daddymack

Tape? This is the digital age!

Git'er dun! Sounds like you are motivated! Carlsbad is very nice this time of year [well, anywhere is pretty much nicer that Joisey, right?]....if you had gone along, I would have driven down for a meet'n'greet!

If you mean the bumpers on the underside of the treadle, super glue will work fine.

well...thank you! Pretty much what I envisoned. I know, it isn't my project, but I really think that will help tie it all back together. Not as weird as it sounded when I mentioned it....? Paint it with a few coats of enamel to minimize the scratching....or use the same ink and clear coat the heck out of it...

well, I am still 'gigging', but not regularly like I used to [2-3x/wk], so I did let go of one amp about a year and a half a go....that was a little 20W 1x12 Crate V20[?] Still in the collection: An Epiphone 'Galaxie 10' 10W 1x10 tube amp, nice cleans, mics up well, small light, portable, can't hang with a drummer. My 'living room' amp... Two blonde Blues Juniors [last year of USA build, first year of Mexico build], both modded [standby switch, speaker swap, solid state pre-amp tubes]. My workhorse amps for jam hosting and big outdoor stage work [with an a+b/Y pedal] A Vox NightTrain 15W 1x12 tube amp. Gets great classic Vox 'heat', digital reverb is passable. A BlackStar HT-20 Studio, 20W 1x12, covers a wide swath of tones from Fender to Marshall quite well, my 'side gig' go-to for that reason. An Epiphone Valve Junior 5W 1x8 [this amp has been sitting on the bench now for four years waiting some additional mods I just keep putting off...I don't really need the amp...because I also have A Fender 5W 1x6 Champion 600, upgraded speaker and tubes, can go from deliciously sparkly to gutbucket nasty by turning up the guitar volume. This is my 'test amp' for new guitars...if I don't like how it sounds through the '600', it doesn't stay. A late 40s/early 50s Magnatone lap steel amp...goes with my late 40s/early 50s Magnatone lap steel....both MOTS bakelite. A Harmony 'Pro 3000' solid state 1x10. I 'inherited' this after an old friend passed away. I replaced the speaker for him a decade before he passed....I have tried to trade it in or sell it to no avail...no one seems to want it. I have never played with it...probably only plugged into it once...to test it. A Quilter Aviator 200W solid state head..picked up used, and I actually like it! Only gigged once...so far. A blonde Fender Super Champ XD, 15W 1x10, which has failed yet again, sitting on the bench waiting analysis....meh, fun amp, weak design, 'A' channel is very BF Princeton-ish. A 1964 Fender BF Vibrolux Reverb 35W, 2x10... owned since 1972. The holy grail amp...semi-retired...big stage and studio work only. there are some old PA power amps and a little Ampeg bass practice amp and pairs of Alto powered speakers [8", 10" and 15"] buried in the 'gear closet'...I think that covers it

ah...I see... round head screws...at least they are not fillisters No way to grind them down without losing the head cut? Okay, I get the premise...carry on. I, too, have made pick guards for electrics out of all sorts of stuff, including wood paneling, plexiglas, aluminum [treated with 'gold alodyne'], teflon, phenolic, and ceramic tile [proved too heavy, edges were too sharp...and difficult to work with, but it was visually effective]...and am intrigued by the license plate idea...so I will wait and see. I still think bringing/referencing your unique headstock shape to the pickguard would be an interesting artistic touch....but this is your project, and I'm just kibbitzing

That was how I felt about my Marshall half-stack....I was living in a second floor apartment...that cabinet barely fit into my car's back seat, with the casters off.

hmmmm...good idea.... As Gardo said, you are going to be far more critical of every minor deviation, because you know what you envisioned. I totally get that, but sometimes you just gotta let go, be flexible, and accept that perfection is an ideal rarely achieved by humans and then find something tot blame for the failure! I don't know that you need those plastic under-plates for the p-ups, but that is your call. Oh, and maybe your pickguard shape should be based on the headstock design...just a thought....

Okay, I hope that de-chips your potato, or however you want to explain it.... The radius dish is going to save you a lot of agony in the future! I'd just like to tell you that observing your builds has been educational. I have learned that I will not build my own acoustic. There is great value in that knowledge, as I am often tempted to try it, but now, armed with the practical information you have imparted here, I am thoroughly convinced I would not have the patience. I will stick to instrument repairs. And things like landscaping ... If you should ever decide to sell any of your works, I might be interested, just to be able to say I watched you do it on line....

Interesting...I own a HT-20, and although it is not my 'goto' amp, I enjoy its versatility, and so I often used it for side gigs. Screw the naysayers. It does many things well, and a few things nigh on perfect. I also owned a Crate blonde tube amp [V20?] that I kept in a rehearsal location. To be fair, it didn't do anything my Blues Juniors or Vox Nightrain [or HT20] couldn't do, but I got it cheap enough, and wound up trading it an a bunch of pedals I'd won in a contest and frankly most of which were useless [for me anyway] for a Martin 12 string. So I don't regret letting it go, but it was a good serviceable and reliable amp that never let me down. I do regret letting go of my 65 Princeton, but that was in the dawning age of Marshalls being de rigeur for rock bands, and that poor little guy could not keep up when the volumes got cranked [and they always did]. I actually don't regret selling my Marshall SL100 back in 1981...the hearing loss will never come back, and the sound of a small cranked amp, mic'ed, gets to to the same general space...and of course, now the HT20 gets pretty darned 'Marshall-y', without the furniture moving around the room. And I still have my stock '64 Vibrolux Reverb [purchased used in 1972, worth about 20x what I paid back then!]...few amps can match it for tone, versatility and punch in a 2x10 combo. I don't use it often, strictly for studio work, or big stages [which are few and far between of late].

Looks like you got it about right now. Are you replacing the two lower braces, or the two outermost to accommodate the glue block arc??

You are welcome, bp! All in the job description....

should be fine if you do it right

yeah, that speaker will take what you are throwing it., but with the DSL, running at 50W would be better [IMHO...that speaker is over 30 years old, and we do not know how it was stored]]. Also, as there is no crossover in the cab, you should disconnect the tweeter...again, IMHO. The two connectors are for 'daisy chaining' speakers together. Just plug into the upper one. Use an unshielded cable from the amp to the cab. If you wanted to use both, you could daisy chain them, which would get you to 8 ohms load, and use the 8 ohm output on the amp.

we are here for you! lol @ 'potato chip'..... you are welcome to 'blog'....ain't much else going on here...I have my own 'blog' thread in 'Cool Jam'

nice...I have generally been impressed with build quality of the few Aria Pro II guitars I have worked on...mainly the single cut 2 hb 'lesterish' models...typically swapping in better p-ups. oh...and i fixed the thread title...'arai' is the filipino equivalent of 'ouch'

try 250k...in many instances they are better for single coils.

so...no Bigsby, eh?

without a circuit diagram...? Yes, likely bias...can you trace it back to the power tubes?

Knobs...? I will suggest you put a mounting plate for the jack [old dry wood] and open the aperture a bit. I have had to do this several times for [my and other people's] hollow/semi-hollow guitars/basses. In the long run, it solves potential repair issues...like if the side wall 'caves', which I have seen happen...on older Harmony, Gibson, Gretsch, Silvertone...[it was the first mod I did to my 'hollow beast'].

quick answer: there are no stupid questions...but you are wise to ask; here are some simple answers... 1) you have to consider impedance as well...ohms matter! Putting the wrong 'load' on the amp can damage it! 2) the number of speakers doesn't matter except for combined power handling and impedance [see 1, 3 & 4] 3) you do not need your speakers to be at 2X wattage...1.1X is adequate...1.2X is common 4) the cabinet wiring matters if there are multiple speakers...series vs parallel... 5) yes, running at half power is half power... You should learn these basics [wattage, impedance, series vs parallel] about amps/cabs before you jump in head first....and fry something...

are you using the 61 key or 76? This would be an interesting, although, at over 4 grand, expensive, solution for keyboard solo acts.

to answer the question [as bp already did]. yes...but jacks, in and of themselves, rarely go 'bad'...make certain the jack is making contact to the TS/TRS plug, and proper contact to the circuit board before you go tearing everything apart.

I had a partial spool a few years ago some one gave me...Mogami stuff is technically superior...once you know where the 'magic' is, no problemo....but until you do figure it out...oy vey! "This Mogami cable is designed to prevent microphonics with a conductive carbon impregnated polymer sub-shield placed under the shield conductor. If you want the best cable to go from your instrument to your rig, then this is it. Note: The carbon impregnated polymer subshield should be removed prior to soldering on connectors. Otherwise there is a potential for signal degradation." https://www.tubedepot.com/products/mogami-w2524-instrument-cable Y'know, the internet is a mahvelous thing....