crbowman wrote:
I'm with you on the volume thing. The band I play in plays really quietly. If I walked in with a 100 watter they'd drum me out for the sheer weight of it not to mention the volume.
I can play an ODS 100 W at night with lots of funs (FET input great for this application!) and my neighbours do not even notice that I play guitar - believe me.
As a longtime owner of a "second generation" ODS I agree 100% percent with Max´s statement.Almost all of these(I know of) were modded because the owners were not really happy, probably Lindley´s amps too.
I remember seeing Lindley a number of times in the early 80s, and it seemed that his tone was evolving to something closer to the later ODS models.
I also agree with Funk that the FET input is very useable in this circuit.It kind of makes up for the gain lost in the "Funky OD entrance"(great description by Funk),at the expense of some noise.I remember using only the FET input for the first couple of years.
However, after numerous mods (in the general direction pointed out by Max), I have to say the amp sounds better now than ever, but now I am using only the NOR input.Enough Lindley tone for me, but of course not 100 percent the original tone.
I am not sure that Lindley used Altec speakers, in interviews he always said he preferred Blue Alnicos, and I think I saw these,peeking into his
cabs from the back of the stage.I would think the Altecs would be a little too harsh for his tone.
I also think that it is kind of funny that guitar players are discussing the tone of a guy who doesn´t even play guitar.IMHO the short scale of a lapsteel changes everything
Thanks for your input guys! It is greatly appreciated.
I do tend to give a great deal of weight to Brandon's opinions on these things, and I'm hoping he'll chime in here.
So, in you guys opinion, if not #40, then which of the schematics here should I work from? Maybe 40 with some tweaks? I'm not seeing much in the way of first generation documentation aside from the partial schems over at Schematic Heaven.
Also, I realize that I'm not going to get the exact same tone without the exact same instrument. I'm really just looking to get into the neighborhood.
This is good stuff! Keep it coming.....................
<i> "I've suffered for my music. Now it's your turn."</i>
typical first generation ODS, just a bit less width as all after first generation.
Look at Alexander's own #001 combo on Rob's site (picture from "The Art Of The Amplifier" M. Doyle) and you see that the speaker can't be placed in the middle of the combo because of the smaller width (OT in the way).
Filter caps placed outside chassis like in Fender amps. Front- and backplates. FET not at the wall but on the board. Different parts (in original condition - without the mods Alexander later did to some of these - you hardly find an "Orange Drop" in these), different cables and so on. Very special stuff. I love these: charming, sweet, raw and wild, cleans a bit remembering of some early 100W SSS, Tweed Deluxe OD (just to point into a direction known to most here), great amps. (IMHO).
Probably important to use a steel chassis on these?
I love this thread, frankly the whole carlton/ford thing doesn't float my boat. I'm not what you would call a light touch player, we don't need no stinking smooth Jazz...no offense to those who like that kind of stuff, just ain't my cup of tea.
Interesting thread over at TGP, Kimock has been chasing the Lindley tone for some time and owns #86 and #214, but goes a different route; http://www.thegearpage.net/board/showth ... p?t=589860
Some nice clips of his (kimock's) slide playing there too.
Do you think some of the trim/HRM stuff came along because HAD didn't want to fire up the iron for every customer tweak?
Some of Lindley's playing is so beautiful it makes me want to cry.
Probably important to use a steel chassis on these?
I love this thread, frankly the whole carlton/ford thing doesn't float my boat. I'm not what you would call a light touch player, we don't need no stinking smooth Jazz...no offense to those who like that kind of stuff, just ain't my cup of tea.
Interesting thread over at TGP, Kimock has been chasing the Lindley tone for some time and owns #86 and #214, but goes a different route; http://www.thegearpage.net/board/showth ... p?t=589860
Some nice clips of his (kimock's) slide playing there too.
Do you think some of the trim/HRM stuff came along because HAD didn't want to fire up the iron for every customer tweak?
Some of Lindley's playing is so beautiful it makes me want to cry.
-E
Thanks ER,
The Kimock clip proves there is definitely more than one way to skin a steel.
Max, are you talking about Rob Livesey's site? I've never seen the pictures you're talking about. I must be looking in the wrong place, I thought I had seen all of them.
<i> "I've suffered for my music. Now it's your turn."</i>
Max, are you talking about Rob Livesey's site? I've never seen the pictures you're talking about. I must be looking in the wrong place, I thought I had seen all of them.
I'm pretty sure it's the one in the middle on the photo's in the "blave" folder, but it doesn't have it's own folder.
ER wrote:I love this thread, frankly the whole carlton/ford thing doesn't float my boat. I'm not what you would call a light touch player, we don't need no stinking smooth Jazz...no offense to those who like that kind of stuff, just ain't my cup of tea.
Me neither and I use a high plate HRM. I've been known to beat through the finish on the guitar in months, rather than decades. I once had a LP that I refretted 6 times over 15 years.
Dumble's may do the light touch think well, but they're far from one trick pony's. Check out the recordings on my band webstie http://www.sweettoothband.com and you'll hopefully agree.
Funkalicousgroove wrote:I think the ones with more Mids had the .01 Mid cap, to decrease the upper mids, increase the value of the Mid cap.
You can also take the V2A coupler down from .02 to .01 to reduce the boominess if it is too much for you.
THe grid stoppers also make a difference. Some amps had 56K, some 68K-
So Brandon, did you find you needed to tweak the mid response on your 70's style?
Well, Mine is actually based on an ODSR sans the reverb, so there are alot of "Funky" things in it! I did build a dead nuts copy of the "Overdrive Delux" in the past, it was less gainy, darker and had more of an upper mid hump, However, with a strat that amp was capable of Early Eric Johnson Violin tones!
I play Lap steel through mine, so I like the fat mids!
Well, Mine is actually based on an ODSR sans the reverb, so there are alot of "Funky" things in it! I did build a dead nuts copy of the "Overdrive Delux" in the past, it was less gainy, darker and had more of an upper mid hump, However, with a strat that amp was capable of Early Eric Johnson Violin tones!
That "copy" wouldn't be selling for $20K on eBay right now would it????? sorry, I just couldn't resist...
sorry, I just couldn't resist...
