Needless to say, this is one unit that has been an example since its release back in the Seventies, where even nowadays it is being used as a reference in recording studios.
This old vintage Fender amp had noise issues and old capacitors that had to be replaced.
Redesigning the bias section by adding one filtering stage as well as recapping all electrolytics eliminated the noise issues and all voltages came up to factory values.
Here is the edited video, audio recorded and edited in Ardour and video done in Cinelerra-CV.
That’s what the in-game voice in Project X would say when you would choose to upgrade your shields… But…wait a minute! There were no shields in Project X! Oh, heck, anyway…
I took the chance to celebrate this year’s Midsummer by giving a present to my guitar, namely shielding the electronics with aluminium tape. Now it’s much quieter with less hum when having coil-tapped the pickups. Here are some pics!
Neat, huh? 🙂
UPDATE: I am posting the materials needed as well as some tips should anyone wishes to do this.
So, first of all here in this picture are the necessary things you need:
I’ve seen copper tapes somewhere on the net, although they are a bit more expensive. People on many guitar forums state, though, that aluminium is better at shielding against noise from fluorescent lamps.
Anyway, whatever tape you are planning on buying, make sure that the adhesive on the back is conductive, i.e. it can transfer electricity. Having a Digital Multi Meter handy when going to the store is always good to check this. If your tape does not have a conductive adhesive, it is a good idea to solder the foils together (or spill some solder, if you use aluminium, since it won’t solder).
Some tips on applying the tape to the guitar cavities:
Well, that’s it. Good luck and drop a comment with feedback if you feel like it! 🙂
Serenity is now complete, after 3 years of R & D. I know it’s a lot of time but life has its ways of getting in the way…
Anyways, on with the review!
This amp has been my testbed for all these years. High-gain designs are so difficult becouse you have to have large chassis and be very careful with the topology and grounding. Needless to say, I am very happy with the result in this not-so-big chassis. Shielding all signal cables was a must and, although tedious, it was sure as hell worth the effort and time.
One of the final modifications I installed in this baby was the Power Scaling mod by London Power. After I installed it and played, I realized that this thing should be in every high-powered amp out there by any player that values his/her hearing health and his/her music. Hell, I could even play at 2 in the morning having a great sound at such a low level that my guitar’s strings were more audible.
Of course, the speaker has to be low power for the best results in such low volumes, high rating devices can sound a bit sour. Yet, it is always safer having a speaker whose power rating matches that of the amp (actually double the amp’s power rating), just in case you forget and turn up the power settings into Party Mode. 🙂
The two pots have to be turned in unison for maintaining the same tone with the power variance, but having the ‘OUTPUT’ pot at, say, 12 o’ clock, I could use the ‘COMP’ pot from 12 o’ clock down to 7 o’ clock using it as a Master Volume with great results! One would wonder why not put both controls in a dual pot, but the ‘COMP’ pot is actually a dual pot.
Kevin O’ Connor himself helped me out whenever I needed assistance, so kudos and many thanks to him!
For more info on the Power Scaling mods you can visit this page.
Overall, Serenity is a 0-50W variable-power, switchable-gain, 2-channel amplifier.
Other features include:
– Point-to-point construction.
– Adjustable bias knobs with sensing nodes for each output valve
– Feedback and individual preamp stage switches for accessing a wide palette of
gain levels various playing styles and musical genres.
– All-tube FX loop with adjustable SEND and RETURN pots.
– Foot-switchable channels
– Power-Scaling variable power circuit with adjustable pots that vary the output down to 0 Watts while maintaining the same tone and response.
– Engraved and painted aluminium front and back panels.
No more need in buying matched tubes, this feature not only compensates for that but it lets you recalibrate the valves over time easily, only with the help of a Digital Multimeter, since each valve is unique and ages at a different rate. Plus, you can use different types of tubes with interesting results… if you know what you are doing, that is!
In the coming days I hope to find the time to record some clips. So stay tuned and
thanks for reading. Catch you later!
The newest of my creations. Built following instructions found in London Power’s Speaker Book, this ‘small’ cabinet is a true beast, debunking once more the 4×12 cab myths about loudness etc. Its design allows for clever placing anywhere inside the room, while at the same tine the lower detuned port allows the speaker’s full range of frequencies to escape. It really gives the feeling of a more wide angle of dispersion, which helps the player a lot.
It’s built with 19mm thick MDF, the speaker element itself being a Celestion Vintage 10″ rated at 60W. The grille cloth (see next picture) is made retractable using black velcro.
As you can see from the picture above, there are 2 parallel input jacks on the left of the speaker, as opposed to the norm where the jacks are situated on the back cover. This is because this particular speaker is part of my gear and it will be sitting in front of me, facing towards my direction. But more on this later…
Sound samples are on the way!…
A smaller re-incarnation of the F12, the F10 isolation cabinet had 2 XLR lines and a speaker line, but without the confort of placing the speaker at different angles. There was the possibility of moving the mics around a bit but that was all.
This cab was also used at a live concert with success, however.
Some years ago I started experimenting with isolation boxes. The first one I made was made of cheap wood and stone fiber. Inside it was a 12″ cab with a Jensen 100W speaker. Having an SM57 inside I could record at full power, yet the bass frequencies coming out from that box were audible, although not that much. Having the box at the balcony I could only listen a hum from it while listening to what the mic inside it was ‘hearing’ through my monitors.
That iso-box saw live action when I played live with my band, ‘Anelixis’, back in 2005. I had used a powered monitor as a stage speaker and a Marshall 50W… I can’t remember the model, though…
Since that iso-box had inherent design problems (sound isolation problems and static waves) I built a second one, this time using plywood, gypsum blocks, stone fiber and an auralex-type foil. This is the result:
Its weight was approximately 80kg. Its’ drawback was still the static waves… Yet with careful mic or speaker placement you could easily counter their effect. (You see, when you build stuff like that, you have to have the opposite walls not parallel to each other). I learnt that the hard way, but it was fun!
This box had 2 XLR lines built-in and a speaker cable line.