As for the new speaker thing sounding awful, don't they all? I mean you told me to either buy a new one and spend a lot of hours breaking it in, or buy a used one that someone else broke in. Isn't it just as likely that used one sounded like ass until it broke in too
LOL, some are worse than others but he new G12-65's are particularly bad. I find Alnico's sound good from the word go, the classic 80 isn't too bad either.
I've got all my G12-65's and EVM's used. In the states I would say you can find EVM's easier and cheaper than we can.
Yes I have noticed the same thing with the new G1265's.
I have bought 2 of them new over last 2 years and they all needed to be broken in and then sounded good.
Has anyone tried the Eminence Delta 12A? I'm just wondering if anyone has compared it to the real deal to tell about any differences. I have used these and love them, other than the weight, but hey, it is what it is.
"Education is what you're left with after you have forgotten what you have learned" - Enzo
So...I have my #124 with the tonestack as a low plate skyliner, with the treble cap as 390pF and the Mid Boost as .0022uF, the bypass caps are 4uF on V1a and V1b and the supply cap is 40uF as per #102 (for less sag). The LNFB is switchable and I am usually using it OFF. The PI is pretty much #124 with the 1uF presence cap but I have the VOX cut control instead of the Presence pot which is running wide open. The Master has a 15pF treble cap.
So what is bothering me about this stack is not the low end but it feels like it lacks high end making it very much like a tone control a bit rolled off. I am wondering if this is indeed the case on others builds.
There are many ways to make the amp brighter: 2.2uF Presence Cap, 330pF (or 300pF) Treble Cap, Increase the master cap to 47pF, Bright Switch on, etc...but I was curious if others have the same perception. Maybe it is an intrinsic part of the design to have a very dark clean taking the OD into account and then adding all the brightness afterwards (master and presence caps)!?
I am running RCA Long Black Plate Angled D Getter on V1 and NOS Mullard I61 White Print Halo Getter on the PI
2 x JJ 6V6 (biased at 18mA) and 220uF power supply caps.
I have a stock Fender Deluxe Reissue PT and voltages are V1 1 = 250 and V1 6 = 257; PI 1 = 255; PI 6 = 258
I'm wondering if it is really going to sound like a #124 with JJ6V6 and Deluxe PT? Even the D'Lite mostly used Vibrolux iron. How the tonestack functions would be likely different in this circuit . Happy to be proved wrong though!
I had an AB763 circuit with MM iron and JJ6V6. I did some tweaking/mods to Dumbelize it and it never ever sounded like a 50w or 100w D amp. It did sound good though
Old speaker option you peeps may be unaware of or have forgotten about is Celestion Sidewinder. It was their 1980s foray into high powered EV-ish territory.
They should be cheap and they will sound excellent.
Signatures have a 255 character limit that I could abuse, but I am not Cecil B. DeMille.
Bombacaototal wrote: ↑Thu Dec 27, 2018 12:12 pm
So...I have my #124 with the tonestack as a low plate skyliner, with the treble cap as 390pF and the Mid Boost as .0022uF, the bypass caps are 4uF on V1a and V1b and the supply cap is 40uF as per #102 (for less sag). The LNFB is switchable and I am usually using it OFF. The PI is pretty much #124 with the 1uF presence cap but I have the VOX cut control instead of the Presence pot which is running wide open. The Master has a 15pF treble cap.
So what is bothering me about this stack is not the low end but it feels like it lacks high end making it very much like a tone control a bit rolled off. I am wondering if this is indeed the case on others builds.
There are many ways to make the amp brighter: 2.2uF Presence Cap, 330pF (or 300pF) Treble Cap, Increase the master cap to 47pF, Bright Switch on, etc...but I was curious if others have the same perception. Maybe it is an intrinsic part of the design to have a very dark clean taking the OD into account and then adding all the brightness afterwards (master and presence caps)!?
I am running RCA Long Black Plate Angled D Getter on V1 and NOS Mullard I61 White Print Halo Getter on the PI
2 x JJ 6V6 (biased at 18mA) and 220uF power supply caps.
I have a stock Fender Deluxe Reissue PT and voltages are V1 1 = 250 and V1 6 = 257; PI 1 = 255; PI 6 = 258
Play it for a while and get as used to it as you can before deciding what to do. I took a day to get used to my Bandmaster conversion and then nailed a small bright over the clean volume. They are a little dark and they should be.. I think if you built out the prensence circuit you would be happier. It is surprisingly more useful than many other presence circuits and it does a great deal (even at settings less than 5) to make the highend sit right.
Also, I discovered best settings overall were all tone stack controls somewhat less than 5 on the dials. I ended at choosing 330p treble cap and adding just a touch more control rotation. Amp is neutral and nice to most any guitar.
Signatures have a 255 character limit that I could abuse, but I am not Cecil B. DeMille.
Reeltarded wrote: ↑Thu Dec 27, 2018 3:53 pm
Old speaker option you peeps may be unaware of or have forgotten about is Celestion Sidewinder. It was their 1980s foray into high powered EV-ish territory.
They should be cheap and they will sound excellent.
I did a speaker trial yesterday. 16 Ohms contestants were: Classic Lead 80, Century Neo (UK made - not the Vintage), Celestion Gold.
The Classic Lead was by far my favourite followed by the Century (my favourite up until now).
Thanks Marcus for preaching about the 16ohm CL80, they are indeed great!
Reeltarded wrote: ↑Thu Dec 27, 2018 4:01 pm
Play it for a while and get as used to it as you can before deciding what to do. I took a day to get used to my Bandmaster conversion and then nailed a small bright over the clean volume. They are a little dark and they should be.. I think if you built out the prensence circuit you would be happier. It is surprisingly more useful than many other presence circuits and it does a great deal (even at settings less than 5) to make the highend sit right.
Also, I discovered best settings overall were all tone stack controls somewhat less than 5 on the dials. I ended at choosing 330p treble cap and adding just a touch more control rotation. Amp is neutral and nice to most any guitar.
Good point on the presence circuit. I took the Two Rock approach with the reverse connected VOX Cut which they call Countour but I am wondering if this is contributing the the lack of high end as well. I will change it and report back!
I am fairly happy with how the amp is sounding now and there is one last thing I am overthinking.
My amp has got B+ at 418V biased at 18mA with the 2x JJ 6V6, which is about 20V to 45V lower than a 6L6 would be.
The PI is PIN1 at 255V and PIN6 at 258V with NOS Mullard I61 (I had it at around 270V with a Fender 12AX7). The Power supply dropping resistors are 2.2K (PI), 22K and 2.2K (Tonestack) as per original Dumble design.
I am thinking that maybe my PI voltages are too low and should be at the 300V range like the D'lite voltage chart attached. Would it make sense to drop the 2.2K dropping resistor on the PI to 1K to increase the PI voltage and accomodate for the difference of voltage between the 6L6 and 6V6? Will it make a big difference in the sound?
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Thanks for the feedback! I appreciate it. I guess I will just leave it as is, with the 2.2K dropping resistor on the PI.
Unless there is any benefit I am missing of having the voltages higher (ie PI at 300V)?
Dropping the 2.2k to a 1k will only buy you a few more volts.So forget about trying to get 300V from that transformer!.Are you going to notice a big difference in tone from a few volts?. I don't know did you notice a big difference when you went from the Mullard to the Fender AX?. Probably not. Unless you plan on running the amp wide open for long periods of time and am really concerned about headroom. Chances are your 6V's will break up long before your PI does anyway!
Again NO!
Tony
" The psychics on my bench is the same as Dumble'"
