The Dumble Guide Edition 1 2014 by The Dumble Guide

Forward ‘The Dumble Guide’ provides an overview of all that I have researched over the past few years that relates to Alexander Howard Dumble gear. Part 1 focuses on introducing the different Dumble amplifier models and then looks at both the specific amplifier clones made by Ceriatone, Sebago Sound, Bludotone and Two-Rock as well as looking at the Dumble circuit/feature inspired amplifiers from Two-Rock, Fuchs and Amplified Nation. Part 2 focuses on understanding the need for effects buffers and introduces the real Dumble effects loop buffer before taking a look at effects loop buffer offerings by Ceriatone, Two-Rock and Bludotone. Part 3 seeks to answer some common amplifier/effects loop buffer and effects loop related questions. Part 4 looks at ordering a Ceriatone Overtone Special Style amplifier and constructing a head cabinet, offering step-by-step construction instructions as well as custom faceplate designs and Dumble clone/look-alike faceplates and chassis. Part 5 discusses selecting speakers for Dumble style amplifiers and offers an in depth comparison between popular speakers for Dumble style amplifier users. Part 6 looks at Dumble style speaker cabinets, speaker cabinet basics and offers step-by-step build instructions for a ‘Dumble style’ Two-Rock 1x12” speaker cabinet clone as well as offering Dumble measurements for a 2x12” Dumble speaker cabinet and taking a look at Dumble ‘style’ speaker cabinets offered through Ebay and other websites.

I am not affiliated with any of these companies in any way; I just became interested in this gear because, well, it is Dumble gear, enough said! As for creating a small book like this, this guide started out as a record of my research for a friend and myself. It turned out to be a lot more than that. The opinions expressed in this book are personal and subjective (it is music). Any measurements within this guide are not claimed to be precise or exact and I do not take credit for determining them.

I would like to dedicate ‘The Dumble Guide - Edition 1’ to the initial intended receiver of this guide. He knows who he is. He’s not ‘Made in America’ but he’s still good quality!

Lets get into it. I hope you’re excited! Its long, in depth, a little crazy and obsessive but is also a wealth of information for the interested.

Table Of Contents p. 08 …Part 1 – Howard Alexander Dumble Style Amplifiers: 6L6 Tube Heaven! p. 08…Who Is Mr. Dumble? p. 09…Notable Dumble Amplifier Players p. 11…The Real Dumble Overdrive Special Amplifiers p. 12…The Different Overdrive Special Amplifiers throughout the 70s, 80s and 90s p. 14…The Real Dumble Steel String Singer Amplifiers p. 15…Dumble Reference Internet Pages p. 16…The God Sent Clones p. 16…Dumble Overdrive Special ‘Style’ Clones (in brand order) p. 16…Ceriatone Overtone Special p. 19…Ceriatone Overtone Special Ford Mustang p. 19…Ceriatone Overtone Special Modern Eagle p. 20…Ceriatone Overtone Special S & M p. 20…Ceriatone Overtone Special # 183 p. 21…Ceriatone Overtone Special His Royal Majesty (HRM) p. 23…Ceriatone Overtone Special His Royal Majesty (HRM) Bluesmaster p. 26…User Experiences Summary; The Ceriatone Overtone Special His Royal Majesty (HRM) Bluesmaster p. 27…Recommended Ceriatone His Royal Majesty Bluesmaster Modifications And Standard Pricing in USD p. 30…Bluesmaster Discussion Summary p. 31…Questions Regarding Ordering A Ceriatone Overdrive Special HRM Bluesmaster Amplifier (and choosing between the different OTS models) p. 33…Ceriatone Overtone Special MK2 (HRM) p. 34…Bludotone Bludo-Drive Amplifier p. 36…Sebago Sound Double Trouble p. 38…Two-Rock TS-1

p. 40…Dumble Steel String Singer (SSS) ‘Style’ Clones p. 40…Ceriatone Steel String Singer (SSS); Clone of Dumble SSS Serial #4 p. 43…Bludotone High Plains Drifter p. 44…Sebago Sound Texas Flood; Clone of Dumble SSS Serial #2 p. 46…Dumble Circuit/Feature Inspired Amplifiers (Not Model Specific Clones) p. 46…Fuchs Overdrive Supreme p. 48…Two-Rock Amplifiers Introduction p. 49…Two-Rock Custom Reverb Signature V3 p. 50…Two-Rock Classic Reverb p. 51…Two-Rock John Mayer Signature p. 52…Two-Rock John Mayer Signature Prototype p. 53…Lets get quickly sidetracked by Some of John Mayer’s Other Gear p. 53…John’s Current Rig - 2014 p. 55…John Mayer’s Dumble Overdrive Special & 1x12” Off Centered Speaker Cabinet p. 56…John Mayer’s Old Effects Loop Buffer p. 57…Dumble Circuit/Feature Inspired Amplifiers (Not Model Specific Clones)…Continued… p. 57…Two-Rock Studio Pro/Studio Pro Plus p. 58…Two-Rock Crystal p. 59…Amplified Nation Dirty Mayor p. 60…Amplified Nation Mayor p. 61…Amplified Nation Prime Minister p. 63…Amplified Nation Hooligan

p. 66…Part 2 – Effects Loop Buffers p. 66…Why Use An Effects Loop Buffer? p. 67…The Real Dumble Effect Loop Buffer #1: The DUMBLELATOR p. 69…The Clone Effects Loop Buffers (in brand order) p. 69…Ceriatone C-Lator/Smartulator p. 71…Ceriatone Kleinulator p. 73…Two-Rock ELI 2 p. 73…Bludotone Loop-A-Lator

p. 74…Part 3 – Amplifier Related Research Questions p. 74…Miscellaneous Amplifier/Effects/Effects Loop Related Questions

p. 78…Part 4 – Now That You Have Chosen Your Amplifier p. 78…Ordering A Ceriatone ‘Dumble Overdrive Special Style’ Amplifier p. 80…Building A Head Cabinet For Your Amplifier Chassis p. 80…Basic Overdrive Special Style Head Cabinet Reference Pictures p. 81…Head Cabinet Build Considerations p. 82…Pre Built Head Cabinet Websites p. 82…Amplified Nation Head Cabinet Example Pictures p. 82…Basic Head Cabinet Plan Website p. 83…Basic Head Cab Build Instructions p. 90…Housing An Effects Loop Buffer Inside Your Amplifier’s Head Cabinet p. 91…To Tolex, Or Not To Tolex? p. 92…Designing Your Own Faceplate p. 93…Buying A Dumble Faceplate/Chassis Clone p. 93…Buying An Unbranded Dumble ODS Project Chassis/Faceplate

p. 94…Part 5 – Selecting Speakers For Dumble Style Amplifiers p. 94…Why The Fuss? p. 94…Celestion G12-65 Speakers (and all of the copies of-course) p. 95…So Only ‘12-65 Style’ Speakers For Dumble Amplifiers Then? p. 95…What Should I Consider Then Before I Choose A Speaker/Speakers? p. 96…Using Speaker Combinations p. 96…Speaker List Talk p. 97…Dumble Associated Speakers List p. 98…Individual Speaker Descriptions And Websites For The Speakers Discussed p. 98…Eminence Red White & Blues p. 99...Warehouse Guitar Speakers ET65 p. 100…Warehouse Guitar Speakers Veteran 30 p. 101…Celestion G12-65 Rola p. 102…Celestion G12 Century Vintage p. 103…Celestion Gold p. 104…Celestion Vintage 30 p. 105…Two-Rock 65-16 Made By Eminence p. 106…Two-Rock 12-65R p. 106…Two-Rock 12-65B Made By Warehouse Guitar Speakers p. 107…Jensen Neo 12-100 p. 108…EVM 12L

p. 109…Part 6 – Dumble Style Speaker Cabinets and Some Thoughts On Building Your Own p. 110…The ‘Real Dumble’ Speaker Cabinet Pictures p. 111…A Dumble 2x12” Speaker Cabinet p. 112…John Mayer’s Dumble Overdrive Special and 1x12” Off Centered Speaker Cabinet p. 113…A 1980’s Dumble 2x12” Combo Cabinet p. 117…Robben Ford’s 1982 #102 Overdrive Special & 2x12” Dumble Speaker Cabinet p. 117…Howard Alexander Dumble With A 70’s ODS And 1x12” Cabinet p. 118…Two-Rock Dumble ‘Style’ Speaker Cabinets p. 118…The Two-Rock 1x12” ‘Dumble Style’ Speaker Cabinet p. 119…The Two-Rock 2x12” ‘Dumble Style’ Standard Speaker Cabinet p. 120…The Two-Rock 2x12” ‘Dumble Style’ Signature Speaker Cabinet p. 121…Speaker Cabinet Basics p. 122…Cloning a 1x12” Two-Rock Signature ‘Dumble Style’ Speaker Cabinet p. 122…Direct Front and Back View Two-Rock Reference Pictures p. 123…Pre Two-Rock Speaker Cabinet Build Considerations p. 124…Materials Needed For A ‘Two-Rock 1x12 Speaker Cabinet’ Build p. 129…Two-Rock 1x12” ‘Dumble Style’ Speaker Cabinet Clone Measurements (approximate but not an exact design clone) p. 131…Basic Two-Rock ‘Dumble Style’ Clone Build Instructions p. 138…1x12” Two-Rock Clone Speaker Cabinet Pictures p. 139…Dumble 2x12” Speaker Cabinet Approximate Measurements p. 140…Ebay Dumble ‘Style’ Cabinets p. 140…The Speaker Factory ‘Dumble Style’ 1x12” Speaker Cabinet Clone p. 141… The Speaker Factory ‘Dumble Style’ 2x12” Speaker Cabinet Clone p. 142…Other Websites For ‘Dumble Style’ Speaker Cabinets p. 142…Amplified Nation ‘Dumble Style’ Speaker Cabinet Example Pictures

p. 143…A Final Note To Consider

Part 1 here contains a record of my Dumble amplifier research. It is laid out in order of the various types of Dumble amplifiers and clones. These amp types are the Dumble Overdrive Special style (which includes the straight ‘Overdrive Special’ and its various offshoots and the ‘Overdrive special HRM (Hot Rodded Marshall)’ and its various offshoots), the Dumble Steel String Singer style, and Dumble circuit/feature inspired amps (not specific copies).

Who Is Mr Dumble? Howard Alexander Dumble is a Californian amplifier builder/technician and made amplifiers in the 70’s, 80’s and 90’s, establishing a name synonymous with producing some of the best amplifiers in the world. Dumble only made amplifiers for musicians he appreciated. If he didn’t like your music, bad luck, he wouldn’t build you an amplifier. Dumble’s, even in the 70’s, 80’s and 90’s had a large price tag, much larger than most other amplifiers in the world. Upon finishing a product he would cover his amp in goo so no one could work out what it’s exact circuitry and components were in order to produce clones. On some of the amps the goo has been removed and the secrets are now widely available. Sure enough, there are now many faithful and fairly exact clones of these amps. There are many amp makers as well who have refined these designs or taken elements of these designs and are making their own Dumble inspired amps (Californian company Two-Rock is one such example). Many companies have established themselves firmly in the amplifier market through only recreating and offering Dumble clones and circuit/feature inspired amplifiers, choosing to focus specifically on the Dumble style of amplifiers. Mr. Dumble no longer makes amps these days, opting to make guns instead. Such a patriotic American (guitar amps and guns). Howard Alexander Dumble’s amplifiers now fetch between $25,000-$50,000 US dollars and are obviously quite sought after. If you had one and it was stolen you could go and buy a Dumble gun (and shoot yourself).

Notable Dumble Amplifier Players Stephen Bruton (had a low-watt Dumble with 4 10" speakers)

David Lindley (uses a Dumble cabinet)

Larry Carlton (Overdrive Specials and Bludo-Tone Bludo-Drive amps)

John Mayer (Overdrive Special, Steel String Singer and various Two-Rock Dumble style amplifiers). These are featured throughout this guide. Robben Ford (Overdrive Specials, most famously the 1982 #102). Information on this amp can be found here http://ampgarage.com/forum/viewtopic.php?t=12873

Lowell George (had an early custom Dumble head he used for most of his career).

Stevie Ray Vaughan (Steel String Singer & Dumble cabinets)

Carlos Santana (has an Overdrive Special and a Steel-String Singer besides his Mesa Boogies) Henry Kaiser (1978 Dumble Overdrive Special)

Lets First Take A Look At What The ‘REAL Dumble’ Amplifiers Were The Real ‘Dumble Overdrive Special’ (ODS) Amplifiers – Alexander Howard Dumble designed many types of ‘Dumble Overdrive Specials’ (ODS) over a 30-year period starting in the 70’s. The amplifiers were made for various artists and were all built to suit the individual playing styles of the intended buyer. The main circuitry and layout in the various ODS amplifiers is all very similar, however they do have their minor circuit differences, but more or less fit into three categories, the 70s, 80s or 90s circuits. The amplifiers feature a 2-channel setup, which consists of a stunningly clear and crisp clean channel and a luscious and rich overdrive channel. The preamp section has a volume control, bright, deep and rock/jazz switches to control the amplifiers voicing as well as a treble, middle and bass tone-stack. The overdrive channel has an overdrive, and ratio control. I believe most have an internal overdrive trim pot, which is used to set the craziness of the overdrive channels overdrive sound. Some Overdrive Special amplifiers don’t have a master volume; some do like this one below, which also offers a second bright knob next to the master volume. There is a post preamp tone-stack on the later HRM (Hot Rodded Marshall) version, which is internal, allowing the player to tweak the overdrive channel tone-stack sound (treble, middle, bass) with a screwdriver on the inside. This is in addition to the preamp tone-stack. There is a preamp boost (PAB) switch, which allows the player to bypass only the preamp tone-stack, giving the amp a more mid heavy signal and a little bit more grunt and growl. The amplifier came with a foot pedal, which had controls for PAB (on and off) as well as clean/overdrive channel switching. The ODS amplifiers did not have reverb or tremolo and needed an effects loop buffer to run effects correctly (more on the effects buffer in part 2 later). These amplifiers are very famous and were used by Robben Ford, Larry Carlton and Carlos Santana, just to name a few. Sound Examples: • Jackson Browne – Running On Empty (End Solo) • Robben Ford - Tiger Walk Album • Robben Ford – Freedom – Live in Ohne Filter https://www.youtube.com/watch?v=oRil3JBW35c&feature=kp • Santana – Black Magic Woman Single • 1983 100-watt Dumble Overdrive Special Demo https://www.youtube.com/watch?v=L5OzfX1emkA • Mark Knopfler - Sounds like an overdrive special but I’m not 100%. Going Home; Theme of the Local Hero - Local Hero Electric Version https://www.youtube.com/watch?v=bqBfUJqo2pM&index=14&list=PL7a4u6KlnMXbLnXAsfIWCQMhLNTEKJ9SZ

The Different Overdrive Special Amplifiers throughout the 70s, 80s and 90s

70s - The First Overdrive Special Amplifiers - Non HRM Low Plate Classic EQ – These are the oldest style of Dumble amps. They are characterized by their slightly lower gain overdrive, resulting in a more “raw” overdriven tone, and not quite as much of that classic Dumble lower midrange frequency content. The 70’s clean channel is very much like a “fat” Fender Blackface Twin, very warm with that classic 6L6 sparkle but much rounder and fatter by comparison. This is the amplifier circuit that made his reputation and was used by such players as Lindley, Browne and Lowell George, among others. The amplifiers can sustain quite a lot and have a singing overdrive. They are not very compressed and are very touch sensitive and dynamic. Robben Ford’s 1982 #102 ODS amplifier was originally a ‘Non HRM Low Plate Classic EQ’ later updated to ‘Non HRM High Plate Skyline’ specifications sometime between 1990 and 1993.

80s - The Second Overdrive Special Amplifiers - Non-HRM Skyline EQ Low Plate – This amplifiers are a variation of the above first Overdrive Special amplifiers. Dumble modified several of his older amps with a new tone stack he was developing, known as the skyline EQ because it's output viewed on a scope resembled a city skyline. It is a little less Fender sounding, but still a somewhat lower gain affair. It has the same gain as the vintage amp but the new EQ is more "signature Dumble" and a little less Fender. It has improved cleans from the vintage previous model. It still sustains and compresses similarly, has a bit better string-to-string definition and is a little more refined in the tone shaping.

80s - The Third Overdrive Special Amplifiers - Non-HRM Skyline EQ High Plate – This is where Mr. Dumble went next. This amplifier is the same except for the gain staging, which does not resemble a classic Fender gain staging. It has even more headroom, string-to-string definition and punch. It is known to have more lively and responsive cleans, a smoother and warmer overdrive and a small bit of compression, making the amplifier very playable and forgiving while maintaining the touch sensitivity. This amplifier produces lots of sweet singing tones. It is the most commonly cloned Overdrive Special model today, one such clone being the straight ‘Ceriatone Overtone Special’, which we will discuss later.

90s - The Fourth Overdrive Special Amplifiers - HRM Skyline EQ - Within this amplifier there is a post overdrive tone stack (a second tone-stack), dedicated to just the OD channel. It is more or less a Marshall style tone stack which allows tone shaping of the OD independent of the cleans (the internal treble, middle and bass tone-stack is internally adjusted using a screwdriver and you set it and forget it). The HRM therefore refers to the post preamp Marshall style/voiced tone-stack. These amplifiers are therefore called ‘Hot Rodded Marshalls’ or Hot Rubber Monkeys’. A real Dumble of this kind would be called a Skyline HRM as it consists of the ‘Skyline preamp EQ’ and has the HRM OD tone-stack added. It is smooth as silk and goes from clean to mean like nothing else. The transition between the clean channel and the overdrive channel is amazing; due to the fact there is the dedicated OD trim, post OD tone-stack, as well as preamp volume, allowing you to tune your overdrive independent of your clean sound. On all of the ODS amplifiers that I have seen, there is a volume on the preamp, an OD level on the overdrive and a power amp master volume which really helps the transition between the two channels. With this particular ‘HRM Skyline EQ’ amplifier type you can pick clean, a bit dirty, grinding and soaring, all with your hand and all smoothly with definition. There is no rasp or buzz within the tone and the sound is very refined. The model has gorgeous smooth tones and a little more compression than the above amplifiers, but not in a bad way. The sound is still very dynamic and natural. This amplifier feels like it breathes with you after awhile. It produces a smooth singing overdrive with no ugly sounds. The ‘HRM Skyline EQ’ amplifier offers the most tone selections out of the various ODS amplifiers.

Late 90s - The Fifth Overdrive Special Amplifiers - The Bluesmaster HRM – This amplifier preamp tone-stack is more rooted in the early Fender sound and sounds a little more mid scooped, decidedly Fender Bassman and Blackface meets Dumble tone territory, however because of Dumble’s many other differences, in my opinion it is far better. It is different than the rest of the ODS offerings. The cleans here are arguable the best cleans an amplifier will produce, Dumble or otherwise. They will sing and sustain and sound so sweet. The pick attack is arguable the most sensitive out of all the Dumble Overdrive Special models. The overdrive again contains the dedicated HRM preamp tone-stack and can sound like a Marshall on steroids through the OD channel. This OD is much less smooth and much less compressed than the above amps and has some early Marshall vibe to it. Boosted cleans with this amp are to die for. The OD is a bit more raw and edgy than some of the other offerings, but with boosted cleans you get the smooth side of things and with the OD you have a less polite and refined tone. This amplifier is somewhat like the first Dumble’s, though different. It has lots of punch, sustain and sing, but again is not as smooth as some of the other offerings. The Bluesmaster can be thick and dense too, not dark and crappy, just "meaty".

The Real ‘Dumble Steel String Singer’ (SSS) Amplifiers – These amplifiers use a single channel and allow stunning high headroom clean tones. The SSS is a very popular amplifier today, Dumble having not made many. The SSS has two inputs (FET and Normal) a volume control, bright, deep, and rock/jazz switches as well as a treble, middle and bass tone-stack. The addition of ‘filter high’ and ‘filter low’ allows you to control the frequency range and is a superb addition to this amp. The SSS has a stunning spring reverb tank with reverb ‘send’ and ‘return’ controls as well as a level control. Again these amplifiers differ slightly in circuit from amplifier to amplifier, however the main topology is the same. The picture below is of John Mayer’s Dumble Steel String Singer and is the serial #2. I had the pleasure to stand in front of John Mayer’s 2014 rig (Dumble SSS#2, 2 x Two-Rock John Mayer Signature amplifiers, 6 2x12’ Alessandro speaker cabinets, using a combination of Celestion and Jensen speakers), close enough to hear the rig sound, not the microphone P.A sound. The Dumble SSS was easy to hear and pick out and sounded absolutely amazing, with a singing, dynamic, musical and beautiful clean tone. Sound Examples: •

Stevie Ray Vaughan - Texas Flood: This is a more dirty and growly example of the Dumble SSS amplifier (with a tube screamer pedal).

•

Original Dumble Steel String Singer Amp, ARACOM PRX150 Power Attenuator - https://www.youtube.com/watch?v=CH6AI2mAsD4

•

John Mayer – Paper Doll: Live on the Dave Letterman show - https://www.youtube.com/watch?v=y1UqXuvv6J8

•

John Mayer - The Queen of California: Live on the Dave Letterman show. Definitely Mayer’s SSS paired with the Two Rock John Mayer Signature. The album version is

not as clean as the live version’s end solo which is just beautiful - https://www.youtube.com/watch?v=8CO3mfyPEXw

Dumble Reference Internet Pages Real Dumble Video & Sound Clip Reference Page The following URL is dedicated to offering a place for people to post videos and sound samples of ‘real’ Dumble Amplifiers. The result is quite a lot of great Dumble videos and sound samples. •

http://ampgarage.com/forum/viewtopic.php?t=11906&start=0&postdays=0&postorder=asc&highlight=

Dumble Documented Photo Record Page The following URL is dedicated to Real Dumble pictures. These pictures are categorized in the various models/years or artist that use/used them. •

http://www.roblivesey.com/dumble/

The God Sent Clones

1. Dumble Overdrive Special ‘Style’ Clones (in brand order) Ceriatone – Overtone Special, Overtone Special Ford Mustang, Overtone Special Modern Eagle, Overtone Special S & M, Overtone Special # 183, Overtone Special HRM, Overtone Special HRM Bluesmaster, Overtone Special MK2.

Overtone Special (OTS) non-HRM – This ‘Ceriatone OTS’ is the straight Overdrive Special Skyline High Plate EQ ‘clone’. This amplifier has no post preamp, ‘second’ tonestack. It just uses a preamp tone-stack just like the first Dumble OTS non-HRM amplifiers. Listen to Robben Ford’s ‘Tiger Walk’ Album and listen to ‘Freedom’, ‘Tiger Walk’ and the rest (you can find it on Spotify for free). That’s Robben Ford’s ODS #102 after it was modified by Mr. Dumble and turned into the ODS Skyline High Plate EQ. It is basically a straight ‘Dumble Overdrive Special’, which the Ceriatone OTS pictured here is modeled off. The amp has a stunning clear, clean and dynamic clean channel, with a creamy, rich and compressed overdrive channel. Ceriatone have really done this amplifier clone justice by creating a great and true Dumble ODS tone with many different sound possibilities. The Ceriatone amplifiers are superb quality at a far lower price than any other brand on these pages! Sound Examples: •

Ceriatone OTS (100 watt) CLEAN TONE DEMO - https://www.youtube.com/watch?v=rS9QX5HaZB8

•

Ceriatone Overtone Special amplifier demo I - https://www.youtube.com/watch?v=QwW3ZbnI6Cw

•

Ceriatone OTS Guitar Amp with Strat Demo - https://www.youtube.com/watch?v=3NAACfgtpS0

•

Ceriatone OTS 50-Watt Amp - Guitar Blues Noodle - https://www.youtube.com/watch?v=YRW-JDfnnK8

•

John Mayer Gravity Noodle with Ceriatone OTS Amp - https://www.youtube.com/watch?v=TxMSM761Flw.

•

Fender Michael Landau Signature Strat into Ceriatone Overtone Special, NO EFFECTS - https://www.youtube.com/watch?v=b4MfluEPU4kTS!

•

Ceriatone ots "switching between clean & overdrive" - https://www.youtube.com/watch?v=-mI_pNQJQ84

Amp Front = FET Input, Normal Input, Bright, Deep, Rock/Jazz, Treble, Middle, Bass, Overdrive Level, Overdrive Ratio, Master, Presence. There is an ‘internal’ overdrive trim, used to set the craziness of the overdrive (you have to open the amp and adjust the trimmer with a screwdriver, find the sweet spot and then leave it).

Amp Back – Mains AC In, 1 N 2 Ground, Fuse, Mains AC On/Off, Operate/Standby, Output to Speaker, Output to Extension Cabinet, Impedance Selector (4, 8 & 16 ohms), Overdrive Toggle (amp or foot pedal selector), Preamp Boost Toggle (amp or foot pedal selector) and Foot Pedal Input.

Other Ceriatone OTS non HRM Models – Ceriatone Overtone Special Ford Mustang, Ceriatone Overtone Special Modern Eagle, Ceriatone Overtone Special S & M, Ceriatone Overtone Special # 183: These 4 amplifiers all look the same as the previous Overtone Special above and also have the same name-plate and front/back controls.

Ceriatone Overtone Special Ford Mustang: 6L6 tubes - The Ford Mustang is a copy of the Overdrive Special #102 Circuit, which Robben Ford owns. It consists of the Skyline tone-stack and is a High Plate amplifier. You can find more information on the real Robben Ford Dumble Overdrive Special 1982 #102 amplifier here: http://ampgarage.com/forum/viewtopic.php?t=12873 Sound Examples: •

Ceriatone OTS FM100 with C-Lator - https://www.youtube.com/watch?v=EXTvR06hv1w

•

Ceriatone Overtone Special Ford Mustang 50W - https://www.youtube.com/watch?v=0a1dYpBtb8w

•

Ceriatone Overtone Special FM 100 - https://www.youtube.com/watch?v=DksmCVt5s1Y

•

Robben Ford-Indianola Ceriatone OTS FM50 - https://www.youtube.com/watch?v=FeBcqOGjDio

•

John Mayer-Slow Dancing in a Burning Room/Ceriatone OTS FM50 - https://www.youtube.com/watch?v=vPl3Z0Wf8no

Ceriatone Overtone Special Modern Eagle: 6L6 tubes - This is the Overtone Special FM #102 with the Modern Eagle modification. It is a bit more aggressive for an Overtone Special. It is not as creamy as the OTS, but brighter. Sound Examples: •

Ceriatone Overtone Special FM 100 W Modern Eagle mod.avi - https://www.youtube.com/watch?v=CraIs2k2yMo

•

Max Turchi Revelation Cover.avi - https://www.youtube.com/watch?v=9yOVwloDInk

•

Room 335 Cover with Gibson 335 Lee Ritenoir & Ceriatone FM 100 Modern Eagle.avi - https://www.youtube.com/watch?v=wZqElAqrOHQ

Ceriatone Overtone Special S & M: 6L6 tubes - This particular incarnation of the OTS amplifiers, the S&M edition, is the result of collaboration with international guitarists Sami Marttila and Marin Debelic. They both wanted a slightly brighter overdrive tone that had extended upper harmonic content and the ability to add even more sparkle to their clean tones. The S&M is a non-HRM, high plate OTS amplifier with a slightly more stinging, coarse overdrive tone, and a more traditional and brighter clean tone. This amplifier may not switch from clean to OD well without resetting the tone controls. Sound Examples: •

Ceriatone overtone special 50w S&M photos.mp4 - https://www.youtube.com/watch?v=JjMrwXtVV24

•

Ceriatone S&M blues - https://www.youtube.com/watch?v=VM9T1AVUwp0

•

Ceriatone Overtone S&M Special Clip - https://www.youtube.com/watch?v=6xD4Z4jous0

•

Ceriatone Overtone S&M Special G1265 - https://www.youtube.com/watch?v=hIDrq4E3hVo

Ceriatone Overtone Special # 183: EL34 tubes - The "183" is based on the Dumble Overdrive Special #183. The main difference is that it uses EL34's instead of 6L6's. Because of the output tubes, it is somewhat brighter and has a more aggressive overdrive than the 6L6 OTS. A total rock machine. Sound Examples: •

Ceriatone OTS "183" Clean - https://www.youtube.com/watch?v=rMePl3JyqOQ

•

Ceriatone Overtone 183 - https://www.youtube.com/watch?v=kotX5ybeyEg

OTS HRM (His Royal Majesty) – Dumble called this amp the ‘Hot Rodded Marshall’ or HRM. This amp is the same as the standard OTS, however it has a post overdrive ‘Marshall voiced’ tone-stack (internal bass, middle and treble tone-stack, only operational on the overdrive channel, adjusted by 3 pots turned with a screwdriver). This amp therefore has a more Marshall style overdrive (while still sounding like a Dumble). It’s a rock and roll amp, with a lovely ‘Normal OTS’ clean channel. You can purchase a cheap modification to bypass the HRM on the overdrive channel, turning the overdrive into the standard OTS overdrive (more on this is in the ‘modifications’ after the Ceriatone HRM Bluesmaster section below). Sound Examples: •

Ceriatone Overtone OTS HRM100 demo - https://www.youtube.com/watch?v=J8cWzKlx3mM.

•

Ceriatone HRM100 First incidence - https://www.youtube.com/watch?v=hSgc6q5UZgQ

•

Ceriatone HRM –Binghamtone - https://www.youtube.com/watch?v=9U327kj-fGo

Amp Front = Lo Input, High Input, Preamp Volume with Pull Bright, Deep Toggle, Mid Boost Toggle, Rock/Jazz Toggle, Treble, Middle, Bass, Overdrive Level, Overdrive Ratio, Master, Presence. The internal overdrive trim, (used to set the craziness of the overdrive) has now been relocated from internal to external (on the back of this amp).

OTS HRM (His Royal Majesty) Bluesmaster – A Fender Blackface meets Dumble OTS clean channel with a post overdrive tone-stack Marshall style overdrive (only operational on the overdrive channel, and internally adjusted via 3 pots turned with a screwdriver). This amp has an awesome OTS/Fender Blackface tone (think three dimensional Bassman/Vibroverb/Bandmaster) on the clean channel and a Hot Rodded Marshall overdrive channel. You could run through the clean channel with overdrive pedals to get an OTS Dumble/Fender broken up clean, drop the pedals to get a pure OTS Dumble/Fender clean, or kick in the overdrive channel to get a Marshall on steroids overdrive. There are plenty more options available with this amplifier and many ways you can work with it. You can also get many modifications to make it even more versatile. The amp is very dynamic as it responds to attack and feel and will ensure you become a very dynamic player. Sound Examples: •

BM_HRM-Strat.avi - https://www.youtube.com/watch?v=U2beFti9-LM

•

Europa-guitar improv-using a Ceriatone HRM Bluesmaster 100 - https://www.youtube.com/watch?v=2tKPPud6EKk

•

Blue noodles on Ceriatone hrm bluesmaster! - https://www.youtube.com/watch?v=UwNO5ymS-ys

•

BM_HRM-ZNTele.avi - https://www.youtube.com/watch?v=12exqebEo8A

•

Ceriatone hrm bluesmaster 100w! Brand New! SOLD! - https://www.youtube.com/watch?v=J-B97sfPOYE

Amp Front = Lo Input, High Input, Preamp Volume with Pull Bright, Deep Toggle, Mid Boost Toggle, Rock/Jazz Toggle, Treble, Middle, Bass, Overdrive Drive, Overdrive Level, Master Volume, Presence. Again the OTS’s internal overdrive trim (used to set the craziness of the overdrive) has been relocated from internal to external (on the back of this amp) just like on the previous OTS HRM amplifier.

Amp Back = AC Adapter In, ‘Optional’ Half Power Switch, Fuse, AC On/Off Toggle, Overdrive Trim (sets the craziness of the overdrive), Speaker Output, Extension Speaker Output, Impedance Selector 4, 8, 16 Ohms, Effects Loop Send, Effects Loop Return, Overdrive Toggle (amp or foot pedal selector), Preamp Boost Toggle (amp or foot pedal selector), Foot Pedal Input. The Marshall style overdrive tone-stack (only operational on the overdrive channel, and adjusted via 3 pots turned with a screwdriver) is located internally. The Overdrive Trim is on the back as a potentiometer (just like the OTS HRM model) making it much more accessible, instead of being located internally like in the straight OTS.

User Experiences Summary; The Overtone Special His Royal Majesty (HRM) Bluesmaster This is a summary of a few forums (one was 16 pages long) of people’s experiences with the OTS HRM Bluesmaster Ceriatone amplifier and their findings on how to bring out the amplifiers full potential.

The Ceriatone HRM Bluesmaster is the most versatile of the OTS series amplifiers. Players say it’s the best Overdrive special amp in the series, like a three-dimensional Fender Blackface on steroids with that lovely ‘Dumble Overtone Special’ flavor as well. However, the general consensus is that this amp has a touch too much bass response and the overdrive channel can be fizzy and muddy. To get this amp ‘right’ however, paying attention to the internal overdrive tone-stack is important, the external overdrive trim, as well as tube choice, speaker choice and the use of the C-Lator (tube driven effects buffer). Once these aspects of the amp are considered and worked out, the Bluesmaster can and will become a stunning amplifier. Consider the order you are tuning your amplifier in. Eg: There is no point ‘setting the internal HRM overdrive tone-stack’ before you make a good speaker choice. The following 5 considerations are important when tuning your Ceriatone OTS HRM Bluesmaster and should be worked out in the following order. 1. Speakers: Speakers that are recommended in the OTS Bluesmaster to dull down the fizzy overdrive and overall bass heavy character are non-neutral sounding speakers (so not the 1265 style speakers, such as the Celestion G12-65 or the many clones in the same style). The Celestion Gold is a winner as it adds its own subtle character, more highs and controls and tightens up the bass. The EVM-12L is also said to work well with this amp but not as well as the Celestion Gold. A combination of speakers may be good, such as a Celestion Gold and a Jensen Neo, or a Gold and a Celestion G12 Century. A speaker combination allows a fuller range of frequencies to be had and will work well if the speakers are carefully matched to each other and the amplifier. Some people mix speakers in cabinets, such as 2 different 12” speakers in a 2x12” cabinet. John Mayer never mixes his speakers in his cabinets. Try it both ways and see what sounds the best to your ears. 2. The External Back Overdrive Trim Control - I have also read a few times that the external overdrive trim pot (located on the back) should be left under 11 o clock. The overdrive gets a bit fizzy and muddy after that. In the HRM manual Ceriatone suggest turning the OD trim control pot to 10 or 11 o clock. This back up the experiences and advice from owners and user of the HRM Bluesmaster. 3. Setting the ‘Internal HRM Overdrive Tone-stack’ – The amplifier as mentioned is very bass heavy. This can be overcome through adjusting the internal overdrive tone-stack. Those that have ventured here say to mark the original settings with a pen marker and then use your ears to find a setting you like, the same way one would approach adjusting the treble, middle and bass tone-stack on the front (preamp) section on the guitar amplifier. A popular setting is to have the bass trim pot barely open (under 2 or 3), but tune it to your liking, your speakers and your tubes. These internal bass, middle and treble trim pots are tweaked with a screwdriver (I say internal, this means they are located on the inside, or guts of the amp). The internal tone-stack controls will have an effect on the overdrive channel only. When setting these be sure to have the PAB (preamp boost) switch on so your preamp tone stack doesn’t wrongly flavor the sound and is taken out of the equation. This is also the way the overdrive is intended to be played on the HRM models (with the PAB on). It is best to set the HRM tone-stack while the amplifier is switched off and unplugged. Otherwise your screwdriver is close to lethal voltages. Read the manual for safety precautions before you do anything and only try it if you are experienced and knowledgeable in the area. Make sure you use a non-conductive screwdriver. You will need to switch the amplifier back on each time to take a listen to how the tweaking is affecting the sound.

4. Tubes: Tube changes (rolls) are also known to work really well with this amplifier; with each tube displaying it’s own character. Again, here we are trying to make the amp’s clean channel cleaner, less bass heavy, as well as controlling the overdrive channel, making it less fizzy and muddy. The following tubes are recommended in the Bluesmaster to accomplish these goals. In position V1 - The RCA grey short plate 12AX7. This tube is said to make the amp sound great with all pickup types and contributes to making the amp sound less fizzy, muddy and bassy as well as making the clean channel cleaner and more three dimensional. Also a possibility is an ANOS RCA for the clean side, which is said to give good results. In position V2 – Owners get great results running another RCA Short Grey Plate 12AX7, a Jan Philips 5751, a TAD 7025 or a Tung SOL R1. The Jan Philips 5751 apparently will make the overdrive a little calmer and will make the amp not require as much volume to get a great sound and is therefore the most popular tube in position V2. In position V3 – Most have decided on the Sovtek LPS for reasons not well explained. Power tubes – Most use TAD 6L6-GC or TAD 6L6WGC-STR power tubes. Some use the Stock JJ power tubes that ship with the Ceriatone OTS HRM Bluesmaster. The TAD 6L6WGC's are relabeled Shuguangs, but they sound great, do not drift over time and are very affordable and are therefore a popular choice. Here is a great article on guitar amplifier and audiophile tubes and how to select NOS and vintage audio tubes: The Tube-King's Guide to NOS and Vintage Audio Tubes http://www.ebay.com.au/gds/The-Tubekings-Guide-to-NOS-and-Vintage-Audio-Tubes-/10000000017053944/g.html 5. Use The Bluesmaster With An Effects Buffer (C-Lator): (For more information on effects buffers see ‘Part 2 – Effects Buffers’). The C-Lator effects loop buffer (pictured below) is needed to create the right impedance to run your effects stomp box pedals in the correct fashion. Basically you plug your rack and stomp box effects into the C-Lator and connect your CLator to the amplifiers effects loop. The C-Lator effects buffer has an ‘amp return level’, which adjusts the level that the C-lator sends back to the amp, and can be thought of as a second and overall ‘master volume’ for the amplifier, allowing you to crank the preamp and power amp and bring down the C-lator’s ‘amp return level’. This will allow the player to achieve a great tone at low volume. The C-Lator supposedly adds its own subtle character to your tone and is said to be a magnificent addition. The 2 bright switches on the C-Lator can be used to make the amp a little brighter, dulling down the bass character, however should only be a last resort for someone who hasn’t paid attention to ‘setting the HRM overdrive internal tonestack’, ‘selecting the right speakers’ and ‘selecting the right tubes’ when using the Ceriatone His Royal Majesty Bluesmaster.

Recommended Bluesmaster Modifications and Standard Pricing in USD: The following modifications will bring even more versatility to your already versatile Ceriatone OTS HRM Bluesmaster amplifier. These modifications (except for the HRM Tone-Stack Bypass Modification) are available on any of the Ceriatone Overtone Special and HRM models. The ‘HRM Tone-stack Bypass Modification’ will not be needed on the Straight OTS non HRM models as there is no 2nd Marshall style tone-stack (post OD tone-stack), just the normal preamp tonestack and therefore no HRM tone-stack to bypass. • • • •

1/2 power switch (removes operation of half of the output tubes = $15 roughly HRM tone-stack bypass (turning the overdrive channel into the standard overdrive when you use the PAB, preamp tone-stack bypass) = $20 roughly 3-way mid-boost = $15 roughly 6 way treble bleed = $20 roughly. This is a 6-way rotary control knob and is really a 6-way bright switch. The last unused area on the amplifier for a potentiometer is between ‘his’ and ‘royal’, seen below.

Pictured Modification: Half Power Switch – The half power switch below allows the player to reduce the power of the amplifier by half. Halving the power will remove the operation of half of the output tubes. If 4 output tubes are being operated (on the 100 watt Ceriatone OTS various models), the ‘half power’ switch will reduce the output tube operation by 2 tubes. This will therefore decrease the power wattage from 100-watts to 50-watts. On the 50-watt versions the ‘half power’ switch will reduce the number of operational output tubes from 2 tubes to 1 tube, halving the power from 50-watts to 25-watts. Using the half power switch to remove half the operational tubes and power will result in a 3 d.b decrease in volume. To learn more about this, see ‘Part 3 - Amplifier Research Questions, or ‘Part 5 – under ‘Speaker efficiency’.

Pictured Modification: HRM Tone-stack Bypass (only operational on the overdrive channel) – This 3-way toggle switch is located between the words ‘middle’ and ‘bass’ on the preamp section of the amplifier faceplate, seen below. When the 3-way toggle switch is to the left (1st position), the amplifiers circuit will turn into the standard OTS circuit. For the ‘Overtone Special His Royal Majesty’ standard, the overdrive sound will sound like the straight ‘Overtone Special’ overdrive voicing. For the ‘Overtone Special His Royal Majesty Bluestmaster’ when the HRM Tone-stack is bypassed, the overdrive channel will sound bright, if bright speakers are chosen as well as sounding warmer but less smooth than the real straight OTS sound. In the middle position, the Overtone Special HRM tone-stack will be bypassed, allowing more gain to be had on the overdrive channel, as the signal goes from the input to the output in one shot. In the right (3rd or ‘intended’) position, the HRM tone-stack will be operational. Remember, this tone-stack is only operational on the overdrive channel. The preamp bypass switch (PAB) (also on the foot pedal) will bypass the preamp tone-stack, allowing more gain to be had from your overdrive channel and is the intended way to use the overdrive channel. Don’t confuse the Preamp boost (PAB) switch with the 3-way HRM Tone-Stack bypass switch.

Pictured Modification: 6-Way Treble Bleed – The 6-way treble bleed is located between ‘His’ and ‘Royal’ as this is the only space left to locate it. It is a 6-way rotary control knob, giving six position variable control on the amount of treble response. This has been referred to as a bright switch as it can brighten up the amplifier.

Pictured Modification: 3-Way Mid Boost – The 3-way mid boost modification turns the mid boost toggle switch into a 3-way toggle switch. This allows the normal on/off toggle as well as a third ‘half mid boost’ setting. Together with the ‘middle’ control potentiometer (still in the preamp), that’s some versatile ‘middle’ control.

Here is one such order from a happy Ceriatone customer back in 2012. The guys at Ceriatone have noted his HRM model, country and country voltage, wattage and his 4 modifications. Don’t worry, I’m sure if they lose these bits of paper your order is sure to be recorded on their system, I hope! Nik the genius at Ceriatone would probably have filed it in his head anyway! Nik does the modifications personally. He takes his orders through his email and is happy to answer any questions about his amplifiers or modifications to potential buyers.

Bluesmaster Discussion Summary – Adjusting the internal tone-stack to suit (bass down), using a ’Celestion Gold’ or ‘speaker combination’, using good well selected tubes as well as using the bright switches on the C-lator will make the Bluesmaster amp unleash a tone to die for. A half power switch, 6 way treble bleed, 3 way mid boost toggle and an HRM tone-stack bypass switch (HRM overdrive to stock OTS overdrive switch) will make the amp very versatile (you will only achieve the OTS overdrive with the HRM/HRM Bluesmaster if the PAB switch is on which is the intended way to use the overdrive channel). Remember the external overdrive trimmer (located on the back) should be left under 11 o clock. The overdrive gets a bit fizzy and muddy after that. Another option that many owners use is to get a good clean boost pedal (Keeley Katana) and use the clean channel to play clean guitar sounds, then boost the clean channel with the boost pedal for overdrive sounds. Overdrive pedals will attain a more overdriven sound as well. One such pedal is the amplified nation big bloom overdrive (they are really geared for Dumble style amplifiers). Although there are a hundred other great overdrive pedals, such as the well-known Boss BD2 and the Ibanez Tube Screamer pedals (just the tip of the iceberg). Don’t get scared away from this amp, it’s just a process of learning it. Every amp out there can be made to sound bad, but also be made to sound good. We just have to learn how to get the later sounds. Those that learned this amp say it’s the amp of their dreams and the best and most versatile amp in the OTS series by Ceriatone.

Questions Regarding Ordering A Ceriatone OTS HRM Bluesmaster Amplifier (and choosing between the different OTS models) Here are some questions I have for NIK AZAM, whom I will email before I order (Nik is the owner of Ceriatone and an amazingly helpful guy and prompt email replier, supposedly the guy doesn’t ever sleep, hence the quick email replies). The various Ceriatone Dumble clone amps are A1 quality and Nick takes pride in his amazing work and customer service. He now has hero status in the guitar world, due to his low prices, the best customer service and a fine quality product. You can email Nik and he points you to the right amp for your purposes and sound aspirations. You can get plenty of modifications, such as half power switches, 6 way bright switches, 3 way mid boost, HRM bypass and so on (these have been discussed above). Each mod will cost you about $15-20. No I’m not joking! These amplifiers are made in Malaysia, but should be taken very seriously and not simply dismissed because of a silly preconception of ‘country = quality’. Nik Azam’s labor, transport and general costs are far less due to his geographical position and he is therefore able to keep his prices much lower than American, Australian or European Amplifier makers. Nik uses only the best parts and sources these parts worldwide. He has earned his well-deserved respect as one of the best in the business. Questions for Nik What do I want in an amp from Ceriatone? 1. A versatile amp – I would like to be able to achieve a range of tones from the amplifier such as the Robben Ford, Santana, Mayer continuum and the Fender blackface tones. Yes, that’s a lot but maybe one is capable of achieving this on the versatile Ceriatone HRM Bluesmaster, with modifications to make it even more versatile. 2. How many watts? A 50-watt with a 25-watt half power switch or 100-watt with a 50-watt half power switch? I will need it for the bedroom and medium sized gigs with a P.A as well as home recording. I can use a 1x12” speaker cab or a 2x12” speaker cab (swapping and changing to suit the day). I can always run 2 cabs with 2x12” speakers if needed to make 4x12” speakers (more volume). Some say the 100-watt amplifier produces a more tone-full and full sound when compared to the 50 watt. Would this be correct? 3. C-Lator - I will be buying a C-Lator (effects buffer). Q. If I run the preamp high and turn down the C-lator return knob to the amp to attenuate the volume, will this make a difference to the tone of my amp? Will the tone be the same as the straight amp tone, will it be better, or will it suffer? I presume it is better to find the right tone with the amplifier and then attenuate the C-Lator return level to control the volume. I understand the C-Lator adds a desirable 3 dimensional character to the tone, as well as buffering the effects loop and being handy as a master volume control. 4. Mid scoop – The amp must be able to scoop the mids for a great Fender blues tone. What does the 3way mid boost toggle switch do? Does it just boost the mids or does it help to scoop them as well? This amplifier seems to have very versatile middle control, with the preamp middle potentiometer and the 3way mid boost knob as well as the PAB (which gives a mid boost). 5. 6 way treble bleed – Does this give the ability to put lots of treble in the signal or bleed it off. What is a 6 way treble bleed? How does it complement the preamp tone-stack? 6. Overdrive – I need to decide between the HRM, HRM Bluesmaster or the standard OTS overdrive. Can I get an HRM defeat switch to make the HRM Bluesmaster turn into the standard OTS when the PAB switch is on? Some say the Bluesmaster overdrive is muddy, fizzy and bass heavy (I understand speaker choice, tube choice, internal tone-stack settings and the use of a C-Lator is important to overcome this).

7. I prefer clean headroom – I like high volume clean tones on the clean channel (channel 1). Which amp do you suggest? Are there noticeable differences in clean tones at high volume (differences in clean headroom between the different models)? How is the clean headroom on the HRM Bluesmasters clean channel? 8. What modifications are recommended? – What are the modifications I can get in an OTS HRM Bluesmaster to achieve the most versatility? With Modifications and selecting the HRM Bluesmaster as the platform, can I achieve a good mid scooped blues fender style clean sound as well as the straight OTS clean sound on the clean channel? On the overdrive channel, when the PAB is on, can I achieve the straight OTS overdrive sound and the HRM overdrive sound (switchable between)? The modifications I am contemplating are as follows. • • • •

1/2 power switch (removes operation of half of the output tubes). HRM tone-stack bypass (turning the overdrive channel into the standard overdrive when you use the PAB). 3-way mid-boost. 6 way treble bleed.

Maybe all of this is a big toss of nonsense. The problem is there are too many OTS models and too many possible modifications. Little information is on the website in terms of modifications and customers aren’t great at posting good information about the modifications. Through trawling through forums I have amassed the previous questions to hopefully understand how to get a great and versatile amplifier that will last a lifetime.

Other Ceriatone OTS HRM Models - Overtone Special HRM MK2: This looks the same as the previous Overtone Special HRM above. Overtone Special HRM MK2 – This amplifier has a bit more gain on both channels. The OD is crunchier and more compressed. This amplifier shares the same switches and controls as the other Ceriatone OTS HRM models. Again the Overdrive Trim is located on the back for easy access. Sound Examples •

Ceriatone HRM MkII - https://www.youtube.com/watch?v=2pD9MVAvFCw

•

Ceriatone HRM –Binghamtone - https://www.youtube.com/watch?v=9U327kj-fGo

Bludotone – Bludo-Drive Amplifier Bludo-Drive Amplifier - Each Bludo-drive is hand built to ‘exacting specifications’ of the original amplifiers they are cloning. In this case the ‘Bludo-drive’ is a clone of the Dumble Overdrive Special style amplifiers. The website does not say which model (HRM or non HRM) they are copying in particular, but do say they can voice the amplifier to the players likes and do offer 1 free re-voicing if the buyer is not fully satisfied with the original voicing of the amplifier. Transformer upgrades are possible. Bludo-tone’s starting price on the Bludo-Drive is around $3875 U.S.D. They are known to be very good quality. Sound Examples: •

Bludo-Drive by Bludotone, head 100 watts teste com Gibson ES-335 63´Reissue.MOV - https://www.youtube.com/watch?v=pPFvwQUE9sw

•

Bludo-Drive by Bludotone, "80´s Voice" com Gibson Les Paul 59'R e TC Elet. G-Major 2 - https://www.youtube.com/watch?v=kqWD5_IADDs

•

1967 Gibson ES-335 plus Bludotone Bludo-Drive Amp - https://www.youtube.com/watch?v=9asODc2hNlU

•

Fender Stratocaster 1957 Reissue plus Bludotone Bludo-Drive Amp Part 3 - https://www.youtube.com/watch?v=-oRyercycls

•

Bludo-Drive by Bludotone, HRM "Bluesmaster Voice" com Gibson Les Paul 59'R e TC Elet. G-Major 2 - https://www.youtube.com/watch?v=J6Se1tnjYjQ

Amp Front = FET Input, Normal Input, Volume, Bright Toggle, Mid Toggle, Rock/Jazz Toggle, Treble, Middle, Bass, Drive, Volume, Master, Presence.

Amp Back = 1N2 Ground, Slo-Blo Fuse, Mains On/Off Toggle, Bypass/Operate Toggle, Speaker Output Main, Speaker Output Extension, Impedance Selector 4, 8, 16 Ohms, Signal Access Power Amp Input (effects loop return), Preamp Output (effects loop return), Overdrive Manual/Pedal Toggle, Preamp Boost Manual/Pedal.

Sebago Sound – Double Trouble 50 DT50 (Double Trouble 50 Watt) – This amplifier is a ‘standard OTS’ clone in a similar fashion to the ‘Ceriatone non HRM’. It is probably very similar to Ceriatone’s OTS in sound, but I have never been able to A/B them both. However, this Sebago Sound ODS clone is considerably more expensive than the Ceriatone and I’m not sure why one would pay the extra cash. I guess because it’s made in America. The DT amplifiers do have a tube buffered effects loop built in. I would be happy with either. Sebago sound offer a ‘Mercury Magnetics Transformers’ option. It’s cost is = $2399 $U.S. + Shipping. It is also available as a 100-Watt amplifier. Sound Examples: •

Sebago Sound Double Trouble DT50 - https://www.youtube.com/watch?v=htcUUKEoJ44

Amp Front = FET Input, Normal Input, Bright, Mid Boost, Rock/Jazz, Treble, Middle, Bass, Overdrive Level, Overdrive Volume, Master, Presence. There is an internal overdrive trim, used to set the craziness of the overdrive.

Amp Back – Mains AC In, Fuse, Mains AC On/Off, Operate/Standby, Output to Speaker, Output to Extension Cabinet, Impedance Selector (4, 8 & 16 ohms), Effects Return, Effects Send, Overdrive Toggle (amp or foot pedal selector), Preamp Boost Toggle (amp or foot pedal selector), Foot Pedal Input.

Two-Rock – TS1 Two-Rock TS1 – Although not specifically stated on the Two-Rock website, to me this looks very much like a Dumble Overdrive Special from the front controls. Two-Rock were in the process of designing a new amp when Taku Sakashta's life was taken tragically. He had always wanted to make an amp called the "Tone Secret," so to honor this incredible man and world-renowned luthier, Two-Rock introduced the TS-1. It features 6L6 or EL34 tubes, a 50 or 100 watt vintage power supply, exceptional clean head room and an open and articulate overdrive. Two-Rock state this amplifier does not have a post overdrive HRM tone-stack. It is clear then to see this amplifier is a clone of one of the straight overdrive special amplifiers by Dumble. Two-Rock no longer produce these amplifiers, however if your overdrive special Dumble clone has to be a Two-Rock, perhaps this is the amplifier for you and you may be able to purchase one second hand. Sound Examples •

Two-Rock TS1 Demo: Dynamics - https://www.youtube.com/watch?v=FxNYEot2Mus

•

Two-Rock TS1 Demo: Low Gain Tones - https://www.youtube.com/watch?v=QVcjOET9nGg

Amp Back = AC Input, Fuse, On/Off Toggle, Operate/Standby Toggle, Speaker Input Jacks 4, 8, 16 Ohms, Lead Amplifier/Foot Pedal Operation Toggle, PAB Bypass Amplifier/Foot Pedal Operation Toggle, Foot Pedal Input.

2. Dumble Steel String Singer (SSS) ‘Style’ (in brand order) Ceriatone – SSS: Clone of the Dumble SSS Serial #4

SSS – This is a Clone of the ‘Dumble Steel String Singer’ ‘serial # 4’ – It is a single channel, high headroom clean tone amplifier. Like the originals, this amplifier has the spring reverb tank with reverb ‘send’ and ‘return’ controls. ‘Filter high’ and ‘Filter Low’ allows you to control the frequency range and is also faithful to the original filter design. Ceriatone have added a presence control. The single input has a FET and Normal switching capability. The effects loop is passive. Sound Examples: •

Ceriatone SSS amp test - https://www.youtube.com/watch?v=r7ldyXVmvME

•

Ceriatone SSS, Grosh Strat w/ Fat 60's, Monsterpiece Stud, Analogman Bicomp, and Strymon - https://www.youtube.com/watch?v=WFwQbqjWp_0

•

Ceriatone SSS searching for Dumble Steel String Singer Tones with a Strat and Analogman King of Tone - https://www.youtube.com/watch?v=mjBoxFjfcd4

Amp Front = Input, FET Control, Gain Control, Bright, Deep, Mid Boost, Rock/Jazz, Treble, Middle, Bass, Filter High & Filter Low (used to set the frequency range), Reverb Send & Return, Master, Presence.

Note: The amp actually ships from Ceriatone like this below. The blue head above cab was a custom job. Unfortunately, you can’t order this amp without the head cab at this stage. The Ceriatone covering below still looks very pleasing.

42 Â

Amp Back = HT Fuse, Mains Fuse, AC Mains Input, Bias Check Points, Half Power Switch, Main Speaker Output, Extension Speaker Output, Impedance Selector (4, 8, 16 ohms), V1B LNFB Three-Way Toggle Switch (negative feedback switch for the second gain stage), V1A LNFB Three-Way Toggle Switch (negative feedback switch for the first gain stage), Foot Pedal, V1BLNFB 3 Way Toggle (Controls the amount of negative feedback applied to the second gain stage, up for the most gain and harmonic bloom, middle for minimal harmonic feedback and down for the most harmonic feedback which provides a clean standard SSS sound), V1ALNFB 3 Way Toggle (Controls the amount of negative feedback applied to the first gain stage, up for the most gain and harmonic bloom, middle for minimal harmonic feedback and medium gain and harmonic bloom and down for the most harmonic feedback which provides a clean standard SSS sound).

Bludotone – High Plains Drifter High Plains Drifter – This amplifier is Bludo-Tone’s take on the Dumble Steel String Singer. The amplifier is claimed by Bludo-Tone to be an extremely close replica of the original SSS amplifiers by Dumble. The amplifier features a 150 Watt/75 Watt half power switch, FET/Normal inputs, preamp boost, reverb with send and return controls, 6 position hi and 6 position low filters, preamp output and power amp input effects loop and a 3 button footswitch for FET, PAB and reverb controls (this is pretty standard just like the originals and most of the other clones). Whether the quality of the High Plains Drifter surpasses that of the other clones is debatable, however if the debate on the internet is anything to go by as well as the price range, the High Plains Drifter is a very high quality true to the original remake of the SSS Dumble amplifier. They are around $6000 U.S.D and the waiting list is quite possibly over a year. Is it really worth it? It’s up to you. Sound Examples: •

Bludotone Hi-Plains Drifter - https://www.youtube.com/watch?v=8rvJGIxpiX4

•

Hi-Plains Drifter by Bludotone - Soulshine Guitar Shop Brazil - https://www.youtube.com/watch?v=qeQdsUdm0xU

•

Bludo Hi Plains Drifter and D'pergo strat - https://www.youtube.com/watch?v=SAkKR_zfeoE

•

Bludo Hi-Plains Drifter - Ethos Overdrive - https://www.youtube.com/watch?v=uMqU1lhpaCI Amp Front – FET Input, Normal Input, FET Volume, Volume, Bright Toggle Switch, Deep Toggle Switch, Rock/Jazz Toggle Switch, Treble Knob, Middle Knob, Bass Knob, High Filter Knob, Low Filter Knob, Master Volume Knob, Presence Knob.

Sebago Sound – Texas Flood: Clone of the Dumble SSS Serial #2 Texas Flood – This is a clone of the ‘Dumble Steel String Singer’ serial #2. This amplifier is faithful to Mayer’s real SSS, which is the real SSS serial #2. You can purchase a 50Watt version for $2399 U.S with mercury magnetic transformers or a 100-watt version for $2599 U.S with mercury magnetic transformers. This amplifier only offers one reverb control, as opposed to offering controls for both reverb send and reverb return, which the original Dumble SSS, Bludo-tone and the Ceriatone SSS clone offer. I really want to reach into the screen and turn that FET knob above the input, it looks flimsy but maybe it’s not. I’d be swapping it for a metal knob if its not already. Sound Examples: •

Sebago Sound 100W Texas Flood Prototype - https://www.youtube.com/watch?v=d2sYOFi69NA&list=PLEkOxCfOeGhlJO5-_Mbu0PMmQpE64E2z6 Amp Front = Single Input, FET Control Knob (controls the FET on the input), Bright Toggle Switch, Deep Toggle

Switch,

Rock/Jazz

Toggle

Switch, Treble Knob, Middle Knob, Bass Knob, High Filter Knob, Low Filter Knob, Reverb Knob and Master Volume Knob.

Amp Back = Mains Input, Fuse, Mains On/Off Toggle, Operate/Standby Toggle, Main Speaker Output, Extension Speaker Output, Impedance Selector (4, 8, 16 Ohms), Effects Send Level Knob, Effects Return Level Knob, Effects Send Input, Return Effects Input, Overdrive Pedal/Manual Toggle, Pre Amp Boost Pedal/Manual Toggle, Pedal Input, An Unmarked Knob!

3. Dumble Circuit/Feature Inspired Amplifiers: Not Model Specific Clones (in brand order)

Fuchs – Overdrive Supreme Overdrive Supreme (70s voicing) and Overdrive Supreme HRM (90s voicing) – This amplifier is a take on a Dumble Overdrive Special, however adds reverb, and a buffered effects loop as well as an accent control. For this reason they are not featured above in the Overdrive Special style clone section. They are great amplifiers in their own right, allowing you to attain an array of tones. If you roll the mids of you get a great Fender sound. The overdrive channel can go from slight edgy to totally over the top overdrive, with harmonic overtones shining through brilliantly. The reverb is a great addition to these amplifiers, as well as the ability to do away with having to carry around the effects buffer with the amplifier (do keep in mind that the effects buffers do impart their own unique qualities to the tone and doing away with them may actually not be desirable). Fuschs amplifiers are some of the best in the business, with great circuitry and the highest quality parts throughout as well as being built to last. The Overdrive Supreme is available from 20-150 Watts while the HRM Model is available in 100-150 Watts. Sound Examples: •

Dumble History & Overdrive Supreme (ODS) by Andy FUCHS : Guitar Amp Demo - https://www.youtube.com/watch?v=iOEvd3T7Mjg Amp Front = Input, Gain, Bright On/Off Toggle, Deep On/Off Toggle, Rock/Jazz Toggle, High, Mid With Pull, Low, Input, Output, Master, Accent, Reverb.

Amp Back = Mains AC In, Fuse, On Ac Toggle, Speaker 4 Ohm, Speaker 8 Ohm, Effects Loop Return, Effects Loop Send, Effects Loop Return Level, Footswitch Input.

Two-Rock - Custom Reverb Signature V3, Classic Reverb, John Mayer Signature, Studio Pro/Studio Pro Plus, Crystal

Two-Rock amplifiers do have a stunning tone, (I remember playing a Custom Reverb Version 2 at Deluxe guitars and thought it was nothing special, but I bet if I lived with that amp it’s secrets would be slowly revealed. John Mayer has showcased some of these models over the last 10 years and has used the Custom Reverb, the classic reverb as well as the John Mayer Signature among other Two-Rock’s to inspire his creation of a vast list of great songs. Are they worth the money? I don’t know. It’s up to you! They do cover their amps in goo, just like the original Dumble’s. Does that mean they are amazing? No, just highly annoying. Lets take a look.

Custom Reverb Signature V3 – Perhaps the most complex and complete offering in the Two-Rock Dumble inspired line. A High-Fi clean/Dumble overdrive do-it-all amp, which has spring reverb with send and return controls as well as clean and lead contour controls. Sound Examples: •

Minor Blues [Two-Rock Custom Reverb Signature V3 50W Amp] - https://www.youtube.com/watch?v=_U0_LuRMDgA

•

John Mayer On Mulholland Drive - https://www.youtube.com/watch?v=nUNcHsREIsQ

Amp Front = Input, Treble, Bright Toggle, Middle, Boost Toggle, Bass, Deep Toggle, Gain, Eq1/Eq2 Toggle, Master, Lead Gain, Lead Gain Bypass Toggle, Lead Master, Lead Toggle, Reverb, Contour, On/Standby Toggle.

Amp Back = Mains Input, Fuse, Ac On/Off, Power High/Low Toggle, Lead Contour, Speaker Outputs 4, 8, 16 Ohms, Return Level (with pull bright), Reverb Send, Effect Loop Send & Return, Footswitch Input.

Classic Reverb – This amplifier is supposedly modeled off a Dumble ODS but has added features such as contour control, a single input with a FET gain toggle switch as well as reverb send and return controls. The ‘Classic Reverb’ is the Two-Rock amplifier that has the closest voicing to the ‘Two-Rock John Mayer Signature’ below, however with its added controls it is a little more complex and versatile, allowing overdrive tones to also be had. Sound Examples: •

Two-Rock Classic Reverb: Tone Review And Demo - https://www.youtube.com/watch?v=LjJF7jDoN3M

Amp Front – FET Gain, Bright Toggle, Treble, Mid Toggle, Middle, Deep Toggle, Bass, EQ1/EQ2 Toggle, Gain, Bypass, Master, 3 Way Preamp (Negative) Feedback Toggle, Reverb Send & Return, Contour.

Amp Back - Mains Input, Fuse, AC On/Off, Power high/low, Feedback toggle, Speaker Output 4, 8 & 16 Ohms, Footswitch, Effect Loop Send & Return, 3 Way Output Negative Feedback Toggle.

John Mayer Signature – This amplifier is synonymous with the John Mayer tone over the last 8-10 years. The ‘Continuum album’ guitar tones pay homage to the John Mayer Signature Amplifier and are fine examples of this amplifier. It is a single channel simple but elegant amplifier inspired by the Dumble ‘SSS’. It produces a super clean tone and allows clean tones to be maintained at high volumes. John uses pedals to get his overdrive sounds out of this amp, as the amplifier will not produce them alone. The amplifier does have a luscious spring reverb with send and return controls as well as gain and contour controls. Only 25 were made (not including the prototype on the following page) and John owns at least 2. I believe they sell for over $10,000 now. Luckily, ‘Amplified Nation’ produces a clone for a quarter of the cost (see below)! Sound Examples: •

John Mayer – Gravity (Where the light is concert Live in Los Angeles)

•

Black1

clone

pickups

Two-Rock

John

Mayer

Signature

with

Alessandro

cabinets

running

2x12

G-12

speakers

McLguitars

https://www.youtube.com/watch?v=KruIk0zuW08 •

John Mayer - Wheel at Cricket Wireless Amphitheater (one of my favorite performances) - https://www.youtube.com/watch?v=B7N4BFi1muA

Amp Front = On/Standby Toggle, Bright Toggle, Mid Boost Toggle, Deep Toggle, Treble, Middle, Bass, Reverb Send & Reverb Return, Contour, Gain and Master Volume.

Amp Back = Fuse, Ac Off/On, Speakers 4, 8 & 16 Ohms, Effects Loop Send & Return.

This Two-Rock John Mayer Signature was recently on Ebay for $30,000 U.S.D. It is the John Mayer signature prototype, bearing no serial number, just the ‘Limited Edition of 25’ marking. Yes, $30,000 is obviously a lot of money, however this stunning sounding amplifier will be worth a lot more one day.

Lets Get Quickly Sidetracked By Some of John Mayer’s Other Gear Johns Current Rig - 2014 John is currently using 3 amplifiers and 6 2x12” speaker cabinets together in live performances. There are 2 Two-Rock John Mayer Signature amplifiers flanking his Dumble Steel String Singer #2, all running into two 2x12” Alessandro speaker cabinets each (all showing in the pictures below). The left two and right two speaker cabinets and amplifiers (the John Mayer Signature amplifiers) are providing a wet studio grade, twin stereo reverb signal. The center Dumble SSS amplifier is providing the pure guitar sound. The cabs are loaded with a few different speakers so John Mayer can tune the rigs sound. The wet reverb side cabinets are using Celestion G12-65's and Century speakers. John doesn’t mix speakers inside any of these cabinets, opting to use only 1 type of speaker in each cab. The pure guitar, top center cabinet is loaded with Celestion Alnico Gold’s, while the pure guitar bottom center cabinet uses Jensen Neo’s. The way John has the reverb and effects incorporated into the rig is rather sophisticated and comes out musical and tone-full. If interested, you can see a rundown of John’s 2010 rig, similar to the 2014 rig here - https://www.youtube.com/watch?v=F6POSqjjrIA John is using a Fender Bandmaster amplifier along with 1 Two-Rock John Mayer Signature and his Dumble Steel String Singer. I don’t think the 3 amplifiers are set up in a similar stereo reverb/pure guitar sound way and no details are given about his speakers except the word ‘Celestion’ is mentioned. Notice all of the amplifier knobs are marked red allowing level guidelines. John sets his amplifiers for clean tones and lets his pedals do the work. His guitar tech Renee Martinez, whom is interviewed, was Stevie Ray Vaughan’s guitar technician. Renee recently mentioned how John has such an amazing knowledge of guitar gear far beyond Renee and that Renee feels he is learning so much from John. Having been on the road most of his adult life, I think Renee would know a few tricks of his own and is obviously quite modest.

John’s 3 Main 2014 Amplifiers: John’s 2 Two-Rock John Mayer Signature Amplifiers (studio grade wet reverb signal) flanking his Dumble Steel String Singer #2 (pure guitar sound), all running into two speaker cabinets each. Speaker Cabinets: 6 Alessandro 2x12” speaker cabinets, 2 for & under each amplifier. Side Speakers: Wet reverb side cabinets - Celestion G12-65's and Century speakers in separate cabinets (John doesn’t mix speakers in his cabinets). Middle Speakers: Pure guitar middle top cabinet - Celestion Gold’s. Pure guitar middle bottom cabinet - Jensen Neo’s.

John Mayer’s Dumble Overdrive Special – Yes he does, or did own one – In the picture on the right you can see John is using 3 amplifiers connected to 3 2x12” speaker cabinets. The left and right Two-Rock cabinets have reverb built in. The middle Dumble Overdrive Special does not. Perhaps John had these amplifiers connected in a similar way to his 2014 rig where the side Two-Rock amplifiers and cabinets provided a wet stereo reverb signal and the center Dumble amplifier and Two-Rock cabinet provided a non-reverb pure guitar signal.

John’s Old Effects Buffer - Seen Above In The Previous Photo In Rack Use (and for the Mayer obsessed, here are John Mayer’s runners, although I can’t determine what brand or model they are, sorry, possibly Adidas)

These John Mayer Dumble photos can be found on the following website - http://www.roblivesey.com/dumble/

Dumble Circuit/Feature Inspired Amplifiers: Not Model Specific Clones (in brand order)…Continued Studio Pro/Studio Pro Plus –These are Two-Rock’s lower cost models, however have the right to be still labeled great amplifiers. The Studio Pro was the first edition and later Two-Rock brought out the Studio Pro Plus. The Pro & Plus have a Custom Reverb/John Mayer signature voicing. They allow crystal clear and stunning high headroom clean tones as well as being able to grunt and growl when needed. They both have a luscious tube driven Two-Rock reverb with send and return controls, as well as a contour, effects loop return level and pickup loading features (lets you optimize the amplifier impedance for different guitar pickup types) possibly making these the best value for money amplifiers in the Two-Rock lineup. The studio Pro Plus adds a foot-switchable expansion control and a luscious tube-driven tremolo. The new expansion control allows an adjustable EQ bypass to the clean channel. This expansion function therefore increases the amount of gain on the front end. Sound Examples: •

Guitarist Magazine Two-Rock Studio Pro and Gain Master Review - https://www.youtube.com/watch?v=H39ZF7KyzeI

•

Two-Rock Studio Pro 22: Tone Review And Demo - https://www.youtube.com/watch?v=lGp32Qj0AAw

Amp Front = Treble (Pull Bright), Middle (Pull Boost), Bass (Pull Deep), Gain, Master, Expansion, Reverb Send, Reverb Return, Tremolo Speed, Tremolo Intensity, Standby On/Off (foot switchable tremolo and expansion control).

Amp Back = Ac Adapter, Fuse, Ac On/Off, Speaker Output 4, 8, 16 Ohms, Contour, Effects Loop Send, Effects Loop Return, Return Level with Pull Bright, Pickup Loading, Foot Switch Input.

Crystal – The Two-Rock Crystal is a John Mayer Signature inspired amplifier. It will produce high-fi cleans but can also get edgy and distorted. This model celebrates the 15th year of Two-Rock amplifiers. I guess it must be special as it’s worth over $5000 U.S. What would I do if I had $5000 to blow on amplifiers? Get a Ceriatone OTS Bluesmaster with a handful of modifications and spend the remainder on an Amplified Nation Mayor. I would still have enough money left over for a nice selection of pedals. $5000……..Far Out! That’s almost in the price range of the Bludo-Tone High Plains Drifter. Sound Examples: •

Two-Rock 22 Watt Crystal Amplifier Demo - https://www.youtube.com/watch?v=7WZWhBE__30

•

Two Rock Crystal vs Original John Mayer Sig Amp - https://www.youtube.com/watch?v=7XpA3HcLA9A

Amp Front = Treble, Middle, Low, Reverb Send and Return, Contour, Gain with Pull bright, Master.

Amp Back = AC Mains In, Ac On/Off, Standby On/Off, Speaker Outputs (2 x 4 ohm outputs for 2 cabs at 8 ohms, or 8 and 16 ohm outputs), Effects Send, Effects Return.

Amplified Nation: Dirty Mayor & Mayor (John Mayer Signature Clones), Prime Minister (Two-Rock Custom Reverb Clone), Hooligan Dirty Mayor – This is the first incarnation of the Two-Rock John Mayer Signature ‘Clone’ amplifier by Amplified Nation. The amplifier ended up being able to be made a little dirtier than the real Two-Rock John Mayer Signature amplifier and hence got the name the ‘Dirty Mayor’. It comes in a 50 or 100 watt power rating. Sound Examples: •

Amplified Nation Dirty Mayer - https://www.youtube.com/watch?v=xF6gf8-Ip7s

•

Amplified Nation "Dirty Mayor 100" Amplifier Demo with Slow Blues - https://www.youtube.com/watch?v=bfQdvIlfuVA

Amp Front = Input, Bright Toggle, Mid Boost Toggle, Deep Toggle, Send Treble, Middle, Bass, Reverb Send & Return, Contour, Gain and Master Volume, On/Standby Toggle.

Amp Back = Fuse, Ac Off/On, Bias Check Points, Speakers 4, 8 & 16 Ohms, Effects Loop & Return.

Mayor – This amp is a revised version of the ‘Dirty Mayor’ and is a more precise clone of the ‘Two-Rock John Mayer Signature’. This one stays clean at high volume and maintains the same Two-Rock John Mayer Signature tone. Sound Examples: •

John Mayer signature amp clone by Amplified Nation - https://www.youtube.com/watch?v=RnA0cHdkyHc

•

Amplified Nation JM/Mayor amp - straight in SM57/Strat - https://www.youtube.com/watch?v=or-cP01_V2k

•

Amplified Nation Mayor 100 driven with Big Bloom Overdrive - https://www.youtube.com/watch?v=d1oUHVarf3o

•

Amplified Nation Mayor 100 with Chill Backing track - https://www.youtube.com/watch?v=R54GTXcRszM

•

John Mayer Two Rock clone by Amplified Nation - https://www.youtube.com/watch?v=19hk7MWA0rE

•

Amp Nation 100w JM - https://www.youtube.com/watch?v=Q_GEBsajyRc

•

Amplified Nation Mayor 50 - https://www.youtube.com/watch?v=WKoIqOIynME

Amp Front = Input, Bright Toggle, Mid Boost Toggle, Deep Toggle,

Amp Back = Fuse, Ac Off/On, Bias Check, Speakers 4, 8 & 16 Ohms, Effects Loop Send

Treble, Middle, Bass, Reverb Send & Return, Contour, Gain and Master Volume,

& Return.

On/Standby Toggle.

Prime Minister - (This amplifier is a clone of the ‘Two-Rock Custom Reverb’ amplifier) – Here’s what amplified nation say about the prime minister. ‘The Prime Minister is Amplified Nation's take on a "fully loaded" Dumble style amp. The Prime Minister is built off three choices of Dumble style preamps: Ford's #102, the more rockinspired #183, or the Lindley-style 1970's circuit. The amp boasts full tube reverb, foot-switchable overdrive channel and preamp boost (on both channels.) There is a lush 2 tube reverb circuit with both send and receive control, acting as control over the depth and effect level of the reverb. The Prime Minister is equipped with an active effects loop; tube buffered on the return, and has a global master coming off of the loop for even more control of the preamp tones. We can build the Prime Minister solid state rectified, but we have done many more of them using twin GZ34 tube rectifiers. There is also a hi/low power switch, low power puts the amp into a hotter cathode bias for easier breakup and more compression and sounds phenomenal on both the clean and overdrive channels. Also, the Prime Minister has dual contour controls, one for the clean channel and one for the overdrive channel, which resides on the back of the amp. There are also two EQ settings for the preamp. This is a great "Swiss army knife" amp that can really do it all. From crystal cleans to fully cranked overdrive, the Prime Minister excels at all styles of music. There are so many different combinations of tone shaping, everyone can find their sound!’ If you buy the one below make sure you clean the bark and leaves out of it, then it will be barking so much you wont be able to leave it alone! Sound Examples: •

Prime Minister video1 - https://www.youtube.com/watch?v=Sv3anuphpew

Front = Input, Treble, Bright Toggle, Middle Boost Toggle, Bass, Deep Toggle, Gain, Eq1/Eq2 Toggle, Master Volume Control, Lead Gain, Lead Gain Bypass Toggle, Lead Master, Lead Toggle, Reverb, Contour, On/Standby Toggle.

Back = Mains Input, Fuse, Ac On/Off, Power High/Low Toggle, Lead Contour, Speaker Outputs 4, 8, 16 Ohms, Return Level (with pull bright), Effect Loop Send & Return, Footswitch Input.

Hooligan – The Hooligan is a 22w amp with 2 x 6V6 power tubes. It has a tube buffered effects loop, full tube reverb with a medium decay reverb tank, bright/mid/deep boosts, a preamp boost and full Dumble style overdrive. This amplifier is available in three different preamp variations. The Hooligan is a scaled down version of the ‘prime minister’, but at a 22w sweet spot. It has John Mayer Cleans with a 70’s style Dumble Overdrive Special Overdrive. The 6V6 power section adds a totally different vibe to the amp and a very unique sound. While Amplified Nation still build off of the three most popular Dumble style circuits, the two-tube reverb and buffered effects loop; they cut out one of the contour controls, the EQ settings switch and the high/low power options. The 6V6 amp is tube rectified with a GZ34 and gives a very smooth, musical overdrive that player’s love. The amp is very reactive to the player and has a really cool feel with its medium sized power section. Since it is only 22w, you can really crank it up and get fantastic break up from the clean channel and get some singing sustain and harmonics feedback from the overdrive section. The amp has a foot-switchable overdrive channel and preamp boost on both channels, as well as the send/receive controls on the reverb and the traditional bright/mid/deep switches are all there. This is a fantastic amp that still retains a lot of features at a lower cost and a much lower weight. The entire amp fits in a 17” chassis. That’s a very nice small sized head-shell. The Hooligan still does have a lot going on and is supposedly a blast to play. The 22w is easy to play as an at-home amp, but still loud enough to gig with! Sound Examples: •

Amplified Nation Hooligan H2 Demo - https://www.youtube.com/watch?v=IYwFCWhD8WQ

•

Amplified Nation Hooligan 22w D-Style amp with Fuchs Replay and Cunnetto - https://www.youtube.com/watch?v=kkIrosreja4

•

Amplified Nation "Hooligan" 22w 6V6 D-style amp - https://www.youtube.com/watch?v=yRZnZT4P3-0

•

Amplified Nation Hooligan H3 Testing/Demo - https://www.youtube.com/watch?v=jhXR8Q3sBKM

Amp Front – Input, Treble, Middle, Bass, Bright Toggle, Mid Toggle, Bass Toggle, Gain, Master, Lead Gain, Lead Gain Bypass Toggle, Lead Master, Lead Master Toggle On/Off, Reverb, On/Standby Toggle.

Amp Back – Mains Output, Fuse Slo-Blo, AC On/Off Toggle, Bias Check Points, Contour Control, Speaker Output 8 Ohms, Extension Speaker Output 8 Ohms, Effects Return Level, Reverb Send, Effects Loop Send, Effects Loop Return, Footswitch Jack.

Why Use An Effects Loop Buffer? Most rack mounted effects run on a different input impedance than stomp box pedal effects. Furthermore, rack mounted effects generally are able to pad or reduce the level they are receiving from the amplifier; preventing the signal they are receiving from overloading the rack effect. Most rack effects can therefore function fine without an effects buffer. Stomp box effects on the other hand are unable to pad a high signal and are often overloaded by the amplifier when connected through the effects loop. There is generally a significant mismatching of impedance when connecting a stomp box effect to an amplifiers effects loop and because of this mismatching of impedance, stomp box effects can sound less than desirable when connected in this way. A buffered effects loop prevents impedance mismatching as well as providing the ability to pad down the volume sent through the effects loop to avoid overloading any of the stomp box effects. Both stomp box effects and rack effects can be used in any position in the effects loop. As always, you will still need to pay attention to the order of effects to attain your desired sounds. Some buffered effects loops also offer a way to command your overall volume of the amp as they have a ‘return level’ control. This ‘return level’ control allows you to control the volume that is sent back to the amplifier through the effects loop from the effects loop buffer. It therefore enables you to set your amplifiers volume at the sweet spot, where your tone is not sacrificed and reduce the volume through the effects buffer ‘return level’ control. Another reason why Effects Buffers are used is because if made well, they can add air or breath to your tone, as well as giving your tone a three dimensional sound, adding more fullness to your notes. Most effects buffers have ‘bright switches’ both before the effects and after the effects, allowing you to brighten up dark amplifiers, or brighten up your sound after the buffered effects loop, before you return your signal to the amplifier. Effects buffers are truly wonderful inventions, giving you much added versatility with your amplifier. In summary, they provide the ability to use both rack and stomp box effects in the right impedance environment, without overloading them, create air, breath and impart a three dimensional character to your notes and tone, provide an overall master volume, allowing you to not sacrifice your guitar tone when playing at low volumes and allow you to add brightness back to your signal, which is often robbed by the effects loop, effects and long cables. As effects buffers allow this overall master volume, give more brightness control and provide the breath, air and three dimensional characteristics, they are often used all the time with amplifiers without buffered effects loops, even when stomp box or rack effects aren’t desired.

There is a great article on Dumble Effects Loops and Buffering titled – ‘Dumble-Style Amps Effect Loops: To Buffer or Not to Buffer?’ - You can find the article at the following website: http://thaddeushogarth.berkleemusicblogs.com/2010/07/01/dumble-style-amps-effect-loops-to-buffer-or-not-to-buffer/

As we did with the amplifiers, lets first take a look at ‘The Real Dumble Effects Loop Buffers’ and then take a look at ‘The Clone Effects Loop Buffers’.

The Real Dumble Effects Loop Buffer #1: The DUMBLELATOR Dumblelator 1 – This was the original Dumblelator design. It was fairly simple, allowing you to set the input level (drive) to the effects pedals in the Dumblelator loop, brighten pre loop (bright 1) and post loop (bright 2) and set the volume from the Dumblelator back to the amplifier (recovery), which also functioned as a handy overall amplifier master volume. Front = Drive, Bright 1, Bright 2, Recover, Operate/Standby Toggle, On/Off Toggle, Ground 1N2 Toggle.

Back = Fuse, Output, Loop Return, Loop Send, Input

The Clone Effects Loop Buffers (in brand order) Ceriatone – C-Lator (Smartulator), Kleinulator C-Lator/Smartulator – The C-Lator effects loop buffer (pictured below) is needed to create the right impedance to run your effects stomp box pedals. However, the effects buffer also creates ‘breath’, a 3 dimensional character to your tone as well as harmonic richness, even when no rack effects or effects pedals are connected to it. The Ceriatone tube driven effects buffer (the C-Lator or Smartulator) uses a single 12AX7/ECC83 vacuum tube. The C-Lator effects buffer has an ‘input’ from the amp, a ‘send’ to effects (with the ‘first bright switch’ and a ‘send level control’), an ‘effects return’ and an ‘amp return’ (with the ‘second bright switch’ and an ‘amp return level’). This ‘amp return level’ adjusts the level that the CLator sends back to the amp, and can be thought of as a second and overall ‘master volume’ for the amplifier, allowing you to crank the preamp and power amp and bring down the Clator’s ‘amp return level’. This will allow the player to achieve a great tone at low volumes. The C-Lator supposedly adds its own subtle character to your tone and is said to be a magnificent addition to your ‘Overdrive Special’ type amplifiers. The 2 bright switches on the C-Lator can be used to make your amplifier a little brighter. You can buy the C-Lator prebuilt for $300 U.S or purchase the kit and build it yourself for $200 U.S. Tube for the C Lator – A highly recommended tube for the C-Lator (Smartulator) tube driven effects buffer is the TAD 7025 12AX7 C-Lator Effects Buffer Front = Drive Control, Bright Toggle, In Control, Out Control, Bright Toggle, Indicator LED, Operate/Standby Toggle, On/Off Toggle

C-Lator Effects Buffer Back = .5A Fast Acting Fuse, IEC (C14) Panel-Mounted Power Cable Male Inlet, Out (1/4 inch jack), Return (1/4 inch jack), Send (1/4 inch jack) , In (1/4 inch jack).

C-Lator Effects Buffer Internal = Internally the C-lator uses a single 12AX7/ECC83 vacuum tube. It is very well built, spacious, tidy and serviceable.

71 Â

Kleinulator â&#x20AC;&#x201C; The Klein-ulator is a solid-state effects loop buffer. It features send, which controls the volume sent from your amplifiers preamp to the effects. The bright 1 switch allows you to brighten up the signal coming from the preamp before it reaches the effects. Return sets the volume coming from the effects units back to the Klein-ulator (usually needed to be set at full volume). The second bright switch is used to add sparkle coming from the Klein-ulator back to the amplifier and interacts with the last control, recovery, which allows you to make up any lost volume or set the volume coming from the Klein-ulator back to the amplifier (like a master volume). The bright 2 switch is subtle, and becomes more apparent as recovery is turned up. The Klein-ulator is $135 U.S.D fully assembled. Kleinulator Effects Buffer Front: Send, Bright 1, Return, Bright 2, Recovery

Kleinulator Effects Buffer Back: 9v DC In, ON/Off Toggle, Output, Return, Send, Input.

Kleinulator Effects Buffer Internal: Again, organized, neat and beautiful (which is typical of Ceriatone)

Two-Rock – ELI 2

ELI 2 – Two-Rock’s effects buffer is the ELI 2, which superseded the ELI 1. It features an amplifier send bright switch, effect input level, pre loop bright switch, effect left level, output right level, amplifier return bright switch. ELI 2 Front = Amplifier Send Bright Switch, Effect Input Level, Pre Loop Bright Switch, Effect Left Level, Output Right Level, Amplifier Return Bright Switch.

Bludotone – Loop-a-Lator Loop-a-Lator - The Loop-a-Lator is a single rack-space all tube impedance matching device that allows you to use your Bludo-Drive or Hi Plains Drifter to it's fullest potential (as these amplifiers feature a passive effects loop). The Loop-a-Lator takes the signal from the "preamp out" and changes the impedance to the proper level to drive your rack/pedal effects. The Loop-a-Lator then takes the return signal from your effects and matches the impedance back to the level that the "power amp in" wants to see. When used without effects, the Loop-aLator works to "smooth" the high end response of your amplifier, as well as giving your sound a perceived 3D effect. It uses a single 12AX7/7025 Hi Mu Twin Triode Tube. The Loop-ALator’s starting price is around $895.00 U.S.D, far more expensive than the effects buffers from the competition companies. Loop-a-Lator Front = Drive (Send level), Bright Switch, Return Level, Output level, Bright switch. Back =

Loop-a-Lator Back = AC Mains Input, Fuse, Output Jack, Trim, Return Jack, Send Jack, Input Jack.

Here are some amplifier related questions I had when I was doing this amplifier research. I feel there would be a number of people with the same questions and it is worthwhile recording the answers I found along the way.

Q. What is loudness expressed in? A. Dessa Bells or d.b. Q. Is a 100-Watt amplifier twice as loud as a 50-Watt amplifier measured in d.b? A. Ahh…the common misconception about the amplifier wattage, d.b/loudness subject. When talking about amplifiers, if we double the wattage of a 50 watt to a 100 watt amp, we don’t double the output volume, we actually only increase the output volume by 3db (3/10). To double the volume of a 50-watt amp we would need to use a 500-watt amp. Amplifiers that feature a ‘half power switch’ will reduce the volume by 3/10 when the half power switch is engaged. Q. What is speaker efficiency? A. Speaker efficiency is a measure of how efficiently the speaker expresses the output power of the amplifier in volume. The speaker is powered by 1 Watt and measured with a standard microphone at a standard distance in a controlled environment. The speaker is then given an efficiency rating. This efficiency rating basically is a measure of speaker loudness. Q. Can speaker efficiency make a difference to the output volume of my amplifier/speaker combination? A. Yes. Choosing a speaker that is more efficient (has a higher speaker efficiency) is very similar to choosing a higher wattage amplifier. A 3db difference in speaker efficiency is like choosing a 25-watt amp or a 50-watt amp, or a 50-watt amp verses a 100-watt amp. Not twice as loud, but noticeably louder.

Q. What is solid state rectified and its difference to tube rectified? A. Solid state rectified amplifiers use a cathode to rectify the power, so there is power all the time and there is no sag in the power. When you strike a note there is no power change, which is different to tube rectified. Some prefer tube rectified, because there is a natural power sag when you strike a note, you lose a little volume when you hit a note hard, but as the note dies the amp gives a natural sustain through increasing power (it’s a power, tube relationship). Tube rectified is very dynamic, touch sensitive and playable and is in the old Fender Blackface amplifiers as well as many other older amps. From reviews, both are supposedly good. Cathode rectified is now the norm, they are cheaper to make and have been really well refined to produce a very pleasing playability. The verdict – both can sound good so don’t get too hung up on it. It can be a little subjective and probably isn’t the most important feature or the reason you should purchase your next amplifier, although some people will argue differently. Q. What is HRM and NON HRM? A. HRM refers to ‘Hot Rodded Marshall’, a second ‘Marshall style/voiced’ tone-stack (treble, middle and bass controls). These are internal and only operational on the overdrive section of an Overdrive special ‘HRM’ style amp. To set them you need to remove the amplifier from the cabinet, place your amplifier on the overdrive channel, turn on the PAB to bypass the preamp tone-stack and tweak your HRM potentiometers with a screwdriver until you find a setting you like (set it and forget it). Non HRM refers to the earlier ‘straight Overdrive Special’ type amplifiers, which did not have this internal second overdrive tone-stack, just the first preamp tone-stack. Q. What is the preamp and power amp section on an amp? A. Pre-amp - A preamp is what shapes your tone. It has your bass, mid, and treble. Gain and other such things can be found here also. The preamp is what you use to make your guitar sound good before you want to amplify the sound. Power Amp -The power amp provides the power and boosts the preamp signal, creating an amplified version of your preamp sound. Q. When referring to the Overdrive Special ‘style’ amplifiers what is ‘non skyline’ and ‘skyline’? A. Non Skyline refers to the first editions of the Dumble ODS amplifiers in the 70’s. The tone-stack is known as the classic voicing in these amplifiers. Later, in the 1980’s Dumble created the Skyline EQ, the second style of ODS tone-stack. Dumble referred to it as skyline because its output, when viewed on a multi-meter, resembled a city skyline. Skyline tonestack ODS amplifiers came in both ‘Non HRM Low Plate Skyline, Non HRM High Plate Skyline and HRM High Plate Skyline. The Skyline EQ is the more widely cloned EQ. Dumble modified many of his Non Skyline EQ amplifiers to his Skyline EQ specifications, including Robben Fords original 1982 #102 non skyline amplifier.

Q. What is a passive effects loop? A. A passive effects loop does not allow proper impedance matching of stomp box effects within the effects loop. Amplifiers that have a passive effects loop will provide a better operation of stomp box effects when an effects buffer is connected, such as the Dumble Dumbleator or the Ceriatone C-Lator. There are many effects buffers from the major Dumble clone brands. The original idea of the passive effects loop was to place as little change on the amplifiers circuit and strain on the amplifiers power supply as possible. Buffered effects loops were invented after the first Dumble amplifiers were made, however Dumble did not seem to stray from the passive effects loop in the Overdrive Special models over the years. Rack effects will usually be able to be used in a passive effects loop and therefore this type of effects loop should not create a problem for rack affects units. Both rack and stomp box effects can be used in a buffered effects loop. Q. What is a buffered effects loop? A. A buffered effects loop allows impedance matching of your stomp box effects, allowing time-based effects such as reverb, delay and echo to be used in the optimum environment. A buffered effects loop usually allows the ability to pad down the volume to prevent overloading your effects. Both rack and stomp box effects can be used in the environment of a buffered effects loop. Q. What type of loop should rack effects go into? A. Most rack effects will be able to operate in both a passive and buffered effects loop. This is because they have the ability to self-pad down the volume or input signal they are receiving from the amplifier and can therefore prevent them selves from being overdriven by an overly high signal. Q. What type of loop should stomp box effects go into? A. Stomp box effects need the impedance of a buffered effects loop, not a passive effects loop. Stomp box effects cannot self-pad the input they are receiving and therefore need to often be padded within a buffered effects loop to prevent them from being overloaded when your amplifiers preamp is high. Connect your time based stomp box effects to a buffered effects loop and use the pad control to pad down the volume if your amplifiers preamp is at a high volume setting. Q. What type of loop is in the Overdrive Special ‘style’/Overtone Special type amplifiers? A. The Overdrive Special style amplifiers that are true to the original Dumble designs will have a passive effects loop. You will need to use an effects buffer, connected to the effects loop to buffer the effects loop. Connect your rack and stomp box effects to the effects loop buffer’s loop.

77 Â

Q. What does the C-Lator or similar effects loop buffers do? A. The effects loop buffer creats the right impedance for your stomb box effects, allows you to pad the volume to prevent effect unit overloading, allows you to brighten up the signal coming from the amplifier, allows you to brighten the signal coming from the effects units back to the amplifier and allows you to set the level coming from the effects buffer back to the amplifier, like a master volume (allowing you to turn up the preamp and power amp on your amplifier, find the sweet spot and maximize your amplifier tone while still playing at bedroom levels). Q. Where do effects go in the signal chain of a guitar/amplifier, preamp/power amp signal chain? A. Between the Guitar and Amplifier (before the preamp) and in the common order: 1. Tuners (these need an unprocessed signal and the only place to get that is right after the guitar, before any other effects) 2. Filters (wah, auto wah, envelope filters ect.. These are dynamically controlled and read the pick attack and should not be limited by other effects). 3. Compressors (these should not be placed before the filters as the filters read the pick attack and the compressors can dull down this pick attack). 4. Overdrive (these should go before modulation so the modulation does not clash with the harmonics that overdrive pedals give). 5. Modulation (flangers, phasers, choruses and tremolo pedals). 6. Volume (volume pedals should be placed here as they wont alter the signal level entering the overdrive pedals. They also work well with the delay, delaying when the volume pedal is minimized. Between the Preamp/Power Amplifier (in the buffered effects loop) and in the common order: 7. Time based effects (echo, delay, reverb). 8. Loop pedals (you will want to connect your loop pedals last so your loop pedal captures all of your other effects. You will be able to create a tone, record, loop that tone and recording, change your tone and play with your new tone over your previously captured and looped tone/recording).

Note: This section specifically applies to the Ceriatone Overtone Special group of amplifiers. The other amplifiers will generally ship prebuilt in head cabs. In those situations the fun work is done for you. Ceriatone give you the option to build the amplifier yourself, from the ground up, or order a prebuilt amplifier where you can build the head cab yourself. You can, but don’t have to order tubes with your amplifier. In my opinion, separating the head and speaker cabinet is superior to a combo design as the amplifier and tubes will not be subjected to the vibration of the speakers and will therefore last a lot longer.

Ordering A Ceriatone ‘Dumble Overdrive Special Style’ Amplifier You can order Ceriatone OTS amps (all of the OTS type models) in a head cab, or not in a head cab, which is just the guts of the amplifier, prebuilt in the metal chassis (in this case you could build a head cab yourself). This is the cheaper option, as the postage package won’t be as heavy or as large and therefore saves your pocket considerably. You can get the amplifier without tubes or with tubes. I recommend ordering one without tubes and getting good tubes elsewhere, although I’m sure the tubes it ships with are fine and will work well with all but the OTS HRM Bluesmaster (for reasons mentioned in Part 1 – Under ‘User Experiences Summary; The Overtone Special His Royal Majesty (HRM) Bluesmaster’. Ceriatone ship their amps in solid packaging so you don’t need to worry. Here are a few pictures on how they ship which should help to ease your mind.

It looks as though Ceriatone paint the chassis on the inside so it won’t rust over time. The circuitry looks very neat and professional. These amplifiers use a turret board, not a printed circuit board. Most would argue this turret board design is superior and is easier to fix. Early Fender amplifiers are point-to-point, an eyelet board or turret board construction. I am all for these turret board designs, printed circuit boards have always failed me and I hate the idea of getting my soldering iron in on a printed circuit board when it fails. I wouldn’t be scared to have a go at fixing this turret board, especially if it’s this neat, spacious and tidy.

80 Â

Building A Head Cabinet For Your Amplifier Chassis Basic Overdrive Special Style Head Cabinet Reference Pictures

A head cab can be built relatively easily, with only a few tools and a little common sense. There are a few considerations when making a head cab.

Head Cabinet Build Considerations 1.

End Weight - End weight refers to how heavy the amplifier will be once built, covered and the amplifier is placed inside the head cab. To avoid a heavy end weight it might be an idea to select a light wood, without sacrificing wood strength. Pine might be a choice wood, as it is fairly light, but is also a strong wood. If you are going to cover the wood in tolex you wont need to consider the wood’s appearance. Some beautiful cabinets are designed with hardwoods with an appealing appearance and then sanded and lacquered. Maybe this is more your style? Just consider the end weight and the appearance you are going for before selecting your suitable wood.

The Shape of the Head Cab - Of course you are going to need to make a secure housing for the amplifier, as well as enough room for the tube hang. You will need to create an amplifier head cab that has certain breathability, which is to allow airflow into the internal space within the head cabinet. The tubes can get very hot and heat up the cabinet. For this reason a bit of air flow is a good thing. Will you ever be placing a spring reverb tank in the amplifier, or perhaps placing an effects loop buffer inside of it? If the answer is yes to either of these two questions you will need to measure and make the height of your head cab to accommodate these additions.

Looks – If you are not using bare wood you will need to cover the wood with tolex. Tolex comes in many colors and different patterns. The Amplified Nation Hooligan amplifier is smartly covered in a crocodile patterned tolex and looks very nice. Maybe you would like a bright color or the straight smart black look? Whatever it is, they are all available. You will also want to cover the baffle with grille cloth (where the speakers sit). Again, you could almost get any colour. Grille cloth pattern can enhance the appearance of an amplifier. The pattern that has become synonymous with the Dumble look is the diamond pattern, which is available from various sources in different colours. The ‘real Dumble’ amplifier section in Part 1 above shows 2 Dumble’s with the Diamond grille cloth. Both of these amplifiers look stunning. The first Ceriatone, the OTS non HRM picture is of a home made head cabinet using the diamond grille cloth also, which looks great. However, this is your amplifier and you are the artist. Do a little research on some amplifiers and how they look. You can emulate previous designs or come up with something fancy yourself. Maybe you would like an all white amplifier, or you like the smartness of Two Rock’s all black with white piping designs. You be the judge, the artistic license is in the ownership.

Corners, the Handle and Foot Stops - The corners will not only protect the amplifier but also add to its looks. Shiny metal corners come in a few different designs and can be bought through Ebay for relatively little cost. Handles come in many different designs, some more elegant than others. These can also be bought Through Ebay, among other places. Foot stops give the amplifier cabinet some elevation off the floor and will also allow you to sit your head cabinet on top of your speaker cabinet, allowing adequate clearance over the speaker cabinet’s top handle.

Pre Built Cabinets – Pre built head cabinets can be bought through Ebay and look fairly solid and well built. They are bare pine, so you will need to purchase the tolex and grille cloth and cover the amplifier yourself. I am quite sure you would need to purchase the amplifier corners, a handle and the foot stops also. There are also plenty of other websites that offer beautiful cabinet building, however I think you will save money as well as gain some new skills if you build your own.

Pre Built Head Cabinet Websites • •

http://www.sniderguitars.com/blog/

http://www.amplifiednation.com/DumbleStyleCabs.htm

Amplified Nation Head Cabinet Example Pictures Amplified Nation Carbon Fiber Cloth Ceriatone OTS Sized Head Cabinet

ODS ‘Style’ Bottom Mount Tobacco Suede

Amplified Nation SSS ‘Style’ with Black VOX Cloth

ODS ‘Style’ Buckskin Suede

Amplified Nation SSS ‘Style’ In Turquoise Suede

Basic Head Cabinet Plan Website The following website offers some basic plans for a head cabinet, however your actual measurements will slightly differ according to your amplifier chassis and any added effects buffers or reverbs you choose to house inside. •

http://ampgarage.com/forum/files/ods_head_cab_plans_180_181.pdf

Basic Head Cab Build Instructions Note: Read through all of these basic head cab build instructions before you start. 1. Measure the Amplifier Chassis Size - You should start by measuring up your amplifiers width, height and depth. You will need to make the amplifier fit snugly into the amplifier cabinet, in terms of width and depth, however you can make the amplifier cabinet as tall as you see fit, without getting into the stupidly tall and odd looking territory. I would build the amplifier cabinet so there is at least 5-10 cm between the bottom of the amplifier and the bottom tip of the longest tube. Again, if you are going to put in a spring reverb tank, or an effects loop buffer, you will need to consider the measurements of these items and make allowances for them.

2. Cut the Top, Bottom and Sides and Make Your Box Joints - Once you have measured up your amplifier head cabinet needs, you will need to cut the top, bottom and sides. This can be done easily by using a table saw, which allows an accurate and straight cut. You will need to attach the pieces of wood to make a box, at this stage with an open back and front. The best way to make a sturdy and solid attachment between the top, sides and bottom is to make dovetail joints, or box joints. Both will work fine and can be achieved through using a table router. If you are going to make a few head cabinets or speaker cabinets in your lifetime, it might be an idea to invest in a router, ranging from under $100 – $300 dollars, and build or buy your own router table. This is an easy process and could be knocked up in a day with a few simple tools. Router table building can be researched on You Tube. If you are lucky you may have a friend with a router table who can help you to make your box or dovetail joints. Carving box joints by hand is a long and tedious process and will usually give poor results. Once

you have made box joints on opposite ends of your cabinet wall pieces and the bottom and top pieces (only on the ends which need to be attached, so 8 ends in total, 2 for each piece of wood) you will need to glue the box joints, and fit them together, keeping the box corners square. You tube has many box joint and dovetail joint making videos as well as how to make your own router table and box joint jig. The following two videos give good examples of making box joints using both a table saw and a router table with a router. • Box joint making with a table saw - How to Make a Box Joint | Woodworking - https://www.youtube.com/watch?v=WSyCWk60ucg • Box joint making on a router table with a router - Advanced Routing Techniques Part 5 - https://www.youtube.com/watch?v=_DzAAXzTYAE

3. Measure and Attach Your Amplifier Housing Frame - You are now able to fit in a few small, short pieces of wood so that the amplifier can be guided, slid and held into place. These will touch the bottom of the amplifier casing and will be screwed on the upper part of the sidewalls towards the front and back of the amplifier cabinet.

4. Measure and Attach Your Amplifier Mounting Holes - You will need to measure up the mounting holes on the top of the amplifiers casing and drill these holes through the top of the amplifiers head cabinet, aiming for the holes in the top of the amplifier casing. These screws will prevent the amplifier from sliding around in the head cab. Once you have correctly fastened these screws, unscrew them, remove the amplifier and sit it aside, leaving your screws in a safe place.

5. Round Off the Corners and the Edges – You will need to remove the sharp corners on the amplifier by sanding the points with an electric sander until they become smooth, with the aim of achieving a round and uniform look. Don’t worry too much about appearance as these corners will be eventually covered with metal corner protectors and will therefore not be visible. Just make sure you remove enough corner material on the point to allow your metal corner protectors to fit properly. Notice the edges of all of the amplifiers in Part 1, above. They are not sharp and have been rounded. Achieving this look is not essential (except for on the corners so the corner protectors will fit), however it will make the amplifier look less rough and more elegant. This can be achieved through carefully using sandpaper to take away the edge. If hand sanding, long, straight and controlled passes will work better than viciously and impatiently rubbing at the edge. Note: You can also round off your cabinet’s edges using the table router and a special rounded bit prior to assembling your amplifier cabinet or an orbital sander.

6. Attach the Amplifier Tolex – You are now able to attach the tolex to the amplifier head cab’s top, sides and bottom. Measure a piece of tolex so that it is deep enough and long enough to use just the one piece. Be sure to leave plenty of extra tolex when measuring as this extra tolex can be wrapped around the front and back and stapled on the inside, where it will not be seen. Be sure that the join, or seam is on the bottom of the amplifier head, where it will not be seen. Here are some great You Tube videos guiding you through attaching tolex to an amplifier head cabinet/speaker cabinet • Amplified Nation Tolex Tutorial Video - https://www.youtube.com/watch?v=sX_WeWAW4IY • How To DIY Recover / Tolex a Guitar Amp Cabinet Complete Guide w/ Peavey 5150 - https://www.youtube.com/watch?v=_k7rDs4F4qs • How to Cover a Cabinet with Tolex or Leatherette.....Part 1 - https://www.youtube.com/watch?v=cxcLri3yn8Q • How to Cover a Cabinet with Tolex or Leatherette.......Part 2 - https://www.youtube.com/watch?v=qI8PTa4FieM 7. Measure and Attach the Amplifier Head Cabinet Baffle - You are now ready to measure the size of the baffle needed. Measure the inside height and width of the amplifier. This will be from the inside bottom, to where the baffle will meet the bottom of the amplifier casing (baffle height) and from the inside of the left wall to the inside of the right wall, which is the front inside left edge to front inside right edge (baffle width). This is all fairly straight forward and takes a little common sense. Once you have measured your baffle you will need to make some mounting pieces behind the baffle, so that you can screw your baffle down onto these mounts. These mounts will attach to the inside of the amplifier and be screwed into the side of the head cab walls, just behind where the baffle will sit. Attach the Grill cloth to the baffle (step 8) and then come back to mounting the baffle, here. The baffle will sit hard up against these baffle mounts and should be screwed into place. Be sure to both screw the mounts from the inside out, as well as the baffle to the mounts from the inside out. This will ensure you don’t have screws showing, or visible round bumps from screw heads under the tolex. Remember this baffle is not going to have speakers attached, as this is just a head cabinet and is a separate cabinet to the speaker cabinet.

8. Attach the Grille Cloth To The Baffle – Measure up the size of the baffle and cut enough grille cloth to cover the baffle and be wrapped around the baffle. You will need to staple it to the back of the baffle, pulling it tight before each staple. It is easy to achieve good results with this stapling and pulling method, and is the usual method of attaching the grille cloth on production head cabs and speaker cabs as well as combo amplifier cabinets. The following picture shows attaching tolex to a back panel. Attaching the grille cloth to the baffle is done in the same way.

9. Measure and Attach the Back Cover – The back cover’s purpose is to protect the amplifier tubes as well as provide a neat finish and hide the staple work on the back of the amplifier baffle. The back cover should not cover the total back gap, as the tubes will become very hot and airflow will be needed to allow the tubes to remain at an optimum temperature. Measure the size of the back gap, from the inside bottom to the bottom of the amplifier casing. Take off about 10 cm give or take for airflow. Measure from the inside left to the inside right. Cut a rectangular piece of wood to these measurements using a table saw. You can now cover the back cover wood with the same tolex you covered the rest of the amplifier with. Note: If you make a cutout in the back cover (like the Two Rock cabinet below and the uncovered pine cabinet here on the left) you can completely cover from the cabinet bottom to the bottom of the amplifier chassis, as airflow is still possible through the back cover cutout. The back cover can be mounted from outside to in, similar to the head cabinet back mount screws visible below. You will also need to cover the head cabinet back in tolex to complete it’s look. This is a straightforward process and is done by using the same method as for the baffle.

10. Attach Your Bottom Stops – You will need to locate the right place for your bottom stops, usually about 5 cm left and right from each corner and about 3-4 cm away from the front and back. However, take a look at the many amplifier pictures above and you will find the right place to locate them. Consider your speaker cabinet’s width and make sure your head cabinet bottom stops do not sit on top of your speaker cabinet corners. Screw your head cabinet bottom stops in from underneath, making sure you choose screws that aren’t long enough to protrude through the top of the bottom piece of wood.

11. Attach your corners – You should have 8 corners in total, which will be easily attached over the corners of the head cab using screws. Again, make sure your screws aren’t too long, or they will be seen protruding through the wood on the inside of the head cabinet. Hopefully you didn’t skip a step earlier (in step 5) and your amplifier head cabs wood corners, which will be now covered in tolex aren’t pointy, but round, so your amplifier corners will actually fit properly.

12. Attach Your Handle – The handle can be screwed into place. Make sure you choose screws that will secure it sturdily. The last thing you want is for your handle to come off when your amplifier is being transported, leaving your amplifier to have a horrible fall. You will need to work out where to place your amplifier, according to the weight of your amplifier. Most of the time the amplifier handle can be placed directly in the middle of the amplifier, however sometimes it will need to be placed slightly more forward or backwards, depending on the weight distribution within the amplifier.

13. Attach the Grille Piping – Take a look at the Two Rock Amplifiers above. They have beautiful white piping, which really finishes the look of the head cab. This can be easily attached around the border of the grille cloth and glued into place.

14. Put It All Together – At this point you should be basically finished. Screw anything together that you haven’t already and take a look at your new amplifier head cabinet.

Housing An Effects Loop Buffer Inside Your Amplifier’s Head Cabinet Perhaps you wish to house an effects buffer inside the head cabinet. If so there a few ways you could do it. The picture here at the left shows the effects loop buffer housed at the bottom of the head cabinet. The picture on the right shows the C Lator being housed above the amplifier controls. The amplifier head cabinet on the right will be slightly larger as the C-Lator is not housed within the grill cloth area. Ceriatone OTS With C-Lator Effects Loop Buffer – Housed at the bottom

Ceriatone OTS With C-Lator Effects Loop Buffer – Housed above the amplifier controls

To Tolex, Or Not To Tolex? Perhaps you didn’t use tolex and went for a finished tone-wood look. Although this does not use box or dovetail joints, if your new head cabinet looks anything like this, wow!

Designing Your Own Faceplate OTS HRM Bluesmaster Faceplate – This faceplate below was designed on a computer by a Ceriatone HRM Bluesmaster owner. He got sick of having ‘HIS ROYAL MAJESTY’ on his OTS HRM Bluesmaster faceplate so he designed his own faceplate and had it made by a sign maker. I think it looks very stylish! When designing your faceplate be sure to measure the distances between your potentiometer holes and input holes so it will fit over your existing chassis. They will need to be exact! The following websites will print and mail your self-designed faceplate: • http://amplates1.wordpress.com/faceplates/ Self designed faceplate – For the OTS HRM Bluesmaster

Buying A Dumble Chassis/Faceplate Clone

For the Dumble obsessed there are a range of options to bring your Dumble Overdrive Special clone (Ceriatone OTS, Ceriatone OTS HRM, Ceriatone OTS HRM Bluesmaster & Sebago Sound Double Trouble, among others) closer to the real Dumble Overdrive Special faceplates of the 70’s, 80’s and 90’s. These faceplates are true to specs with the original style writing. If you are into fooling your audience that you have a real Dumble Overdrive Special you can purchase one of these true to original style ‘clone’ faceplates. Just remember, almost all of your audience wont even know what a Dumble is, let alone recognize your ‘real’ faceplate. Personally, I would be happy with Ceriatone, Sebago sound or the other ODS makers names on my amplifier. These companies are great in their own right and offer A1 quality products. They are also less likely to be stolen than a real Dumble Overdrive Special or a look-alike with a Dumble faceplate clone. Make sure you check compatibility before you purchase. I will not be held responsible if your chassis/faceplate clone does not fit over or replace your previous chassis/faceplate. Clone faceplates appear on Ebay from time to time so keep an eye out!

Buying An Unbranded Dumble ODS Project Chassis/Faceplate Cause and Effect Pedals offer straight black with white control labels and white border faceplates. These are in the style and size of a Dumble ODS. They are unbranded and would therefore be a great chassis for a ‘Dumble style’ project/build. I am sure you could get a graphics company to print your own name design on the faceplate. Where there is a will there is a way. They are available on the following website: Cause and Effect Pedals Dumble Style Chassis - http://cepedals.com/Dumble-Style-Chassis.html

Why The Fuss? Speakers make a huge difference and are a pretty integral part of the tone equation. Although a good song, finger skills, guitar and amplifier are more important; speakers can sometimes be a good fix for tone problems such as fixing a dark or bright tone, or ‘I just want to hear my amp faithfully replicated through a neutral speaker’. Volume problems can also be rectified through speaker choice, such as the drop in volume apparent when playing through a 1x12 as opposed to a 2x12 and also paying attention to the speakers SPL or DB (but more on this later). Selecting the right speaker is also important to achieve speaker breakup, or avoid speaker breakup (clean sound), or avoid blowing your speakers. Similarly, tone problems can be created through poor speaker choice, where the speaker itself is the main cause of your horrible sound. So let’s work at getting it right. Agreed? Lets proceed. Celestion G12-‐65 Speakers (and all of the copies of-‐course) When I became interested in Dumble style amplifiers, I found out most users prefer to use Celestion G12-‐65 type speakers and most makers of Dumble style amplifiers prefer to sell their amps with Celestion G12-‐65 or similar ‘65 style’ speakers (copies & clones). The Eminence Red White and Blues, Warehouse Guitar Speakers ET65 and all of the ‘Two-‐ Rock’ speakers are all similar to the Celestion G12-‐65 (not always in wattage but in sound and character). So I propose we refer to these speakers here as ‘65 style’ speakers as they are all modeled off the Celestion G12-‐65. These speakers are a great fit with Dumble (D) style amps (Ceriatone, Two-‐Rock, Amplified Nation, Sebago Sound, Bludotone & the list goes on). The G12-‐65 speakers are a very neutral sounding speaker, that is these speakers don’t color your amplifiers sound, they don’t add their own flavor, what you have in your amplifier sound is what you get, reproduced like a mirror. The ’65 style’ speakers do reproduce all the beautiful low end, mid range and crystal clear highs that Dumble amplifiers produce, as well as being able to produce the stunning overdrive sounds that are also associated with the Dumble sound.

So Only ‘12-‐65 Style’ Speakers For Dumble Amplifiers Then? This is a very debatable topic. Any speaker has the potential to sound good…….to someone. It depends on your musical tastes and what you are looking for in your guitar sounds. Although the ‘65 style’ speakers are widely preferred for ‘D’ style amplifiers, there are other speakers that will sound great and are also widely recommended and used with these amplifiers. I have compiled a list of these speakers below, all of which would be great, it’s really a matter of your specific ‘Dumble style amplifier’, the brand you want, unfortunately your budget and yes, your subjective tastes. What Should I Consider Then Before I Choose A Speaker/Speakers? When selecting a speaker for any amp, I think the following three points should be considered, Dumble or not. 1. Speaker efficiency -‐ Consider the Sound Pressure Level (SPL). If you want to tame a high wattage amp it may be better to choose a speaker with a lower SPL. For every SPL increase of 3db you increase the volume by 3/10 (30%). Therefore, if you choose a lower SPL speaker, you are essentially choosing a speaker that isn’t efficient at converting your amplifier wattage output into sound output and your amp will be therefore perceived as not as loud. This means the EVM12-‐L would be the loudest speaker in this bunch with a max SPL of 125dDb.. The WGS-‐ET65 will therefore be the quietest in this bunch. If you want to raise the volume of a low wattage amp you could choose a highly efficient speaker, yes EVM12-‐L or the Eminence R, W & B on this list for example (at 101db). Just to get off topic quickly, I would like to share a little information on the SPL/DB subject. When talking about amplifiers, if we double the wattage from a 50 watt to a 100 watt amp, we don’t double the output volume, we actually only increase the output volume by 3db (3/10). To double the volume of a 50-‐watt amp we would need to use a 500-‐watt amp. Just as amplifier wattage is important, speaker efficiency is just as important. A 3db difference in speaker efficiency is like choosing a 25-‐watt amp or a 50-‐watt amp, or a 50-‐watt amp verses a 100-‐watt amp. Not twice as loud, but a noticeable difference. 2. Speaker tone/characteristics and amplifier tone reproduction -‐ Some amplifiers are quite bass heavy, or treble heavy, or mid heavy, even after preamp tone stack (bass, middle and treble) adjustments. An amplifier that this can be a problem with is the Ceriatone Overtone Special, HRM (his royal majesty) Bluesmaster (what a long name, but a dam good versatile blues amp). This amplifier is known to be quite bass heavy and therefore a normal ‘65’ type speaker (such as the Eminence Red white and Blue, WGS ET65, Celestion G12-‐65, Two-‐Rock TR12-‐65, TR12-‐65R and TR 12-‐65B) may not be the best fit. These ‘65’ style speakers are really neutral and will just reproduce this bass response, which we actually want to counteract. This is heaven in a neutral (even bass, mids and highs) amplifier but not so good with the slightly pronounced bass response of the Ceriatone HRM Bluesmaster. Go for Celestion Gold’s or something that has a slight treble rise and can tame and handle the bass. Gold’s are supposedly stunning (they would want to be because they are big $$$) and are highly recommended by users of the Ceriatone HRM Bluesmaster.

3. A final point for consideration: Speaker Wattage -‐ Take note of the speaker wattage when deciding and think of the following guidelines. A 100-‐watt speaker in a 25-‐50 watt amp will sound very clean. Match the wattage of speaker with the amp (100 watt amp & 100 watt speaker) and turn it up and you may get ‘cone cry’ or cone breakup. This can be nice, depending on the tone desired. Use a 100 watt amp and a single 65 watt speaker and turn it up, it may be British crunch for a bit and then soon blow up. If you use an even lower wattage speaker, say a 25-‐watt, while using a 100-‐watt amp, your problems will arise very quickly. Using Speaker Combinations Some common combinations are a WGS ET65 paired with a WGS Veteran 30 in the same cab. Similarly a Celestion 12-‐65 with a Vintage 30 will give a very full sound, again with a great mix of lows, mids and highs. Many mix a ‘65’ style with some of the others mentioned, such as a Jensen Neo, Celestion Century, or Gold, but usually not in the same cab. This allows for a very full and detailed range of frequencies -‐ highs, lows and mids if carefully selected. What one speaker lacks the other speaker covers. Trying to match the speaker efficiency is recommended but not always essential. Be sure to match up the Ohms and wire the speakers up correctly (see part 6 for speaker wiring websites). Speaker List Talk All of these speakers will give a great mix of bass, bell like highs and great midrange reproduction. The Jensen Neo is an old John Mayer favorite and does sound quite stunning. The Celestion century is another Mayer favorite, as is the Celestion Gold, the most expensive in the bunch, and rightly so, as previously stated it is a good fit for a Ceriatone HRM Bluesmaster. The Celestion G12-‐65 is perhaps the benchmark G12-‐65 style speaker and is a favorite of many Dumble users. The Two-‐Rock 12-‐65 Eminence is an Eminence Red White and Blues (Eminence make them to their Red White and Blues specs and slap Two-‐Rock on them). Warehouse Guitar Speakers (WGS) also make a Two-‐Rock model, similar to the WGS ET-‐65. The WGS is a cheap but supposedly good quality 12-‐65 style speaker. The WGS Veteran 30 is modeled of the Celestion Vintage 30 and either are often used in combination with the Celestion G12-‐65 or the WGS ET-‐65. The EVM12-‐L is one of the most highly regarded speakers ever. It can be used singularly in a high wattage amplifier and produces stunning deep low, excellent and rich mid range and bell like sparkling highs. Between speaker efficiency (SPL), speaker tone and amplifier tone reproduction as well as wattage, there is a bit to think about. We didn’t touch on size, or materials. Here is the list…….. finally!

Dumble Associated Speakers List

Make

Model

Watts

Available

SPL

Ohms

Usable Frequency

Eminence

R, W & B

120

101 db.

WGS

ET65

8, 16

98.2 db.

Unspecified

WGS

Veteran 30

8, 16

98.74 db.

Celestion

G12-65

8, 15

Celestion G12 Century

Celestion

Gold

Celestion

Resonant Current Ebay Frequency

70HTZ-4.5 KHZ Unspecified

Style

Price $180

12-65

109.37HTZ

$ 120

12-65

Unspecified

93.75 HTZ

$160

Non 12-65

98 db.

80-5000 HTZ

85 HTZ

$250

12-65

8, 16

98 db.

75-5000 HTZ

75 HTZ

$230

Non 12-65

8, 15

100 db.

75-5000 HTZ

75 HTZ

$300

Non 12-65

Vintage 30

8, 16

100 db.

70-5000 HTZ

75HTZ

$140

Non 12-65

Two-

TR12-65

120

8, 16

Unspecified

Rock

Eminence

Two-

TR12-65B

Rock

WGS

Two-

TR12-65R

Unspecified Ask Your Two

12-65

Rock Dealer 100

Unspecified Unspecified

Unspecified

Unspecified Ask Your Two

12-65

Rock Dealer 70

Unspecified Unspecified

Unspecified

Unspecified Ask Your Two

Rock

12-65

Rock Dealer

Jensen

Neo 12-100

100

4, 8, 16

98.4 db.

Unspecified

91.9 HTZ

$250

Non 12-65

EVM

12L

200

125 db.

80 HTZ to 7

Unspecified

$280

Non 12-65

Max SPL

KHZ

Individual Speaker Descriptions & Websites Eminence Red, White & Blues – This is a very similar sounding speaker to the Celestion G 12-‐65 style speaker. It offers a nice tight low end with a smooth midrange and top end sparkle. Eminence made the Two-‐Rock TR12-‐65, which was also 120 Watts. It is very possible that the Two-‐Rock Eminence speaker is the same as this Eminence Patriot series, Red White and Blues. At 101.db SPL, this speaker would be very loud and with it’s high wattage it would be a very good fit for a single 12” speaker in a 100 watt (high wattage) ‘Dumble style’ amplifier. Websites: http://www.eminence.com/?s=red+white+and+blue&x=-‐1324&y=-‐96 http://www.eminence.com/pdf/Red_White_and_Blues.pdf

Warehouse Guitar Speakers ET65 – This speaker is practically a clone of the Celestion G12-‐65, although WGS claim it to be an upgrade. A biased opinion, you be the judge! At 65 watts, it shares the same wattage as the Celestion G12-‐65. It will give you a faithful reproduction of your amplifier, with little coloration of the amplifiers tone by the speaker. This speaker will give creamy lows, a tight midrange and sparkling highs. It is recommended for rock, country and blues genres. Pairing this speaker with a veteran 30 allows the speaker cabinet to sound full and colorful and is a recommendation. Website: http://wgs4.com/et65

100

Warehouse Guitar Speakers Vet 30 – WGS again claim the 12” Veteran 30 speaker is tonally superior to Celestion's Vintage 30 speaker, smoothing out the upper-‐mid "spike" notorious in the Vintage 30 speaker. Both the WGS Vet 30 and the Celestion Vintage 30 offer detailed and complex overtones, a warm low-‐end, a famously rich vocal mid-‐range and a beautifully detailed top-‐end. They are often used singly to reveal the complexities in hand-‐ wired boutique amps or paired with a Celestion G12’65 style speaker to make for a more full and colorful sound. At 60-‐watts the WGS Veteran 30 may pair better than the Celestion Vintage 30 (30-‐watts) with the 65-‐watt WGS ET-‐65 or the Celestion G12-‐65 (65-‐watts) due to the close matching of wattages. Website: http://www.musiciansfriend.com/accessories/warehouse-‐guitar-‐speakers-‐veteran-‐30-‐12-‐60w-‐british-‐invasion-‐guitar-‐speaker

101

Celestion G12-‐65 Rola – G12-‐65 is widely regarded as one of the best speakers ever produced for use in a 4x12 cabinet. It has a fast attack and tightly controlled low-‐ end, a precisely tuned mid-‐range and crisp defined top-‐end. The mid-‐range warmth and detail give weight and depth to single notes. Enough can’t be said about this speaker in ‘Dumble style’ amplifiers. It reproduces both the clean and overdrive sounds that these amplifier produce exceptionally well, while not coloring the amplifier too much with the speaker’s characteristics. Just remember, the Ceriatone HRM Bluesmaster does not pair well with this speaker (see section 1 above for speaker recommendations). At 65 watts and 98 db. SPL, it is a high-‐powered speaker with a fairly standard SPL. This speaker would work well in a 50 watt ‘Dumble style’ amplifier using a single 12” speaker, or a 100-‐watt amplifier using 2x12” speakers. Website: http://celestion.com/product/26/heritage_series_g1265/

102

Celestion G12 Century Vintage –This speaker reproduces extraordinary note definition while exhibiting a vintage character. It is very lightweight while being very loud at 98 db. SPL. It has a tightly controlled low-‐end, clear and powerful mid-‐range and a crisp and bright top end. It has a fast attack, which makes it a versatile speaker used by both fast hard rock players as well as country pickers. At 60-‐watts it would suit a 50 watt amp using a single 12” speaker or a 100 watt amplifier using 2x12” ‘G12 Century’ speakers. This speaker is also a favorite of John Mayer’s in his Dumble style amplifiers. Website: http://celestion.com/product/14/g12_century_vintage/

103

Celestion G12 Gold – And the crowd goes wild! This speaker is a high-‐powered Alnico-‐magnet speaker that recreates the unmistakable sonic signature of a 'well played-‐in' original. It is built on the platform of the ‘Celestion Blue’. Over time, the high frequencies of a Blue soften and become less chalky as the cone becomes more flexible – a much sought after characteristic that the Gold exhibits straight out of the box. Also present in the Gold sound from the outset is an added warmth and complexity in the midrange which, coupled with the classic alnico qualities of a laid-‐back attack, rounded low end and brilliant bell-‐like highs, deliver huge rhythm voicing’s and saturated vocal lead tones. The Gold is a wonderfully expressive and revealing loudspeaker, affording guitarists an unprecedented degree of dynamic control. It has already become a favorite for many working players worldwide, such as John Mayer, who uses these in the top cab under his Dumble Steel Sting Singer # 2. Website: http://celestion.com/product/6/celestion_gold/

104

Celestion Vintage 30 12” -‐ Here’s what Celestion say about the Vintage 30 – ‘Back in 1986 a new breed of hard rock player was on the rise. To meet the demands of the players and their increasingly 'hot-‐rodded' amplifiers, we set out to develop a modern speaker, capable of handling much more power and overdrive. To achieve this, we coupled our 'H' magnet (the closest in performance to Alnico) with a new cone and voice coil employing contemporary materials. Our most revealing speaker, the Vintage 30 features enormously detailed and complex overtones, a warm low-‐end, a famously rich vocal mid-‐ range and a beautifully detailed top-‐end. Used singly to reveal the complexities in hand-‐ wired boutique amps, or in quartets for a wonderfully intricate vintage 3D crunch, the Vintage 30 sound has been captured on thousands of recordings from a diverse range of notable players including Slash, Steve Stevens and Peter Frampton.’ This amplifier is quite often paired with a Celestion G12-‐65 Rola. Website: http://celestion.com/product/1/vintage_30/

105

Two-‐Rock 65-‐16 (Eminence Made) – No specific website exists; however the 65-‐16 is Eminence made as is said to be a re-‐labeled Eminence, Red, White and Blue. It shares the same speaker wattage at 120 watts, which is further evidence of its likeness. This is a very similar sounding speaker to the Celestion G 12-‐65 style speaker. It also offers a nice tight low end with a smooth midrange and a top end sparkle. It provides incredible depth to single notes, right across the fret board and guitar frequency range. Website for the Eminence Red, White and Blues: http://www.eminence.com/?s=red+white+and+blue&x=-‐1324&y=-‐96

106

Two-‐Rock 12-‐65R (maker unknown) – The speaker exists as a once mass production speaker however no specific website exists or pictures can be found. You local Two-‐Rock dealers may be able to give you information if you are interested. Two-‐Rock 12-‐65B (WGS) – This speaker is made by Warehouse Guitar Speakers and labeled with the Two Rock labeling. It may be a 12-‐65 ‘style’ speaker but is 100 watts, not the normal 65-‐watts. Again it produces a nice tight low end with a smooth midrange and a top end sparkle. The Two-‐Rock speakers are all similar in sound, all providing the Celestion G12-‐65 characteristics at different wattages. Website: No specific website exists.

107

Jensen Neo 12-‐100 – The Jensen Neo 12-‐100 is a high wattage speaker at 100-‐watts and has a SPL of 98.4 db and is therefore quite loud. This speaker is said to be very smooth and clear, allowing your guitar and amplifier tone to stay true to its circuit cutting through the mix without adding a whole lot of speaker color and also reacts well to the nuances of your guitar playing, similar to how an alnico magnet speaker does. The speaker sounds great at low volumes as well as being able to handle overdrive distortion with a well-‐balanced and detailed tightness. The Neo 12-‐100 is said to suit effects pedal users, pedal steel guitar and harmonica players on top of its normal use as an electric guitar speaker. It uses a lightweight neodymium magnet and therefore has a total weight of only 4.45 pounds. The speaker is available in 4, 8 and 16 ohms impedance and is Italian made. These have been a favorite of Mayer for a long time and are used on the bottom of his Alessandro cabinets, under his Dumble SSS #2. Website: There is no specific information on Jensen’s website as they appear to be no longer in the Jensen list of available products. You can find some information on the Neo 12-‐100 from the following websites; http://www.amazon.com/Jensen-‐Neo12-‐100-‐Watt-‐Guitar-‐Speaker/dp/B003471XFC http://www.usspeaker.com/jensen%20neo12-‐100-‐1.htm

108

EVM 12L Classic – The Electro-‐Voice EVM12L Classic loudspeaker has been frequently referred to as "the world's greatest guitar speaker." Whether or not such a monumental question can ever be settled, there's no question that the EVM12L loudspeaker has been much beloved and extremely popular, ever since it was released in 1983. It's a 12-‐inch transducer with a 2-‐inch cone and a hefty 16-‐pound magnet. It runs with 8-‐ohm nominal impedance, and is ready to move serious air with a huge 200 watts of power handling. Technically speaking, the EVM12Ls have a frequency response of 80 Hz to 7 kHz (-‐ 10 dB), and a maximum SPL of 125 dB. They handle 200 watts of continuous power and 1000 watts at peak. These have been recommended and mentioned time and time again when reading online forums about speakers for ‘Dumble style’ amplifiers, such as the Dumble Overdrive Specials and the various ODS clones from Ceriatone, Sebago Sound, Bludo-‐Tone and many others. A pair of EVM 12S (not the EVM 12L) appear in a ‘real Dumble’ 2x12” cabinet under a Dumble ODS head 2 pages below in ‘Part 6 – Real Dumble Speaker Cabinet Pictures’. Website: http://www.electrovoice.com/product.php?id=410

109

Building any old speaker cabinet is a fairly easy task; given you have the right materials, tools and a few woodworking skills. However, building an outstanding speaker cabinet is a science where paying close attention to the wood used, wood thickness, shape, internal volume and open back, closed back, semi open back or ported design will significantly shape the tone and overall performance of the speaker. There are many online calculators, which can be used to work out the resonant frequencies of different speaker measurements. Some of the old Fender amplifiers sounded great, just using pine cabinets of all different shapes and sizes. I don’t believe a lot of the older amplifier and cabinet combo style builders closely followed recipes to ensure their amplifiers sounded as good as they could. I think it was a matter of build it, if it sounds good leave it, or if it sounds bad lets place the amplifier in a different combo size and see if that sounds better. Perhaps it was like that, a matter of trial and error. Today we have a good 70 years of guitar speaker cabinet history to use as examples. It is now easy to look at a speaker cabinet design that worked and emulate its elements to reproduce a clone of it. This will ensure we get it right without needing to use the trial and error method. Having said this, Dumble seemed to have his speaker building down to a fine art from the early stages of his amplifier building. Mr. Dumble used rear-ported designs in both his 1x12” and 2x12” cabinets. The cabinets were about as wide as his Overdrive Special amplifiers, when stood tall. They had very even sound dispersion, were boomy and offered a lot of depth. Mr. Dumble showed his knowledge and design extended beyond just his amplifiers and effects buffers. Mr. Dumble’s speaker cabinets really were outstanding in their design and did justice to his great amplifier creations, so much so that his speaker cabinet designs are still being reproduced by some major companies today, just as his amplifiers are. Examples of such fine reproductions in the speaker cabinet world today are the ‘Two-Rock Dumble style speaker cabinet clones’. Two-Rock produce a 1x12” semi open back, a 2x12” semi open back and a 4x10” speaker cabinet. All of the cabinets are made of void-free Baltic birch 13-ply 3/4” thick wood and use the finest speaker making techniques. Within ‘Part 6 - Dumble Style Speaker Cabinets and Some Thoughts On Building Your Own’, we will look at original Dumble speaker cabinet pictures of various sizes with the aim to gain an understanding of them. We will then focus on looking at the various Two-Rock clones followed by offering dimensions and instructions for building a clone of the 1x12” TwoRock speaker cabinet. Following this will be basic measurements for a 2x12” Dumble speaker cabinet clone. We will finish by taking a look at other Dumble style speaker cabinet clones offered by various companies.

110

Real Dumble Speaker Cabinet Pictures A Dumble 2x12” Speaker Cabinet, Standing Tall

111

The Above Dumble 2x12” Speaker Cabinet, Laying Sideways

112

John Mayer’s Dumble Overdrive Special and 1x12” Off Centered Speaker Cabinet

113

A 1980’s Dumble 2x12” Old Combo Cabinet (this was recently for sale with a nutty price of $25,000 U.S)

114

Bottom & Back Views

115

Front Head Housing View (it looks as though the amplifier chassis was housed in a new head cabinet and the speaker cabinet’s head housing was neatly covered in a wood insert wrapped in black tolex)

116

Front View

Dumble Signature Model Speakers?

117

Robben Ford’s 1982 #102 ODS & 2x12” Dumble Speaker Cabinet

Howard Alexander Dumble With A 70’s ODS And 1x12” Cabinet

118

Two-Rock Dumble ‘Style’ Speaker Cabinets Two-Rock speaker cabinets have become very popular. They are known to have a larger than life sound, producing beautifully balanced deep bass, controlled and beautiful midrange and bell like high frequencies. Some say it is the speaker cabinet’s design; shape, internal volume, wood, wood thickness and semi open back. Others shrug this off saying it is the G12-65 ‘style’ speaker that is responsible for producing these beautiful tones. Personally, I believe it is a combination of the two. Whatever it is, if you use a good amplifier and a nice speaker, the chances are you won’t want to skip out on a sub par speaker cabinet.

The Two-Rock 1x12” ‘Dumble Style’ Speaker Cabinet Sticking in the Dumble tradition, here is a Two-Rock clone of the Dumble 1x12” speaker cabinet, although Two-Rock have made their Dumble style 1x12” speaker cabinet less square (tall) and more rectangular (wide). External Dimensions: 24" wide x 18" tall x 12" deep Weight: 30 Pounds Unloaded (without the speaker) Two-Rock - 1x12” Dumble Style Cab - Front

Two-Rock - 1x12” Dumble Style Cab - Back

119

The 2 Different Two-Rock 2x12” ‘Dumble Style’ Speaker Cabinets The Two-Rock 2x12” Standard Speaker Cabinet External Dimensions – 21” Wide x 26.5” Tall x 12” Deep

Two-Rock - 2x12” Dumble Style Cab - Front

Two-Rock - 2x12” Dumble Style Cab - Back

120

The Two-Rock 2x12” Signature Speaker Cabinet External Dimensions - "21" wide x 29" tall x 12" deep Weight: 52 Pounds Unloaded (without the speakers) Joe from Two-Rock stated the differences between the Two-Rock 2x12” signature and its previous 2x12” cabinet Here are his comments: "The Signature 2x12 is taller, is braced differently and each panel is tuned individually. The cabinet once assembled is again stressed or relaxed to tune it to the proper resonance. The result is a more balanced cab with great projection and a bigger soundstage." Two-Rock Signature 2x12” Dumble Style Cab - Front

Two-Rock Signature 2x12” Dumble Style Cab - Back

121

Speaker Cabinet Basics Before building a speaker cabinet I feel it is important to suggest you learn about speaker cabinet designs, materials used, internal structures and speaker wiring. These basics can be learned from the following websites: The basics about speaker cabinets • http://www.gibson.com/en-...0Speaker%20Cabinet%20(1)/ • http://www.duncanamps.com/technical/speaker_cab.html Materials and tools • http://colomar.com/Shavano/cons_cabinets.html Internal structures • http://colomar.com/Shavano/cons_structure.html Speaker wiring • http://www.award-session..../Speaker_Wiring_Guide.pdf • Celestion speaker wiring guide - http://celestion.com/speakerworld/guitartech/5/39/Speaker_Wiring_Configurations/ • Wiring a 2 X 12 Speaker cabinet - http://www.colomar.com/Shavano/2x12wiring.html • Wiring Your Speaker Cabinet - http://www.eminence.com/2010/08/wiring-your-speaker-cabinet/ • Impedance – Speaker Cabinet Wiring - http://www.300guitars.com/articles/impedance-speaker-cabinet-wiring/ After those pages I think you can learn allot from other peoples builds: • http://sidechaindelay.blo...cab-construction-101.html

• http://www.gitaarnet.nl/f...ge=1&pp=10&highlight=1x12

• http://www.trueten.de/Gitarrencombo.pdf

• http://www.gitaarnet.nl/f...ge=1&pp=10&highlight=1x12

122

Cloning a 1x12” Two-Rock Signature ‘Dumble Style’ Speaker Cabinet Direct Front and Back View Two-Rock Reference Pictures External Dimensions: 24" wide x 18" tall x 12" deep Weight: 30 Pounds Unloaded (without the speaker)

Two-Rock - 1x12” Dumble Style Cab - Front

Two-Rock - 1x12” Dumble Style Cab - Back

123

Pre Two-Rock Speaker Cabinet Build Considerations

•

TR doesn't use a floating baffle.

•

The exact placement of the speakers on the baffle has a bearing on the sound.

•

The speaker grille cloth isn't on but in front of the baffle on a frame with a single crossbeam on the Two-Rock 2x12” cabs.

•

I believe you can't take the baffle out of the cab.

•

One thing I don't know is the wood and thickness of wood used for the baffle.

•

End Weight – Consider the wood used in terms of weight and strength. The void-free 13ply 3/4” (roughly 18mm) Baltic birch is Two-Rock’s wood of choice.

•

Looks – You are the artist and your choice of tolex, grille cloth and piping will determine the overall appearance of the finished product.

•

Corners, the Handle and Foot Stops - The corners will not only protect the speaker cabinet but also add to its looks. Shiny metal corners come in a few different designs and can be bought through Ebay for relatively little cost. Handles come in many different designs, some more elegant than others. These can also be bought Through Ebay, among other places. Foot stops give the speaker cabinet some elevation off the floor and will also allow you to sit your speaker cabinet on top of another speaker cabinet, creating a stack. If you are going to stack your speaker cabinets, you would preferable lay them with the long side facing down. You may wish to place foot stops on both the long and short sides of your cabinet so you can stand them both sideways and tall.

124

Materials Needed For A ‘Two-Rock 1x12” ‘Dumble Style’ Speaker Cabinet’ Build Wood – 13 ply 3/4" (roughly 18mm – Note: 3/4” almost converts to 18mm but isn’t exact. Don’t use the measurements below if you are using exactly 18mm wood thickness as the measurements will be slightly out) Void-Free Baltic Birch. Enough wood to make a top, sides, bottom, baffle and back. You may be able to get these pre cut, or you may have to cut these yourself. Shop around at your local suppliers and online. There are companies who will ship void-free Baltic birch timber to your door. There is some good information on Void Free Baltic Birch on the following website - Ultimate Guide to Baltic Birch Plywood: Why It’s Better, When to Use It: http://www.woodworkerssource.com/blog/tips-tricks/your-ultimate-guide-to-baltic-birch-plywood-why-its-better-when-to-use-it/

A Tape Measure – A tape measure will be needed for various measurements, such as the wood cut measurements for the amplifier top, sides and bottom, the grille measurement, back measurement among other measurements. A Table Saw – A table saw will be needed to cut you pieces of Voidles Baltic Birch into the right measurements.

A Table Router – Again, if you are going to make a few head cabinets or speaker cabinets in your lifetime, it might be an idea to invest in a router, ranging from under $100 – $300 dollars. You can then build or buy your own router table. This is an easy process and could be knocked up in a day with a few simple tools. Router table building can be researched on You Tube. In this case, a router table basically allows you to make uniform routs along the adjoining sides of your amplifier top, sides and bottom. These routs will be box or dovetail joints and allow the pieces of wood to fit flush together, ensuring a tight, perfect fit and strong box once glued.

Wood Glue – This can be bought from any hardware store and will be used to secure the box or dovetail joints together to make the amplifier box (top, sides and bottom). Orbital Sander/Sandpaper – This is needed for rounding the corners and wood edges, taking the edge off the wood to achieve a more professional look.

125

126

Tolex (Any Colour) – If you are not using bare wood you will need to cover the wood with tolex. Tolex comes in many colors and different patterns and can be purchased on Ebay and other online stores. Take a look at some amplifiers and speaker cabinets on Google Images and see what color/colors you like.

Grille Cloth (Any Color) – You will need to cover the baffle (the wood at the front of the speaker cabinet in which the speakers are attached to) with grille cloth. This hides the speakers and makes for a much neater and more appealing look. Grille cloth comes in many patterns and colors. Again, take a look on Google Images to see what pattern and colour you like. Grill cloth can be bought through Ebay or through many other online stores.

127

A Good Stapler – The stapler will be used for stapling down the grille cloth and tolex. Therefore a good heavy-duty stapler will be needed, not your average paper stapler.

A Stanley Knife – This will be needed for cutting the speaker cabinet tolex. Scissors – Good fabric scissors will be needed to cut the speaker cabinet grille cloth to the desired shape. Piping – The piping sits on the border of the grille cloth. On the Two Rock speaker cabinet above, the piping is the white round material at the front of the amplifier, squeezed between the baffle border and the front frame. Piping is simply for looks, but does look quite smart and adds a finishing touch to your speaker cabinet’s appearance. Again, take a look on Google Images to see what color you like. Piping can be bought through Ebay or through many other online stores.

Amplifier/Speaker Cabinet Corners – Amplifier/speaker cabinet corners come in many different shapes and sizes. These can be bought through Ebay or many other online stores. Select the ones that you like, you will need 8 amplifier corners in total.

128

Bottom Stops – Bottom stops (rubber feet) elevate your speaker cabinet off the floor. They also allow your speaker cabinet to grip the ground if they sit on a hard surface. Most importantly, they allow your speaker cabinet to be stacked on top of another speaker cabinet, as they provide adequate clearance over a speaker cabinet top handle.

A Handle – Handles come in many different designs, some more elegant than others and are usually all screwed on. These can also be bought Through Ebay, among other places.

Enough Screws Of The Right Size – This is common sense. Make sure you don’t get screws that are too long or they will protrude into the internal space of the speaker cabinet. TwoRock use a little button, a bit like a washer on the back of the speaker cabinet. You can see 14 or them in the picture above, sitting under each of the 14 screws, holding the speaker cabinet’s semi open back in place. A 1/4” Speaker Jack – The speaker positive and negative wires will be connected to the speaker cabinet jack located on the speaker cabinets back, allowing a 1/4" cable to be connected from the amplifier to the speaker cabinet jack and sending the amplifiers signal to the speaker within the speaker cabinet.

129

Two-Rock 1x12” Dumble ‘Style’ Speaker Cabinet Clone Measurements (approximate but not an exact design clone) These speaker cabinets need to be precise. The speaker’s internal volume is essential to the performance and the relationship between the cabinet and the speaker. Back

3/4” Thick 19.5” Radius 4.5”

4.5”

3/4” Thick 20. 5” 5.85” 5.25” 10.35”

2.825”

130

Front

21” 4.75”

11” Diameter

22” 4.25”

13”

131

Basic Two-Rock ‘Dumble Style’ Clone Build Instructions I do not claim these build instructions to be exact, nor the build design to be exact, but rather an approximation and a way to achieve a similar end product. If you want something exact, I suggest buy the real thing. If you want something equally as good, I do believe you could build it.

Select your timber – Two-Rock use 13 ply 3/4” void-free Baltic birch. The idea is this is a strong wood, which perhaps doesn’t affect the tone of the speaker cabinet. The wood

allows the speaker to sing, without the wood adding its own unique character and coloring the tone. There are many tone-woods that are used for speaker cabinets. Alessandro cabinets produce very expensive tone-wood speaker cabinets seen here – Alessandro Speaker Cabinets - http://www.alessandro-products.com/main.php?p=speakers Here are some stunning pictures of Alessandro speaker cabinets and amplifiers made from these tone woods - http://www.alessandro-products.com/main.php?p=images However, if you want to stay true to the Two-Rock clone however, the 13-ply void-free 3/4” Baltic birch is the wood of choice. Some will argue it is a better choice than these tone woods in speaker cabinets as it is stiffer and does not color the overall sound of the cabinet in the way tone woods can. 2.

Cut the top, bottom and sides and make your box joints - Once you have measured up your amplifier head cabinet needs, you will need to cut the top, bottom and sides. This can

be done easily by using a table saw, which allows an accurate and straight cut. Be sure to make precise measurement cuts and try to avoid the table saw chipping the wood when cutting. You will need to attach the pieces of wood to make a box, at this stage with an open back and front. The best way to make a sturdy and solid attachment between the top, sides and bottom is to make dovetail joints, or box joints. Both will work fine and can be achieved through using a table router. If you are going to make a few head cabinets or speaker cabinets in your lifetime, it might be an idea to invest in a router, ranging from under $100 – $300 dollars, and build or buy your own router table. This is an easy process and could be knocked up in a day with a few simple tools. Router table building can be researched on You Tube. If you are lucky you may have a friend with a router table who can help you to make your box or dovetail joints. Carving box joints by hand is a long and tedious process and will usually give poor results. Make box joints on opposite ends of your speaker cabinet wall pieces and the bottom and top pieces (only on the ends which need to be attached, so 8 ends in total, 2 for each piece of wood). Note: When looking at Two Rock speaker cabinets from the front they appear to have sides that are twice as thick as the actual sides themselves. This thicker front only goes back 3/4". This thicker front is easily seen by looking at the front view of the brown 1x12” Two-Rock cabinet above (notice the side thickness is 2 x 3/4”, so 1 1/2” thick) and comparing this to the back view of the brown 1x12” Two-Rock cabinet above (notice the side thickness is only 3/4”). I assume Two-Rock use a 22” long (the same as the cabinets height) piece of void free 13 ply 3/4” birch (the same wood as the rest of the cabinet), which is 1 1/2” wide and 3/4” deep. The entire length would need to be routed for box joints down one side as it will be attached to the front of the cabinet using box joints. To do this, box joints would need to be cut in the front left and right hand side of the top and bottom of the amplifier cabinet, as well as down the entire side of the front left and right cabinet side walls. Make sure that you carefully think through how you’re routed pieces will fit together, creating the opposite routing pattern on joining pieces of wood. Re-read over this information, using the Two-Rock 1x12” reference pictures (brown Two-Rock 1x12” reference pictures above) to help you picture the instructions.

132

Finally, you will need to glue the box joints and fit them together, keeping the box corners square. You can keep the box square with clamps and squares, or through clamping other square objects into the corners. You Tube have many box joint and dovetail joint making videos as well as how to make your own router table and box joint jig. The following two videos give good examples of making box joints using both a table saw and a router table with a router. •

Box joint making with a table saw - How to Make a Box Joint | Woodworking - https://www.youtube.com/watch?v=WSyCWk60ucg

•

Box joint making on a router table with a router - Advanced Routing Techniques Part 5 - https://www.youtube.com/watch?v=_DzAAXzTYAE

133

Round off the corners and the edges – You will need to remove the sharp corners on the speaker cabinet by sanding the points with an electric sander until they become smooth,

with the aim of achieving a round and uniform look. Don’t worry too much about appearance of the corners as these corners will be eventually covered with metal corner protectors and will therefore not be visible. Just make sure you remove enough corner material on the point to allow your metal corner protectors to fit properly. This can be achieved through carefully using sandpaper to take away the edge. If hand sanding, long, straight and controlled passes will work better than viciously and impatiently rubbing at the corner. Round of the rest of the edges on the cabinet. Besides using an orbital sander or tirelessly hand sanding, you can actually route rounded edges before you cut your box joints in step two. There are special rounded router bits specifically designed to round off edges in wood that can work perfectly in this application. You may be able to still use them if you have stuck your cabinet together, however be careful and spot on when setting up your measurements and routing guides on your routing table.

Measure and cut your cabinet’s back – Measure up your speaker cabinets back and cut it using a table saw. Again these are flush measurements. Be specific, near enough is not

good enough. 5.

Measure, draw and route your back porting – You will need to measure up and draw your speaker cabinet back porting on your speaker cabinets back that you have just cut. The

porting can be cut using a table router. Research routing techniques on You Tube. 6.

Round your back porting – You will now need to round your back porting cut, much like you have rounded the amplifier corners and edges. Again, taking the edge off the cuts

will give the amplifier a more professional and classy look when complete. 7.

Measure and cut your speaker baffle – Measure up your baffle so that it will slot into the inside of the cabinet. I believe the baffle is actually inserted from the back of the speaker

cabinet and pushed forwards. If you take a look at the Two-Rock reference pictures above, the sides of the amplifier (only at the very front) are twice as thick as the top and bottom (discussed in step 2), preventing the baffle from moving forwards as well as preventing the baffle from being inserted from the front. The baffle should be able to fit upright inside the amplifier. You will need to allow a few mm when measuring up the baffle for the baffle grille cloth thickness.

134

Measure and cut your speaker circle on the speaker baffle – Measure and cut your speaker circle on the speaker baffle using the above measurements. You can cut your speaker

baffle using a router. Here is a video showing how to get a precise circular cut - Router Circle Jig - a woodworkweb.com woodworking video: https://www.youtube.com/watch?v=gLpEuqNn07Q 9.

Spray paint your speaker cabinet – Now that you have built your speaker cabinet, you will need to spray paint it. It is a good idea to spray paint your speaker cabinet the same

color as your speaker cabinets tolex so that it will mesh when the inside of the cabinet is visible, such as when someone is looking through the back porting. You will also need to make sure you spray your baffle the same color as your grille cloth so it is not visible through the grille cloth from the front. For instance, if you have black tolex and a black baffle, spray the entire inside of the speaker cabinet black as well as the entire wooded baffle and back porting. 10.

Attach the speaker cabinet’s Tolex – You are now able to attach the tolex to the speaker cabinet’s top, sides and bottom. Measure a piece of tolex so that it is deep enough and

long enough to use just the one piece. Be sure to leave plenty of extra tolex when measuring as this extra tolex can be wrapped around the front and back and stapled on the inside, where it will not be seen. Be sure that the join, or seam is on the bottom of the speaker cabinet’s head, where it will not be seen. Here are some great You Tube videos guiding you through attaching tolex to an amplifier head cabinet/speaker cabinet •

Amplified Nation Tolex Tutorial Video - https://www.youtube.com/watch?v=sX_WeWAW4IY

•

How To DIY Recover / Tolex a Guitar Amp Cabinet Complete Guide w/ Peavey 5150 - https://www.youtube.com/watch?v=_k7rDs4F4qs

•

How to Cover a Cabinet with Tolex or Leatherette…..Part 1 - https://www.youtube.com/watch?v=cxcLri3yn8Q

•

How to Cover a Cabinet with Tolex or Leatherette…..Part 2 - https://www.youtube.com/watch?v=qI8PTa4FieM

11.

Cover your speaker cabinet ported back in tolex – This is a fairly straightforward process and will come naturally after having covered the top, sides and bottom of the amplifier

in tolex. You can staple the tolex to the hidden side of the speaker cabinet back.

12.

135

Cover your baffle in amplifier grille cloth – Cover the amplifier baffle in amplifier grille cloth by laying out your grille cloth, lying your baffle over it, cutting out a large

rectangle so that some grille cloth can be wrapped around the sides of the baffle, pulling it tight and stapling it on the back of the baffle, where it will be hidden from sight. Continue pulling it evenly tight, stapling the grille cloth right around the hidden side of the speaker baffle.

13.

Attach your speaker baffle to the amplifier – Slide your baffle through the speaker cabinet from the back to the front. Attach the baffle to the baffle-housing frame. Insert some

cushioning foam between the front of the baffle and where the baffle will make contact with the front housing frame (discussed in step 2). In this case, slide your baffle through the speaker cabinet from the back to the front and screw it hard against the baffle front housing frame, squashing the foam in between the front of the baffle and the back of the housing frame. 14.

Attach your speaker to your speaker cabinet baffle – The speaker will be screwed onto the baffle using usually about 4-6 screws. Use as many as you think you need, but

remember, if you change speakers and your screw holes don’t line up and you go and drill another 6, you may be making a bit of a mess. The speakers vibrate, therefore Two-Rock insert a foam "gasket" between the speaker and the baffle to prevent direct steel-wood contact.

15.

136

Measure, cut and screw in your back housing frame – The housing frame is 4 internal long pieces of wood, used as a frame in which your speaker cabinet back will be screwed

onto. The back measurement picture above shows the long pieces of wood and their measurements. Screw them in so that the speaker cabinet back will become level with the back of the sides of the amp when screwed into place on the back housing frame. Therefore, locate the back housing frames at equal distance as the thickness of the back piece of wood (3/4” in, plus back port tolex thickness, from the back edge). This back housing frame will be screwed in on top of the amplifiers tolex. It would be a good idea to spray paint the wood for the housing frame the same color as the amplifier tolex. 16.

Attach your speaker cabinet jack to your speaker cabinets ported back – This is a simple procedure that will be determined by the speaker jack that you purchase. Usually

drilling a few holes and using a few screws will do it. Determine a tidy and sensible place to locate your speaker jack on the back of the amplifier.

17.

Wire your 1x12” speaker to the jack – There are a few ways to wire your speaker jack and these options are shown on the following websites. A 1x12” speaker cabinet won’t

have as many considerations as a 2x12” speaker cabinet setup; however these wiring methods are important to know and consider. • Celestion speaker wiring guide - http://celestion.com/speakerworld/guitartech/5/39/Speaker_Wiring_Configurations/ • Wiring a 2x12” Speaker cabinet - http://www.colomar.com/Shavano/2x12wiring.html • Wiring Your Speaker Cabinet - http://www.eminence.com/2010/08/wiring-your-speaker-cabinet/ • Impedance – Speaker Cabinet Wiring - http://www.300guitars.com/articles/impedance-speaker-cabinet-wiring/

18.

137

Attach your speaker cabinet back porting – The back port will be attached from the back and screwed onto the back housing frame using a total of 14 screws. Take a look at the

brown Two-Rock 1x12” speaker cabinet ‘back’ reference picture above. Two-Rock use little buttons, a bit like washers on the back of the speaker cabinet under each screw head. I have heard Two-Rock use these (in the following picture) to attach the back onto the speaker cabinet, so the washer and the metal fastener in the picture must work together to fasten the back porting onto the cabinet.

19.

Attach the Grille Piping – Take a look at the Two-Rock Amplifiers above. They have beautiful white piping, which really finishes the look of the head cab. This can be easily

attached around the border of the grille cloth and glued into place.

20.

Attach your speaker cabinet’s corners - You should have 8 corners in total, which will be easily attached over the corners of the head cab using screws. Again, make sure your

screws aren’t too long, or they will be seen protruding through the wood on the inside of the head cabinet. Hopefully you didn’t skip a step earlier (in step 3) and your speaker cabinet’s wooden corners, which will be now covered in tolex aren’t pointy, but round, so your amplifier corners will actually fit properly.

21.

138

Attach your speaker cabinet handle – The handle will be attached to the long top of the speaker cabinet. The specific handle will determine how it is attached. However you do it,

make sure it is attached very well, you don’t want your amplifier to go crashing down a flight of stairs! The distribution of weight within the cabinet will determine where the handle is situated (back or forward). The cabinet should have the same left and right weight as the cabinet should have a symmetrical width. Therefore the handle should be able to be placed in the center of the speaker cabinet’s width.

22.

Attach you speaker cabinet foot stops – A total of 4-foot stops or rubber feet will be attached to the bottom of the amplifier. Place 1 in each corner, a few centimeters from the

front and sides, or back and sides. Measure the position of each one and keep them even for a nice symmetrical look.

23.

Plug it in and give it a playing test run – Your cabinet should be ready. Plug it in and give it a play. Check that your connections have been wired properly and check for any loose screws etc. Hopefully there is no rattling and it sound bloody fantastic. Good on you for doing it yourself, that’s very respectable!

1x12” Two-Rock Clone Speaker Cabinet Pictures

139

Dumble 2x12” Speaker Cabinet Approximate Measurements

140

Ebay ‘Dumble Style’ Cabinets Ebay also sell Dumble ‘style’ cabinets that are of great quality. The 1x12” cabinet looks like it is built using Dumble specifications and measurements as its face has a more square appearance rather than the rectangular appearance of the Two-Rock 1x12” speaker. The 2x12” cabinet looks very similar to the 2x12” Two-Rock speaker cabinets above. The company offers a Dumble style 1x12” as well as a Dumble style 2x12”. Their unloaded (cabinet with no speakers) 2x12” cabinet is still around the $450 U.S Dollar price range. The cost is slightly lower for the unloaded 1x12” cabinet. The speaker cabinets can be purchased with or without speakers. I suggest buying a cabinet without the speakers and attaching your own carefully selected speaker. After all, your amplifier will select the speaker more so than your speaker cabinet, although your speaker cabinet will have its preferences. Company Name: The Speaker Factory (Australian company) Main Website - http://www.thespeakerfactory.com.au/about-us/ Ebay Website - http://www.ebay.com.au/itm/DUMBLE-STYLE-2-x-12-CUSTOM-CRAFTED-SPEAKER-CABINET-UNLOADED/271312178402?pt=AU_Amplifiers&hash=item3f2b774ce2&_uhb=1

The Speaker Factory ‘Dumble Style’ 1x12” Speaker Cabinet Clone

141

The Speaker Factory ‘Dumble Style’ 2x12” Speaker Cabinet Clone (it looks similar to a Two-Rock 2x12”)

142

Other Websites For ‘Dumble Style’ Speaker Cabinets There are also a number of other companies that produce Dumble style speaker cabinet clones. These companies are listed below: AF Custom Cabinets (U.K company) - http://afcustomcabinets.weebly.com/dumble-style-cabs.html

• •

Amplified Nation (U.S.A company) - http://www.amplifiednation.com/D-Style%20Cabs.htm

Amplified Nation ‘Dumble Style’ Speaker Cabinet Example Pictures Amplified Nation 4x12”

Amplified Nation 1x12” Combo With 1U Rack Space

Amplified Nation 1x12”

Amplified Nation 2x12”

Amplified Nation Black Suede 2x12” Speaker Cabinet

143

A Final Note To Consider ‘The Complete Dumble Guide’ is purely designed to inform potential buyers of the wonderful world of Dumble related gear. A lot of money can be spent on this gear and time wasted looking into it. Before buying anything in the musical world, ask yourself these types of questions: Do I really need this? Is this actually going to make me sound that much better? Is this just another distraction, preventing me from playing, writing or recording? Have I learned the gear I have and exhausted it’s full capabilities? It is easy to become a little obsessed by all of this and waste time, effort and money going down a path of distraction. Perhaps you might get back to making great music. After all, tone is in the hands and your musical potential is in the brain. Dumble gear can provide a way to inspire your creativity, but too much time spent drooling over this gear will rob your precious time and your playing and creativity will suffer. In saying that, I do hope this guide helps you to attain your tone aspirations quickly, which may inspire your creativity, so much so that your playing improves and you enjoy it all the more. I do believe it is important to understand and know about good gear. If you are truly in need of some new gear and can warrant spending the time researching this booklet, I do guarantee you will find some quality gear that will last you a lifetime. If you do put some head cabinets or speaker cabinets together, congratulations, I respect do it yourselfers, enjoy the savings in your back pocket. If made carefully and not rushed, your gear will both look and sound as good as any boutique brand named gear. Have fun and keep playing, hopefully with good gear! Don’t forget to check back in the future for ‘The Complete Dumble Guide - Edition 2’ featuring new sections and revisions of the information provided.