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Yea and they changed operation with changes in temp too. If you live up north and play in a basement the cement floor can get quite cold and change the tone quite drastically compare to having the pedal on hot deck outside in the summer. By the way, anyone into Fuzz has to read this history . It explains most of the history between the different versions and tries to clear up allot of the fact from fiction. http://www.bigmuffpage.com/The_Tonebender_Timeline.html

Its good it has the extra 18V output if you in fact needed it. I only have one vintage Rolland pedal that uses 18V. Just about everything else I have runs on 9V with a couple of exceptions which have oddball voltages and require their own supplies. I'm not sure a brick like that would actually do any better then the Spot One I use for my 9V stuff. What you want to compare is the total current the PS can supply. My Spot1 supplies 1700 Ma (1.7A) and with the second extension I can run 9 normal pedals without overloading the current. The footprint is very small too, much less then any brick. The other thing is the cable only has one connection to the transformer, the individual wires are daisy chained to the pedals. With a brick you double the possible trouble by having connections to the brick and pedals. The benefits of a brick vs Spot one is, the Brick connections allow you to run the individual power wires any place you want. The spot one has a connector every 6 inches of so. If you had your pedals spaced in a row and had to skip over one pedals because it uses a different power supply the distance between the DC connectors may not be long enough to make that jump so pedal placement can be less forgiving with the spot one compared to the star configuration of a brick. Pedal type can be an issue with the Spot one too. I experienced issues with a noise gate. it didn't like being put on a daisy chain and did some strange things. Not sure if it would have been better on another multi pedal adaptor but the fix in my case was to isolate the pedal on its own power source.

9K is both coils running in series like most normal two wire Humbuckers. The extra wire lets you short out one could and run a single coil for a more Fenderish sound. The advantage of having 4 wires lets you run the coils Series/Parallel/Split. I'm not a huge fan of split tones myself. I find most pickups take a huge dip in volume when the coil is split except when using certain pickup types. I much more prefer a series parallel wiring config. You can get some excellent changes in tone vs gain using those over simply splitting the pickup.

I had a friend try and sell me a Rumble and left it with me for a few weeks so I happen to know exactly what I'm talking about. This is the 25W speaker Fender sticks in those amps. The quality is the same as the other Branded ceramic speakers fender typically uses.

Picked up a set of these generic 59 PAF's with Alnico 5 magnets. I have a Plexiglass Flying V needing a different set. I had put a set of Filtertron/TV Jones Clones in there and didn't like the sound I got. I've bought a couple of sets of mini humbuckers from this guy that sounded pretty good. Not sure if they are Artec pickups or whether he actually makes them. The parts used are definitely identical to others. What I like most about these is how they retain a clean bright edge when gained up. They have a more aggressive touch running clean too. I'm thinking about getting a second set of these to put in my Epi Dot. The Dot originally had tamer/darker sounding Epi pickups which had a less aggressive tone likely based on a potted 57 PAF. Very generic sounding and simply passible when cranked. These 59ers have that aggressive edge without the mid boost. Just what that DOT needs. Their winds are vintage too with a Neck having 7.5K and Bridge 8.6K. The set was $38 which isn't bad at all for a decent build. They aren't Seymour or Gibson but I wasn't looking to spend that kind of money on a Novelty guitar. While I was out shopping I found a decent body for one of the spare Strat necks I have. The one I bought is supposed to be Maple and have a finish. The pic they posted doesn't look like Maple to me. This one looks more like unfinished Popular to me but they did mention the photo looked different. Doesn't matter what kind of wood it is once its been painted. Something like this bight be OK natural. I have several guitars with all maple bodies and necks. The tone isn't as bright as you'd think, though the weight can be higher then I prefer. I had to get a bunch of hardware too, Bridge, Back plate, Jack plate and a couple of other odds and ends. Normally I make my own bodies but I don't have a router for doing the bridge and pickup route like this, Plus for $21 including shipping? I cant even buy the wood locally at that price, plus the labor involved. I got one really nice Tele neck for a build too. I have the wood for that one Its simply a matter of finding the time to get it done. This seller has multiple body listings This one below looks more like maple to me. The one above he other listings as Barrel Wood, whatever that's supposed to be. Real barrels are typically made of Oak. Guess I'll just have to wait and see what shows up. As far as finish goes I'll likely do this one using Tung oil. I have 3/4 of a can left which is plenty. It will yellow the wood for a more antique look which will match the Yellow lacquer neck I have too. I already have the pickguard and pickups too so I wont have to mess with that much. I should be able to complete this build for under $100 in parts and have a pretty decent player when I get done.

Fender makes their own speakers. There's nothing generic at all about them. Back before they had half a dozen different manufacturers but that changed sometime in the early 80's if I remember right. I cant say all of their cheap imported amps like squire are made by that same fender owned company. There many be some other vendors in China and Mexico making them too. but given the build quality is identical I don't think it matters much. They definitely are Not Hi Fi speakers. They have paper surrounds, not foam. The excursion is not longer either. nice try but it has nothing to do with reality. The main difference between Fender Guitar and bass speakers is the thickness of the paper and the rigidity of the spider. Try pushing the cone in on most bass speakers and you'll find they are usually "allot" stiffer then guitar speakers. That's the same for most bass speakers manufactured. Compare any Bass 10" of the same wattage to a guitar version and you'll fee its a more durable cone. Of course with that extra paper thickness, you have a loss of frequencies and often SPL when similar coils are being used. heavier paper means more weight which means more inertia which consumes mechanical energy. The spider, surround, paper thickness are all tougher too. Bass frequencies are always going to need to be louder to balance a mix because of the way our ears work. Mid frequencies at hearing threshold need to have bass levels at 50~60dB higher. Low frequencies flex the paper a whole lot more then the midrange frequencies thinner guitar speakers see.

Read up on PAF pickups and the magnets Humbuckers use. It can help guide you to the tones you want. Generally there are tree types of magnets commonly used in humbuckers. Alnico 2, Alnico 5 and Ceramic magnets. Ceramics are the strongest and you usually find them used with your high impedance pickups over 10~20K. Personally I'm not a huge fan of these pickups but they can be the right pickup for the right guitar and player. The mids are typically scooped and highs and lows extended and tight. Ideal for metal tones. I had a friend bring me his vintage Ibanez Destroyer and he didn't like its sound. he had either a Dimarzio or Seymour in there and it couldn't do the metal thing he was after. I went straight to the internet and saw what pickups are used in those and bought a matching set of IBZ V Ceramic magnet pickups which were the early ones designed by Dimarzio and made in Japan for Ibanez. The guy was tickled pink with the tones he could get and you can find those pickups all over the place on ebay for chump change. Alnico 2 are the original PAF magnets used in the 1957 Humbuckers which is one of the weaker alnico magnets. (threes are actually weaker in bar magnets but stringer as poll magnets used in fender type pickups) They are known for producing a vintage tone and produces strong mids, loose bouncy lows and subdued highs. Alnico 5 were the upgrade from alnico 2's used with the 1959 PAF's and newer Humbuckers. They produce a slightly scooped tone compared to the 2's but not nearly as scooped as the ceramics. The highs jangle and lows are tight. This is your most common magnet used in most humbuckers for rock tones. Ceramics are becoming more popular on the modern stuff but they're allot of experimentation still going on and tone vs gain can be all over the place. Your typical 59 PAF uses alnico 5's and has a neck pickup with a DC resistance of 7~7.5K and a bridge with 8~8.5 for a good balance. That can of course vary depending on the balance you want. If the guitar has bright wood, using an Alnico 5 and an 8K+ coil may be too bright compared to the neck pickup so substituting an Alnico 2 in the neck position is a common way of reducing ice pick tones. Having more wraps on a coil can also reduce highs and lows and increase mids. This is where the manufacturers have a good deal of flexibility creating pickups to enhance different guitar woods. As far as changing the pickup in that particular guitar, I doubt if you're going to find many pickups on your first attempt that actually makes that guitar sound better. Different? Yes, Better? It can definitely get worse before it ever matches or gets better. The engineers at PRS aren't idiots. They do and incredible amount of testing and tuning of their pickup designs to match their instruments. simply slapping an after market pickup in there without the guidance of an experienced technician who really knows his pickups and gear probably wont work out so well, plus you may wind up blowing allot of cash on something that winds up being a complete dud. If I were giving advice I'd first want to know what kind of gear, amp, cab, speakers and any pedals you use and try to fix any tone issues you're having there first. You may have great gear but a poor match for that particular guitar. Only after then would I advise modifying the guitar. If the gear fix still doesn't get you there then I'd advise you contacting a company like Seymour and see what they advise as a good replacement. They surely have the knowledge or what works and what doesn't based on the people who keep or return those pickups because they are good or poor matches. They might even be able to target the pickup to the music genre you play most. personally I wouldn't even mess with the pickups. Those PRS pickups sell for allot of money used which is a sign they are key in making those instruments sound good. New they sell close to $200 each which is higher then most other mass produced pickups. Even used singles sell for $150 and the sets about $250~$400. Example - https://www.ebay.com/itm/2-Vintage-PRS-Paul-Reed-Smith-McCarty-Chrome-Humbucker-Pickup-Set-Unused-/283582021066?_trksid=p2385738.m4383.l4275.c10 If the pickups were crap the used value wouldn't be anywhere near the price of new ones. Before PRS sold replacement pickups, I'd only see the used pickups rarely on eBay. It was the only way you can get them besides going to the manufacturer. I suspect they realized they could make a mint selling new ones so places like Sweetwater and MF sell them now. 50~10 years ago, People get bored and put new pickups in their guitars then sell the PRS pickups as used. You could buy a set under $100 for awhile there. I think After the newness wears off, they regret making the mistake of swapping them out and started paying top dollar for the PRS because they were so hard to find. Luckily PRS is selling new pickups new now. Why someone would pay nearly as much for used ones is still a mystery to me. There are either very good and saving $25 us worth it or people simply don't check the new vs used prices.

I have one of those little stomplab 1G units that cost about $60 new. I found one on sale for $39 and use it all the time. As far as the settings go, I'd need to check the manual. They have the distortion/fuzz pedals listed all together and you have your choice between a Tube Screamer, Boss, Fuzz Face, and of course a Vox Tonebender because it is a Vox pedal. Along with that I added some other effects, Compression, EQ, reverb, and amp/cab modeling to complete the chain of having an entire amp setup when recording. I was able to nail this Harrison tunes sitar like guitar tone you hear at the intro on this song using that pedal.

Just so you know, You're responding to a 2008 Post. I'll agree with you however. There's nothing wrong with the cab build quality that's going to stop it from sounding good. The actual speakers? Peavey's guitar speakers aren't bad. better then many budget speakers. Their PA speakers are actually quite good depending on the type. Guitar speakers are a matter of preference. Their early blackface cabs like this one I own is built to last. 3/4" plywood throughout. Even its finish does one better then plain old Tolex. They use an epoxy coating that looks like Tolex but its more like that Truck Bed liner stuff. I've had my cab for 25 years and not a scratch on it. The Black magnet speakers in these weren't so hot however. Many Manufactures, Ampeg, Sunn, Peavy and many others sold their cabs with 30W unbranded Eminence speakers. They didn't sound horrible but they didn't sound great either. The ones in my cab had cracked surrounds so I repaired them with speaker glue. They still work but like I said, the tone isn't exactly great. My Marshall slant 1960 cab with Cream-backs Forget it. It blows the doors off those old eminence junk. I bought a newer Peavey speaker recently. It was out of one of their Full Range modeling amp speakers which as a frequency response that extends up to 10K or more. I have two 8's like that as well. I have the 12" in a cab with a regular guitar speaker but I haven't had a chance to use it live yet. I been using multi effects pedals with amp modeling recently and the extended range on the speakers allows a closer facsimile to the original amps tones. Its much like when I record direct using high fidelity studio monitors. Having a guitar amp with a similar High Fidelity frequency response allows the pedals to so all the EQ shaping and the amp simply acts as a monitor.

If you knew the model of Celestion 10" its easy to look up the specs. I doubt think Celestion makes any new 10's with wattages less then 30W. Even their Cheap $35 speakers are 30W so you should be safe from blowing the coil even cranked up. Fender bass heads typically do have a broad frequency response. The guitar speaker should help making a guitar sound better but its still likely to be bass heavy and possibly have some resonances that aren't the best for guitar. Most of it will be the cab, not the speaker. Bass cabs are typically tuned and ported to the speaker so it produces maximum bass frequencies. The tones you get even using a guitar speaker will therefore produce allot of lows. it can even be out of tune with the cab and produce some oddball resonances making some notes loud and others dead. If it is a good match you can probably expect that amp to be good for rhythm and jazz tones. I own and have owned many Fender bass amps including some SS versions and they can produce some warm chord tones and even jangle when the top end is cranked up. You'll likely find the tone controls on that amp are more suitable in targeting bass strings instead of guitar strings. Example, Bass will be too low for guitar strings, mid control acts more like a bass control on guitar strings and treble acts more like a mid control. The specs show bass targeting 60Hz. Guitar strings are an octave higher and lows are closer to 120~160Hz. Mids on this amp are 630Hz. On a guitar its usually between 1~4K Highs on this aren't too bad. They get as high as 6K and many guitar speakers roll off at maybe 5K. Many guitar amps will have a treble control that goes from maybe 4~5K up to 10K or so. you really don't want much above 6K because it interferes with Vocals Cymbals etc. in a mix. Even guitar pickups will typically target the mids between 500~5K with the strongest bumps in the 1~4K ranges. BASS: ±15dB @ 60Hz BASS: MID: ±15dB @ 630Hz TREBLE: ±15dB @ 6kHz Like I said it should work so long as you take the time to tweak the amps EQ. If you find it lacking get yourself an EQ pedal and use it to nudge your midrange tones and it should sound better. Unfortunately it doesn't have an effect loop which could place that EQ between the preamp and power amp, but given how clean that amp will be it should be fine when placed last in an effects chain. That amp dies have an overdrive too. Not sure how good it will sound on guitar however. You may be able to dial up just a little to get some grunt but I'd definitely recommend getting pedals for drive. Even a multi effects pedal with amp modeling might be ideal. This way you can use the bass amp as a power amp and use the effects pedal as your preamp. Some of the newer Vox/Digitec/Korg/Zoom pedals do an excellent job modeling amps on a budget and at least let you get close to having workable guitar tones.

Echo helps too. If you get the time give this video by Jean Lu Ponti a listen. He does some things with an echo which are very guitar like. I used to play to his live album on guitar and fiddle to pick up licks and techniques. Oh, and another really cool trick I picked up. If you have some Violin bow resin, try putting some on your guitar strings in the pick area and on your guitar pick. You can use the side of your pick and it grips the strings for a short duration like a violin bow. I leaned using a Violin bow on a guitar like Jimi Page did. Got the rosin on my strings and it grips the hell out of the pick. I don't recommend a violin bow on guitar strings however. I found out it totally destroys a violin bow. I had used it on my guitar during a jam with some buddies about a week earlier and when I opened up my Violin case I found all the horse hairs had snapped. I couldn't figure it out at first and actually bought another bow. Used it for months on the fiddle and no problems. Used it on a guitar and again all the hairs were broken. Apparently the hairs get between the wraps in the wound strings and they act like a Knife sharpener and cut into the horse hairs. After that it simply takes a few days and they all wind up breaking. Had me going till I figured that one out. Violin strings are either gut or flat wound with aluminum. The surface is smooth and light so the bow grips and releases as you draw the bow. You can match the Pizzicato of a fiddle on a guitars high strings but the groan of a bow is much tougher to mimic. Rosin on the strings and sliding the pick over the strings gets close.

I took a look at the schematic and the manual. There isn't any fancy wiring there so it should work set to 4 ohms. you should realize you Cannot connect anything to that second speaker jack now. Anything you plug in there is going to lower the impedance and you're already on the bottom end at 4 ohms. What I suggest you do is send that sucker back for a 16 ohm speaker. Then you can stick the speaker you're pulling out in a second cab. You can connect both that way with the amp set for 4 ohms 16+16 in parallel = 8 ohms. 4+16 ohms in series is 3.2 ohms. 4+16 in series = 20ohms. Either way its an oddball combination with an impedance too high or too low for anything practical. You're better off sending that sucker back now and getting what you should have in the first place which is another 16 ohm speaker.

You might be able to get a B5 Tele style Bigsby kit on a on a hard tail Strat. The kit uses a floating bridge much like a jag/mustang uses. The studs are set in a larger hole and the entire bridge move with the strings. If the body is routed for a regular Strat bridge you're better off sticking with that in one form or another. Kahler and Floyd bridges are an option but you wind up having to install a locking nut for those, or at least locking tuners. I'm not a super fan of having that large huge chunk of metal on a guitar. Locking strings systems don't last that long before they wear out and develop issues. You need to be good at doing your own setups and maintenance. Even changing string brands using the same gauge can cause havoc with string intonation. What I dislike most about them is all that metal kills all the wood tone giving the instrument a generic tone. You can no more tell its a Strat from a cigar box. At least a standard Strat bridge retains some wood tone so you know what kind of instrument you're hearing. I have an 80's made in Japan Standard Strat which had one of these bridges along with a locking Nut. I used it for maybe 2 years before the tuners stripped out. I couldn't find anything to replace it so I wound up filling in the two stud holes and going with a standard bridge and nut. Best move I could make. It actually sounded like a Strat after that. Someone mentioned you could do without string trees by using locking tuning machines. Unfortunately that wont work on most Strats. The reason for the string trees is to keep downward pressure on the nut. Without them the strings jump right out of the nut. Toiy could probably do without string trees depending on the type of locking nut you use, but locking tuners only wont cut it on most Strat necks. The Break away is too flat on the upper strings.

I have several different Strats with different pickup combinations. I always keep at least one SSS Strat for a traditional sound. The 2 & 4 switch positions produce the best tones of the bunch. Getting a humbucker to match the singles isn't quiet as easy as slapping whatever you have in the bridge position. If the Humbucker is too hot for the singles you can have a miss match I had to try several different types of humbuckers to get one to work well in one of my Strat builds. I eventually used a EVH style Mighty Mite in there and it was an ideal match. I later I found another Ibanez which I like allot too. Both have a more vintage wound DC resistance/impedance. I have one Strat that I put 3 mini humbuckers in there. I bought the pre cut pickguard and I already had the extra pickups. Came out looking very similar to this except it was a Tortoise pickguard. . I even did a recording using it here so you'd have an idea what it sounds like. To be honest I'm not exactly thrilled by the sound of three mini's There isn't allot of tonal difference between them using the 5 way switch, just more of the same. The pickups I had were fairly hot wound too. I been buying some others that are closer to the original NY style minis with a 6 to 6.5K DC resistance and 3 Henry coils. If they still sound too fat, I plan to sell that loaded pickguard off and put the single coil pickguard back in that guitar. I could see maybe using one of those mini's, but 3 is overkill unless you do something like throw the middle pickup out of phase with the others to get some Quack tones out of it. I've yet to try one of those Strat sized mini humbuckers. They fit in the normal strat pickguard and you can find loads of them on eBay for peanuts. I played with one guy who had one in his Strat but his Crappy Crate amp sounded like ass so I really couldn't judge how good it sounded. I suppose I should try one just so I know first hand. They are supposed to match single coil outputs too so you don't have to worry about imbalanced outputs being a problem. Add a couple of push/push pots and you're cooking with gas. Push/Pull suck with start knobs. The wedge shape make them too hard to pull out. Push/Push work like a ball point pen. You just use them like a push button switch and turn them on and off. https://www.amazon.com/KAISH-Guitar-Anymore-Potentiometer-Imperial/dp/B07K7GBMMJ/ref=pd_lpo_sbs_267_t_1?_encoding=UTF8&psc=1&refRID=MDAA6EDYM1Z5SQVZQ5T4

Many pedals can get you that sound. (I played an actual violin for many years and used to mimic the sound with a guitar) What I suggest you do is find whatever gain pedals gets you the sound based on the pickups you have, then put a compressor and volume pedal in front of the drive pedal. The compressor will help to sustain the notes and the volume can be used to remove the pick attack. You simply turn the volume off, pick the notes then swell the volume up for a string type swell. If you want to do it using only your volume on the guitar it can be done that way too. It takes good coordination depending on the instrument. Roy Buchanan was one of the better guitarists who used that technique. He got it from a tele plugged into a fully cranked twin amp, no pedals. It would knock your socks off when you heard him do it live. The volume on a tele is pretty easy for wrapping your pinky finger around it then ramping the volume up after you pick the note. Getting the kind of vibrato used on a fiddle is the tough part. I picked it up from actually playing violin. On a fiddle you roll the finger tip on the string end to end actually shortening and lengthening the string instead of bending the strings to one side. With a guitar you cant roll the finger on the string because of the frets, but you can tug on the strings moving end to end on the string. With the right strings and intonation you can get a vibrato that matches the violin quite well.