REDLAWMAN

I think perhaps you misunderstand me and my rationale, Mr Foxen. I would like nothing better, in fact, than a fully-functional and wholly operationally sound 'vintage' amp' (a Bassman or Showman or an early SVT, for example). My fear of doing so is related solely to the fact that I have neither personal experience nor technical knowledge in this area: I wouldn't know a good one from a bad one and in the event that something should go wrong (or, indeed already be wrong), then I wouldn't have a clue where to begin.

Thanks for that, Balcro, but that's what's in there now.

I do: I want to emulate a 'vintage' tone, not dissimilar from my Berg' NV 412 (although, of course, in this single, front-ported configuration). Entirely happy with a relatively steep roll-off of the highs; looking for that smooth, warm, late 50's/early 60's thing. Current driver is replacement from original: an Eminence Delta LF 15" (500 W at 4 Ohms, I believe). I'm going to run it with a Littlemark, so 300 W at 8 or 500 at 4. I only thought of 4 Ohms so that I could liberate the maxiumum available power from my amp' and thereby attain greater max SPL and performance. As to internal dimensions, I'm unsure: it's a 'biggy' Fender cab from the 90's, perhaps a little smaller than an Ampeg 4X10. It doesn't have to be a scientific breakthrough or the greatest single cab in the world ever: I already have a Barefaced 'Big-Baby'. I just like this particular Fender cab to go with my Fender 'P's for the Rock 'n' Roll!

This particular amp' has the facility to measure and adjust bias externally, for each individual tube independently, although I haven't got a clue quite how one goes about doing that!

I'd no sooner buy a second-hand valve amp' than a second-hand pair of underpants.....

I'm after a high-end, full-range 15" ceramic driver as a direct replacement in a front-ported cab'. I find the Eminence site quite confusing! Does anyone know if they make a LF ceramic driver in 4 Ohms configuration? If not, can someone tell me the best one that they make in 8 Ohms, please and whether that's the best driver out there, or whether some other manufacturer has a superior one? Also, if the original cab was 8 Ohms, is it still simply a question of taking out the old speaker and putting in the new one and job-done? Thanks guys

Imagine an all-valve head that's designed for four 12AX7's and four KT88's. Let's assume stock tubes are JJ. 1. Can you simply take out the KT88's and replace with 6550's (eg. Svetlana 'Winged-C's')? 2. I appreciate the evolution of both of these tubes on different sides of the Atlantic and I've read that there are different voltages, etc. in relation to certain parts of the tubes, but my current knowledge ends there. What are the principal differences? 3. I see that Watford Valves sell 'Winged-C's' in KT88 (both regular and Cryo'-treated) and 6550 format: Do the Svetlana KT88's sound largely similar and exhibit largely the same characteristics as the 6550's? 4. What's the real-world difference between the regular Svetlana KT88 and a Cryo'-treated one and is the latter really superior? 5. What changes am I likely to hear if I switch from the JJ's to the Svetlana? Thanks everyone.

'I Saw Her Standing There' and 'The Night Before': the only two songs I played at school when I was 16! Just to digress, I thought that duo from Notts with Robert Carlisle on bass were great..!

I've noticed whilst learning my fretboard (again) that the notes always follow a circular pattern:- B E A D G C F A# D# G# C# F# (B ) On any given fret, if you take any block of four successive notes, they always follow that pattern across the E A D G strings. I know this relates to/is the Circle of 5th. Can someone put a bit more 'meat-on-the-bones' as if were, for me, please? At present, I can see it as a convenient way (once memorised) to learn/know all four notes across the strings on a given fret, but that's it, really and I appreciate that it doesn't include the number of sharps/flats (as per the circle), nor does it refer to the notes as their 'flat names' as the circle appears to. Many thanks.

I've just got off the 'phone to HMRC: that'll be £2,100 + 'Courier Handling Charges', please, sir.....!! Reeves haven't sent one to the UK yet..... The MYWATT delivered is £1,200.

I shall bear that in mind, Mr Foxen, the next time I find myself dropped HALO into enemy territory, with nothing but my 'P' bass and half a dozen KT88 grenades in my vest.....

My Littlemark III is absolutely silent.

I've got both a Berg' NV 412 and a Barefaced 'Big-Baby'. With a Littlemark and a Sansamp BD Deluxe, I can get pretty much any sound I wish for from the Barefaced cab. I only ever play vintage/old school, and it's got that down to a treat. With the Littlemark, I plug the BDD in the front, all recommended settings, EQ to taste and job done.

I used to have the Heritage SVT-CL. I'm about to buy a Weber MYWATT 200; it was that, or a Reeves Custom 225. The ability to measure and to adjust the bias for each of the four KT88's individually (and externally) was my principal deciding factor.

A 'P' with flats, a Berg' NV412 and 7 tonne of metal & KT88'S.....

I've just had an email purporting to be from Dave Hall amps: I was one of many on the email list. I opened it and my anti-virus software blocked something heinous and malicious. Beware...!!

I've got to go with the Littlemark on this one; no matter what I play, it's the one I always go back to: my first amp' and a real beaut...!

Is anyone out there playing a US-made, Reeves Custom 225, please? Cheers.

I hatch the same plan 3 or 4 times a week, generally very late at night... Last night, I was determined to buy one off ebay and turn it into a '64 emulator....... Then, instead, I decide that I simply have to blow thousands and buy a real vintage one, but then I get to thinking that it's bound to be dick, so I then 'decide' that I have to have a new, NOS Custom Shop. Generally, within about 30 minutes, I've gone off the CS idea because I 'think' the pick-ups will be crap and I'm back onto buying a Squire and transforming it into the best bass in the whole world ever....... None of this makes actual sense, because I already have two simply marvellous American Precisions.......

I went to see the Hollies last night. Hugely experienced and really tremendous bass playing by Ray Stiles. Quick question: he, like many other top-class players, keeps his fingers on his fretting hand almost always together, moving very little and it appears that a great many of the notes are fretted with the middle (or at least one of his first three fingers), moving as a single unit. None of this 'one-finger-one-fret' business and leaving aside slides here and there, very, very little movement all over the board. I'd welcome any comments at all on this, please.