Resurrectionist: Ampeg SVT-810E

Somewhere in the ’90s, everything became disposable and cheap. NAFTA made lives disposable and cheap. Reality shows made art disposable and cheap. Music companies made their gear disposable and cheap. I have not the inclination to make the philosophical leap as to why. What I do have is a good example of this. SLM Music, who owned the Ampeg name in the ’90s, put out the worst version of an Ampeg 8×10, the “Classic” 810E cabinet. It has eight 10″ speakers and is based on the original winning design from the ’70s. They are made so poorly with shit wood, however, they are often left to rot rather than fix. Well, I said fuck that. One of these fell into my hands, crumbling and falling apart. I brought it back to life.

Ampeg 8x10 refurb finished

When I dragged this out of the apartment from the folks who bestowed it on me, it was missing the bottom entirely. It had the prerequisite tolex rips of every punk rocker’s cab. The baffle board rocked back and forth and could bust your fingers. It was missing a speaker. I rebuilt the bottom, replaced the speaker, and the cab served me well on a few tours. When I sold my Ampeg SVT-2Pro to my bud Brian from Merdoso and formerly of Stormcrow, I offered the cab as part of the deal so long as he covered the expense of a heavy-duty restoration so I could have some fun making the monstrosity punk-proof. And fun I had.

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Dead Alive: Emergency Speaker Repair

With all the emphasis on amplifiers, pedals, cabinets, the humble speaker is oft forgotten. It’s the final destination for your signal and it’s the only thing you actually hear. What’s in your cabinet? If your speakers are crap, who cares that your amp is hand-wired? It’ll still sound like crap. For this discussion, what if it’s broken? Can you tell? The most common injury to a speaker will not necessarily stop it from working, but it won’t work well. When yer speaker cone rips, your tone cannot.

speaker rip

The first time I employed the following fix, I was on the road with my friend Christy. One night, we noticed her guitar sounded terrible. Upon inspection, the sound person had mic’ed a G12T-75 speaker in her cabinet that had a hole in the cone. Three other speakers had been somewhat masking the bad one, but that terrible sound had been coming out all along. We fixed it using an old roadie trick invented back before Guitar Centers were on every corner. Now that Guitar Centers don’t even carry guitar speakers, this old roadie trick is handy again.

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Resurrectionist: Earpollution Earbuds

I love old music gear because it was built to last. Modern crap seems so fucking disposable. Why even bother? Sometimes, it’s worth a quick bother because I can’t be assed to go out to the store and plunk down even $10 when I know I can do something myself. Such was the case with a cheap ass pair of Earpollution Ozone Earbuds.

ipod

I got these at a truck stop to wear in the van while on tour. The rubber tips completely block out the inane chatter of my beloved bandmates when I just don’t have the patience. They actually sound killer with a boomy bass. I was wearing them at work when the cord got smooshed in a printing press. Only one earphone worked after that. While I was recently packing for a personal trip, I pulled them out and said, “Fuck this shit, I throw nothing away until all other options are gone.”

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Merde! Marshall Cabinet Casters

I would like to congratulate Marshall Amps on their big anniversary, defining the sound and look of rock for 50 fucking years. Yup, they’ve been rolling along for awhile now. That is, until their really shitty casters broke and then them shits weren’t rolling nowhere. One sentence we will never hear another company say is, “Those Marshall casters are so well designed, we should copy them!”

marshall casters

Alas, the Marshall 1960A and B are such standard and well made guitar cabinets in every other way, the minor defaults with the casters must be forgiven and dealt with. The shitty plastic sockets strip out, the poorly mounted bolts come undone, and the riveted-in wheels bust. Loading in and out of venues every night doesn’t help their longevity, either. At an unreasonable $20 a pop each for genuine Marshall replacement casters, what else can be done?

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Operating Theater: Peavey Century 200H

I almost feel guilty for writing about this, as the fix was so damn easy. Actually, that says a lot of good things about the manufacturer of this amp, Peavey. Behold, the Peavey Century (which was produced about twenty years shy of the turn of…)

Peavey Century

I had a Peavey XR 400B PA head that I used to call “the amp that will not die.” I used it as a back up bass head before I had a proper bass amp to rely on. It was about the same era as this Century, used the same solid state power amp section, and could get kicked down a flight of stairs and still work. Sure, it never sounded that great, but it was unbreakable. This Century broke when my friend Mark, after seeing a documentary on Keith Moon, decided he was in the Who and sent it tumbling. So, WTF?

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Oh, Snap! Sennheiser MZS-421 shockmount

In my Low End Theory 1 article, I expressed my overwhelming satisfaction with the Low End Theory 2 article, I explained the custom mounting of my sweet MD-421 using a Bass Hangar from basshanger.com, a common microphone gooseneck, and the Sennheiser MZS-421 shockmount. In all their wisdom, Sennheiser did not make the MD-421 fit in a standard mic clip. But at least they did make this mount that would isolate the microphone from nasty bass vibrations. It is perfect for my “on the cab” mic set up.

bass cab mic mount

That is, until one of the rubber bands broke while I was on tour. Then a second rubber band broke. The remaining bands held the mount together until the end of tour, but the shock absorption was nil. Luckily, one of the broken bands was stuck in the divots of the mount. With that and the help of some photos, I was able to trace its original path and re-thread replacements.

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Operating Theater: Ampeg SVT-200T

Ampeg rewrote the book on high power amplification in 1969 with the introduction of the SVT. That was the Super Valve Technology amp which pumped out, a then unheard of, massive 300 watts from six huge valves (or “tubes”). Marshall invented THE rock guitar amp and Ampeg followed it with THE rock bass amp. And then… through the ’70s and ’80s, they never topped the SVT. Sure, they had a few other good products, in-between changing ownership as numerously as Michael Jackson was changing his nose. So in the late eighties, they just started throwing the SVT name around like baby batter at a bukkake convention. And hence, the SVT-200T, produced from 1987-1994: featuring no valves at all.

Ampeg SVT 200T

I like to think I’m less dumb than I used to be. When I bought this SVT-200T solid-state amplifier, I thought I had an SVT. It was loud, the right shape, it said SVT… shit, I just played grind core, what did I know? It had that “Ampeg” tone they dial all their amps towards and it sounded awesome. Sounded. One night in 2005 it took a dump. Or maybe I took a dump. Did I have the wrong speaker set up? Was the club’s power screwy? Was it just old? It took me a lot of learning over seven years, but I finally got this tubeless, sad sack out of the closet and farting again.

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Tools of the Trade: Light Bulb Limiter

It’s easy to slap an LED onto a pedal. At least, it’s easy for me now. I’ve moved onto bigger and badder. Largely through trial and error, I’ve managed to make a few sick amps well again. I’m still a novice, but I’m learning and it’s fun. The online world is a treasure trove of knowledge and helpful people. Those helpful people told me I was doing some stupid things. I was able to rectify at least one of those things.

light bulb limiter

This is a light bulb limiter. You can’t buy one and they’re all built a little different. It’s extremely helpful when dealing with a broken amp. In a previous repair of a Peavey XXX guitar amplifier, I was blowing fuses left and right (maybe center, too). The light bulb limiter is a D.I.Y. device that coulda saved me a lotta pain.

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