |
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Mar 12, 2013 23:24
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Turns out I'm keeping the Sunn after all.
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Mar 18, 2013 07:09
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Crosspost from gear thread brecasue   I paid $50 for it. 
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May 24, 2013 17:50
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Anybody have any experience with old '50s/'60s Bogen PA amps repurposed as guitar amps? There's a Bogen Challenger CHA 33 for $250 at a shop in town plugged into a 4x12 that I played a few nights ago, and the thing hauls rear end. I dialed in a better stoner rock tone on that thing than I can get out of any amp I have currently. $250 is in the high range of what they seem to go for, so I'm just curious if anyone's familiar with them and what they think of them. Looks like this: 
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Jun 25, 2013 03:50
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niff posted:sounds good, is good, just beware that due to age you'll probably have to get it refurbed. Truest sentiment. I get paid on Friday and back from a generator party freakout in the mountains on Monday. If it's still there this time next week I'll be snagging it. 
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Jun 26, 2013 09:17
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My Legends had a lil' babby.   Picked up the Yamaha G5 for $75 from the same place that has the Bogen. EDIT:  HOLY poo poo IT'S MY 10TH ANNIVERSARY OF BECOMING GOON 
XYZAB fucked around with this message at 05:45 on Jun 29, 2013 |
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Jun 29, 2013 04:15
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And it can be yours for the low low price of only $2500. 
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Jul 22, 2013 06:23
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Deelon posted:Also look into Hovercraft Amps. They take various old amps and totally re-build them, the direction is usually toward the fuzzed out, heavy stoner rock sound. They're very reasonably priced, and all I've heard sound killer for that genre. gently caress yes. I've been following that guy for a while now. Chronobot rolled through town a couple weeks ago and their guitarist had a Dwarvenaut 20. Sounded deadly. I've got a Legend Model A 60, Rock 'n' Roll 50, an Ampeg VT22, a Garnet Pro 200 Super, and a Bogen CHA33 that are all great for stoner rock, and all together they cost me less than half of one Meatsmoke amp. To my ears it doesn't have to cost an arm and a leg to get that heavy if you do a bit of research and be patient in searching.
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Jul 24, 2013 07:56
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Speaking of amps and such, I just got an Ampeg System Selector, meaning I'm going to have all of my heads and cabs essentially selectable via a switch. Now, I want to solder my own speaker cables, so where's the best place online I can order bulk speaker cable by the foot and right-angle tips? Edit: I found out I can use any old electrical lamp cable and any old 1/4" TS jacks. Confirm/deny? XYZAB fucked around with this message at 03:07 on Jul 29, 2013 |
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Jul 26, 2013 10:24
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Leninboarrir posted:Does anyone have any experience with Hovercraft amps? They look/sound rad as gently caress and the dude behind them sounds really cool. I'm just wondering if it'll be worth it to drop (probably) $900+ on an amp I haven't gotten to play in person. Since nobody's replied to this, I'll just say that I've been following Hovercraft for maybe a year now and I am continually impressed. Chronobot came through Lethbridge on a tour of the prairies not too long ago and their guitar player had a Hovercraft Dwarvenaut 20 head and it sounded fantastic. If I were in the market for a vintage style tube amp for heavy riffy stoner rock I'd definitely have them at the top of my list. poo poo, if the guy puts out that 5w Ampeg VT22 inspired head again I might have to snag one.
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Sep 3, 2013 16:27
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Silver Brushes posted:This is exactly what I'm wanting but things looked so scant online I figured I would need to branch out. But all of this is good advice, I'm going to keep poking around locally. I saw Black Pussy open for Vista Chino on Friday, they had five or six 6x12's or 6x10s, a couple 2x15s or 2x12s, and about 6 heads. All Sunn. I asked where they managed to find all of them, "all over the country." So if you REALLY want to start collecting, go out on the road. 
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Sep 8, 2013 23:00
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Leninboarrir posted:That's good to hear. Unfortunately I lost my job about two weeks ago and I'm not in the position to buy something like that right now. Spaced out psych/fuzz/stoner/doom rock. Actually they're coming back to play in town tomorrow!
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Oct 9, 2013 20:36
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Leninboarrir posted:A. Thank you for giving me new stuff to listen to. No problem! Chronobot had to cancel playing in town the other night though so I couldn't give you a second appraisal of the Hovercraft.  Oh well. I just won this on eBay:  Now I have all three of the Legend amp models: a Model A 60, a Rock 'n' Roll 50, and a Super Lead 50. Maybe in the future if I see one of the 100w models for sale I'll pick one up too, BUT I've read that you can route multiple Legend amps together for a total single output power equal to the sum total power of each of the constituent amps involved, so I might be able to pump 160w out of all three. XYZAB fucked around with this message at 03:27 on Oct 14, 2013 |
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Oct 14, 2013 03:24
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Has anyone here ever thought of modifying their multi-speaker cabinets with selector switches to turn individual speakers on or off? Any idea how this might be accomplished? I.e., Let's say I have a 2x12 cab with two 25w 16Ω speakers wired in parallel for an 8Ω overall load, and let's say all of my amps are 8Ω output. I'm thinking that if I were to get creative with a couple DPDT switched mounted to the jack plate that I'd be able to disable one or the other speaker at will. The problem that I'm anticipating is that the parallel circuit would have to be cut and I would need to use the switch which disables the speaker to route the signal through a 16Ω/25w power resistor to keep the cab's total overall input load impedance at 8Ω. Does this idea make sense, and more importantly, would it work to accomplish the end goal? Edit: The reason I mentioned the watt rating of each speaker is because for some reason I had in my mind the idea that if I'm already pushing 50w through a 2x12 cab that can handle, for example, 100w (2x50w speakers), then if I could disable one of the speakers (and keep the impedance stable), then I would be driving 50 watts of power through a single 50w speaker and potentially pushing that one speaker to its design limit, thereby resulting in some sort of sweeter/more saturated tone, or does watt rating of speakers have negligible bearing on its relationship of the wattage of the amplifier and the resulting sound/tone that comes out? XYZAB fucked around with this message at 06:10 on Oct 23, 2013 |
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Oct 23, 2013 05:52
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jwh posted:That should work, though the wiring might be a bit of a pain. I currently have seven amps all wired up into an Ampeg System selector going out to three cabs and the speakers of one combo. They're all weird/old/vintage and I wouldn't have any idea how to find out their transformer tolerances. I'm taking precautionary measures relating to any of them blowing up in my face simply because they'd be a pain in the rear end to replace or repair if I got careless with unknowingly over-extending them. The wiring part I'm not too worried about, I'm always down for a new way to test my soldering and simple circuit skills. I'll see if I can't post a picture of my setup shortly, the Legend Super Lead I posted previously arrived today and has made its way to the top of a glorious stack in my jam space. 
XYZAB fucked around with this message at 06:28 on Oct 23, 2013 |
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Oct 23, 2013 06:23
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Awesome, you guys are awesome. @umalt: I do live in Canada so that stereo/mono input switching panel wouldn't be hard to obtain, but it would take the fun out of doing it myself. I've bookmarked it for reference though, so thanks! @comes along bort: I didn't know that about low frequencies potentially causing damage to speakers when dimed, and the kind of stuff I play isn't too far removed from Electric Wizard so I'll be a bit more careful from this point forward. Regarding my concern for wattage rating, I sort of phrased my question in a way that would account for a lowest possible tolerance overhead given the gear I have (taking only wattage ratings into consideration), and given the responses, it doesn't look like I have to be too concerned about it, so thanks! Now, here's a question that is not directly related to amps but I figure might be worth asking here because it may be of interest to anyone who records often: Can anyone tell me the proper term for the green bar in the following photos in relation to the assembly held in place by the pressure of the hex bolt screwed into the square connector bracket thing on the inside of the track? I want to try to find the materials to construct this exact kind of assembly so that I can mount a section to each of my cabs, then attach mic booms in the place of the flat grey metal bar along multiple sections of the track. This would essentially create a free-moving track assembly to mount microphones to amps that is highly functional and solves the problem of dealing with limited available space in a cramped recording setting. I already have an Audix Cabgrabber and it's a piece of poo poo. It fell apart after a couple years and won't stay attached to any of my amps, so I'm finally fed up with it and figure I can come up with one hell of a better way to accomplish the same thing, for probably 1/5th of the cost of a cabgrabber. I had a eureka moment not too long ago walking past this stuff in a garbage receptacle, but I'm not sure if it's actually garbage, or just something that's been taken apart for relocation somewhere else, so I'm hesitant to just take it.   EDIT: Figured it out - Channel and bolt fixings/surface fixed channels/carrying channel/unistrut. XYZAB fucked around with this message at 20:49 on Oct 23, 2013 |
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Oct 23, 2013 20:11
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  On the left, from bottom to top: • Ampeg VT22. • Pedal storage. • Legend Model A 60 // '50s Bogen CHA33 P.A. amp converted for guitar. • Legend Rock 'N' Roll 50 // Beer. • Garnet Pro 200 Super // Some old tube voltmeter because it looks cool. • Pignose 7-100 that I modded with a push-pull to cut the internal speaker when you want to line out into something else... In this case it's going into a 200w Sunn Concert Slave (and it hauls rear end) (holy poo poo is it ever nuts) • At the top is an Ampeg System Selector to mix and match heads and cabs without the hassle of disconnecting each one every time. On the right, bottom to top: • Legend 4x12. Wood grain and cane grille match the Model A 60 (they came as a pair), but it doesn't quite match the grain or grille of the other two Legend heads. • Sovtek 2x12 (shallow) loaded with early to mid '60s Pre-Rola Greenbacks (  )• Legend Super Lead 50. Not seen: • Marshall 2x12 JCM 900 Lead 1936 to the right of the 4x12. I figured since this thread is called amplifier worship that I should get around to posting my shrine eventually.
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Nov 5, 2013 20:02
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Smash it Smash hit posted:All that is beautiful. I have a shrine of heads but, It is becoming too overwhelming and thinking about selling them down to just my v4. It becomes too much to try to play something when you have sooooo many good choices. The bonus I find to having a selection like this is that each amp has its own unique and exploitable qualities. No more trying to dial in a tone that one amp can't handle with pedals that can barely cut it. Ampeg VT22: Handles pedals well, is incredibly punchy and loud. Bogen CHA33: Easy to overdrive the tubes for a natural overdriven sound. Legend Model A 60: '60s jangly Vox sound but doesn't overdrive well and can't handle pedals. Legend Rock 'N' Roll 50: '70s blues rock Marshall sound. It was used exclusively on ZZ Top's Eliminator but can handle Billy G's tone all the way back to (Somebody Else Been) Shakin' Your Tree on their first album. Plus you can bridge the preamp output in the back to the power input right beside it (each one with its own gain pot) for stupid amounts of distortion and get all the way to Truckfighters fuzz without the use of any pedals. Legend Super Lead 50: Practically the same as above, but has a distinctly hotter '80s Marshall hair metal sound to it, with added bass control and reverb. Pignose 7-100 into Sunn Concert Slave: Hilariously brown and minimalist slap in the face to gear snobs, connoisseurs of boutique equipment, and anyone who thinks they can mask their inability to play behind a million different sound effects and knobs. Basically for when I feel like I want to be Frank Zappa. Garnet Pro 200 Super: Not sure yet... I'm thinking I might sell it pretty soon. For a 50w tube/tube amp it's kind of... Wimpy? It might just need to be recapped or retubed but I haven't fallen in love with it like I thought I would. That being said, I'm finding it hard to justify selling it because they're rare as balls.  My only regret is that my VT22 is a VT22. I used to haul it around to practices until on one special occasion two years ago it dislocated my shoulder. WOO! And for that reason I've sort of been pining after a V2 head, the 60w little brother to the V4 but 10x harder to find. XYZAB fucked around with this message at 21:27 on Nov 7, 2013 |
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Nov 7, 2013 20:58
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Two Ampeg V2 heads have popped up on eBay in the last few weeks for stupid low prices. I forgot to bid on the first one, and I got out-sniped for the second one in the last five seconds of the auction. MOTHERFUCKER. Sold for $358. I am so mad right now. 
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Dec 2, 2013 20:46
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Peel that plastic off you monster.
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Dec 3, 2013 01:11
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I have no answer for you, but just wanted to say be careful. That poo poo can kill you if you don't drain the capacitors to ground or some such nonsense.
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Jan 8, 2014 04:03
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I don't know why I didn't post this here.  ~1969 Ampeg V3 head. Flew totally under the radar on eBay a couple days ago and the only other guy bidding apparently didn't know how max bids work. Will post nudes when it arrives. Anyone ever played one before? It's got dual 6L6GCs in the place of 7027As, how will this affect the amp as opposed to having 7027s? I've read that 6L6s take the total power output down a notch, confirm/deny. Edit: Also, what the gently caress do 7199 and 5AR4 tubes do? XYZAB fucked around with this message at 07:29 on Jan 12, 2014 |
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Jan 12, 2014 07:23
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jwh posted:Those are quite rare! Congratulations. I imagine it sounds similar to a V4, but probably only around 40, 50 watts? From what I can gather it was a Dan Armstrong molestation of the B25 that Ampeg commissioned to compete against the Marshall distortion sound that had been gaining traction in the late '60s, and only around 300 were pushed out the door before whoever was running Ampeg changed his mind and canned production because "distortion is a passing fad." Then something something Ampeg got bought out by Magnavox and scattered to the wind because obviously that guy was an idiot. Around that time Ampeg came up with the Dan Armstrong acrylic guitar, but Dan got disillusioned with the company right around the same time it got bought out so his son, Kent Armstrong, ended up making the pickups for it. Or something like that. Somebody correct me if I'm getting my facts mixed up, google book viewer only has so many pages of the Ampeg book readable. Anyhow, I'm guessing the V3 doesn't sound like any of the other V series amps. As far as circuit grandfathering goes, I don't think there's anything similar to it aside from the B25. The lesser wattage analogue to the V4/VT22 (100 watt or ~120 watt RMS) is the V2 (~60w). Apparently the V3 is 50 watt standard (though an old eBay auction has one listed at 56 watts), so with 6L6s that might drop it a bit. I'm really hoping it hasn't been hosed with too much on the inside. :< I'm gonna be comparing the 6L6s to two 7027s from my VT22 or Garnet or whatever and see which I prefer, but I much prefer the 7027s in my Garnet to the 6L6s I tried out in there, so it remains to be heard. Edit: I sold my Legend Model A60 to a guy I know today because I never really liked how it sounded. He came over to test it out and it sounded better than I've ever heard it. What's the deal with that poo poo? My brain trying to trick me into not selling? gently caress. Anyway, it's gone now. XYZAB fucked around with this message at 21:09 on Jan 15, 2014 |
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Jan 15, 2014 20:54
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This is still no better than setting your amp up and aiming a mic straight at the middle of the cone, if not worse than. At least with a mic stand you have the option of positioning it a little to the left, or the right, or forward, OR back if you're using multiple microphones and need to be stupidly anal about it. Though, truth be told, I've come to the realization that mic cab mounts were developed for people who aren't necessarily all that concerned about it. They're fine for gigging, frustrating for studio work. I'm half way through developing my own three axis sliding and angled microphone-to-cab/rack/cage mount using steel unistrut, springbolts, locking lever hinges, and custom CNC'd metal beams because this ampclamp/cabgrabber bullshit straight up doesn't work worth a flying gently caress and it angers the gently caress out of me. Gently caress. Can I swear in this forum? Because holy poo poo, I'd like something that can save me the space mic stands would take up, but it would also be great if it weren't stuck to a single axis or prone to falling off the side of your cab when the tension loosens over time and you have no way to manually adjust it. Welp, now that I've got that out of the way I realize ampclamp is more for gigging musicians than studio recording, but still, it's annoying as gently caress when there is no suitable product on the market to fill a super niche requirement that I can imagine vividly in my mind but don't even know where to begin finding the parts for to construct. (Just kidding, that just means there's an opportunity for me to get innovative and creative.) Boz0r posted:That reminds me, how do you mic your amps? When I play, some guy always comes over and positions my mic straight on at the middle of the cone, but I don't think he really knows anything about it. As far as miking amps goes: At a gig, you can aim a 57 or whatever dynamic card/supercard mic at centre cone straight or off centre/off axis without too much concern. A lot of people like to drape e609/906's off the cab because gently caress mic stands. As far as straight on centre, straight on off-centre, or off axis, find out which works for you and you can generally eyeball that poo poo the next time around. Close and straight is going to be sharp on the high end, the more off axis you go the more rounded out (less attack definition) will be coming through the other side. Mic placement at gigs is less important than in the studio, because mic placement at a gig is generally for sound reinforcement through the house monitors (assuming you're playing at a bar or something). In those situations, that sound is reinforcing what's coming through the guitar amp anyway, which should be loud enough of its own accord to only need that single shoddily-placed 57 as reinforcement, if that makes any sense. I feel like this might be argued so rabble rabble rabble. That guy who comes up and puts that mic aiming right straight at the centre of your cone probably knows that he doesn't have to really give two shits about where that mic is because it's going to serve its purpose wherever he puts it in that general area anyway, and he's also probably tired of taking poo poo from guitarists who know a hell of a lot less than they act like they do. Let's just put it this way: He'd rather tell you where to shove it than to have you tell him where you like it. Protip: Make sure you get his phone number and buy him dinner first if you plan to take your relationship to that next level. you gon get raped Personal use at home: Right now I have two old Pearl RD16 cardioid dynamic mics hanging off my Sovtek 2x12 thanks to an Audix Cabgrabber (which is a piece of poo poo and partly to do with my above rant) in X/Y practically at the centre of one of the cones which I pan left/right in the mix. On the other cone I used to drape an e906 over the top, but then I put that on bottom snare duty so I tried a Heil PR30, but then that went on floor tom duty, so I got an old PML SP-85 cardioid pencil condenser and now that's my centre-mix guitar source. Use Michael Paul Stavrou's pink noise trick to first get the panned left/right X/Y mix sounding good, then come at it with the third mic in the centre to find the sweet spot where it gels with the other two, and then warn everyone else in the room that if they touch any of these mics in even the slightest way that you'll break their fingers. Off. And then bam, you're good to go. If you've got the ear for it, phase invert the centre channel 3rd mic for fun and profit and slide it up or down in the mix until it adds just the right amount of what it's doing to the mix. If you actually listened and were cognizant of how the mic placement—even the slightest movements—affected the sound of the pink noise that you heard being recorded, and if you actually found the sweet spots, that centre channel signal might just save your rear end one day. In the end it's all about experimenting. Switch your methods up and try it another way. Figure out what works; and not just what, but also how and why. Not necessarily guitar or amp related, but this is a pretty good book if you're into thinking about the hows and whys of what makes a good recorded sound and/or good mix. Edit: I write like a loving lunatic when I'm sleep deprived, wow. Feel free to ignore this post since iostream.h already hit the nail on hammer or whatever that phrase is. XYZAB fucked around with this message at 08:15 on Jan 16, 2014 |
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Jan 16, 2014 07:06
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Yeah, I was being overly dramatic about it. I got one of those Audix cabgrabbers thinking it would be great for something that it's not, but what it *is* okay for isn't all that far off from the ampclamp system; that whole 'set it and forget it' notion, which would be cool if the cabgrabber weren't prone to falling off of any cab I clamp it to. If clamp tension could be manually adjusted it would be the bees knees, but it's not like that. :/ The mic mount system I'm slowly putting together is more or less an elaboration of Bob Heil's drum mic mount:  Except instead of hard-mounting to, in this instance, the tom ring, it would be mounted to a sliding track that can be locked into place at any point along that track with a wing bolt, which takes care of the horizontal X axis. From the unistrut as a sliding horizontal base would be attached a lever-locking hinge, from which the slide-rod beam with the mic attachment, extended to a length of roughly 10-14" to account for speakers up to 15", would be mounted on the other wing of the hinge. The slide-rod beam then allows for 10-14" of movement along the Y axis, in combination with the hinge allowing that slide-rod to be rotated along the Z axis. Whereas the X axis is static, the Y and Z planes are dependent on each other for positioning. It's a simple system in theory that would eliminate the need for mic stands in the limited space I have available to me, and might not be of much interest to anyone with room to spare. Here's a sloppy photoshop collage outlining how it'll work:  The only caveat is that the track has to be either mounted to the cabinet, or mounted to an external cage or shelving unit, which I have yet to figure out. XYZAB fucked around with this message at 01:35 on Jan 18, 2014 |
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Jan 18, 2014 01:07
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iostream.h posted:Make me one that mounts across the front of my cabs allowing full adjustment along the x & y axis including mic proximity/angle adjustment (including flat-facing something like an e609) and I'll order 6 for a start.  Sounds like a plan! It'll be a bit slow-going right now due to work and time constraints, plus the R&D that I still have to work out, but I will definitely keep you posted!
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Jan 18, 2014 01:37
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iostream.h posted:haha, no worries, I totally understand, incidentally, including a 'memory' feature of some sort, a basic cable management system and have it fit, mounted permanently on the cab and still have it all fit into a flight case would be amazing. I'll take that all into consideration, but I can't really visualize how a memory feature would work. I realize the reasons you'd want it, but marking the slide rule with pencil and taking out a protractor to measure the angle of rotation might be the way she rolls. Everything else is likely doable though; when folded and tucked close to the cab it should only increase the depth required in a road case by 2" max (unless mounted inside the bevel of certain cabs straight to the same board that the speaker is attached to, or down onto the beveled edge itself, etc.). It's the actual mounting to the cab part that's got me all wrapped up, because I would ideally like to make all cab mods as unobtrusive as possible, y'know? Cuz I'd hate to drill some holes into my cab and leave a big huge mess of it after the fact, so I think I'll have to try out various diameters of wood bolt anchors that will be sturdy enough to hold the weight of, let's say up to 20 lbs of microphones at weird torsion angles, and still allow you to take the assembly off and reattach it as necessary. Like a hookup system for lack of better phrase. I'm thinking some sort of bolt anchor system with a large washer on the inside and outside of the wood face (if that turns out to be the best option) to spread the torsion force out that'll inevitably be acting upon the points of attachment...  What cabs do you own that you'd be interested in trying them on? My concern lies with HDF or MDF cabs and whether their structural integrity has been compromised due to moisture. That would be a very questionable mounting platform. And are you in the States or a metric country? Remind me to plan for supplying spare metric attachment bolts if you're in the states if and when it gets to that point. Rotten Cookies posted:
This was the first idea that popped into my head months ago when I was just figuring out what I was wanting to do. I was looking into threaded rods and nuts and bolts and arms etc. to be used like a clamp, all of which materials could be easily sourced, but the more I thought about it, the more I realized it was still an adaptation of the cabgrabber, mounted on the side, and it would require some sort of bracing arm(s) to stop it from torquing continually downward over time. Which led me to the idea of a mounted bracket style anchor and lift system to keep it in place, which, still being side-mounted, would require a lot more complication from the already somewhat complicated original idea. Instead, I was pondering my options one day at work when I passed by a metal recycling bin near a construction project and saw some unistrut with spring nut channel attachments, and that was the eureka moment. Silver Brushes posted:mig60 If this is what the back of a Mig 60 looks like:  Then no, all of those styles of cable are pretty much standard and you could probably get one at Walmart for stupid cheap. They're used for everything these days. TVs, computers, rackmount equipment, etc. Grab any old spare and it should do the trick. EDIT: Wait wait wait hold on, how is the spare one that you've got "dying"? I've got dozens of those cords connecting a whole bunch of things that I use on a regular basis and they've never just "died". I won't doubt that those cables are prone to to failure over time, but I would check to be sure. Try finding and pulling one of those AC cables from your computer or monitor or TV or something in your house that you know works all the time and test your amp again. If you still have problems, chances are it's for a whole different reason. XYZAB fucked around with this message at 04:29 on Jan 19, 2014 |
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Jan 19, 2014 04:00
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^^^  Welp, I just placed an order for a handful of locking hinges. Once they arrive I'll see about getting the slide beams CNC'd at the aluminum fabrication plant I used to work at. I've also got plat now in case you want to pm. XYZAB fucked around with this message at 09:47 on Jan 19, 2014 |
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Jan 19, 2014 09:42
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Manky posted:If you want parts cut out of low carbon steel, check out the Robinson Laser thread. YUP that'll work too! Thanks for this!
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Jan 19, 2014 19:36
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Declan MacManus posted:Mine's got hiss too, I find it isn't really noticeable when I'm playing. Is this your amp? 
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Jan 22, 2014 10:03
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Combo does not necessarily easier transport make for. I thought "I'll just get this Ampeg VT22 and take it everywhere!" Man was that ever a bad idea. With a head and cab you have two things that each weigh ~1/2 as much as a combo containing all of the same parts would. Sure, maybe you have to take two trips to the van to bring them both in or whatever, but they're easier to handle on their own. Also if you get sick of the head after a while you can sell it, keep the cab, and look for another head. Or vice versa with the cab. Speaking of amps or whatever, that Ampeg V3 showed up and holy dicks does it ever sound great. Can't post clips now but will shortly. Edit: 
XYZAB fucked around with this message at 01:23 on Jan 23, 2014 |
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Jan 23, 2014 00:42
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Smash it Smash hit posted:Look like my b25 and my v4 had a baby :3 Okay I was just pondering over this earlier; it seems to me that there are an inordinate amount of ML goons who have old Ampeg V series guitar amps, which are not exactly easy to come by. This brings me to my next question: If you are a goon who owns an old Linden NJ V series Ampeg V2/V3/V4/V9/VT40/VT22, please come out of lurking and post what you own, the story of how you came to own it, and why you sought it out. Pictures would be cool too. If there are as many V series owners as I seem to think there are, let's form a goon Ampeg V series club and talk shop tips! I own: ~1969 VT22 with the gigantic square magnet speakers as opposed to the optional Altecs. Sought it out and bought it from a guy in Ohio in 2006 because I was (and still am) huge into Kyuss/Queens. Paid $600+$150cdn + s&h ~1970 V3 (pics above) - I wasn't initially seeking it out, instead I was looking for a V2 because the VT22 is too loud, too clean, and too heavy to do anything aside from keep it in the basement, and because the V2, with its lower wattage, would theoretically be easier to overdrive. Then a V3 showed up on my eBay feed and after a bit of research it seemed to be EXACTLY what I was looking for instead. Paid $430+$100usd s&h. Scored big-time. ANYWAY if you own a V2/V3/V4/V9/VT40/VT22, stop lurking and post. I want to tally how many goons own one. Linden New Jersey models, Greenville Tennessee models, Japanese models, and current reissue models all welcome. XYZAB fucked around with this message at 04:35 on Jan 23, 2014 |
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Jan 23, 2014 03:17
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This came up on my eBay feed so I had to snag it: Tungsram, RFT, and Telefunken 12AX7s. All three for $100. quote:TEST RESULTS:TUNGSRAM TRIODE 1 TRIODE 2 I've been a stickler for Tungsrams since I had a Peavey head with three Super 7's and one Tungsram, I tried it in another few amps and it sounded better than anything else. Since then I've had "tungsram 12ax7" as an auto-search term on my eBay front page, which is how it popped up. Knowing that a single Telefunken 12AX7 can fetch $50+, and a single Tungsram is usually $40+, I figured why the hell not? $90usd Buy It Now and it had only been up for a few hours. The same guy is selling four vintage American 12AX7s for the same price, also a good deal if anyone wants to snag em. I'd act quick though.
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Jan 23, 2014 05:32
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