If you had to choose one: Hayseed 30 or Vox AC30?

YeatzeeGuitar. I've already installed these same tuning machines, and given that I had taken the stock nut out from the instrument, in the present, I'm waiting for having installed a new bone nut. After using these Gotoh tuners, in terms of staying in tune, would you say that your ES330 is a more reliable instrument? In other words, would you say that it stays in tune better than with the stock original tuning machines? Thanks in advance.

How did you pushed the bushes in place?

Sounds great to me! 🤘😎🤘

The imbalance, while true, is nothing when you consider how much better the Murphy Lab sounded, it mopped the floor with those congested, horrible sounding Doil Coils, your ears are obviously biased towards what your familiar with. Bruh, it wasn’t even close, that Murphy Lab is not even in the same ballpark, the tone and playability of them is second to none, they have raised the bar and I’m sorry but it eclipsed your gold top. The aesthetic flaws you speak of are a ridiculous thing to base a decision on.

I would like to have heard a Gibson Les Paul and a Fender Strat. The 330 is nice if I were playing on stage with the MB again. PT always played a Strat through his. Great video, I have watched the entire series.

Stainless steel frets are OK for some players but not for me. To my ears there is an annoying un-equable zing in the attack when using overdriven tones. I prefer the tone of time proven regular nickel silver frets like in the '50s... PRS, Gibson, Ronin and many other guitar makers don't offer stainless steel frets and there is a reason for that. All the music we enjoyed for the last 60 years was played on guitars equipped with nickel silver frets. Even though stainless steel frets may last longer, tone is more important to me than the duration of frets.

That.. Tone.. Amp.. Yes.

That SG tone is amazing💥⚡️

Great vídeos man. Awesome tone. Supers are awesome. I have 2. A 69 and a 74 NM. One with original alnico cts that are killer with drives. And the other with wharehouse g10c, bright and glassy as hell. Wonderfull man. Sugestion ...make some vídeos testing other speakers ! All the best

Best amp ever- zero tones. Guess we just need to believe you.

I like what you played to test it with so many people just bang punk rock chords when they’re testing something makes no sense. He played a pretty chord that was slowly so you could hear it.

I have a 1971 with original speakers, honestly the most perfect tone I've ever heard straight into the amp. Incredibly loud but for recording, outdoor gigs, or an amazing clean sound it can't be beat. Hopefully people keep them cheap for a while!

Leave it natural wood. 😮🙏🇬🇧🌈♥️

You don’t see very much of your fretboard when you are playing, it mostly faces forward 🥴🙏🌈🇬🇧♥️

Did he use an overdrive box in front of it?

You'll want an adhesive that's fairly rigid without being brittle, to secure the loose dust cap. You want the dust cap and cone to move together as one unit. Duco Cement would be a good choice. Don't overdo it. If you glob it on and it gets into the voice coil gap, obviously no bueno.

That jazzmaster sounds killer! Exactly the JM tone I have in my head. What pickups do you have in it? And what pot values? Been considering switching pickups and pots in mine to 250k for more balance like yours has

Ok, I understand now. You could mention this in the title to avoid misunderstanding. 🙂

They probably took the blue caps out and replaced them so they would have vintage stock for themselves and friends. Sad you cannot trust anyone to fix things without ripping you off. Car repair, carpenters, roofers, plumbers all get a bad name from the ones who rip everyone off at every opportunity.

Although I do agree, it’s an absolutely fantastic amplifier, and for a loud pedal platform there is nothing better. But what gets me is the size and weight. For me nothing beats the blackface deluxe or Princeton.

Sorry, this is nit the best guitar amplifier available today. The best is definitely the Metroplex Mk2 by Metropoulos…definitely!!!

Sounds absolutely PHENOMENAL! Especially with the Falcon...OMG Glorious! : ) Fantastic job! Also on a side note, whatever you are using for lighting and cameras, really looks great. Overall just an awesome video Like #149 by me, and a new sub. : )

Amp sounds great. Playing was great. And the video looks remarkably great too. Seriously.

For the price, SM57 is no brainer when recording guitars. Excellent microphone. Though it is a microphone with strong own sound signature. One that fits electric guitar amplifiers very well but not necessarily very true to the sound in the room. Sure positioning matters a lot. Avoiding the center of the speaker helps. With budget in my mind and knowing a few things, I went with just a bit more expanded setup. At the amplifier, I use two microphones. SM57 and 906e. 906e complements it very well and has a flatter, more extended line. For the room, I reuse my vocal microphone NT1. Then I go into the 10 channel Yamaha mixer that has 4 microphone inputs. This helps me to mix microphones already in a live environment and make it sound more true to what I hear in the room. Typically, I go from the output into the camera inputs. This saves post-production mixing and editing time. Mixer has its interface as well, and one can use that as well. Or one can use mixer output and go with that into the interface. Sure, one coild use microphone preamps in between and control the signal even more, but that just doesn't fit the investment. If you have money for preamps, go with more expensive microphones first. Anyhow, I also have 609 as an alternative to SM57. They are more alike while 906e is very different, sounding microphone. If your amplifier or cabinet has only one speaker, I plave all 3 in close proximity and play with their position. Then I mix them together. Sometimes, it means that SM57 or 609 will be almost out of the picture because they sound similarly, but positioning them differently gives you another sound. Especially if you are placing one of them at 45 degrees angle or if you pkace ine if them in the rear of the open cabinet and flip its phase. That's only if you have an option to flip the phase because a lot of cheap mixers do not have it. If the amplifier or cabinet has more speakers, then I select the one that sounds best to me and mike that one. If it has different speakers, then 609 is going to the different speaker, and I blend it in the mix until I hear what I hear in the room. Room microphones stay relatively low but adds a bit of the dimension. Good studio headphones are a big help in mixing. That's my process. Nothing unique, though. People have used that kind of setup for a long time. Regarding what's loud and how loud is perceived today, it is very funny to me. Today's PA systems are so much more powerful, but overall spund levels kinda got less loud due to all the laws and rules. When I was a teenager, concerts were so loud that days after it, you would still hear the wall of Marshall amplifiers. If you have played in a band, you would be looking for a place to rehearse. Place was no good if you wouldn't be able to play as loud as possible. The sound level was more important than the quality of performance, almost 😂 Nowadays, a lot of guitar players want 100 Watt Super Lead Plexi full stack. But, they have never been in the same room with a beast. First, what gets them is that it's way to clean and has tons of headroom and will overdrive only at insaine levels. That's plugging straight in. Then what scares everyone is effect if the sound pressure. It literally makes your pants' legs feel like a flag on the pole in hurricane winds. It literally hurts in your chest. Not to mention that hearing protection is really necessary. Even standing a side of it or even behind it is too loud in any room smaller than the middle size venue. First time you can't get over it and start enjoying it. Your guitar vocabulary turns into 3 power chords songs. A lot of people play it and say it's great but piss their pants, actually. It's way too brutal and unpractical way to play your small gigs. Once you try it, you will learn to respect people like Joe Bonnamassa even more. They are beat tamers. You have to learn to work with your guitar knobs and the dynamic of your playing. It is not just something you pick up in 2 minutes. Any Twin with 2x12 and any 4x10 Fender is brutally loud. They are loud at 3 already. No one alows high levels at the stage if you are not a big star in a big venue. That's good for the ears but bad for the guitar lovers. So many people playing have never felt volume levels that aren't as scary as full blast Plexi but are enough to make wind and make power section saturate as well. Mist if the people do not even know how their amplifier sounds. That magic sound level where guitar starts to vibrate before feedback. It feels alive in your hands. It's a great interaction. Nothing can prepare you to play loud but getting there slowly and learning how to deal with it. If more people could feel that and hear guitar at that level and tone more people would be playing guitars and guitar music would be more popular. What you hear on your phone listening to some proper rock concert is nothing like being at the concert yourself.

Wow

Sadly even non organic things like parts are subjected to decay. Even pure metal parts get damaged over time. Everything has its life time expectancy. In speakers we do have paper and cloth based parts. Isolation lacquer as well. Those are prone to decay. First, when they are just made, speakers sound harsh and brittle. Often top end sounds bad as having bad kind of distortion and it feels like boosted to much. Middle has some almost echo and clearly bad response like one you get from bad cabinet where your reflected sound hits the cone and makes it partially vibrate. Lows are to stiff and speaker can’t reach the lows that it should be able to play. Lows sound forced. This all changes relatively quick looking at the lifespan of the speaker. Some little good burn in and speaker gets his true sound. Not giving the new speaker time to break in caused so many returns and bad reviews. After the initial mechanical break in the speaker settles in. It enters its maturing process. This highly depends on moisture and temperature it is exposed to as well as they way it was used. Location matters a lot. From geo location and weather patterns related to that to micro locations like clean dust free home or dusty and smokey bar with occasional beer flying into the grill of the speaker. Smallest amount of moisture might even make some speakers sound nicer. On the other hand excessive moisture will just ruin any paper cone. Then even if the speaker was not abused and was sounding great for years inevitably spider gets to weak to control the movement of the cone and the voice coil. Cone surrounding does the same. Moisture makes the cone to soft and suddenly speaker ain’t that good any more. People gunning such speaker just burn it even at the power levels that were previously completely safe. That happens because part of the voice coil leaves the magnetic field and burns or control of the movement is so weak that voice coil rub kills the voice coil or even breaks some of the connections. Saying old speakers sound better is true absolutely. And they do until they do not anymore. If you go vintage speaker way just take care of it and do not play it to loud. If you go new speaker way check what you want, invest money in it and give it good break in. Do not judge it sound in first few days. Just enjoy that period when they sound good. Regarding to repairing old speaker. Gluing back the dust cap is one of the easiest repairs. Take it completely off carefully. Clean the both sides, even use fine sand paper to remove the filth. Than just glue it back on. You will hear about what glue to use and this and that. Almost anything can do it. Just keep it clean and centered and do not use to much glue. Even repairing cuts in the cone can be done very efficiently. Now re-conning is a bit tricky thing. If it is done by expert with proper cone assembly, after the break in speaker will sound great again. There are Celestion Greenbacks that were re-conned with the proper Pulsonic re-cone kits that sound amazing. But there are once that are done what must be cheapest kits that sound just sad. When you have vintage speaker in hand carefully check cone stiffness and does the voice coil rub or not. If the both things are right small repairs are just normal thing and are worth to be done. Now mixing speakers is something that all the people are not up to the speed yet. Partially this comes from the major brands offering mostly cabinets with same speakers in it. But in a room with it mixed speaker cabinets most often sound the best. Even more more different speakers are regarding to EQ curve better they supplement each other. One of the best cabinets I have heard was 2x12 with your pedestrian widely available Celestion Creamback H and M in it. It was a open back 2x12 made by local boutique builder. Cabinet size and construction as well as material used matters. Creamback M is all about middle. Those typical Celestion British middle. Creamback H adds top range and bottom. Completely different sounding speakers. Even more they do not even have the same sensitivity so M is always less loud. Still they sound way better than just sum of the parts. Magic happens, similar to what happens combining pickups on the guitar sometimes. So yes feel free to experiment. Changing speakers is not extremely expensive but changes the sound a lot. Now if you are about preservation of the original amplifier stay with what was in it and maybe repair it. Actually that is the most important question to ask. Do you crave for museum worthy originality and tone or you want best sounding longest lasting solution that might lower theoretical value of the amplifier but is going to make it sound better and make it way more reliable? Term players grade is often used wrong describing basic repairs with cheap parts that aren’t really selected for their tone or longevity but price and availability. When I speak of payers grade fixing of the amplifier I speak off making things more bulletproof and even upgraded. Parts selection gets according to those principles. Parts get expensive but worth every cent. There are modern cpas that sound better than many old once and they will not leak the DC to your grids. There are filter caps that will last longer than any old cap already did. Technology did progress. Sadly there are many bad cheap parts as well. So we come to the choice. Both are valid choices and I support them both. If the amplifier is worth restoring I am all for it. I have even restored once that no one wanted to touch. Not that they couldn’t do it but there was no money in it. Restoring costs more than similar amplifier that works. You can’t charge those hours. Still saving old amplifier feels good. On the other side if player is gigging with the amplifier and it was not original for decades and he wants it as bulletproof as possible I feel no regret for doing all stuff needed to make it as reliable as possible and sounding best as possible. I take measures to lower down the noise floor. I might even mod it to better version, like blackface the silverface Fender. I will make proper modern time grounding. All with the owners blessing and often giving him the preview so he can decide what he likes more. It is though important to remember that people have different taste for things. Some people simply like slightly flawed sound. Some like really low Fi sound. That’s all good. You just need to know how to achieve what client wants disregarding to your own taste. For example, personally I find disk caps sounding plinky and introducing unpleasant loss of signal quality. They even sound like they do not even have their capacity value. Silvemica caps I use sound way better to my ears. They have way more details. Using that 120 pF bright cap turns it in pleasure and not a pain. All that said Fender clean of some of those amplifiers is staying as it should only if you keep it original. If someone wants that sound there you go. If someone wants more details you can change stuff to achieve that as well. Personally I build 3 kinds of amplifiers. Most fun for me is building my own schematic based amplifier. I use new high end parts and point to point topology with carefully designed layout. Then I build my versions of classics. I found that many re-issue amplifiers do not sound much as the originals. Parts change but schematic stays the same. Not to forget to mention that those schematics were developed long time ago when mains voltage was lower. Tubes were of different quality. Many amplifiers were designed with cost measures in mind going from omitting the chokes to saving on kicking out grid stoppers. Seriously saving 60 cents on two resistors is just sad. So I use modern day parts and I change values and schematic until I get what is close to a sound of the old amplifier but with supple improvements that you do not notice until you make direct A to B. For example lowering the noise floor. Adding choke, changing filtering, rerouting filament wires, using shielded cables at some runs of the cable, changing layout to separate some parts, using better grade parts or even different type of the parts that are simply less noisy. When you turn your amplifier and play you might even not notice it being quiet before you start playing. The improvement is not intrusive. Only A to B relives that old amplifier is a bit more noisy and might have slightly less details. But the base sound and the nature of the amplifier must stay the same and true to the original amplifier. Third kind are replicas. Using period and schematics correct NOS parts and make as solid build as possible. I do this for friends only and only if they come with parts or donors. Overall I do builds for friends and their friends only. This makes doing it a pleasure and not a work. Takes the stress away.

What an amp!!! Definitely my favorite sounding fender amp of all time. I wish fender or someone else would make an updated version with attenuation 😊

Sounds amazing! Nice playing… Gibson guitar, Fender amp. Though the Jazzmaster and Gretch sounded great as well. Totally worth the time and care you put into restoring this amp.

Uch how can I put it in words that it does not sound offending? My goal is to help you out and not to troll nor provoke you. I love sharing knowledge with younger people and I want this knowledge to stays alive. I want it not to be forgotten. I've helped people al lover the world to repair their stuff for free. Lets start with the tips. read the mor not try the mor not. At least challenge them and make your own opinions. Good luck. 1. If you have decided to be an amplifier tech and film it as well get your self active tip soldering iron. Do not go for Chinese copies. Go with something made in USA or Europe or Japan. You wil tank me later. I personally use JBC and I have turned aa few professionals to it by now and they happy. Not a cheap stup but feels like cheating. Tip reaches the full temperature ain 2 seconds and does not drop temperature when you want to solder bigger thing. Extremely small toy alike tip can have up to 150 Watt power. Plus those companies have like over hundred type of tips and sizes for each type of the soldering iron. 2. Learn about star grounding and ground loops. When in doubt and restoring classic amplifier find their layout diagram as wel las schematic. Layout diagram consist used grounding scheme that might be combination of few types of grounding but it will not result in more than standard default amount of noise for sure. Later on there are few things you can learn especially about heater wire routing, balancing and reference point in cathode biased amplifiers that can even more lower down the noise floor. 3. Watch all videos about NASAspec and Millspec soldering. I myself have studied next to those also the way the ladies working in Fender have soldered the oldest types of the Fender steel amplifiers that were point to point soldered. Good thing to know. 4. Apply the principle that solder is not mechanica structure and not a glue. It serves different purpose. So wind the wire or hook up part of the resistor or cap nicely a few times around/true the tag or turret and then once it is mechanically connected by it winding tightly then solder to eliminate air pockets and ensure lowest resistance. This and cleanness is addressed in points above but is so important that it needs to have it's own point. 5. Heat shrink isolation tubing sets in all colors and sizes. Proper hot air fan for them. No need to remove wire isolation and bother with such things. You will tank me later again. 6. IPA (Isopropanol/Isopropyl alcohol 99.9 percent) and ESD brush. IPA It dissolves flux rests and it pushes the water out. watch tube markings and part markings but for the rest you can wash everything out with it. Make sure it dries out and you will be golden. 7. Good set of jewelers pliers. I am personally sucker for the German Knipex stuff. IT makes stuff way easier. 8. Good true RMS multy meters with proper DC CAT rating. Yes a few. For persona luse I use Brymen models. BM235 is the lowers model I would go with and BM869 is a best. I also own the clamp meter for quick checking of wires. Then pay enough money for a good one because average models are pretty low precision. If you have unlimited fonds = Fluke. They aren't really that better but are recognised by the industry. They give you faux expert appearance with people with half knowledge. In companies sure Fluke all the way if nothing else because of the calibration availability. 9. Set of Bias probes. It saves tons of time. 10. and last but not least for now, go and watch all the technical and how to videos from Uncle Doug. H really know his stuff the proper way and knows how to explain it easy. I watched all stuff a few times even all the stuff I knew inside out.

What speakers in the cab?

Part 2 So biassing preamp triodes changes sound but not that much when the value changes by small margins. Things change a lot when you use 2,7K for example. That also changes calculation for the bypass cap as well. Higher the value of the cathode resistor smaller capacitance can do same effect. Now what does that bypass cap do and why people say one liners over them that only partially explain anything but keep people in dark about them? The do increase the gain of the given gain stage. How do they work and why? We’ll tubes aren’t perfect and their own stuff that make them work aren’t only doing nice stuff we use in amplifiers. There are unwanted effects happening that we try to fix. So bypass cap is not important for the biassing itself. Cathode resistor on its own does that. What bypass capacitor does is negates the inherent NFB loop that exists in the tube itself. Do not mix this with output topology of the amplifier this happens in every tube on its own. Though it functions little bit like NFB loop in that that it grounds unwanted NFB to the ground. Smaller value like 0.68 uF will affect only high frequencies and ground those unwanted frequencies to the ground. When they are grounded they do not disturb the original signal anymore and we hear it as the boost of the treble frequency range. Higher the capacity lower the frequencies get grounded and more wider the boost we hear. There are nice online bypass calculators where you can enter all the values and by changing capacitance or resistance you get nice graph of where do you boost and you get amount of the gain at those frequencies in dB. So no more mystery what bypass cap does. Back to the plate resistors. I have stated what it does with no signal. But it does ouch so much more and it does affects tone a lot. First let’s establish one thing that is sort of tubes thing. You can take “the output” from cathode or plate. Also you can inject the signal at different places but that part is not import for this part of the circuit. What matters in this part of the circuit is how the plate resistor is used to generate amplified signal we use to drive the grid of the next gain stage, why is it out of the phase with the original signal and why does it influence tone and gain so much. In this type of typical Fender gain stage we use the plate as “the output” of the gain stage. What we need is amplified music signal as higher voltage to drive the next gain stage. We feed that signal in the next tubes grid. As said above that grid has negative biassing voltage so we can’t have high positive plate voltage on the grid so we use the coupling capacitor to block off the plate DC voltage and let only signal component to the grid. Music signal is basically as AC and AC pass true the capacitor. So now signal is there. Let’s say perfect pitch A string and it’s 110 Hz. This signal voltage is small like 0.1 Volt. But it will affect the grid voltage. In positive part of the sinusoids of the signal it will be lowering the grid bias voltage and that will increase current flow true the tube between the pate and the cathode that is. Once we reach the time when signal silencers the negative amplitude it will bring negative voltage to the grid lowering the current true the tube. This in hand modulates current flow true the tube so it changes with the same 110 Hz as the input signal and has the same sinusoidal form as the original signal. Wait we can’t use current to feed the next grid right? Yes we can not. Here enters the plate resistor. That 110 Hz variable sinusoidal form current makes variable voltage drop over the pate resistor and that’s the “signal” we use to drive next tube grid. We know that higher the nodal voltage is more gain we can get out of the gain stage. But how come if we put 120K resistor we get more gain from the stage while that lowers the plate voltage? Simple more voltage drop is created with the same current true the bigger value plate resistor. More voltage drop more signal more gain. Why we say that we flip the signal phase using the plate as the output? Well when signal is in the positive amplitude our current grows and our voltage drop over the plate resistor grows. But that means that actual voltage on the plate is getting lower. And in the negative phase voltage drop is smaller hence plate voltage is more positive. So our signal is inverted and 180 degrees out of the phase. Now we know how plate resistor works and how important is it’s value. But why does the type influences the tone? Well every resistor type has his structure and that influences how it works. Cabin composition resistors are “least” refined. They are more noisy than carbon film resistors. But way they work makes them sound most vintage sounding. They are plastic tubes filed up with carbon substance with connections on the ends. While carbon film have resistive carbon film over the isolator. Carbon comp resistors are less stable and more sensitive. They last lest time and can’t take the heat. But they sound most true to the vintage amplifier. Just do not use them as nodal resistors. Tone difference there is not really there and metal oxide resistors last way longer and can take more heat. That carbon material inside of the carbon comp resistor is prone to cracking. Micro cracks will occur first and in the case of the plate resistors this will sound like arcing and high voltage discharge. When they get old. And when they were exposed in the heat as they do in the tube amplifier their outside tube will crack as well. They literally brake apart. Funny thing is that sometimes you do not see the crack until you desolder one leg and half of the resistor falls off. Still they sound the best and they have their place for sure. I do not think there is more to say about this part of the circuit. Plate resistor type maters to tone. Cathode resistor not that much.

Part 1 Tube amplifiers are very complex beasts. Especially guitar tube amplifiers have they own quirks that makes them different from home audio tube amplifiers. Hence one has to specialize into them to understand them good. Now let’s talk biassing of the preamp gain stages. It’s a necessary thing to have tube running some small current even when there is no signal present. With the signal you are modulating it’s current by applying voltage on the grid of a tube. So let’s establish grid are voltage controlled elements. So talking biassing only important state for us is no signal and pure DC state. Talking about your typical Fender amplifier we find 12xx7 family of dual triode tubes. Each gain stage uses one of those triodes mostly. Typical voltage coming from the nodal resistor to the plate resistors might be from middle and the high hundreds to middle and high two hundreds volt and even higher in some other amplifiers. I mentioned triodes so we can establish that plate current is for all practical applications the same as the cathode current because we have no screen element. I mentioned voltage because it’s most important thing there at that moment. So in no signal state plate resistor has only one function and that is to drop the nodal voltage to the acceptable plate voltage. Though this plate resistor has even more important function but that happens with the signal only and affects the tone for sure. So we have no signal state and plate voltage and cathode resistor and current is flowing. It’s constant current value and our tube is hot enough. Value will very more until the tube reaches its temperature and it will vary a little bit after it but not by much. So anyone will say resistance value determinate the current here and they would be partially right. Plate resistor is limiting current as well as the cathode resistor right? It does but at that logic you could set the biassing current by the plate resistor only. Plus your most used plate resistor value here is 100K and cathode resistor value is puny 1,5K. So major breaking of the current would be the plate resistor right? Wrong. What limits the actual current true the tube is voltage on the grid of the tube. Cathode bias resistor has certain voltage drop across it. This voltage drop references the cathode voltage at the more positive voltage level than ground of the amplifier. Hence ground is more negative point and that negative voltage drop is what is applying the brake and slowing down the tube. The very same principle is found on the output tubes of the cathode biased amplifiers but plate resistor is substituted by the winding of the output transformer. In the most cases that more negative than cathode ground level voltage finds its way to the grid true the grid leak resistor. Wait so small voltage of few volts to maybe 10V or bit more should find its way true high value grid leak resistor? That sound stupid right? But there is no grid current hence there is no voltage drop across the grid leak resistor and tat negative voltage passes it with no apparent voltage drop. Like I have said before. Complex things this amplifiers. Anyhow does changing type of the cathode bias resistor change the sound? Well it’s actual resistance value affects it a little bit but people often give it psychosomatic value. How much bias change is there in changing from 1650 Ohm (maximum tolerance) to 1700 Ohm value? Sure another one might be minus ten percent and there would be it more difference. But now remember everything saying that once tube is hot bias current value is almost stable but it still fluctuates a bit? Well your mains fluctuate as well. This translates in every voltage in the amplifier as well. And all this people advocating absolute precision of biasing should just answer what happens when you plug in your amp in the old venue and all the lights go on. Industrial fridges compressors go on and off. In house big PA amplifiers go on. Etc,etc. measure your mains. It ain’t your laboratory 120.00 V AC anymore and it will fluctuate. You lucky if you get 110V. All your perfect biassing is different now. Was it worth sweating about it? Did that voltage change has ruined your tone? Not that much right? Plus cathode bias principle has some tolerance built in. More plate voltage means more current flows. More current flows true the cathode resistor more voltage drop is across the cathode resistor. More. Voltage across the cathode resistor more negative ground gets compared to the cathode voltage. More negative ground is more grid will brake the tube bias current. So for the most cathode bias is autocorrecting bias. Inside of its range with the given tube it tries to automatically maintain the same bias current level. But it is not magical and at some point it reaches its limitations. For example voltage gets lower. Hence ground reference is less negative and tube starts drawing more current right? Yes. But more like draw further drops the voltage and at some point power supply might not be able to catch up. So voltage changes do affect cathode biasing. Look at the very old amplifiers with the cathode biased output tubes. Those were designed with 110V in mind. With current mains voltages even getting over 120 V lots of those amplifiers need cathode resistor changed to higher value to prevent those tubes from red plating. Look at the most original two EL84 amplifiers. Their cathode resistors were 100 to 130 Ohm most often. Now you need 150 minimum.

Sounds phenomenal! Killer playing and tones. Outa sight!

MAN, that JM sounds incredible through it. Pretty much perfect sounding amp right there dude. Nice work, and I love your playing!

I agree with you that you can see man hours on the razor checking and that's why the guitar is so expensive. But the look on the razor checking always looked kinda dumb and fake for me. It's like always the same pattern, done by a very patient person hahah. I don't know, in the end is just personal taste isn't it? Murphy Lab guitars are very pricey, and in my opinion Gibson is making a great marketing (sometimes even too much like they did with Greeny guitar), but the overall product it's great. I can tell that as an owner of many Custom Shop guitars, both Gibson and Fender. And you can certainly tell an immense difference from standard production. My thought is, if you can afford it and you love it, the price is just a number but you will really enjoy a high quality instrument, with top notch woods and materials. Cool video dude, keep it up!

Just wow..!

Sounded great! ❤

Those clean Jazzmaster tones were amazing.

Sounds great! Really been enjoying the channel, keep it coming!

Yep that works. I had to use .02 in a 1967 Dual Showman to get the tick out.

Sounds Great!! I usually run my 1968 Super on 3-4 then hit it with a Wazza Kraft Fuzz and back my guitar volume back a bit. Gets break up with out ripping your head off for Home Use. Supers have such a great pretty full sound.

Great amp. Well done demo.

I have the same values on my '71 DR but audio taper. Very smooth range. Don't get too influenced by the measured resistance values at different settings since this is a divider and we don’t hear in a linear fashion. I used shielded wires for each path with the bias on the shield(s.) Could use a double conductor + shield/bias for less wires but not vintage looking. You probably don’t need shielding since the pot is near the output tubes already while mine is next to the regular volume control (in hole for input #2.) Twisting helps of course. Sound on 10 should be exactly the same as with no master since the schematic is identical at that setting. Only noise should be a possible factor. Lar mar allows for (more) phase inverter distortion with no/less output tube distortion and volume. It should sound somewhat different than an attenuator which allows for all the normal amounts of both distortions. I have to reduce the bass if using very strong channel volume. I like the channel on ~7 for distorted tones. Sometimes I’ll attend a jam with zero pedals having 3 effects now built in.

Man that sounds awesome i swear that's one of the best amps anyone could own , I been looking for one for years but when I find one it's messed up and they want big money for it I'm hoping one day I will have one that works and I can afford it.