Feel free to ask Myles

[myles_rose]

Originally posted by cheesey:

hi Myles, you recommended Mike at KCA for tubes re my Tweed Super. Mike helped me out and I ended up leaving the JJ 6L6's and he sent me nos rca 12ax7 for v2,v3 and nos ge jan phillips 6072 for v1.

the amp sounds great.

 

when you use your vicky 20112 do you jumper the channels? how do you set everything say you wanted

a good blues tone?

 

i have tried leaving the normal channel volume one notch lower than the bright channel volume.

it would be good if i could use my guitar volume to go from clean to grind but I really lose clarity when i turn down the volume. I have Lindy fralin pups, same ones used by Bill Callaham in his vintage strat repros. They came with a tone cap , had it installed and maybe they screwed up.

I am kinda getting it but still havent dialed it in yet . tried dropping the treble and raising the presence.

 

Guess I am just wondering how other tweed guys dial in their sound.

thanks again for your help

tim

Tim,

 

On my 20112 I do not jumber the channels and I use the higher gain input of the bright channel.

 

I run the tone at about 8 and the volume at just over 9:00 o'clock for most blues things with a Strat or P-90. With humbuckers I keep run the volume a bit higher actually even though those have more output but drop the tone to about 12:00 o'clock but get on the rear pickups (bridge). With the Strat I am on the neck pickup generally.

 

I use a 6072M in V1 and various 12AX7's in V2.

 

My output tubes are pretty hot running as they were selected for a high range of static current draw. They idle at about 110% of ID for the plate voltage I have. That sort of means that in a tester, at 250 plate volts with a -12.5v bias a "spec" tube should give you 45 millamps. The GEs I use give me 48-49 so in the amp they draw a bit more than a mid range tube and run a bit hotter.

[Caevan O’Shite]

>B-B-B-B-B-B-B-BUMP!!<

 

For jluckie3, and Dak!

[Caevan O’Shite]

>B-B-B-B-B-B-B-BUMP!!<

 

Again...

 

For jluckie3, and Dak!

[FormerOceanwaySlave]

[bump]

[myles_rose]

Originally posted by Dances With Werewolves:

>B-B-B-B-B-B-B-BUMP!!<

 

Again...

 

For jluckie3, and Dak!

You have a cool avatar... did you create it or is it some artist somewhere?

[bluesswing]

Originally posted by blues&swing:

Myles,

 

This question probably has been asked several times before but I would hesitate to read the whole thread to find the answer:

Do output tubes of the same type with different bias point (or gain) produce similar sound and overdrive characteristics in and around the clipping point, just the output volume level being different? I am especially interested in dual EL84 applications (Laney LC-15).

 

Thanks!

--------------------------------------------------------------------------------

 

They react very differently and the dynamics and touch sensitivity differ.

 

--------------------

Myles S. Rose

Thanks Myles for your response! One additional question about biasing the output tubes:

 

My amp thus is Laney LC-15 -- I don't know if you have the circuit diagram but here is

one: http://www.freeinfosociety.com/electronics/schematics/laneylc15.pdf ,

the bias pot is PS1. And for your information Laney's tech told me this

about how to rebias this amp:

-------------------

Rebiasing :

 

Make sure the speaker is unplugged. Switch the amp on (with current

limiter!). Allow to warm up for 90 seconds.

 

Switch the current limiter off, and adjust for -11.5 v at between R37

and R38

 

See attached diagram

-------------------------

What do you think about this method?

 

Wouldn't it be more accurate to use the current adjusting method (voltage over one ohm resistor)? If so, do you who sells bias probes with such a small diameter that they can fit into the sockets through the small openings in my amps metal shield (the holes are just little larger than the tube diameter).

 

Thanks again.

[Caevan O’Shite]

"Caevan O'Shite" here...

 

Originally posted by myles111:

"You have a cool avatar... did you create it or is it some artist somewhere?"

I wish I could take credit for the image in my avatar: I'm a virtual art-thief!

 

It is from the collection displayed on the Stonington Gallery's website. I'ts by Shaun Peterson : "Song for the Moon" Banner

(acrylic on canvas; 3' x 8'; $3,200.00).

 

CLONK HERE http://www.musicplayer.com/ubb/icons/icon2.gif http://www.stoningtongallery.com/images/season_icon.gif

 

My usual avatar- this current one (and name) is "for Halloween"- is also highjacked from the Stonington gallery's 'site.

 

Now back to real guitarists with real issues here!

[myles_rose]

Originally posted by blues&swing:

Originally posted by blues&swing:

Myles,

 

This question probably has been asked several times before but I would hesitate to read the whole thread to find the answer:

Do output tubes of the same type with different bias point (or gain) produce similar sound and overdrive characteristics in and around the clipping point, just the output volume level being different? I am especially interested in dual EL84 applications (Laney LC-15).

 

Thanks!

--------------------------------------------------------------------------------

 

They react very differently and the dynamics and touch sensitivity differ.

 

--------------------

Myles S. Rose

Thanks Myles for your response! One additional question about biasing the output tubes:

 

My amp thus is Laney LC-15 -- I don't know if you have the circuit diagram but here is

one: http://www.freeinfosociety.com/electronics/schematics/laneylc15.pdf ,

the bias pot is PS1. And for your information Laney's tech told me this

about how to rebias this amp:

-------------------

Rebiasing :

 

Make sure the speaker is unplugged. Switch the amp on (with current

limiter!). Allow to warm up for 90 seconds.

 

Switch the current limiter off, and adjust for -11.5 v at between R37

and R38

 

See attached diagram

-------------------------

What do you think about this method?

 

Wouldn't it be more accurate to use the current adjusting method (voltage over one ohm resistor)? If so, do you who sells bias probes with such a small diameter that they can fit into the sockets through the small openings in my amps metal shield (the holes are just little larger than the tube diameter).

 

Thanks again.

The method they have set up will work great.

 

Our nine pin bias adaptor would have a problem fitting in the holes that give access to the socket.

 

Adjusting using their method where there is a procedure based on their design is great. They are looking for a specific current flow so if you have a #1 tube or a #10 tube it will be in it's happiest range. You can also experiment around where you maybe drop down to -11 as an example ... this will wear out the tubes faster but yield more clean headroom. You would have to experiment and see how far you could go in either direction and how this effects sound, feel, and tube life.

[myles_rose]

Originally posted by Dances With Werewolves:

"Caevan O'Shite" here...

 

Originally posted by myles111:

"You have a cool avatar... did you create it or is it some artist somewhere?"

I wish I could take credit for the image in my avatar: I'm a virtual art-thief!

 

It is from the collection displayed on the Stonington Gallery's website. I'ts by Shaun Peterson : "Song for the Moon" Banner

(acrylic on canvas; 3' x 8'; $3,200.00).

 

CLONK HERE http://www.musicplayer.com/ubb/icons/icon2.gif http://www.stoningtongallery.com/images/season_icon.gif

 

My usual avatar- this current one (and name) is "for Halloween"- is also highjacked from the Stonington gallery's 'site.

 

Now back to real guitarists with real issues here!

It's pretty nice but at that cost I would prioritize and probably buy another amp or two ... or maybe even a better car than I drive now!

[bluesswing]

Originally posted by blues&swing:

 

quote:

--------------------------------------------------------------------------------

Originally posted by blues&swing:

Myles,

 

This question probably has been asked several times before but I would hesitate to read the whole thread to find the answer:

Do output tubes of the same type with different bias point (or gain) produce similar sound and overdrive characteristics in and around the clipping point, just the output volume level being different? I am especially interested in dual EL84 applications (Laney LC-15).

 

Thanks!

--------------------------------------------------------------------------------

 

They react very differently and the dynamics and touch sensitivity differ.

 

--------------------

Myles S. Rose

 

--------------------------------------------------------------------------------

 

Thanks Myles for your response! One additional question about biasing the output tubes:

 

My amp thus is Laney LC-15 -- I don't know if you have the circuit diagram but here is

one: http://www.freeinfosociety.com/electronics/schematics/laneylc15.pdf ,

the bias pot is PS1. And for your information Laney's tech told me this

about how to rebias this amp:

-------------------

Rebiasing :

 

Make sure the speaker is unplugged. Switch the amp on (with current

limiter!). Allow to warm up for 90 seconds.

 

Switch the current limiter off, and adjust for -11.5 v at between R37

and R38

 

See attached diagram

-------------------------

What do you think about this method?

 

Wouldn't it be more accurate to use the current adjusting method (voltage over one ohm resistor)? If so, do you who sells bias probes with such a small diameter that they can fit into the sockets through the small openings in my amps metal shield (the holes are just little larger than the tube diameter).

 

Thanks again.

--------------------------------------------------------------------------------

 

The method they have set up will work great.

 

Our nine pin bias adaptor would have a problem fitting in the holes that give access to the socket.

 

Adjusting using their method where there is a procedure based on their design is great. They are looking for a specific current flow so if you have a #1 tube or a #10 tube it will be in it's happiest range. You can also experiment around where you maybe drop down to -11 as an example ... this will wear out the tubes faster but yield more clean headroom. You would have to experiment and see how far you could go in either direction and how this effects sound, feel, and tube life.

 

--------------------

Myles S. Rose

Myles -- great to learn that this method works, saves me the trouble in finding the adapter. What does Laney mean by "current limiter" here? Is it a resistor? If so what kind? Where I need to connect it? How to "turn it on and off"?

 

Many thanks for your help here again!!

[Chris.]

Hey miles, I have a small question which you'll be able to sort out real quick. I was just looking round your site, cos i'm wanting to buy myself a nice valve amp soon (i've currently got a fender twin M80 Chorus) under the Fender vs. Marshall section it says

 

quote"

Why do some amplifiers sound "louder" than others? There are many factors, some you might know right off the bat. Power for one. Is a 100 watt amplifier twice as loud as a 50 watt one? Well, the answer here is no, not even close. When you double the power of an amplifier, you will get about 3 db more volume. 1 db is the smallest amount of perceptible loudness change than the human ear can generally hear. So, a 100 watt amplifier is just a "hair" louder than his 50 watt brother, but it will have more clean headroom.

"

 

Now i was never very good at elecrtonics, even although i've got a degree in it. I'm sure i'll be promptly corrected, but is a 3dB power level the same as saying 'twice the power', ie. -3dB is the same as half the power, ergo, half the volume.

which comes from 10log P(Watts)=P(dB),

therefore 10log(2*P) = 3dB

 

Sureley by these calculations, double the volume is achieved by double the power in watts.

 

Like i say, i didn't pay too much attention at university, so maybe i'm talking fluff.

 

Oh.. and what amp should I get for about £400?

 

.

.

.

EDIT: i've been thinking about my question, and all your thoery definately stands up, i suppose i just can't believe that Double the power only equals 3 increments of noticable volume difference. I suppose there must be some kind of inverse square thing going on there, with distance from the speaker.

 

... i'm just babbling now!

[myles_rose]

Originally posted by Chris The Ripper_C:

Hey miles, I have a small question which you'll be able to sort out real quick. I was just looking round your site, cos i'm wanting to buy myself a nice valve amp soon (i've currently got a fender twin M80 Chorus) under the Fender vs. Marshall section it says

 

quote"

Why do some amplifiers sound "louder" than others? There are many factors, some you might know right off the bat. Power for one. Is a 100 watt amplifier twice as loud as a 50 watt one? Well, the answer here is no, not even close. When you double the power of an amplifier, you will get about 3 db more volume. 1 db is the smallest amount of perceptible loudness change than the human ear can generally hear. So, a 100 watt amplifier is just a "hair" louder than his 50 watt brother, but it will have more clean headroom.

"

 

Now i was never very good at elecrtonics, even although i've got a degree in it. I'm sure i'll be promptly corrected, but is a 3dB power level the same as saying 'twice the power', ie. -3dB is the same as half the power, ergo, half the volume.

which comes from 10log P(Watts)=P(dB),

therefore 10log(2*P) = 3dB

 

Sureley by these calculations, double the volume is achieved by double the power in watts.

 

Like i say, i didn't pay too much attention at university, so maybe i'm talking fluff.

 

Oh.. and what amp should I get for about £400?

 

.

.

.

EDIT: i've been thinking about my question, and all your thoery definately stands up, i suppose i just can't believe that Double the power only equals 3 increments of noticable volume difference. I suppose there must be some kind of inverse square thing going on there, with distance from the speaker.

 

... i'm just babbling now!

+3dB is defined as double power as it takes twice as many watts to get three more decibels.

 

But - you can do much the same with speakers. One speaker may have a sensitivity of 95dB (meaning one watt in = 95dB out) while another is 103dB. That would be like almost raising your amps wattage by four times to get that increase in volume which is done by simple speaker replacement with a more efficient speaker.

[shood]

Myles, THD's website says the following about Yellow Jackets

 

"In a 100 watt amp like a Twin Reverb or Marshall 100, either two or four Yellow Jackets® can be used. If only two are used and the other two sockets are left empy, the output is dropped to about 20 watts."

 

My question is, can I leave two sockets empty on my 5150 without using Yellow Jackets? What about three? Does it matter which of the four I leave in? Thanks, as always, Myles.

 

Sean

[myles_rose]

Originally posted by shood:

Myles, THD's website says the following about Yellow Jackets

 

"In a 100 watt amp like a Twin Reverb or Marshall 100, either two or four Yellow Jackets® can be used. If only two are used and the other two sockets are left empy, the output is dropped to about 20 watts."

 

My question is, can I leave two sockets empty on my 5150 without using Yellow Jackets? What about three? Does it matter which of the four I leave in? Thanks, as always, Myles.

 

Sean

Sean,

 

The output tubes are in pairs... the two inner tubes are one pair and the two outer the other. You can only pull in pairs, never three tubes or one tube.

 

If you want to pull one pair, say the outer pair, you can run your amp as a 50 watter in a manner of speaking rather than a 100 watter, BUT ... if you have an 8 ohm cabinet as an example, with half the tubes pulled you need to set the speaker selector to half normal. In this case, 4 ohms. If you have speaker jacks instead of a selector you plug an 8 ohm cab into the 4 ohm jack.

 

With a 16 ohm cab you run it at 8 ohms.

 

Now, with only two yellow jackets in the center and the outer tubes pulled, this is fine and you do the same thing with the speaker selector as we did above.

 

The Yellow Jasckets are pretty darn cool. You will find your amp has more touch sensitivity and is very dynamic and a blast to play. This setup you mention is also a killer recording setup.

[Bbach1]

Miles, I have a Mesa Boogie Nomad 55. I want to replace the tubes. Currently in the amp, there are (5) 12AX7-A STR Mesa's and (2) EL34 STR442 Mesa's. However, according to the owners manual, the EL34's should be 6L6's. In your opinion, what would be good replacement tubes? Thanks.

[myles_rose]

Originally posted by bbach #1:

Miles, I have a Mesa Boogie Nomad 55. I want to replace the tubes. Currently in the amp, there are (5) 12AX7-A STR Mesa's and (2) EL34 STR442 Mesa's. However, according to the owners manual, the EL34's should be 6L6's. In your opinion, what would be good replacement tubes? Thanks.

Tube choice and selection is very much personal

taste and preference. You can find a document that

will go into this in great detail, and give you

information on tube types, characteristics, and also

on the rating system used by GT, conversion from

Mesa to GT and Fender to GT tables, matching information

and more.

 

http://www.guitaramplifierblueprinting.com is the

website, and the document is the Tube Primer, v1.31

which has a link and button for download or viewing.

 

V1.31 is 47 pages and not too bad to download.

 

v3.20 is in two sections and about 200 total pages

total, if you want a LOT of info.

 

On rating numbers:

 

Basically, a #1 will distort sooner, and a #10 later. If, for example,

with a mid range tube, say a #5, makes your amp start to break in the

output section at a volume setting on the amp of "4", then with a lower

number tube, like a #2, your amp would have a same sort of break into

output distortion at say a volume setting of "3". With a higher tube,

such as an #8, then you amp would stay clean to about perhaps "6" on

the volume.

 

High rating numbers are not more or less powerful, they just distort

later. These are preferred by heavy rocker that want maximum clean

output, as they get their distortion and tone from effects or pedals.

These are not as touch dynamic.

 

Low number tubes are very touch dynamic, and more suited for a

lot of folks, for smaller venues and recording.

 

Most folks prefer the 4-7 range tubes, as they are the closest in character

and touch to what the amplifier designer had in mind. They are also the most

versatile.

 

On scale conversions:

 

On Fender amps, output tubes in newer amps are

color coded. The scale is:

 

Blue = GT 1-3 rating

White = GT 4-7 rating

Red = GT 8-10 rating

 

On Mesa Boogie amps there are six color codes.

All of them are in the GT 4-6 range. These amps

have a fixed bias to staying in this range is the

same as Mesa tubes.

 

Mesa vs Groove Tubes scale

 

Red 4

Yellow 4

Green 5

Gray 5

Blue 6

White 6

[Bbach1]

Thanks Miles, I appreciate your reply. One of my main concerns is the bias setting. As you know, Mesa amps do not have a bias adjustment. This can be good or bad depending on your outlook. On one hand, I won't be screwing up any bias settings because there aren't any ajustments to make and if I purchase spec tubes right from Mesa, then I have nothing to worry about. On the other hand if I buy Svetlana for example, I may or may not have a problem. There is no way to tell until they are purchased and installed. I guess from my point of view and my geographical location, I'll just made the best decision I can based on my reading and see how they work once installed. Thanks again for your help.

[myles_rose]

Originally posted by bbach #1:

Thanks Miles, I appreciate your reply. One of my main concerns is the bias setting. As you know, Mesa amps do not have a bias adjustment. This can be good or bad depending on your outlook. On one hand, I won't be screwing up any bias settings because there aren't any ajustments to make and if I purchase spec tubes right from Mesa, then I have nothing to worry about. On the other hand if I buy Svetlana for example, I may or may not have a problem. There is no way to tell until they are purchased and installed. I guess from my point of view and my geographical location, I'll just made the best decision I can based on my reading and see how they work once installed. Thanks again for your help.

If you stick with a GT rating of 4-6 on any EL34, 6L6, or EL84 on Mesa amps you will be fine and on spec to their fixed bias.

[Bbach1]

Thanks Miles. Two more questions. What does a GT rating of 4-6 relate to in a millivolt reading?

 

Also, do I have to worry about the bias of the 5 preamp 12AX7 tubes?

 

Bob

[kyleK7]

Marshall JCM900 Recording-compensated line out

 

Hi,

 

I am trying to use the Marshall recording-compensated line out, but when I plugged it into the PA, the signal was incredibly weak and couldn't be used. Nothing I tried could get the signal up where it should be, but maybe I'm just missing something... What's wrong here?

 

Maybe the level depends on the amp master volume? If so, why is it designed that way?

 

The direct out signal level was OK, but of course it sounds horrible because it is unfiltered.

 

The effects send sounds good, but right now I can't use it because it interrupts the signal to the amp output.

 

Why is the recording-compensated out signal so weak, and what must be done to increase it?

[myles_rose]

Originally posted by bbach #1:

Thanks Miles. Two more questions. What does a GT rating of 4-6 relate to in a millivolt reading?

 

Also, do I have to worry about the bias of the 5 preamp 12AX7 tubes?

 

Bob

Bob,

 

It does not relate to a mV rating. It relates to where the tube distorts.

 

Preamp tubes are self biasing and need no adjustment.

[myles_rose]

Originally posted by kyleK7:

Marshall JCM900 Recording-compensated line out

 

Hi,

 

I am trying to use the Marshall recording-compensated line out, but when I plugged it into the PA, the signal was incredibly weak and couldn't be used. Nothing I tried could get the signal up where it should be, but maybe I'm just missing something... What's wrong here?

 

Maybe the level depends on the amp master volume? If so, why is it designed that way?

 

The direct out signal level was OK, but of course it sounds horrible because it is unfiltered.

 

The effects send sounds good, but right now I can't use it because it interrupts the signal to the amp output.

 

Why is the recording-compensated out signal so weak, and what must be done to increase it?

This should not be the case. Is your board set to line level input?

[kyleK7]

Originally posted by myles111:

This should not be the case. Is your board set to line level input?

Yes.

 

The recording-compensated line out was plugged into a line level input, and the mixer levels were all double-checked.

 

Tried other devices into the same input to be sure, and they worked OK.

[myles_rose]

Originally posted by kyleK7:

Originally posted by myles111:

This should not be the case. Is your board set to line level input?

Yes.

 

The recording-compensated line out was plugged into a line level input, and the mixer levels were all double-checked.

 

Tried other devices into the same input to be sure, and they worked OK.

I do not know what this could be. I would want to put something into that output jack and measure the voltage of the signal coming out and trace back from there.

[Dave da Dude]

Off Topic

 

Good Morning

 

Have a great day

[kyleK7]

Originally posted by myles111:

Originally posted by kyleK7:

Originally posted by myles111:

This should not be the case. Is your board set to line level input?

Yes.

 

The recording-compensated line out was plugged into a line level input, and the mixer levels were all double-checked.

 

Tried other devices into the same input to be sure, and they worked OK.

I do not know what this could be. I would want to put something into that output jack and measure the voltage of the signal coming out and trace back from there.

I have never heard a bad cable pass an extremely reduced signal before, usually it's either working or not. But I am suspecting a bad cable might be the culprit here.

 

I'll check out this possibility next week.

[henrysb3]

I still have my first amp - a Silvertone Twin Twelve 1484. Several years ago, the power transformer did a melt-down in our drummer's basement, and I ran out and bought a small (solid state) Crate chorus amp. The Silvertone went into storage as a future project. I removed the xformer and marked the leads, but hit some dead ends looking for a new one until a friend who has a guitar shop gave me another nonworking 1484 head. It looks like someone tried to mod it, as one of the input jacks had been replaced with some kind of pot. This may have been an attempt to get some kind of preamp distortion, because this amp stays clean until you really crank it. I think it's probably around 50 watts - two 6L6GC's, two preamp tubes I don't recall off the top of my head and four 12AX7's. I think one of those runs the tremelo, which is a very cool sounding trem.

 

If I go about replacing the transformer, I think I should get new caps and maybe some other components. I hesitate to take the transformer from the unknown amp, as I might just have the same problem sooner than later. In rebuilding the original, I may be able to troubleshoot the gift one. I downloaded a schematic from the net, and have some skills with a multimeter and soldering iron.

 

My questions are:

 

Is there a good source for this kind of transformer?

 

Is this amp worth rebuilding?

 

I thought this project could make a kind of neat thread on this forum, but I need to get my digital camera skills together. I have web space for photos thru my ISP that I've never used.

 

Thanks,

 

Henry

[BillWelcome Home Studios]

Worth rebuilding? I think so. Not an uncommon amp though, so you could find a used one on ebay without much trouble. I bought the set, the guitar with a tube amp in the case, the practice amp, the single 15 bass amp, and the twin twelve. I skipped the six 10 model, but Steve Stills uses a pair of them on stage.

 

I have them as a part of the "Wall O' Amps" in my studio. Sound great.

 

Bill

[myles_rose]

Originally posted by henrysb3:

I still have my first amp - a Silvertone Twin Twelve 1484. Several years ago, the power transformer did a melt-down in our drummer's basement, and I ran out and bought a small (solid state) Crate chorus amp. The Silvertone went into storage as a future project. I removed the xformer and marked the leads, but hit some dead ends looking for a new one until a friend who has a guitar shop gave me another nonworking 1484 head. It looks like someone tried to mod it, as one of the input jacks had been replaced with some kind of pot. This may have been an attempt to get some kind of preamp distortion, because this amp stays clean until you really crank it. I think it's probably around 50 watts - two 6L6GC's, two preamp tubes I don't recall off the top of my head and four 12AX7's. I think one of those runs the tremelo, which is a very cool sounding trem.

 

If I go about replacing the transformer, I think I should get new caps and maybe some other components. I hesitate to take the transformer from the unknown amp, as I might just have the same problem sooner than later. In rebuilding the original, I may be able to troubleshoot the gift one. I downloaded a schematic from the net, and have some skills with a multimeter and soldering iron.

 

My questions are:

 

Is there a good source for this kind of transformer?

 

Is this amp worth rebuilding?

 

I thought this project could make a kind of neat thread on this forum, but I need to get my digital camera skills together. I have web space for photos thru my ISP that I've never used.

 

Thanks,

 

Henry

Henry,

 

These are one of the coolest amps ever. In the 60s if you wanted a Fender Twin Reverb but could not afford one, this was the amp you got. Being about 1/2 the power of a Twin Reverb it broke up really nicely at normal levels. The reverb is sort of cheesy but that is also part of the charm.

 

They are killer amps for 60s rock and one of the coolest blues amps ever.

 

A great transformer place is Mercury Magnetics. They do things right and you will never have a transformer problem again.

 

If you start a post on this be sure to let me know and I will keep an eye on it. I will help where I can. If you are anywhere near Los Angeles I would also be happy to give you a hand on weekends if I am not booked already.

 

Great amp.

 

If you need a print on the amp go here:

 

http://www1.korksoft.com/~schem/bargainbin/silvertone1484.pdf

[myles_rose]

Originally posted by bpark@prorec.com:

Worth rebuilding? I think so. Not an uncommon amp though, so you could find a used one on ebay without much trouble. I bought the set, the guitar with a tube amp in the case, the practice amp, the single 15 bass amp, and the twin twelve. I skipped the six 10 model, but Steve Stills uses a pair of them on stage.

 

I have them as a part of the "Wall O' Amps" in my studio. Sound great.

 

Bill

Bill,

 

Looking at your avitar here made me think of my assistant Nicole. No, she does not look like the girl in your avitar as her hair is longer and lighter. Anyway, Nicole's agency is piggybacked off my website as folks go to Nicole for her gals in music videos. You can see all of them at http://www.guitaramplifierblueprinting.com/models.html

 

If you find a pix there that you want for your avitar feel free to use it (unless whoever is in your picture will throw a fit by being replaced).