gmoon

Hi Mike. Sorry about the late reply. I checked Ibles only a week or so ago, and didn't see your post (? who knows).Cool, I see you built from scratch using the Silvertone schem. I don't doubt the tubes can take a bit higher voltage than spec'ed. I think they were all +- 10% back then, and many could be abused further. I don't think you'll have any problems at all with the resistors.Working on replacing the baffle board of my Silvertone 1482 today...Good luck and rock on.

Awesome -- you are welcome!

This project was all done by hand...it can be done!

Those values (replacing 220 ohms with 1K) are in the power supply itself, which is chained to get different voltages. Look at the PS schematic rather than the preamp. I.E., it's before the the plate resistors. Sorry I didn't see this earlier. We've been in remodel mode for 6 months...

It should be OK. (sorry for the delay)

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.

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) semiconduc...

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.

You might look at a "Tube Screamer" schematic, which uses diodes in a feedback loop, for "soft clipping."

That's 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 -- 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, i...

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!

I'm not sure about that, as an explanation. But I'm not certain it's wrong, either, depending on how the auto painter was using the language, etc.This is how I think about it (I was trained and worked as a photographer for 35 years). There are basically two types of reflectivity (although everything is a mixure of both):-- Diffuse, which is the pigment itself-- Specular, which is the surfaceA glossy black and a matte black may have identical pigments, but the glossy paint will always appear darker (actually, have a wider range of contrast), except when the surface is reflecting a large light source. In that case, the pigment beneath a glossy surface is washed out by the other light source. Think of watching a big-screen TV with a picture window right behind you. The reflection makes it ...

I'm not sure about that, as an explanation. But I'm not certain it's wrong, either, depending on how the auto painter was using the language, etc.This is how I think about it (I was trained and worked as a photographer for 35 years). There are basically two types of reflectivity (although everything is a mixure of both):-- Diffuse, which is the pigment itself-- Specular, which is the surfaceA glossy black and a matte black may have identical pigments, but the glossy paint will always appear darker (actually, have a wider range of contrast), except when the surface is reflecting a large light source. In that case, the pigment beneath a glossy surface is washed out by the other light source. Think of watching a big-screen TV with a picture window right behind you. The reflection makes it difficult to see the image. Viewing angle matters.Certainly glossy photographic prints have a greater tonal range than matte prints. Matte, however, tends to hide surface defects. How you light glossy surfaces becomes an art form itself...(it's always about light; we don't see things, we see light bouncing off things).I do think how (and how well) the clear bonds to the paint pigment can have an effect also, but the surface of the completed work has a larger effect, IMHO.Auto paint guys and commercial painters in general may have different opinions (especially about the "depth" of a finish, which is usually a proprietary thing), but that's how I break it down. Hope that helps...

The paint was sanded where repairs were made to the original finish, then a little prep sanding was done overall before the clear. Between clear coats, some wet sanding was done due to "orange peel" effect, when it was needed -- not after every coat.Any major scratches need to be dealt with before clear, of course.

Awesome, thanks. Make something cool!