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The censors on this site are quite active. I had a lot of 'better' choices, but felt like I oughta stick with a G-rated version.
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Get off my LAWN! "Grumpy Old Farts"
- Thread starter B-string
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One of the best musical electronics purchases I've ever made, was for my 5E3.
I started out with a Mojo kit, but as I was adding various farkles anyway, I decided to go for one of Hoffman's turret boards using his own layout. I don't know what the material is, but it's a pale translucent green, looks like fibreglass.
He moves the power supply filtering around for better noise rejection, and it was absolutely magical. No component value changes, just relocating some parts.
Aside from eyelets being so easy to build on and mod, the improved filtering made the amp incredibly quiet. Crank it up all the way, jumper the inputs, and there was still almost no hum or buzz.
Everyone who has ever used that amp has been amazed. Not really the image that most people have for a rasty little tweed amp...
If you are looking for a half hour of distraction from this life and a lot of comedy, watch this:
Passinwind
I know nothing.
- Dec 3, 2003
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Way cool. I've never really bonded with any 6V6 amps, but never say never. For me the sweet spot with Fender twang amps is probably the Vibrolux Reverb, although I tend to prefer a 112 config. I rewired my 80's Fender 30 to a very similar spec, and have toyed with trying to get it back, but ultimately decided to just take a stab at making my own thing instead.
Enjoying watching "The Big Sleep" for the first time. I don't know why I waited this long. 
Huh. There's a 1x12 flavor in Ocean City, MD for sale in non-working condition on CL for $200. [Invalid or Expired Link Removed] .
Passinwind
I know nothing.
- Dec 3, 2003
- 23,079
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- Designer/Toaster Tech @ Passinwind Electronics
These were from Fender’s first generation of channel switchers, just before the Rivera designed ones, and there were some pretty well known issues, especially with the high gain channel. The iron is all high quality though, and there are lots of switch pots and enough eyelets to do all sorts of tweaks. I had mine in many different configs before I finally just went with a Vibrolux Reverb clone spec and removed all the Vactrol switching circuitry. 200 bucks is an excellent deal for an intact chassis with viable transformers IMO. IIRC I paid around $450 for mine, mostly working but with duff power tubes and a few other issues. The stock config has reverb on the lead channel only, clean/vintage side is dry - exactly the opposite of how many of us would want it.
I knew a guy in OC. He was/is a photographer who did a book about the boardwalk life, primarily. I made every reproduction print for the book.
Contact Gregory Poulos proofs and prints
- Oct 22, 2015
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- I am an affiliate for Ari Cap.
At that price I'd go fetch it if I had any use for another guitar amp AND if I knew how to work on tube amps, but I don't and I don't. I know just enough about the innards of tube amps to leave them alone. Just because I used to have Dan Torres's book and I'm handy with a soldering iron and can sort of read a schematic doesn't confer immunity from getting bitten severely, and I don't want to go ruining my whole day by poking around.
I was trained to know my way around and be careful with electronics, but I still remember the time I took a 900 volt 'bite' from a Music Man amp. Blanked my vision for a second and made me smell ozone for a while. The worst part was that it made me sweat (and even more conductive!), but I still needed to fix it for the customer... 
Passinwind
I know nothing.
- Dec 3, 2003
- 23,079
- 46,041
- Disclosures
- Designer/Toaster Tech @ Passinwind Electronics
Good call then. It’s not a very straightforward old school Fender design. I actually had a service bulletin tweak published for the more popular 75 watt variant back when these were new.At that price I'd go fetch it if I had any use for another guitar amp AND if I knew how to work on tube amps, but I don't and I don't. I know just enough about the innards of tube amps to leave them alone. Just because I used to have Dan Torres's book and I'm handy with a soldering iron and can sort of read a schematic doesn't confer immunity from getting bitten severely, and I don't want to go ruining my whole day by poking around.
I knew a guy in OC. He was/is a photographer who did a book about the boardwalk life, primarily. I made every reproduction print for the book.
Contact Gregory Poulos proofs and prints
I've wondered about that. When I've submitted articles to some publishers, they would only accept image prints, no negatives or slides. They would photograph the photograph. Others would accept slides. Eventually digital was required.
Did you consider your printing technique science or art? Did you ever vary the exposure time to optimize the print? Any variations in the chemicals, temperature, or paper?
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When I was a kid, some areas still had wooden sidewalks. Kind of like a boardwalk but not so fancy.
Much like what is pictured here in Nome Alaska.
Much like what is pictured here in Nome Alaska.
If you had Aspen Pittman's book, and the two by Gerald Weber, you'd have much for confidence.
Yeah, back in the century, that's how it was done, certainly for black & white.
Ansel Adams and David Gardner made the reproduction of b&w prints a fine art, in itself, for Ansel's books.
Read this great tribute to David by John Sexton (a little more than halfway down the page).
John Sexton.com - Newsletter - September, 2016
I had seen John a few times in the mid to late '80s, then, a friend and I went to the last of the Owens Vally Workshops (April 1990, in Yosemite) that John mentions in this tribute.
You've all seen these before (I think), some photographs I made during that week at the OVW. The first evening was spent in Ansel's house behind the Ansel Adams Gallery/Best Studio.
Mirror Lake, Yosemite Valley - Copyright © 1990 Jeffrey P. Scott All rights reserved.
Tenaya Creek, Yosemite Valley - Copyright © 1990 Jeffrey P. Scott All rights reserved.
Yosemite Valley from Granite Shelf, Yosemite Nat'l Park- Copyright © 1990 Jeffrey P. Scott All rights reserved.
It's both art and science, really.
Constantly. There are a whole slew of variables that go into making a fine print. Fortunately, for me, I had multicontrast papers to use (Ilford Multigrade iV). Before the advent of MG papers there was greater difficulty in making good looking prints with the far more limiting graded papers. I was able to do split contrast printing, printing different grades within the same print, burning in at higher, or lower, contrasts as needed for specific areas of the image; I did all kinds of things to try and make all my clients look like
Prior to MG papers, varying all of those things were required to find the best compromise/solution for any particular negative. MG papers made a lot of that unnecessary but they were still available tools, if desired.
Just like in the "Old West"!
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Check out these places:
Photographers Formulary
Bostick & Sullivan
I have some tripod stuff from here:
https://www.reallyrightstuff.com
And, here:
https://www.riestripod.com
Photographers Formulary
Bostick & Sullivan
I have some tripod stuff from here:
https://www.reallyrightstuff.com
And, here:
https://www.riestripod.com
- Oct 22, 2015
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- 256,927
- Disclosures
- I am an affiliate for Ari Cap.
Person, woman, man, camera, TV. I aced it!
colour calibration is what I watch carefully as we determine the optimal position for registration marks for the camera. From camera we have plates and the press run begins ... going to take a while to get in registration.
There's a graphics artist who took his downtime at work to nail the 1970-2 Raleigh bicycle paints for his computer wallpaper.
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