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The ValveLiTzer: Low-voltage Tube Booster
Tube Amp Rebuild (and Mod)
Applying a Mirror Finish (by hand)
Guitar Tube Amp
That is one beautiful weld on the top of the tank!
Simple Welding Cart
Yeah, I definitely want to learn the solid core/gas stuff, ASAP, too. Thanks for the inspiration!
Dang! I bought the same (Handler 140) welder four months ago! But we also bought a new house in July, so my days are filled with painting, plumbing, wiring, etc., etc., not happy welding projects. Still haven't the Hobart! I figure I'll start with the flux core first...looks like you're already using gas (jealous).
Oops. Used. haven't used the Hobart.
Sorry, I don't know. Steel is WAY harder than lacquer, and I imagine that power equipment is the best way to proceed.
Do you know if it's possible to get a #8 mirror finish on stainless steel by hand? Can the rouge be applied by hand or is some kind of buffing machine required?
Add Diode-Clipping Distortion to your Guitar Amp
My bad for not answering sooner -- busy!Not really with one additional 35w4 -- those are single diodes (fine for half-wave). A true bridge is four diodes. Tube amps with full rectification do so with an expensive trick: they use dual rectifier tubes (5y3, 5u4G) together with a center-tapped HV transformer (like 300V,0,-300V). The voltage swings positive & negative around that center tap, and half the available voltage is dropped -- i.e., end-to-end on a 300,0,-300 PT, the full voltage swing is 600V! (and the output would be 600V with a standard SS four-diode bridge).They did this because :A) they absolutely knew full wave was better.B) Iron and copper were once much cheaper than tube rectifiers. Now the opposite is true -- metal is expensive (and heavy) but sand (silicon) semiconductors are (literally) dirt cheap! Plus there was always a trade-off regarding current draw of the tube filaments, and double the rectifier filament current wasn't deemed acceptable.Full rectification end-to-end is very do-able with two dual-rectifier tubes. I'm sure it's been done.
If full wave rectification increases the available voltage, can you insert a second 35w4 instead of the diode bridge? This way you can have all tube rectifier, smoother voltage and the tube will eat up the extra voltage produced.I'm asking because I am doing a similar project right now. I managed to get my amp pretty quiet but had to up my filter caps to where the tone became too hard for me. I'd like to be able to go as low as 20uf without the 60hz hum. Right now 50uf is fairly quiet. I used this article to get my power supply set up in the first place. (thanks!)my tubes are 12ba6 12ba6 35c5 35w4. fujiya ex-1 1950's tape recorder,originally.
"I stick my hands in fans..for fun."
This dates me. Look to the 3:47 mark: https://www.youtube.com/watch?v=FeZlXJtLhMQEugene, by Crazy Joe and the Variable Speed band (Ace Frehey).
Older, anyways. And I'm way past that moment.
DIY Heatsink for Small Transistors
Isolation transformer upgrade for old guitar amps
I think I figured it out! The schematic was probably wrong. As you can see, the coupling cap in the second preamp stage is missing. I plugged one in and voila! full-blown gibsonette :)) very nice indeed. Thanks for the inspiration and motivation for this project. I'll post some pics as soon as I can.http://music-electronics-forum.com/attachments/314...
Hi there! I finished the gibsonette project yesterday. Although it sounds good, it has really low volume. It outputs the same with only one of the 6v6's connected .... has this ever happened to you? I think the tubes are ok, even tried replacing the 12ax7 with a spare one but to no avail. I tried each 6v6 alone and they seem to be working ok as well. Really don't understand why the two 6v6's in paralell arent outputing more....I can't find any mistakes in the circuit.Thanks!
Thank you so much, I tried doing your thing and it just made whole signal fuzzy with mine :(
You might look at a "Tube Screamer" schematic, which uses diodes in a feedback loop, for "soft clipping."
Hey, I wanted to do this with an op amp I made out of spare computer parts but I'm a newbie at this, where do you think I should put it?
use the pentode and the triode for the two gain stages, the pentode will sound heavy, since the pentode has a far higher mu (gain) factor than the triodes in this schematic
hey,another way for a gain POT is connecting pin 3 to the tube's pin 9, POT pin 1 to ground and a 100uf cap between POT pins 1 and 2 (see image, srry for the use of MS Paint), this works verry good for me, u used it in a transistor/tube hybrid pedal, but i used a trim pot, and another pot for changeable gain
A good ol' unmodified microwave transformer should have one secondary with HV (~2000VAC).
http://www.0rigami.com/gg/gibsonette_schematic.jpgis this it?
Thanks a lot! I'm going for a gibsonette build then. I'm not finding the schematics for the parallel version though.
http://music-electronics-forum.com/attachments/693... got it!
Look online for the Gibsonette schematic. The later versions were parallel single ended like this, but with 6v6's.But a 6v6 push-pull topology might be worth exploring, if it's a two tube 6V6 output amp is you want (like the classic Fender Deluxe). It would be louder, and the output transformer would be even easier to source.
If streaks remain, it probably wasn't rubbed out enough at the end (as it drys). Or maybe you used a little too much...
Hi gmoon. Can I replace the 6DG6's with 6V6's? thanks!
hi again- so this morning I checked on my car and everything that seemed shiny last night is now covered in white streaks of the rubbing compound. Do you know what I may have done wrong?
Hi -- hope I can help.You can use the wet/dry paper dry (why they call it wet/dry!), even though I usually use it wet. The wet technique probably makes it easier; lubricates the paper, keeps dust from clogging it, etc. Wet, it can be tricky to not sand through your finish layers, though.It's important to progress up through the finer grades of paper. I would want to prep a fine finish with over 1000 grit, wet. Probably 1200 to 2000 grit is a good idea. And sanding alone won't do it. Rubbing compound is a must, and you're using that. I've not used every type of rubbing compound out there. I cannot guarantee they all work the same, yet I was able to develop a "feel" for it's use, and that final bit of physical resistance seemed to be where the compound did the most work. Also, it's common to use toothpaste as a rubbing compound (Crest?), and I've used that on cars and it does work, too.The final hi-gloss comes from polishing. Rubbing compound wasn't the last step. I use the jeweler's rouge, but there are other types of polishing compounds -- undoubtedly some of those will come in liquid or paste form. The rouge I use is stick-form. I've even used some 3000 grit sanding gel, just because I found some on closeout.My only other thought now would be to be careful about over-sanding on edges and raised details, because that's always a danger.Good luck!
Hi there- i've tried everything to make my spraypainted (metal) car look glossy. It's something of an art car. I've been working on it slowly for years- it's 24 years old. I wetsanded a section until it felt soft and smooth, ( and wiped off the excess dust. I used normal sandpaper- does it absolutely have to say "wet dry" on it?) I applied the rubbing compound with a microfiber cloth, and then I applied the polishing compound. the rubbing compound doesn't "thin and dry" for me, and there was no resistance. It was much like applying lotion to my car. All i ended up with was a slight shine. What can i do to achieve the gloss mirror-like effect you have on your guitar? Thank you so much, if you figure out the problem you would be the best person ever. I've been trying to figure this out for so long.
Similar bug has infested the regular forums for years. An old posting will appear between current ones. One year old, eight years old, etc. It comes and goes.Believe I've posted a bug report on it, too. Still have the screenshots...
Look at both Spectra and Dyneema cordage. These are proprietary fabrics similar in strength to Kevlar, but cheaper and with different (lesser) resistance to heat. They definitely come in <5mm diameters.This stuff is common in climbing and other outdoor gear. Other than online, you might find it in an climbing or outdoor outfitter shop...
The input resistors prevent interaction between the outputs (you are mixing together). "Crosstalk" is a good word for it (kudos to Downunder35m).If you really want to understand it, you'll need to learn something about both output impedance and input impedance of audio stages. It tends to be somewhat difficult to get a handle on...Output impedance can be thought of as "signal strength" or the amount of (apparent) resistance present, i.e., between the output and next channel. A low output impedance is generally best. I.E., low output impedance means there is plenty of current available to drive the next stage.Input impedance can be though of as "the amount of load placed on the incoming signals" by the next stage. A high input impedance is generally best. I.E., a high input impedance means the input doesn't load down the incoming signal. These are general guidelines only -- speakers, a legitimate "audio stage" have very low input impedance and obviously they interact greatly with the previous stage (hint: all the power needed to move the speaker cone has to come from the previous stage -- they are passive devices!)How those resistor are chosen for the resistive mixer stage depends on what comes next. Is it a high impedance Op Amp? That's usually a good choice. A simple common-collector binary junction transistor amp? Not so great. Low input impedance usually results in both signal loss and loss of high frequencies... There isn't a "law" here, other than a fairly well understood interaction between the two types of impedances.If your audio sources are significantly different levels, you might want to create custom channels for each. Or replace them with POTs.Using caps and decoupling might be needed, but it might not. Depends on the outputs you are using.Impedance, BTW, is just a fancy word for "AC resistance" -- because audio is AC, and the "apparent resistance" resulting is greatly effected by inductance and capacitance, which is a big part of signal processing.
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