Modifications and De-Modification
Our basic philosophy
on modifications
SEVEN SIMPLE RULES FOR MODIFICATION:
1.
Never, never do
ANY modification to a vintage
collectable amp that could have a negative
effect on it's value unless you are really sure
about what you are doing. Although I think it is
a bit strange, collectors will pay more for a
completely original plexi Marshall that doesn't
even work than a well restored and renewed unit
(kind of like getting a '63 strat with the
original factory string tag on it and then never
playing it to "keep it mint" - but perhaps I'm
missing something). Anyway, the point is, never
do anything you are not willing to accept the
long run consequences for.
2.
Be certain that any mod is reversible. At the
very least you should be able to get your amp
back to where it was before you started. MAKE A
DIAGRAM , LIST THE PARTS YOU HAVE CHANGED AND
KEEP THE ORIGINALS.
3.
Start with the most simple mod first. Speakers
should be the first thing to work on. The right
speaker will do more for you than any preamp
tweak, master volume circuit or tone control
rework. It is very easy to change your own
speakers. But often the speaker is the last link
in the tone chain that is addressed. The reason
is simple: Most really good speakers are
expensive. In the long run it is better to go
for the largest expense first instead of wasting
money bit by bit. Reissue speakers from Jensen (
very good value for the money, sweet sounding
speaker), Celestion ( The Alinco Blue and
Greenback are very different sounding but
excellent speakers , the blue possibly the best
guitar speaker of all ). Weber, ToneTubby and
the very broad and inexpensive Eminence line are
also good choices.
Next are tubes. Easy to change yourself and
there are some very good resources and reviews
on this. Google it or try
www.tubestore.com.
4.
Stay simple first. For example, "blackfacing" a
post CBS Fender is easy and gives very good
results . Feedback loop mods, adding a presence
control, high cut control, gain/tone profile are
simple and effective. Taking a unused input
channel and changing to a different circuit will
work and is a favorite advanced mod, but be
realistic. Just building a VOX or Marshall
preamp stage into a Fender twin may sound
pretty good, but will not make it sound exactly
like a VOX or Marshall.
5.
Know your limitations and those of the person
working on your amp. Exotic mods like squish
power supplies, staggered bias/mode output
stages, triode wiring and tube choking, and
power scaling are really getting into deep
voodoo. Not anything for a amateur to get into
and only for really experienced technicians.
Output tube, transformer and power supply damage
is very possible if these mods are not done
correctly
6.
Never get into mods to try to duplicate someone
else's sound, you will be disappointed. Really
distinctive players sound like themselves
regardless of equipment used. This doesn't
mean you can't admire a tone quality in
someone's setup and add it to your sounds, but
touch, phrasing feeling and ability are unique
to every player.
7.
Protect your investment. Amps that sold for
$400.00 ten years ago can go for 2000.00+ in
today's market. It just does not make sense to
let a friend, amateur or a semi-competent tech
get in over their head on a project at the
expense of your equipment and hard earned money.
DE-MODIFICATION:
Sometimes this is easy, often a real pain.
After 20 years or so and several owners a lot
of amps have been fiddled and tweaked with until
they are not what they started out as at all.
There are two ways back. First is to shotgun the
whole deal and just restore it back to stock.
The other is to carefully go through the unit,
leave any mod the customer may like, possibly
improving or correcting a mistake, and putting
back to original any ill advised work. This is
very time consuming and about the most costly
work we do because of the time element involved.
We have had many a successful outcome on this
type of job, but it was not because of a happy
accident. A lot of time and effort was required.
We do not
routinely change film (tone) caps unless by
customer request, are actually defective or have
been replaced with improper parts in the past as
these are critical to the sound of a vintage
amplifier.
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