#tolex

[tiniigi]

[guitarbomb]

Revv Dynamis D40 with Two notes Audio Torpedo

Revv Amplification, the renowned Canadian brand known for its innovative high-gain amps, has introduced the Dynamis D40. This high-end tube head seamlessly combines modern digital technology with the classic design of 20th-century guitar amps, offering the best of both worlds. Integration of Torpedo Cab Sim Technology One of the standout features of the D40 is its collaboration with Two notes…

[riseofthecommonwoodpile]

got an amp that goes for $1,100 new for $350 used 😎

[eeerilyrealistic]

the eroticization of an ampeg classic svt 8x10 cabinet reupholstered with burlap by a man who i met on craigs list. i need a particular drill bit to remove it. he wanted the screws to be unseen to the naked eye. grill-cloth is fundamentally ugly. will cross that bridge when i inevitably blow one of the 8 speakers and need a reconing. sanded and refinished after the tolex peeled off on its own within the cabinet's 53 years of existence. corners shaved. will become road-worn in the summer and the fall. it is friday.

[deebeeus]

1960 #Gretsch 6120 in Western Orange with white original cowboy case, with 2008 125th Anniversary #Gretsch #VarietyAmp in white sparkle Tolex

[guitarplanet-fender-gibson]

フェンダー編第473回：「MBS 1963 Stratocaster Heavy Relic with Gold Hardware! -Aged Black- by Austin MacNuttってこんなこと」

マスタービルダー「オースティン・マクナット」の製作品。 2022年7月のファースト・オーダー・テイク時にオーダーした、当店特注モデルの1963ストラトキャスターが入荷しました!! 2022年度にマスタービルダー職へと着任したオースティンの作品です! お見逃しなく!!

Spec. Body : Selected Light-Weight Alder 2PC Body Finish : Nitrocellulose Lacquer , Heavy Relic Neck : QTR-Sawn Maple , 63 C-Shape Neck Finish : Nitrocellulose Lacquer , Heavy Relic Fingerboard: Round-Laminated Rosewood , 9.5" Radius , 6105 Narrow Tall Frets , 21F Pickups : Josefina Hand-Wound John Cruz Master Designed Bone Tone STRAT PU Controls : Vintage Modified Wiring #1 -Vol / Tone 1 (Neck&Mid) / Tone 2 (Bridge)- . 5way-SW Weight : 3.45kg Case : Custom Shop Logo Blonde Tolex Hard Case

オースティンは、伝説的プリンシパル・マスタービルダー「ロン・ソーン」の個人工房時代である 「Thorn Custom Guitars」にて、ロンと共に肩を並べ従事していた優れたクラフトマンで、 その以前にはギター製作学校での講師経験もあるオールラウンド型のビルダーです!

着任早々にグレイトフル・デッドの「ジェリー・ガルシア」を象徴する名器の一つ、 通称「アリゲーター・ストラトキャスター」のレプリカを担当したことが功績として挙げられます。

堅実そうな人柄が垣間見える、細部まで注意を払った仕上げや、 端正で整ったサウンド・キャラクターは、日本のお客様好みだと思います!!

"あの" 御仁を彷彿とさせる、精悍なブラック・フィニッシュとゴールド・ハードウェアの抜群にクールなルックスで、 「パーツの後載せ感」を演出する目的で、メタル・パーツ類は敢えて「クローゼット・クラシック」仕上げの軽めなエイジングに留めました。

今後、注目と人気が高まること間違いなしのビルダー作品を、ぜひこの機会にご検討下さい!!

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GUITAR PLANET 2023

吉岡　哲志

[naptownchris]

Yesterday when I got my "little" (it still weighs like 65 pounds and doesn't do low volume well) amp out of the closet, a penny fell off of the bottom of it. God only knows how long it had been there, stuck to the tolex by whatever mystery goo is bred in the carpet of a punk club stage.

I felt bad for the penny, and I wasn't content to let its journey end here. So, I found my tape dispenser and he's attached once more to my amp, but now on the back where I'll see him every time I set up. Maybe before we're done we'll see a few more places together.

That's the kind of person I am, honestly. The kind who feels bad for a coin, an inanimate object that costs more to make than it's worth.

But me and Lil Abe? We aren't done yet.

[toms-amps]

1951 Bronson Melody King

2 6V6, 12″, Alligator Tolex. This is a Magnatone Troubadour variant. Excellent for recording.

[singlecoilneckpickup]

shoutout to divided by 13 amps for the titty window tolex

ふむん

[fuzzkaizer]

"likely a Watkins echo switch from the 60's"

cred: reverb.com/Solo Guitars

[kenzingmedia]

On-Stage AG5000 Amp Glider review | Guitar World

[guitarbomb]

Orange Amplification's high gain amplifier is back for a limited time only in a white tolex finish!

[pedromodesto69]

Got a few free small bass cabs that all had blown speakers a while back and just now realized I could take off some of the parts and “upgrade” my guitar cab a bit it’s finally got little rubber stops on the bottom so it’s not just sitting on the ground raw and fucking up the tolex lol hell ye

[teardownit]

Marshall Guv`nor: a Pedal that sounds like a Tube Stack

To be more accurate, it sounds like a valve stack; after all, it is a British pedal imitating British Marshall amplifiers.

Don't tell anyone because it's a secret: when creating his JTM45, Jim Marshall actually copied the circuitry of a 1959 Fender Tweed Bassman 5F6-A.

And Mr. Marshall also equipped his first 50-watt combo amplifier, a 1961 JMP Tremolo “Bluesbreaker,” with four 10-inch speakers. The iconic 2x12" version was made a year later.

Tolex instead of tweed, a horizontal arrangement of tubes, and ring-shaped loudspeaker magnets—the differences end there.

But why does the British Marshall sound so different from the American Fender? Is the difference really just the Celestion speakers instead of the Jenhsen ones with their U-shaped magnetic core?

The stronger magnetic field of British loudspeakers compresses the sound's dynamic range to a significant extent. One can compare the waveforms recorded with the Shure SM57 microphone from the 12" Celestion G12M Greenback and Fender Mustang II (V1) loudspeakers, as well as from the 8" Orange Voice of the World PPC108.

But the spiciest part of the Marshall sound is literally based on the usage of British valves instead of American tubes.

In the post about a simple DIY tube guitar amplifier, we already noted that the sound of a particular tube depends on the geometry of the grids and anode.

And if we compare 12AX7 preamp tubes with ECC83, we will see and hear that they are all very different. This is determined not by an American or European stamp but by the design of this particular unit from a particular manufacturer.

It's a completely different story with the EL34 and 6L6 power amplification output tubes. Their sound difference is on another level. Short and thick American 6L6 can be described as high fidelity with a large headroom; long and thin English EL34 is, on the contrary, a growling and roaring powerhouse due to the fact that it tends to limit and distort the signal.

Does this mean that if you swap the speakers and tubes in the Tweed Bassman and Bluesbreaker combos, the Fender 5F6-A would become a Marshall JTM45? Not really, no.

In the universe of guitar amplification, nuances matter: the cabinet's open or closed back wall, the fine selection of component values, and the frequencies to which the tone controls are set.

And, of course, the sound is influenced by the anode supply rectifiers and the supply and output transformers. And according to some experts, even the material of the chassis matters: the windings of transformers have considerable leakage inductance, and their alternating magnetic field interacts with the metal of the chassis.

Then there's another question: is it possible to emulate all these effects without real tubes, bulky loudspeakers, and heavy multi-pound transformers? A guitar amplifier is a complex yet still measurable device; it's subject to the laws of physics and can be mathematically evaluated.

There is no doubt about the possibility of recreating a certain sound by other means. The question is how complex the circuit with transistors and ICs will be sufficient to obtain a convincing effect.

The idea to replicate the iconic sound of the Marshall JTM 45 and JCM800 in a pedal body and create the world's first amp-in-a-box, oddly enough, first came to none other than the employees of the Marshall company itself, led by the head of the Development Department, Steve Grindrod.

Guitarists worldwide owe a debt of gratitude to this man for developing the legendary Marshall JCM800 and Vox AC30.

Today, the godfather of British Sound owns his company, Steve Grindrod (Albion) Amplification. He produces Pendragon guitar amps and Gypsy Boy acoustic amps and works with various charities. And in 1988, his efforts led to the creation of the Guv’nor pedal.

In 1992, the pedal was re-released under the name Drive Master. It differed from the original only without an effects loop jack.

The circuit looks like a regular distortion pedal with two operational amplifiers. The first is included as a non-inverting amplifier; the signal is supplied to the non-inverting input. And the second operational amplifier is used in the inverting connection.

The drive regulator potentiometer is configured to control the negative feedback of both op-amps. This is a brilliant design by Steve Grindrod.

By comparison, Orange tube and transistor amplifiers typically use dual, linked potentiometers to control the gain of the two stages simultaneously.

Red LEDs are used as limiting elements in this Marshall amp-in-a-box. This makes it possible to adjust overdrive and compression using the drive knob in a wider range and get a sound from light blues overdrive to hard heavy metal distortion.

And, of course, the standout feature of this pedal is the gorgeous three-way tone stack, tuned for that signature Marshall sound. It has even more components than the tone stacks of many other tube amps.

This happens because the pedal does not have as many gain stages, each with timbre-shaping frequency-dependent circuits, as a large amplifier does. The tone stack has more work to do in the pedal than in the amp head or combo. At least, that's what Steve Grindrod thought when developing The Guv'nor.

However, in 1992, when developing the Blues Breaker pedal, it turned out that the distortion sounded great with just one tone knob, a simple treble-bleed circuit.

Three new pedals were developed. Drive Master was a reissue of The Guv'nor. Blues Breaker featured soft clipping and lower gain.

The Shred Master, on the other hand, was a pedal with maximum gain and a Contour knob, which allowed to emphasize the mids for a vintage sound or, alternatively, make a mid scoop and get a modern sound.

As any successful pedal deserves, The Guv’nor was soon copied by other manufacturers: Daddy O from Danelectro, Crunch Box from MI Audio, Riot from Suhr, and Angry Charlie from JHS.

Different versions of these pedals may have a three-way tone stack or a single-tone knob, a switch or presence control in the form of a knob or trim pot inside the body, and a limiting diode switch that sets the compression depth.

The version I put together has four knobs: gain, volume, tone, and presence. I enjoy how this pedal sounds with different guitars. In the video, I play a 2011 Gibson MM Explorer.

Suppose you want to add Marshall-style voicing to your rig and get some bright British crunch. In that case, you should consider purchasing or building one of the pedals based on the Marshall Guv`nor circuit.

[haikuo-music]

更新再升級！升級後的二代Fender藍牙喇叭有什麼不一樣呢？ @海國樂器, Fender, 藍牙喇叭

隨著世代的不斷創新與進步，這幾年台灣的戶外活動新風氣及生活儀式感大幅提升，許多人一到假日就會攜家帶眷、呼朋引伴前往森林區露營，或是到海邊進行野餐等戶外活動，享受大自然並洗滌平日所積累的都市壓力。而談到戶外活動，最不可或缺的小夥伴絕對就是藍牙喇叭了！而藍牙喇叭百百種，究竟該選擇哪個款式呢？若你依然正在尋尋覓覓心中最理想的藍牙喇叭，不妨試試看歷經無數次的鑽研及創新的 Fender 升級版「Newport 2 藍牙喇叭」和「Indio 2 藍牙喇叭」吧！以下貼心的替你整理出了升級後的差異，快一起來瞧瞧吧！

Newport系列藍牙喇叭｜小巧美型

有輕巧的體積的Newport系列，透過三單體驅動(1個高音單體、2個3吋低音單體)的重新調教與設計，讓Newport的音質在相同尺寸喇叭中穩坐第一；外型傳承經典Fender吉他音箱復刻設計，搭配機體上方的高頻、低頻、音量旋鈕輕輕鬆鬆掌控自己心儀的聲音；除了國際插頭以外也支援SBC/AAC與3.5mm的音源輸入。

Newport 2 藍牙喇叭｜絕美音質

全新升級的Newport 2藍牙福提升至5.0版本連接更穩定快速；新增快捷Duo鈕，能輕鬆切換「立體聲Stereo」及「多台同步播放的Party」在不同情境狀態皆能掌控，Stereo模式更是能串連另一台Newport 2創造左右聲道的立體聲，營造磅礴劇院效果，Party則可以讓不同空間的喇叭同步播放同首歌，無論空間再寬廣都能隨時被音樂圍繞，加上電池續航提升至12小時與發聲單體再升級，以及全新質感香檳金、鋼鈦灰的顏色新選擇讓這台新款Newport 2 一上市就創造極大話題！

Newport 2 藍牙喇叭詳細介紹：https://pse.is/4ajbxx

INDIO系列藍牙喇叭｜復古重現

無論室內或戶外都合適的中型尺寸Indio，機身外型以皮革包覆發並採用編織網面，音箱上帶有方便攜帶的把手，且擁有四單體驅動(2顆3.5吋的低音單體和2顆0.63吋)，透過60瓦的功率輸出，完美呈現Fender最引以為傲的極致音質！

INDIO2 藍牙喇叭｜驚豔升級

升級後的Indio 2推出兩款顏色Tweed黃色斜紋、Tolex復古黑，以手工裱裝至木製箱體。Indio 2不僅擁有高、低音頻旋鈕，還擁有六大快捷鍵，可以ㄧ指輕鬆播放/暫停、快進/倒退、Voice接聽電話、Duo串接，並且同樣將藍牙連接提升至5.0版本。最驚豔的是在續航力上從原本的20小時大幅提升至25小時，走到哪聽到哪一整天都OK！

 Indio 2 藍牙喇叭詳細介紹：https://pse.is/4jmmcj

不斷嚴格把關音質與品質的Fender 致力帶給眾多音樂愛好者更加貼近人心的音樂體驗，你還在等什麼呢？快帶著最適合自己的Fender藍牙喇叭來一場說走就走的戶外之旅吧！

－

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[deebeeus]

A tweed in black tolex.

1964 Fender 5F1 Champ. The last, and possibly most famous (thanks to being used on songs like "Layla") of the Fender tweed amps, but covered in black Tolex in 1964 only to bridge the cosmetics gap until the redesigned Black Panel AA764 Champ came out.