Have you checked its serial N° ?
You may well have a 1966-68 original,
made under contract by Dave HIWATT Reeves
for Ivor Arbiter (Sound City Amps) -
in his garage (Hylight Electronics) !
Sound City Mk3s - lead or bass - all had coloured dials.
That is the way Dave Reeves built them and amps in this series
were handwired by DR, Daphne Reeves and Doug Fentiman.
I have the L100 version of the Mk3, that was one short step
from the classic CP103 used by Townshend and Gilmour
and the custom circuit built for Page. Pete used the L100
in 1968-69 and simply relabelled the grill when Dave
named his new business Hiwatt, set up out of the £800
contract to build Sound City amps for Dallas Arbiter.
Check out your amp's ancestry before taking it
anywhere near a company with a different design ethos
and asking them to breed a mutant out of a classic rig.
They may say No anyway.
B100s are every bit as sought after as L100s.
The 200W versions are stadium rock loud,
often toting six EL34s in the power stage.
Mk3s are killer amps, unlike the Mk4s which followed,
and have the same parts and circuits as the holy grail Hiwatts.
They were not built for 2012 expectations or styles,
but stand alone and beg to be heard for themselves.
Other prime users were Manfred Mann and Jethro Tull,
who had Reeves' lead, bass and PA systems, which all gave
stand-out performances compared to the arbitrary stacks
of ill-mixed and often painfully overloud amps taken
on the road in the late 60s and well into the 70s.
The artists above, like 'em or loathe 'em,
give clear indications of the output tones
the Reeves Sound City bass amps
were designed to achieve.
Please don't euthanase one just because it's old !
Yours,
Paul the Fireman,
Blue Plaque Road
Allerton L19
Have you checked its serial N° ? You may well have a 1966-68 original, made under contract by Dave HIWATT Reeves for Ivor Arbiter (Sound City Amps) - in his garage (Hylight Electronics) ! Sound City Mk3s - lead or bass - all had coloured dials. That is the way Dave Reeves built them and amps in this series were handwired by DR, Daphne Reeves and Doug Fentiman. I have the L100 version of the Mk3, that was one short step from the classic CP103 used by Townshend and Gilmour and the custom circuit built for Page. Pete used the L100 in 1968-69 and simply relabelled the grill when Dave named his new business Hiwatt, set up out of the £800 contract to build Sound City amps for Dallas Arbiter. Check out your amp's ancestry before taking it anywhere near a company with a different design ethos and asking them to breed a mutant out of a classic rig. They may say No anyway. B100s are every bit as sought after as L100s. The 200W versions are stadium rock loud, often toting six EL34s in the power stage. Mk3s are killer amps, unlike the Mk4s which followed, and have the same parts and circuits as the holy grail Hiwatts. They were not built for 2012 expectations or styles, but stand alone and beg to be heard for themselves. Other prime users were Manfred Mann and Jethro Tull, who had Reeves' lead, bass and PA systems, which all gave stand-out performances compared to the arbitrary stacks of ill-mixed and often painfully overloud amps taken on the road in the late 60s and well into the 70s. The artists above, like 'em or loathe 'em, give clear indications of the output tones the Reeves Sound City bass amps were designed to achieve. Please don't euthanase one just because it's old ! Yours, Paul the Fireman, Blue Plaque Road Allerton L19