Cedar Wood Dowels Jacket,Small Cabinet Locker 20,Wood Router Table Insert Plate Detection - Try Out
I wish I had been there to see what it looked like. He suggested that I lean the mixture while taxiing, something that I know is desirable but have lazily neglected to do. A kindly correspondent pointed out that in original version of the circuit below the capacitor should have been in parallel with the Sonalert, not in series with it.
Russ Hardwick was innocent of this error. It was sheer stupidity on my part, like thinking that you fill a bottle from the bottom and empty it from the top.
I have now corrected the sketch. Matters have been temporarily derailed by a rpm drop on my right mag. I inspected all the plugs, found nothing remarkable, and put everything back together. No improvement. The shop I am currently annoying with my business, Able Air, can't look at the plane til next Thursday.
Maybe that will encourage me to make some headway on the intercooler tanks. Last week Russ Hardwick and I discussed how to design a circuit to produce a tone lasting one second or so any time the flap passes, or stops at, the takeoff position. I felt that I understood at the time, but now I have forgotten again. I think there's a microswitch or a reed switch, a relay, a capacitor and a Sonalert, and you just connect them in all possible ways, one after another, until you get the desired effect.
Just kidding. Actually, I think this is the circuit. I just need to figure out the right size capacitor for the Sonalert. The behavior of the circuit relies on the capacitor filling up much faster than the relay actuates.
A simple audio tone to announce the arrival of the flap at the takeoff position would make it unnecessary to watch the flap going up or down. I happened to see a professional test pilot's evaluation of a certain airplane whose flying qualities are generally admired.
I began to think about how Melmoth 2 would fare under such unsparing scrutiny, and I concluded that there are many obvious faults which I had simply agreed with myself to overlook. One is the way the flap operates.
To raise or lower the flaps, you move the flap handle to the up or down position until reaching the desired flap setting, then re-center the handle.
The gear works the same way. The handle operates a cable loop that goes to a valve. It also carries a two-lobed cam that triggers a single microswitch to operate the hydraulic pump. There are, for practical purposes, only two flap settings, takeoff and landing. For takeoff, the flap extends aft but deflects only a few degrees, producing a large area increase but only a small change in drag and pitching moment. Because of the long distance traveled 15 inches at the wing root the flap takes about 12 seconds to reach the takeoff setting.
It takes only two more seconds to get to the full 30 degree deflection. You can see this here and here. Because of the rapid increase in drag and pitching moment associated with flap deflection beyond the takeoff setting, the pilot's attention is diverted most critically, while setting the flap to the takeoff position at the start of a landing approach by the task of monitoring the flap travel.
Also, after takeoff, while retracting the flap, I tend to watch it while waiting to shut off the hydraulic pump, even though it does no harm for the pump to run for a few seconds against its own bypass valve, which emits a faint but useful scream of protest. I have an unfortunate tendency to anthropomorphize machines; for instance, I don't like to keep my computer waiting.
Landing gear operation involves similar deflections of pilot attention, but for shorter periods; the gear cycles up in five seconds or so, and down in two. Lying on my back on top of Mt. Wilson last night while watching the generally disappointing Perseid meteor shower imagine the even greater disappointment of the fellow who installed a inch telescope there, only to notice, too late, that Los Angeles was just below I mulled over how to mitigate this situation.
During the retraction cycle, I would like the hydraulic pump to automatically stop when the flap is fully retracted; during extension, I would like it to stop at the takeoff setting. But then what? The flap handle is already down. There could be a pushbutton next to the flap handle that would override the limit switch and let the flap run down to full deflection. There is a problem implementing this seemingly simple arrangement, however.
The same microswitch on the flap handle energizes the pump during both up and down cycles, so whatever happens on the trip down will happen on the trip back up.
Do I want the flap to stop at the takeoff setting when I'm trying to retract it? Well, maybe yes. For a go-around, for instance, that would be desirable. But there is a bigger problem. At present there exists a clear, unvarying relationship between the position of the flap or gear handle and the state of the hydraulic pump. But once you add "logic" to the system, in the form of a second microswitch overriding the first, you introduce weird new possibilities.
For instance, suppose the flap handle is down, the flap is at the takeoff setting and that limit switch has turned the pump off. Now I lower the landing gear. The gear handle microswitch now energizes the pump; fluid goes to the gear and to the flap as well because the handle is down , the flap moves past the limit switch and runs down to full.
Or the inverse would occur if the flap handle were up. Either effect would be highly undesirable and potentially hazardous. There are certainly ways around such difficulties, but they involve increasing complications, make the system harder to understand, and create new modes of failure.
Maybe a better approach would be to not let any professional test pilots evaluate the airplane. I have accomplished nothing at all lately. Most days have been sucked up by writing, kid transportation or hot-weather laziness. When an empty day presents itself Nancy and I drive up to Ojai to help our son Nick with his house, into which his family intends to move in less than three weeks.
Nick and I did fly down to Jacumba, on the Mexican border, on the 20th, to look at his '68 Malibu, which is being refreshed there like Aphrodite at Paphos. The trip down was a bit crawly, but on the way back we had a knot tailwind at 12, feet, it was very clear and smooth, and we crossed right over the top of the LAX Class B and had a long fast dive to Santa Paula, where Nick had left a car.
A long time ago I wrote about the pleasure of descending from 20, feet in Melmoth 1 and seeing knots on the DME while listening to a favorite piece of music, and I mused about whether the pleasure might have been further increased had I had a slice of sachertorte to eat at that moment. I have since concluded that pleasures do not always add arithmetically, but sometimes tend to subtract from one another. Jacumba is an odd little place. There are hot springs there, and our friend said that it used to be a resort of Hollywood types, like, say, Two Bunch Palms in "The Player".
The recently paved 2,foot runway is right next to the border fence, a not especially forbidding-looking palisade through which a sufficiently svelte person could probably slip without much difficulty. It would be still easier, however, just to stoll over to the 1,foot gap about half a mile east of the runway, which would give the Clown in Chief a well-deserved conniption.
Late in June I sent away an oil sample for spectroscopic analysis. The last time I did this was in , shortly after Melmoth 2 began flying.
It's interesting to compare the results from two analyses 15 years apart. With the sole exception of copper, which went from 4 ppm to 6, all of the wear metals are present in lower concentrations now than when the engine came out of 20 years of storage. Aluminum went from 12 ppm to 2, Iron from 53 to 37, Nickel from 7 to 6 and chrome from 3 to 2.
The engine now has 1, hours. At this rate it will soon cease to wear altogether, except for its copper parts. The oil analysis firm does not provide tolerances, except implicitly, through the use of decimal digits, which I have rounded for the sake of simplicity. But it says that all values appear normal. That was a relief. In case anyone is interested in this sort of thing, the so-called "tanks" that conduct air into and out of the intercooler have to sustain an internal pressure equal to the maximum boost, as well as, on the inlet side, a temperature of around deg.
So part of the design process is to decide what "maximum boost" is going to be. If I wanted to be able to get 41 inches at FL, where the ambient pressure is about 15 in.
Hg, max boost would be 26 in. Being more frugal than impatient, I never use even that much anyway. The area of the intercooler face is about 47 sq.
The latest on the alternator coupler is that it is both a vibration damper and a shearable link. So much for that. I put the alternator back into the plane on Saturday.
I had a hard time with the transverse exhaust pipe, which passes behind the alternator and has to be removed to allow the alternator to come out. The pipe, which has the heater shroud wrapped around it, is straight, with a tapered flange at each end; the mating parts also have flanges, and these flanges are drawn tightly against gaskets by circular clamps with a V-shaped cross-section. The pipe looks as though it ought to be able to be put in either way, but actually the flanges on the two ends are of different types, one thicker than the other, and the flanges on the mating parts are as well.
It turns out that you have to mix, not match, to get the clamps to work; if you put the two thicker flanges together, the V-groove can't handle them. I suppose I may have known that once, but if I did, I forgot it, and it took me about half an hour, and some bloodshed, to figure it out anew. Once I got everything back together, the alternator checked out fine on a runup. I then decided to do an oil change, and to get a spectroscopic oil analysis while I'm at it, something -- the analysis, not the oil change -- I haven't done for 15 years or so.
Things went fairly smoothly this time, since after last time's flood I wrote "Aft end" at one end of the trough that conveys the used oil into the bucket. My supposition about the function of the wildly expensive coupling between the alternator and its driving gear was apparently incorrect.
According to the technician at Aero Accessories from whom I picked up the overhauled alternator this morning, it's just a plastic connection designed to avoid dropping metal fragments into the engine in case the link fails. But I wonder whether he's right. In any case, he said that failure of the outer case of the alternator is something they see maybe once a year.
He assumed it was due to vibration wearing the aluminum threads, so that the steel bolts and safety wire all remain intact, but the whole structure comes loose. Lacking a belt to damp the torsional vibrations of the engine, the direct-drive alternator requires a flexible coupling between its shaft and the gear that engages the accessory drive. After some number of hours of use, this coupling wears out. It is no longer possible to secure it to the alternator shaft with the required torque, and it must be replaced.
This was the case with mine. This experience has reminded me that I am not really in the airplane owner demographic, and my flying career will last only as long as not too many expensive parts of my plane break at once.
I took the plane to Able Air this morning. The problem with the alternator turned out to be the alternator. In the seven years since I installed t, it had shaken itself to pieces. This is a little hard to understand, because the engine is quite smooth and I feel that the vibration level in the plane as a whole is low, but, as the mechanic said, you can never tell about vibration.
What was surprising, and instructive, about this was that I had inspected the alternator before taking the airplane to the mechanic, and noticed nothing; but my attention was directed to the wire connections, and since the alternator itself was ostensibly intact, with all its bolts and screws and safety wire in place, it never occurred to me to grab the end of it and shake it to see whether it was coming loose from the rest.
The mechanic asked when I had last had my prop balanced. Forty years ago, I said. He suggested that every hours would be a better interval. I took off for Paso Robles this morning to attend the annual Antique Aero barbecue, but turned back after 20 minutes with the ammeter indicating a continuous five-amp discharge and the voltage meter just 24 volts.
I've seen flakey behavior in the charging system before, including on the previous flight, but always the system would pull itself together after a few minutes and do the expected thing, that is, initially indicate a charge as the battery recovers from starting the engine, then gradually drop to zero charge or close to it and maintain a steady 28 volts.
I tested my old epoxy a few days ago; it's still good. I don't have much graphite cloth, however; I have to decide whether to settle for glass or spend some money. I'm tempted to use glass just because it's so much more cooperative.
Graphite is so stiff, it's a pain on small radii like these. Maybe I can use a little of each; that would seem high-tech. The intercooler inlet and outlet tank molds are ready for laminating. I need to find out whether my out-of-date high temperature epoxy will still harden, and whether I have enough carbon cloth for the parts I suppose I could use glass; it's a question of stiffness, not strength, and so carbon would be preferable.
More important, I need to figure out how to split the parts in order to be able to get them free of the molds. The molds represent the inner surface of the parts; in other words, the parts themselves will be laid up over these molds.
When I am thinking about the airplane here at home, I often refer to photographs to refresh my memory of the arrangement of certain details, particularly ones inside the cowling. This morning I began to reflect that the ambient pressure source for the injectors and mags -- both of which are pressurized by the turbocharger -- and possibly also for the manifold pressure gauge, is a tap in the duct leading into the throttle body, and that this tap is at a right angle to the flow direction.
Since the flow speed in that duct is around mph, there might be some pressure drop, and so I may not be getting full pressure. I consulted my photos and found, first of all, that I was wrong about the MP source; it comes from the crotch of the Y downstream of the throttle body.
At least I think it does; actually, every one of my photos manages to hide that area, which resembles the pudendum of a putto, as modestly as those fortuitous bits of foliage and fabric in paintings of yore do the corresponding parts of Venus, Mars or Jesus. But it stands to reason that the MP pickoff would be downstream of the throttle; I was silly to think otherwise, however briefly.
At any rate, I shall go to the airport today and visit the scene in person. Fortunately, my manifold pressure gauge has two needles, one of which tracks ambient pressure and provides, for anyone who can subtract, a crude but reliable backup altimeter. I can temporarily hook that one up to the pressure tap that goes to the mags and injectors; the two needles will show the pressure drop, if any.
The story of the Lowrance GPS continues, and never fails to amuse and astonish. The last time I reported on its behavior, in December, I had replaced its internal battery and it was now remembering to send position data to the autopilot; but it had stopped offering airports, NDBs and such stuff as Go To options, and was confining itself to waypoints, of which, incidentally, none were programmed.
In addition, its map would display road, airport, position and track data, but not airspace boundaries. I was pretty well resigned to this state of affairs when one day it suddenly remembered its airports and NDBs. Then it would not search properly; it would go up to about the middle of the alphabet and then jump back to the beginning.
After a couple of restarts, however, it abandoned that annoying behavior and acknowledged the entire alphabet. A couple of flights later, airspace boundaries suddenly appeared. It was like a stroke victim slowly relearning how to speak and walk. I do not know enough about electronics to understand how a device like this, which must have about the neurological complexity of C. The ghostly lineaments in the previous entry are taking as yet unfinished form as wooden molds.
The intercooler tanks will be laid up, using carbon fiber, over these molds. The one on the left is the inlet. A kindly reader expressed concern about my long silence. Actually, I am well and so is the airplane. The nation, maybe not so much. I have done very little work on the plane lately, for several reasons.
Plus, although I feel I am getting closer to the correct solution, I am still uncertain about some details of the intercooler plumbing. I am pretty sure, at least, that I have the position right.
Here is the palimpsest upon which my runes are inscribed:. I do not expect this to be comprehensible; I am including it just to show that I do occasionally pick up a pencil or, more often, an eraser, and inflict something upon a piece of paper. The process has been somewhat impeded by my stupid choice of some redwood that happened to be lying around here as the material from which to make molds for the two high-pressure "tanks" that bring air into the intercooler and conduct it thence to the throttle body.
Redwood is a material of constantly varying density, and singularly ill suited to mold-making. However, once I have made a mistake I am determined to persist in it. I am pretty satisfied with the inlet and outlet paths for the induction air, although the very tight degree turn to the throttle worries me a bit, just in terms of its effect on flow distribution in the log manifolds.
The cooling air is a different story, but it, at least, I can defer thinking about until a later time. I tried a different position for the intercooler, and I think it's better. The inlet path for cooling air is less obstructed, and the paths for the charge air both into the cooler and from the cooler to the throttle body identifiable as an orange sleeve in the photo are better aligned.
But I am still waffling about the whole idea, in part because of the weight of the intercooler itself -- around six pounds. I think it's bigger than it needs to be. Someone cautioned me against sawing off one end of it, but I don't know what difference it would make if I did so and just bonded a new end plate to it with a mess of JB Weld.
At any rate, the non-airplane aspects of my life have been more than usually complicated lately, and I've spent less time than usual on the plane. So between lack of time and uncertain motivation, the intercooler is making no headway at all. Moving at a more than usually glacial pace, I mocked up the intercooler placement, using wood wedges in lieu of the eventual "tanks".
I don't like the arrangement, now that I've seen it, and am going to try a different one, with the large face of the core horizontal rather than vertical. After writing an Aftermath column in which the cause of the crash was the pilot's faulty handling of an aborted landing, I became curious about whether Melmoth 2 could climb with full flap and airbrake -- one of many things that I have never tested. The airplane was extremely light, however.
The only problem was heating; the CHTs rose rapidly because of the low airspeed. The proper technique for a go-around would be to maintain level flight initially while cleaning up and accelerating.
The pitch changes with airbrake and flap retraction are quite marked, but easily managed if you're prepared for them. I collected some temperature readings in the duct leading into the oil cooler, with and without the deflector. The temperatures were, on average, 20 degrees F above ambient with the deflector and 30 above without.
This suggests that maybe I ought to look into making up some sort of duct that runs directly from the peripheral intake to the oil cooler; at present the oil cooler duct takes in a mixture of deflected cold air from the peripheral duct and warm air from the plenum. Incidentally, these data were collected while cruising at 4, feet at ktas on 6. Today the unpredictable 1 Lowrance worked, to some extent.
Now that I have replaced its internal battery, it remembers that it is supposed to be producing NMEA output for the autopilot coupler. On the other hand, it seems to have forgotten its airport and navaid data, and now offers only user waypoints in response to the "Goto" command. I suppose it would not be that much trouble to program the waypoints I use most often.
But would it remember them? On the theory that air directed along the bottom inner surface of the cowling by the splitters I installed in the inlet might be sticking to the surface for Coanda-like reasons and not getting into the oil cooler inlet duct, I installed an aluminum deflector on the floor of the plenum in such a way that it would steer this putative river of cold air into the duct.
The first time I tested it in flight I got the impression that it had had a remarkable effect; but as time went on the effect appeared to vanish. The only way I will know for certain is by measuring the temperature in the duct with and without the deflector in place.
My seemingly successful installation of a new battery in the 1 Lowrance has resulted in a unit that remembers its settings, but refuses to lock onto a satellite, even though it passes its self-tests okay. Meanwhile, the 2 unit, which is currently installed in the airplane, has developed a new problem: it remains on for only a few seconds after startup, and then turns off.
I suppose it is foolish of me -- perhaps I am a deranged US dotard -- to suppose that electronic devices almost 20 years old can be expected to function normally. Here's another plot of the same data, this time temperature rise versus net boost pressure above or below ambient.
Different altitudes produce scatter, but on the whole the points line up fairly well. Yesterday I collected some baseline data that will allow me, at some future time, to assess the effectiveness of the putative intercooler. I recorded induction air temperature at 20, 25 and 30 in. Hg at 4,, 8,, 12, and 14, feet. I had intended to finish the series at 16, feet, but it became apparent that the temperatures were getting quite high and I did not want to venture past deg.
Here are the data I collected:. The left-hand chart is simply the right-hand chart minus the OAT. The astute viewer will wonder why the temperature rise is so large even at low manifold pressure and low altitude, where no compression at all should be taking place. The reason is the peculiar design of the Piper "fixed wastegate" system that I have modified to incorporate a manually adjustable wastegate.
This is an inefficient arrangement, obviously, but by using low rpm these tests were run at 2, rpm, but I often go lower I can open the throttle fully at 8, feet or so. I seldom cruise lower than that -- more usually above 10, feet. It's evident, anyway, that there's a good deal of heat to be gotten rid of. One question on my mind was whether I needed to provide a separate cold air intake for the intercooler, rather than use the air already in the "cold" plenum.
The temperature near the firewall is about 45 deg F above ambient -- this due to heating by the exhaust pipes and the turbocharger. But it might be worth a try, nevertheless. Following his advice, I crammed a new battery in with padding to press the contacts against it, and voila, it remembers!
But -- can it be TSO'd? My design process has always involved obsessively thinking about the object to be designed. I remember, during the construction of Melmoth 1, intensely visualizing the retraction linkage for the main landing gear while meditating at the Cimarron Zen Center of Rinzai-ji.
How, I pondered, is the gear koan to work? I am now at the same stage with the intercooler. My recollection of the details of the engine compartment is not so complete or exact that I can mentally map every attachment and duct path, but I have dozens of photographs of it to help me.
A number of criteria must be met. The intercooler must be able to be built piecemeal, without having to ground the airplane for long at any stage. It must be easy to remove, with as few attachment points as possible, and have short, direct flow paths. It must require moving or damaging as few existing items as possible.
My mental scheme is like a rapidly oscillating object that at first appears blurred, but, as it slows, acquires sharper outlines and at last halts in place. The most suitable location for the heat exchanger seems to be on top of the present induction air box, rotated so that the aft inboard corner touches the firewall while the aft outboard edge is about an inch and a half from it.
The firewall thus forms the roof of the wedge-shaped "tank" that feeds cooling air into the core. On the opposite side, a similar tank for that is the name of the end housings through which air enters and leaves , also deepest at its outboard end, collects the heated air into a 3-inch SCAT hose that discharges forward into the upper plenum.
A third tank, on the bottom surface of the core between it and the induction air box, is connected to the existing riser coming from the turbocharger; on top of the core, a fourth tank feeds the cooled air to the throttle.
In this arrangement, the intercooler is attached to the airframe, not the engine, and three flexible segments are required to join it to the engine. I am reluctant to attach such a large, relatively massive object to the engine. I have not yet found out how much cooling air the intercooler requires. A turbonormalized Bonanza has a ram air intake about 3 or 3. I had thought about constructing a pitot-style inlet with a boundary layer channel, but I decided it would be rather complicated and possibly draggy, so my present thought is to replace the existing NACA scoop in the cowling side panel with one about three times larger.
This would supply both induction and charge cooling air. I'm not sure what the politics of splitting the inner channel of a NACA scoop are, but I'll find out. The most difficult part of the whole project, I think, will be making the induction-air tanks, which have to withstand both heat and pressure.
In the meantime I attempted to break into one of my Lowrance GPSs, having learned from the company that they no longer support such ancient devices as mine.
There are no external screws on the case, which seemed to be glued shut. I cracked the joint with a chisel and pulled the halves apart sufficiently to see the battery that maintains the device's memory. Unfortunately, it is soldered to the circuit board, and so there is no practical way to replace it. I talked with someone who knows something about intercoolers.
The guidance I came away with was that 1 I should not try sawing off the end of an intercooler core; 2 small differences in size are not critical, since the original choice of a size was probably based on false assumptions in the first place; and 3 the cooling air flow requirement is about what fits in a 3-inch SCAT hose.
Ah, the cool, fresh air of simplification! The puzzle of the failure of the autopilot to couple to the GPS is solved. The problem seems to have been related to the Lowrance's having lost the memory that restored its previous state at each startup. One of the settings that were being lost on each shutdown was "NMEA On" -- that is, the command to send course deviation information to the autopilot.
If I reset that selection on startup, the system works as expected. The failed memory is presumably sustained by an internal battery, and that battery has evidently lost its ability to hold a charge. I assume there is a way to replace it, but so far I have not even figured out how to split the case.
I will. My vague plan to install an intercooler has advanced to the point that I have more or less decided where it will go. The next step is to find out whether I can make one of the heat exchangers that I have smaller by sawing off one end of it.
I have three cores, one of which was originally intended for a hp engine, one for a hp, and the third for a hp McCulloch two-stroke. Obviously, the last is too small, so forget about it. The others are too big, and for reasons of weight, space and internal resistance it is probably not desirable to have excess intercooling capacity.
At any rate, I need to figure out how big an intercooler is appropriate and what volume of cooling air it will require. The borescope did not find anything obviously wrong with the 4 cylinder. It did make a nice portrait of the top ring gap reflected in the polished cylinder wall:. I ran the engine for a few minutes and then checked the compression of the 4 cylinder again. I thought that 40 didn't seem likely.
At the end of the eclipse trip, which involved about eight hours of flying, there was a fine mist of oil on the right side of the windscreen, enough that I could not see clearly through it.
The oil consumption had not been out of the ordinary -- about one quart in 10 hours. It was evident from that, and from the fact that the mist had not coalesced into large droplets or streaks, that the amount involved was small, but evidently from some new source, since I had not seen this problem before. Lengths of aluminum tubing were simpy slipped into the elbow without any kind of positive seal, because I had thought there would be very little pressure in that line.
I now contemplated cutting O-ring grooves in the elbow, but settled for gluing the tubes into it with red silicone. I then did a compression check for the first time since January, -- "If it ain't broke I suspect that there may be some little speck of carbon or something under a valve, and that if I fly and then check the cylinder again I will find it in line with the others.
I had the Porcine Smart Coupler benched checked by its maker, and he reported that it is okay, which, he said, was too bad in a way, because troubleshooting the rest of the system will be more difficult. I may have to give up the Lowrance GPS, whose behavior has grown increasingly flaky, and replace it with something newer. Unfortunately, the iPad , which provides a beautiful navigational display, does not provide the digital output required to link it to the autopilot.
In the meantime I have been toying with the idea of installing an intercooler. I have toyed with this idea before, but never gotten past the toying stage. I have several intercoolers lying around, none of which will be suitable for my hp engine without modification. I don't think I have any practical need for an intercooler -- I seldom go above 14, feet -- but I would do it, if I do it, just to round out the tubosystem.
A highly compressed video of the eclipse trip is here. The curious pattern of light on the instrument panel -- and everything else in the cabin -- was, I think, a schlieren image of density variations in the plexiglas of the canopy.
The universe was kind enough to schedule a solar eclipse on my birthday, so on the 20th my son Nick and I flew up to Winnemucca, Nevada, where we spent the night before continuing to above Weiser, Idaho. There we observed, or perhaps a better word is experienced, the event from a perch at 14, feet. Enough has been written about this eclipse that I will not add my two cents, except, first, to explain that the tawny line along the horizon in the photo above, taken at a.
MDT from the middle of the umbra, was due to smoke from fires in Oregon, and, second, to note a curious optical phenomenon whose cause I do not know. I suppose it must have something to do with the plexiglas canopy, but for some reason the only time I have ever seen it was just before and after totality in this eclipse. All surfaces appeared pebbly or rumpled. The paper on my kneepad looked as if it had been soaked in water and then dried, and the instrument panel resembled the surface of a hilly, eroded landscape.
The house work goes on, but on Saturday I woke up early and slipped away to the airport. I was obsessed with wondering whether there was a way to get the leaky nosewheel hydraulic cylinder out of the airplane wihtout having to dismantle everything surrounding it, which requires jacking the airplane and is a big pain in the neck.
The freeway was conveniently empty, the airport dim and silent. I quickly found that yes indeed, there was a way; and in ten minutes the cylinder was out. I opened it up and inspected the O rings; everything appeared okay. I left it on the workbench for further inspection. As I was leaving the airport I heard a plane heading down the runway, and I glimpsed it as it began to climb out.
It was an airplane I always see parked, but had never before seen move: a Scottish Aviation Bulldog, quite a rarity in the US. I flew today for the first time since June I have been completely absorbed in house repairs, but they are finally coming to an end. I went up to Tehachapi, a bit less that half an hour away, where Mike Melvill has his hangar.
I circled overhead but did not see his car; he is probably not yet back from Oshkosh and from visiting friends in Indiana, where he and Sally lived before they came to Mojave to join the then nascent Rutan Aircraft Factory. The Smart Coupler is still not working in spite of my having repaired a broken wire. On approach to Whiteman I found that the flaps would not work -- obviously low hydraulic fluid again, and on inspecting the usual leak sites I found that the nose gear hydraulic cylinder, which I thought I had repaired early in May, is again leaking copiously.
I hope I can figure out a way to take it out without having to dismantle the entire nose gear retraction linkage again. This time the leak appears to be between the outer tube and the piston-end cap; last time I thought it was around the piston itself.
The one repaired thing that worked properly was the 2 radio. It didn't take long to discover that the cause of the failure of the GPS to talk to the autopilot coupler was nothing more complicated than a broken wire.
I fixed that. I then pulled the 2 comm radio, which I took home. Going by feel, I put, or at least I hope I put, the switch into the "Select" position, where it will henceforth remain. Another plastic knob, the tiny one that controls volume and squelch on the 1 comm, turned out to be cracked. I'll find a replacement for it. I flew to Oakland yesterday, and there encountered an instance of the often forgotten fact that every feature entails a vulnerability.
My comm radios are Collins Micro-Line dating back to or so. They're great radios and I have no complaint about them at all. One of their features, which was novel at the time I think but has since become standard, is a "Store-Select-Recall" switch that allows you to store a frequency for future use or to "remember" the current Center frequency before switching to the next one en route.
In my radios, this is a rotary switch, and when I turned it something broke, leaving the radio in "Recall" mode and therefore incapable of selecting a frequency. One interesting data point was that after climbing to 10, feet and cruising for a while, I decided to re-adjust the mixture. As usual I was running lean of peak, and I found that I had to enrich by deg.
So I now know that the engine will run smoothly at LOP. We returned on the 13th from Cape Cod, where we ended a trip that began in Mid-may with Nancy's 50th college reunion in South Hadley, Massachusetts.
This was a three-day affair during which I met, among other people, a woman whose father, Charles d'Olive, scored five victories in Spads in World War I. Too late, sadly, to relate the encounter to my friend Javier Arango, who would have been delighted by it.
I had been having two problems with the unit. One was that it often had to be restarted several times before it would show a complete map; initially it would leave out stuff like the boundaries of Class B or C airspace. The other was that it had stopped talking to the gadget that converts GPS course deviation information into autopilot commands.
The replacement unit, once it had figured out that we were not in Tulsa, resolved the first problem but not the second. The second, however, is the more important, since the iPad provides a Technicolor map six times larger than the Lowrance's black and white one, but no autopilot output at least that I know of.
Before leaving for the East on April 14, I overhauled my leaking left brake master cylinder. On returning, and after due delay for getting my affairs in order, I took the nosegear retraction apparatus out in order to fix a leaking hydraulic cylinder. While I was at it, I changed the oil.
A couple of months ago I had made a permanent version of the temporary gutter that I hit upon in July, as a way to drain the oil without making a huge mess. Unfortunately, there are two ways to install it, and in obedience to Murphy's Law I unreflectingly picked the wrong one, with the result that two quarts of oil went into the bucket and six went onto the floor.
Luckily I had a tub full of absorbent stuff, basically kitty litter I think, left over from the big fuel spill of January, , as well as a pile of old clothes, sheets and towels that I had husbanded against just such an eventuality, and I was able to stanch the Stygian flood before it had advanced more than a few feet in several directions.
The nose gear hydraulic cylinder turned out to have a prolapsed O-ring. I got everything put back together and cycled the gear today; no time to fly, however. The iPad installation turned out quite well. On the first outing, it was free of reflections and perfectly visible as long as I did not look at it through my polarizing sunglasses, which make it appear completely dark.
It's simply hanging from a hook and supported by one short leg, and can be removed as easily as a coat hanger from a rack. I was taking a couple of visitors up for a short flight at the end of which the flaps would not go down.
It turned out that the hydraulic fluid was exhausted, having leaked out of the nose gear auxiliary cylinder that I noticed dripping the other day. Fixing that will probably be a couple of days' work -- it will involve removing and replacing the whole nose gear retraction apparatus -- and I won't do it until we return from the East toward the end of April. Today, however, I did overhaul a leaking brake cylinder, apparently successfully.
At a certain point there was a terrific racket outside the hangar; someone was running up a Stearman that appears, for the moment at least, to be my new neighbor. In , Gary Maker was a private pilot, an airplane enthusiast and a Flying reader. He lived in the San Fernando Valley, and one day was at Whiteman Airport -- "back when a person could just drive back there and watch the planes" -- where he saw the then much-publicized Melmoth 1 and snapped a picture of it.
A few weeks ago he sent me this:. At that point the T tail and rear window mods had been done and the airplane was still unpainted. To judge from the clouds and the fact that the ground looks wet, this might have been taken in the late spring, but it appears to be of the same general vintage as another photo that was sent to me by Gino Barabani, and that has been in the "Melmoth 1, mostly pictures" section of this website for some time:.
Recently Barabani wrote to me, "The date of this photo was , it was a Tuesday. I read every article in Flying about your aircraft. This high school kid had to find out what kind of person could design and build their own aircraft, so I talked my flight instructor into letting me go to Whiteman field for my solo cross country.
How sad that you where taxiing out just as I had arrived. The picture was taken with an old Polaroid camera; after the black and white picture was developed I had to run a clear liquid stick over the photo, so I never saw where you went.
I finally completed the iPad mount that I started thinking about in January. It looks good, but it remains to be seen how visible it will be; the transparent canopy is a powerful creator of reflections. After landing the other day I noticed hydraulic fluid leaking -- what else is new? I wonder whether that can be related in any way to the adjustment I made to get the nosewheel doors to close flush. It's hard to see how the two could be connected, since the leak is occurring when the gear is down, not up.
At any rate, the change made the gas spring collide with the retracting arm, and so I have to revise the gas spring mount, which will require removing a bunch of stuff including the hydraulic actuator. I'll overhaul it then. Unfortunately, it turns out that the brake caliper is already up against the inside of the door, so that is not an option.
I suspect that the best solution would be a narrower tire. My original tires allowed the doors to close flush; I probably discarded them, but may have some carcasses lying around somewhere. Of course, there may be tires other than aviation ones that would fit these wheels.
No doubt there is an All The World's Tires listing somewhere online. This has been a lesson, albeit one I am unlikely to have an occasion to employ: Leave some extra space around replaceable items, because the replacements may not be identical to the originals.
I flew to Santa Paula on Wednesday in hope of seeing a flight of the clipped-wing Harmon Rocket powered by a hp turbocharged rotary engine that is supposed to make an assault, when conditions are right, on the time to climb record for propeller aircraft.
The airplane was ready, but the pilot. He wants 20 knots of west wind down the runway, and the day promised only In fact, while I was there it was 10 out of the east. Paul Lamar, who is a huge advocate of rotary engines for airplanes and supervised the installation of this one, was just about tearing his hair out, since he has complete confidence in the engine, thinks the pilot's hesitancy is unwarranted, is certain that the airplane will easily better the current record, and can't wait for it to do so.
I did take advantage of the trip to buy some fuel, which is a dollar a gallon cheaper there than at Whiteman, and to wander about a mile up for half an hour or so in perfectly smooth and perfectly clear air, admiring the scenery which, at the moment, is still a pleasing green after a period of unexpectedly heavy and persistent rainfall. After returning I peered into the wheel wells to see whether the idea of cutting holes in the floor to give the tires more clearance is practicable.
It is not; the aft portion of the tire retracts against the upper cap of the rear spar. I taped one of the wireless video cameras to the belly in order to see whether the nosewheel doors were closing properly. They weren't:. The odd-looking spike in the middle is a propeller blade. The object to the left is the exhaust pipe, and the one to the right is a fairing enclosing the engine breather and cloaca.
The doors looked horrible, so today I jacked up the airplane and learned that the nose strut was not retracting fully and the tire was keeping the doors from closing.
Fortunately, by shortening a certain link by a sixteenth of an inch I was able to get the wheel to retract fully and the doors to close perfectly flush.
I noted, however, that the main gear doors were not closing fully either; they stick out a quarter-inch or more. That is a more difficult problem, because the tires are already touching the roof of the well and the doors are as close to the struts as they can be. The wheels retract under the seats, and there are already wells in the underside of the floor there to provide them with the greatest possible space.
I believe that the back edges of the seats clear the floor by only a quarter-inch or so, so it may not be possible to raise the floor in the vicinity of the tires. Perhaps, however, I could cut two holes in the floor and seal them with rubber sheet. A few days ago I replaced the paper filter element in the hydraulic system filter. I had expected this to be a troublesome job, because some time back in the s an idiot using my body had installed the filter behind the instrument panel rather than in front of the firewall alongside the reservoir, where it obviously belonged.
As it turned out, getting at the filter was not so difficult as I feared, and I managed to complete the job without spilling a drop of either hydraulic fluid or blood. The filter element was quite black. Here it is, like a patient etherized upon a table:. This is the sort of thing the NTSB has a field day with when it's found in a wreckage.
The actual height of the strip is about 1. A closer look at about 20x magnification, its drama enhanced by Photoshop's "Auto levels" function:. To look at this you would suppose the hydraulic system would long since have failed, but it seems to work fine apart from occasional rebellions of the flap sequencer, which I pitilessly suppress. Where did all that finely-divided metal come from?
There are 10 hydraulic cylinders of various sorts in the airplane, and a corresponding population of aluminum lines and flare fittings.
I suppose the shiny debris represents the sum total of the fine metal dust that clings unnoticed to the insides of lines and cylinders fabricated and assembled under non-clean-room to put it mildly conditions.
Or maybe the pump is disintegrating. Apart from the eye-catching metal, the paper originally a pale tan color appears thoroughly clogged with black silt, which I take to be either extremely fine aluminum oxide dust or the wear products of Buna-N O-rings. Whatever the case may be, it appears that an inspection interval of less than 14 years -- well, Assuming that there must be some physical problem in the 2 that is, left side, inboard flap actuator, I removed first the actuator itself, then the master cylinder that drives it, and dismantled and inspected each of them.
There were no problems that I could see; the O-rings were in good condition, as were the bores and the shaft surfaces. I put the system back together -- this whole cycle took about 8 hours -- and it worked correctly. The problem was that the inboard end of the left flap had begun moving inward while the outboard end, as well as the entirely of the opposite-side flap, was going outward.
This had to mean that back pressure in the exhaust side of the system was overcoming the pressure being delivered to the acuator by its master cylinder. This could happen only if there were a big leak -- and apparently there wasn't -- or if there were air, possibly at below-ambient pressure, in the line between the master cylinder and the actuator.
There is a bypass in each master cylinder that is intended to restore the proper volume of fluid to the lines between the masters and their associated actuators, but for this action to occur the hydraulic pump must be allowed to run for a few seconds after the flaps are fully retracted. I have not been doing that, and I guess that may have been the root cause of the strange behavior.
That, at least, is the straw at which I am now grasping, having had to discard the hypothesis of a faulty seal. One thing that this adventure has brought to my mind is that the hydraulic fluid filter, which is in the exhaust side of the system just before fluid returns to the reservoir, has not been cleaned or even inspected -- note my self-exculpating use of the passive voice -- in 14 years.
Yesterday, after installing a new ELT battery, I went up for what was supposed to be a multi-purpose test flight. I had two cameras on the airplane, one under the left wing to check the closure of the main gear doors, the other on the canopy top looking down at tufts on the cowling top. It turned out to be rather choppy, in spite of being nearly calm on the ground, and so I didn't stay up long or do most of the things I had intended to do; it's a lot easier to fiddle with test equipment in smooth air.
I did record an amusing but useless video of the landing gear retracting. Now I need to point the camera at the nosewheel doors. I did not record the cowl top tufts, but I did observe them and noted that, as expected, they smooth out quite a lot when the cowl flaps are closed.
I once measured a 2-knot speed difference between open and closed cowl flaps, but I don't have a lot of confidence in that number. In any case I think any speed difference would principally reflect the changing pressure drop across the engine rather than skin friction effects from turbulence on the cowling top.
There now seems to be a problem with my flaps. When I cycle them on the ground the inboard end of the left flap move inward when the flap is supposed to be going down. Hydraulics are inherently baffling, at least to me, but I think this must mean that there is a leak in either the master or the slave cylinder for the inboard end of the left flap.
What is pushing the flap inward is the natural resistance in the vent lines. In flight, however, the behavior was different; the flaps went out in step, as expected, but halted before reaching full deflection; this could, I guess, be due to the aerodynamic resistance to flap extension there is no resistance on the ground causing the faulty O-ring to seat better.
At least that is my hypothesis du jour. I at times wish I had operated the flaps with screw jacks and an electric motor, rather than hydraulically. I was concerned about the added weight of another electric motor, but I doubt it could have been any heavier than the synchronizer that controls the amount of fluid going to each of the four actuating cylinders. Incidentally, it is interesting to compare two different presentations of the airspeed calibration curve from January The left version looks pretty good; the right, awful.
Same data, different first impressions. Out of the blue Brian Gerdes, who has done my biennial pitot-static-altimeter certification for years but whom I was unable to reach earlier -- that's why I ended up going back to Vista in the first place -- called me yesterday and came to my hangar today.
He made a small adjustment to my altimeter -- basically just slightly shifting the Within a few years though the larger dreadnought came on the scene and became the size of choice for orchestra guitar players. SCGC was one of the key builders who brought the instrument back into popularity in the 80s.
The OM is noted for its versatility, equally at home with fingerstyle and flatpicking, with clean, loud mid-range and trebles and a slightly predominant bass. Suffice it to say it's nicely appointed and features very choice woods throughout. The fretboard is very tight grain and has some tan streaks in it so I suspect it's Brazilian.
The neck is a V-shape, but it has more shoulders than most and it's not terribly deep and it's easy to get your hand around. Tonally this one just blew me away, largely due to the pronounced bass response which sounds more like a dreadnought and an OM.
The mids were punchy, the highs were clear. Very balanced overall. No excuses. Includes original case and work order receipt from SCGC. Beautiful condition! Limited run model for Sweetwater that's factory equipped with an Eminence Red-White-Blue 12" speaker which is a big upgrade over the regular-production Jensen CN.
These amps are highly regarded as a quality club amp and this limited edition model in lacquered tweed covering has the 50's vibe but with features that will go from old-school rock 'n roll to hard rock.
The Blues Junior is an all tube combo with a pair of EL84's delivering a very loud 15 watts, with a trio of 12AX7's in the preamp section. It comes with plenty of tone shaping with bass - middle - treble controls, with a "Fat" switch also selectable via included footswitch that boosts the mids and really makes this amp sing.
A separate volume and master volume allow overdriven tones at any volume plus you get that great Fender spring reverb tone. Also features an extension speaker jack, should you want to run a larger rig. The size of this amp is ideal for players for whom space is a premium such as a home studio or traveling to gigs in a small car.
The tone, however, is anything but small. The 15 watt rating is deceptive and it's definitely loud enough for club gigs, as long as you don't need a totally clean sound at max power.
Footswitch is included. High output With soft picking you get cleaner tones; pick hard and you get more grit and fatness. Kent Armstrong Spitfire Strat Pickup. Seymour Duncan Strat Pickup Set , pic2. Mounted on a new single-ply black guard. Inexpensive upgrade for your Mex Strat. Fender borrowed design elements from the Prosonic in designing the Supersonic 22, using a pre-Silverface voiced clean channel along with the cascading-gain drive.
To add a bit of shaping the clean channel includes a two-band EQ, as well as a "voicing switch" which offers tones inspired by the classic Fender Vibrolux and Fender Bassman amps. Initially offered in a higher powered combo, the new Supersonic 22 delivers a fatter tone with more bass. One important upgrade over most old Fenders is the effects loop, deemed essential by most pro players. For a rundown of all the features, click here for a demo — while a good performance demo is here.
Offered in beautiful condition with no flaws noted and very little playing time. Includes Fender cover and 4-button footswitch with long cable as well as assorted paperwork new tubes, upgraded speaker, etc. The top has some figuring, which is certainly more interesting than a plain piece of maple. Unlike a lot of old archtops with high action, this guitar plays with ease, as the neck was quite possibly, and very professionally, reset.
This guitar sounds very good for Delta blues playing and it has a full tone for an acoustic archtop. Overall condition is very tidy and it includes some nice case stuff like original packaged Guild polishing cloth, warranty card, and key manila folder.
Likewise, original case is in beautiful condition as shown. Here are a few of his builds on the Warmoth site link. A few really nice touches on this one starting with the lovely South American lacewood top, which is a thick slab and not a veneer, chambered Khayan mahogany body, ebony fretboard with abalone dot inlays, wooden pickup bobbins and rings, ebony volume and tone knobs, Gotoh locking tuners and 4-way Super Switch.
Other features include I'm not sure what the pickups are but they sound good in this chambered body; rich sounding and not too dark. What it really excels at is harmonics. Perhaps the most harmonically rich guitar I have in stock. It doesn't sound like a Tele but for many of you that's not a bad thing.
It also has good projection and a nice acoustic tone. Includes choice of a nice gigbag or not-nice case. Vintage Fender Jazzmaster Pickguard. Vintage Kalamazoo KG-2 Pickguard. Lindy Fralin P90 Cover.
Might have a pair of these in stock. PRS J. Hiland Aluminum Truss Rod Cover. Etched signature but not gold. Solid aluminum. I got tired of looking for missing trem arms so I ordered too many new ones. Vintage Stompbox Battery Cover for this type of pedal.
Includes reflective decal and two stars, reflective decal and two more stars, one Kramer Pacer logo, and CD on building a replica. SWR 1-button Footswitch. Electro-Harmonix Oceans 11 Reverb , pic2. If you need an outboard reverb, whether your amp isn't equipped with it or you simply need more versatility, the Oceans 11 is an excellent choice.
Simple to use and it sounds great. It features 11 reverb types with up to 3 variations for many reverb types via the Mode switch. The Tails switch allows you to choose whether or not your reverb cuts off abruptly when you bypass the pedal while a Secondary knob mode allows access to "hidden" parameters with details contained in the included manual.
A cool spring reverb emulation allows you to "crash" the virtual reverb tank yeah, THAT sound by double-tapping the footswitch. You can also connect an external footswitch to trigger infinite reverb effects. You may only want to use traditional reverb effects but should you want to get frisky with some new sounds, especially in the studio, this baby shines. Runs on a standard 9V DC power supply, i. Although it doesn't include the wall-wart, this one is "as new" in the box with manual, warranty and sticker Electro-Harmonix Double Muff , pic2.
You can use just one Muff for a hint of milky distortion, or cascade the second Muff for over-the-top overdrive. In single mode, the amount of overdrive will lessen as you decrease the volume on your guitar. You can compensate for this by increasing the volume of the Single Muff. In Double Mode, the Muff knobs will interact with each other so that you can tweak your sound for the that perfect distortion.
Muff 1 sets the overall output level for the Double Muff in either mode. Muff 2 sets the output level for the first Muff in Double mode in Single mode this knob is inactive. Features true bypass and runs on 9V or external power supply. Some of the logo rubbed off during polishing but otherwise mint condition in the box with manual and warranty.
Pics and specs of guitars, amps and accessories. Super lightweight 6 lbs 5. Beautiful Tele built from quality components. Stunning birdseye-maple Warmoth neck with factory-finished Warmoth ash body, translucent blue finish. Neck features the popular Warmoth compound radius which goes from a rounder 10" at the first fret to a flatter 16" at the top fret, which lets you form chords easily on the steeper curve of the lower frets, while the flatter upper frets are perfect for bending and leads.
It's a chunky neck, measuring. Body has never had a pickguard installed, to better show off the nice grainy ash, but we can install one upon request. They're well balanced and sound good. Hardware includes Grover Rotomatic tuners and a Fender vintage style bridge plate with 6 barrel saddles. Includes choice of an SKB case in fair condition or gigbag. Mint in the box, never installed. Standard Fender style install using 2 pins to prevent shifting rather than a set screw.
Features stagger height which makes string trees optional. There are a lot of Tom Delonge fans out there. Like the Fender Tom Delonge Strat, the Epiphone signature model has tripled in price since the models were discontinued. Both models share one thing. Both feature just a single humbucker and a volume control. That's the entire electronics package. Built to the exact specifications of the Blink guitarist, it's an archtop semi-hollowbody design with a powerful Gibson Dirty Fingers humbucker with a mahogany center block for increased sustain and feedback resistance.
It's instantly recognizable with Delonge's paintjob with a cream-colored racing stripe down the center of the olive green satin finished body. The set up is similarly superb with very comfortable action and no dead spots.
Designed as another tribute to perhaps the most iconic Strat player of all time. It as the general look of a flipped over Strat, as Jimi's looked as a lefty who played righty guitars with a reverse headstock and "backwards" tilted bridge pickup. More than just cosmetics, you'll find different mojo in your tone by having the bass strings closer to the bridge; treble strings further away.
Likewise, while the scale length is your standard On a traditional Strat, the highest strings E, B are longest while upside down they become the shortest, so they don't have to be pulled as tight to be in tune.
The fact that they were easier to bend allowed Hendrix to give songs like "All Along the Watchtower" that Jimi sound. Features include alder body with gloss poly finish, 21 medium jumbo frets on a C-shaped maple neck, 9.
It's a pro install. I'll upload a pic tomorrow. A perfect all-in-one recording solution for Apple products and connects to guitar, bass, or any mic, but it already has a studio-quality built-in omnidirectional condenser microphone that's likely as good or better than most home studio.
For details click here for the Apple Store. Electro-Harmonix Soul Food , pic2. The Soul Food was designed to yield the same transparent overdrive with the great touch and response.
Its circuitry features boosted power rails which give a lot more headroom and increased definition plus selectable true bypass or buffered bypass modes. The 2-band EQ gives you control not possible with the common Tone control. You can dial out the mud in your lead tones which isn't possible with a single tone control. It also features a Voicing switch to further fine-tune your bass response.
Typical TCE quality, made to last. It also features true bypass, easy access battery and high quality components throughout. Versatile distortion capable of loads of dirt, whether it be vintage low gain tube amp drive or modern scooped metal tones. The 3-band EQ is key here and with the gain control you can dial in a very wide variety of OD tones, as mild or nasty as you want. The Badass Distortion gives you true bypass switching, a robust housing, and bulletproof components.
Clean shape. With more and more of our customers doing some great home studio work I've been on the lookout for nice studio gear. The JBL P MkII studio monitors provide quality near- and mid-field monitoring for any home or professional studio when accuracy is a must. With JBL's Image Control Waveguide and superb transducers you're guaranteed excellent accuracy and dimensional stereo imaging.
Unlike much of the competition they have a broad sweet spot - a much larger "perfect position" to hear an accurate stereo field. With many others what sounds great from the engineer seat sounds completely different to the guy standing 5 feet over his right shoulder. Their Boundary EQ settings compensate for low-frequency anomalies caused by the environment while the patented Slip Stream low-frequency port provides superior bass performance.
Features 10dBV input-sensitivity switch as well as a volume control. They're sleek and modern looking and, more importantly, are shielded for placement near magnetically sensitive equipment. For full specs and videos go to JBL's page here.
Two excellent MIJ pedals in nice shape. They share an identical case, possibly made in the same factory. Use as a volume pedal via Input-1 and Output-1 or as an expression pedal when using Output The Boss FVL is a low impedance unit. Boss makes a FVH high impedance volume for using the unit before the input of your amp while this 50L unit is low-impedance allowing direct control of stereo keyboards and stereo effects units.
The latest and greatest from Boss, gives guitarists a wide range of classic auto-wah and dynamic wah effects responsive to how hard you pick , plus a new "Humanizer" effect, which can simulate human voce-type vowel sounds. A dedicated Bass input even provides a variety of funky wah sounds for bass guitar. Tempo can be set for pedal control or at fixed rate via Manual mode.
Includes daisy chain and 9V wall adapter. Room for the PSM and 5 more pedals - plus a slot for tuner. Makes stage setup a breeze. Upgrades include a fairly hefty. The neck looks new with no fret wear. Includes Fender Pro Series case and trem arm. A real beauty in Vintage Cherry, offered in flawless condition.
We've been going through some SG's lately, both Gibson and Epi. This '61 model has all the styling of the vintage models including slim taper mahogany neck, trapezoid inlays, crown headstock emblem and a bound rosewood fingerboard. The lacquer-finished mahogany body features deeply sculpted body scarfing, a 5-ply teardrop pickguard and a 22nd-fret neck joint with nickel-plated hardware includes a classic ABR-1 bridge and dual-line, single-ring keystone tuners.
Gibson's pickups for this model were voiced especially for the '61 and include the 61R and 61T humbuckers which are more aggressive than most Gibson humbuckers, but clean up nicely with the volume dialed back.
Electronics also features audio taper pots orange drop capacitors. For me, I've always found SG's fun to play. They're very lightweight, easy to play in the upper register, and the slim neck seems to make me faster somehow.
This guitar could be sold as new - not a scratch with the plastic film still on the pickguard. Includes brown Gibson case in similarly perfect condition.
It debuted with a slab body and single Tele style pickup but by it took on the appearance that stayed with it until today with the contoured edges, belly cut and split-single coil pickup which is actually a humbucker. This one sounds the way you want a P to sound with a deep tone and a killer thump that sounds at home in Motown or heavy metal.
The set up is low and comfortable and the tone is fat with good sustain. Get this one with some nice upgrades, plus a quality gigbag for less.
Designed by Fender Master Builder Greg Fessler, this fine Strat features a blend of the old and the new, something Fender has been featuring throughout much of their line in the past 15 years. Includes Fender gigbag. Lovely condition, finished in classic 3-tone sunburst with maple fretboard. This is one of the last version Deluxe's with the 3rd generation of the Noiseless pickups N3 , with a DH-1 Atomic humbucker in the bridge.
There are plenty of switching options with the S-1 switch click here , which doubles the tonal choices of the 5-way selector, plus a "Passing Lane" pushbutton, which, regardless of the 5-way and S-1 selection, takes you directly to the bridge humbucker wired directly to the output jack for pure, powerful rock tone.
The new compound radius fretboard which goes from 9. These SCN N3 pickups were the latest and greatest from Fender for creating warm tone and responsive bite, a genuine vintage tone, but without the noise, which the DH-1 bridge humbucker is fat, loud, and meaty. Like most Deluxe's, it has a great neck which for fantastic low action and crystal clear bends. Offered in excellent condition with perfect frets and a killer low set up. The silhouette is pure Tele comprised of a traditional two-piece light weight 7 lb 3 oz alder body attached to a one-piece quartersawn maple neck and fretboard.
Although it has its share of clear coat dings, edge wear, and finish checking, by Relic standards it's on the NOS side of heavy relic. The neck features authentic looking "wear" to the fretboard in all the right spots with the back bare wood throughout the heavily traveled area. Just nice enough to be an authentic year-old working Tele.
This model features a TV Jones Classic neck pickup 3. You'll note the reversed control plate which is an old Nashville trick to make it easier to do volume swells. A few obvious modern touches include medium jumbo frets that are tall and thin as well as the flatter 9.
A few other hot-rod features include nonlocking Sperzel tuners with lovely pearl buttons and a Fender RSD bridge with its distinctive Tele coverplate outline that offers a lower profile wall and three offset 'intonated' brass saddles. You'll note the outer saddles are machined with bullet ends while the middle one looks like it's a 2-piece but it's just machined that way and is simply an offset barrel. As I mentioned, with the hand-wound Tx Spec bridge pickup it delivers the classic Tele honk while the TV Jones in the neck is slightly more muted than a traditional Tele neck pickup.
It almost sounds like a humbucker and has more clarity than a Tele neck and it excels at touch-sensitivity and works great with your pick attack. The Greasebucket tone control with these pickups focuses on the upper frequencies. As you back it off it brings down not only the highs but a bit of the mids as well. It's a killer player with low action and for your chunky neck fans will appreciate the larger U-shape neck that measures.
This is a superb Tele by any measure. It plays beautifully and has excellent sustain, and can deliver both traditional Tele tones and some sweeter tones not normally associated with a Tele. I would describe it's condition as "relic mint" with no wear of flaws other than factory. Frets are perfect. Inside the case you'll find the certificate, original Shop Traveler build sheet, Fender leather strap, leather tri-fold portfolio, serialized hang tag, Custom Shop picks, bumper sticker, and a comprehensive custom guitar design guide.
Ibanez Wau Wau Standard Model 57 , pic2 , inside. Made from ca. Does a good wacka-wacka tone and fatter sounding than the Crybaby's which were more prolific in the 70's.
These pedals seem to run forever so you'll likely have many years of use without problems. Pretty nice vintage condition. This is a top quality from ca. Victory Amplifiers of England have teamed up with the great Richie Kotzen for a superb signature model combo a head is also available.
The combo version uses a single 12" Celestion G12M Creamback speaker to deliver a decidedly mid-focused tone with 50 watts of beautiful British-made power. Using a duet of EL34's and a trio of 12AX7's, it yields versatility despite its single channel. In true Kotzen fashion it's built for incredible, saturated gain tones with loads of dirt when you crank the gain.
Far from a one-trick pony, it also delivers a powerful clean as well, simply by backing off the gain. For you no-nonsense players who appreciate a true grab-and-go amp this is as simple as they come. You've just got gain-tone-volume plus onboard spring reverb and tremolo circuits.
It includes a footswitch for the reverb and tremolo, as well as a separate footswitch to engage the boost function. I understand that Richie runs his amps at 9 watts in the live setting. Go figure. On the rear panel you'll find a switch for speaker damping, turn off for increased bass response and speaker resonance.
You'll also find a series effects loop for running your outboard effects after the preamp section as well as external bias test points and adjustment and external speaker outputs. The top, bottom, and sides are built from solid pine, with the back and baffle built of ply. Here's a good demo by Anderton's link with mostly shredding but at around you get to hear some cleaner stuff.
Includes a nice Victory slip cover, both footswitches, and manual. Ships in original Victory box with cover, footswitches, and manual. If you're looking for a big sound from a small guitar, the CA Cargo guitar beats anything I've heard.
This baby is quite loud, both from the audience perspective and even more so for the player due to the offset soundhole located on the upper bass bout. One of the few travel guitars I've heard that can be played in a performance situation, where the audience wouldn't suspect that the tone is coming from a travel-sized acoustic. Best of all, it's built entirely of carbon fiber, which is impervious to climate changes.
You can take it from the heat of your car trunk, into an air-conditioned venue, and just begin your set. For you actual travelers, the Cargo easily fits airline overheads or anywhere space is tight and is extremely durable, able to be battered around with no ill effects.
Features include carbon fiber neck and body, precise Hipshot tuning machines, proprietary carbon fiber bridge and saddle materials, and L. Baggs Element pickup system with volume control protruding slightly from the soundhole routed to an endpin jack.
While you might notice a slightly shorter scale, the increased string spacing, side to side, allows easy chording and fingerstyle work. It's as comfortable to play as most standard guitars. The rest of the spectrum is well balanced with sufficient mids and crisp highs. Here's a demo link by Acoustic Guitar Mag fast forward to to hear it in action.
If you want some interesting background info on CA and carbon fiber guitars, Click here for a 2-part factory tour and manufacturing process. Includes CA gigbag. Clean, modern lines that exude the elegance the 50's were noted for. The Model is a dynamic omnidirectional microphone designed for use where "reverberation or random noise is not a particular problem", to quote their design sheet.
It is equipped with a "on-off" switch and can be mounted on a floor or desk stand or held in the hand. Offered in average condition for its age and works properly. Ernie Ball Volume Pedal.
The '60 Classic has all the classic features including '60 slim taper neck and mahogany body with figured maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer. Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with degree back-angled headstock. Other features include Nashville bridge with stopbar tailpiece, trapezoid fretboard inlays, bound body top and back, bound neck, inlaid headstock logo, and vintage-style tuners with tulip buttons.
Pickups are the R in the neck position, wound with AWG wire like a traditional PAF for rich, warm, vocal-like tones, but carries a ceramic magnet for enhanced punch and clarity - plus the T in the bridge, wound with finer AWG wire to pack the coils to the max and built with a ceramic magnet for hotter leads, excellent sustain and controllable feedback.
These came from the factory without pickguard holes drilled and this one has never had a pickguard attached so no screw holes. If you've looked at a few of these you're likely aware that this is one of the nicer Plus models you'll find. Includes original brown case with plush pink lining and protective shroud. Includes Gibson black case, warranty, and cream pickguard with mount. With its laminated maple top, back and sides in the semi-acoustic construction of the ES, and a solid mahogany center block for sustain and feedback reduction, the ES-Les Paul is truly a new guitar; an instant classic.
Other features include: mahogany neck, rosewood fingerboard, 12" radius, pearloid trapezoid inlays, 1. Presents as new and untouched with plastic still on the pickguard.
Includes Gibson brown case and certificate. It also has a cool non-destructive modification to make it even better. It will include the Bigsby vibrola with Vibramate that can be easily removed and returned to stock should you prefer. With the Vibramate kit there's no drilling into the body required so it's as good as new if removed.
This model was called the Class 5 Modern Standard later in its production run but it's the same identical guitar. This limited edition model was available in a rainbow of 7 colors but for me this amber looks the best and looking. Also, if you look around Reverb at other examples this guitar is the best flame you'll find on this model.
Includes custom shop case, certificate, original bridge and tailpiece, Gibson-supplied extra 3-way switch cover, polishing cloth, extra knob set, warranty, hang tag and more.
A beautiful top of the line Epi that does it all. It's a dual-humbucker electric guitar, an acoustic with a Shadow NanoMAG pickup, and even records directly to your digital recording deck with a USB output. Plus, it even has a built-in chromatic tuner built into the bridge pickup ring. Rather smartly, there are two separate output jacks so you can run acoustic and electric summed, or split them to go to separate amps or mixing channels. Plus you get the USB output that's also mounted on the output plate.
It features a chambered mahogany body, mahogany set-neck, bound body and neck, ProBucker-2 and ProBucker-3 pickups, a genuine ABR-1 bridge with the wire, stopbar tailpiece, Grover tuners and chrome hardware. Specs call for a Pau Ferro fretboard but it's very dark, black like ebony so I'm not sure about that. The neck profile is very thin, at least as thin as a '60 Thin Taper, and has a satin finish on back which makes it feel very fast.
The rest of the guitar is a gloss finish. The NanoMAG acoustic pickup is discreetly mounted at the end of the fretboard where it picks up both the body resonance and string harmonics for quality acoustic tones. On the back of the guitar there's a control plate to preset your acoustic bass-treble-gain, along with a 9V battery door.
This guitar plays beautifully and sounds excellent electrically with a fairly authentic acoustic tone. It's offered in stunning showroom condition. Excellent value on a USA guitar. At one time I had of the Pine Island guitars and this one was just traded in after three years.
Pine Island, located in Southwest Florida, used good quality parts and, most notably, their own hand-shaped bodies, made of alternative or exotic woods. This one was the most traditional of the Tele's from Pine Island and features a solid poplar body with a butterscotch blonde finish and black pickguard, giving it the appearance of the legendary '52 Telecaster.
Poplar is nearly identical to alder in its tonal properties so, with a set of Fender USA Hot Tele pickups, it has all the Tele twang you know and love. This one also has a modern C-shaped neck, 22 medium jumbo frets, rolled body edges, 6-saddle bridge, WD electronics and Gotoh hardware. Set up is excellent. An incredible value…read the description: The BR is reminiscent of a fine American , namely the , built prior to WWII, made with the same techniques as their vintage counterparts, including many by-hand processes, and built of all solid woods.
The looks, feel, and tone of this guitar are reminiscent of a USA "Golden Era" and you'd never guess it was an Asian import. Like true quality heirloom instruments, Blueridge guitars aren't overbuilt; they're crafted to be light and resonant. Meticulous craftsmanship is displayed in the traditional, forward-position, hand-carved parabolic X-bracing which allows the solid Spruce top to ring loud and true.
It also features a traditional dovetail neck joint, slim mahogany neck, adjustable truss rod, and butterbean-button, Kluson-style tuning machines with an updated mechanism for modern precision and feel.
The BR is hard to find and on back order in many stores. For looks, tone, vibe, and playability, it's impossible to beat this guitar for the price. Specs are the same as the DK24 above. Flawless condition — excellent value in a short scale bass! Unlike a lot of short scale basses, which are lower quality, if not toys, the Mikro Bass has the same quality and backing as their full scale Soundgrear basses.
With a It also uses a new truss rod cover door that easily slides to the side - no more screw to remove for adjustments. The body style is the same as other Soundgear series with the elongated upper horn, short lower horn, and deep cutaway for playing the high notes. I'm amazed at what some of the companies are doing in China these days.
This Recording King, Blueridge acoustics and Eastman archtops are clearly in a league of their own. The fret RPC was inspired by s Gibson flattops, with a cool vintage vibe and a atone that's clear and articulate. With this line Recording King has revived the brand of Depression-era guitars which were originally made for Montgomery Ward. It pairs an 0-size body with a cutaway design with the longer scale length Amazingly, it features a torrefied Adirondack spruce top, the tonewood of choice for most golden-era guitars, but usually found on expensive acoustics.
Torrefied woods are organically aged through a strictly controlled heating process to achieve greater resonance and stability, just like a an old acoustic having a richer, open voice. As part of the Torrefied process it takes on a vintage-y amber-colored top. Other features are also vintage with its slight narrow waist, stained mahogany back and sides and vintage banner headstock logo.
It is well constructed, very neat all around, with a perfectly cut bone nut and saddle, tip-top fretwork after some bench time , and an immaculate gloss finish. It has a V-shaped neck that feels vintage but is easy to get your hand around, with vintage Grover butterbean tuners installed.
The wide 1. A pretty radical guitar, even for Gretsch, with an interesting history. The Billy-Bo is based on the original model that Bo Diddley designed in , and one of 3 that Gretsch built for him back in the day. Eventually Bo gave one of his original Bo's to Billy Gibbons who used it on stage from time to time. Fast forward to the new millennium: Billy and Gretsch teamed up to design this production model Jupiter Thunderbird, model G Cosmetically it's as clean as they come and could be sold as new despite being 15 years old.
Action is super comfortable and it sounds excellent with balanced pickup output and by rolling back the volume a tad it's capable of doing a variety of music styles. Includes Gretsch case and certificate, hangtag, and all other paperwork. One of the legendary OD pedals of all time and a personal favorite of mine. Every small tweak of the knob changes the tonal character, from fat and dark, to cutting and bright.
Earlier Rat pedals like this one LMN chip, pre-led eye in the middle of the logo continue to appreciate on the vintage market. Includes some pics of Ed of course, color chart, specs on each model, and manufacturing pics and details. For pics of each page visit Vintage Kramer , the premier site on the web for all things Kramer. Peavey Wolfgang Special Accessories , pic2 , pic3.
This model features that wonderful feeling hand-rubbed Charvel maple neck plus killer pickups - Duncan SH Full Shred in the bridge and a Duncan SH-2 Jazz in the neck - allowing a wide variety of tone and good response to playing style and volume control.
The Full Shred SH is noted for a big, focused low end with incredible sustain while the Jazz has great touch dynamics and a sweet high end that's great for cleans or on the edge of break-up. A heel-mounted spoke wheel allows easy truss rod adjustments while four heavy-duty bolts provide excellent energy transfer from the neck to body. Note also the sculpted heel which allows easy access to the upper register.
The two-piece maple Speed Neck has 24 jumbo and a pair of graphite reinforcement rods to make it as stable as a neck can be. The rolled fingerboard edges give it a nice broken-in feel and seems to allow me to play a bit faster.
The neck is a compound radius 12" to 16" with a hand-rubbed urethane finish. I especially like the output jack location, on the back of the guitar and facing up to prevent accidental pullout when someone steps on your cable.
Superb condition, only flaws are very slight discoloration to the maple board and a small glossy spot under the pickups. It has a fantastic low setup and is a very good sounding guitar. Includes case and trem arm. Housed in heavy duty brushed metal housing with the tube glowing through vents, it's built for the road.
If you're using an amp without sufficient input gain, this can be used to beef up your amp's natural distortion, or if you're looking for a Vox amp tone, this thing does a pretty good job on the treble boost setting. In the Full Range Boost position it enhances all frequencies, adding lows, mids, and some highs while the Treble Boost mode and is good for pushing a slightly overdriven amp into heavy overdrive. Also good for warming up the tone of a sterile solid state amp.
Click here for a demo which moves rather slowly along; just forward to around to hear it after he starts cranking the dials a bit.
These are quality pedals, made in Japan, and run on a standard 9V DC power supply or 4 AA batteries which are included.
Excellent quality Japan model that has the same vibe and tone as the original 60s Ventures models that I've played. For being nearly 50 years old it's one of the cleanest vintage guitars I've had and includes both original hangtags and even a Mosrite string pack. Includes a quality original case in similarly clean condition.
Semie Mosley wasn't the best businessman so Mosrite agreements and such are written in pretty muddy water. But, based on some web info I've gathered, here's some background on this model. It was built in Japan as a result of an agreement between Semie Moseley and the Firstman company. It has the classic Mosrite design aspects including a deep German Carve on the basswood body, zero fret, Moseley-branded vibrato tailpiece, two overwound 8.
The maple neck has a rather shallow C profile with very rounded shoulders. The bound rosewood fretboard has original medium jumbo fret wire with more meat and height than typical Mosrite wire, exhibiting only light wear beneath the plain strings on frets and fainter flattening of the crowns until fret 5. The only mod on the guitar are upgraded modern Kluson-style tuners.
It weighs in at 9lbs 3oz. Cosmetically it's in stunning vintage condition with just a little patina on the chrome hardware and only a few very minor nicks and scratches in the black gloss finish. Original Tolex case is in remarkably nice condition as well and included inside are 2 original hangtags and a Mosrite string pack. If you're a fan of the Johnny Ramone, The Ventures, or any of the other Mosrite endorsers from the 60s and 70s, this is a nice find.
If you've been wanted to check out the possibilities of playing an extended range guitar and want a killer player without spending a fortune, here you go. The RG line has been around since the 80's and they offer excellent balance, comfort, and the deep cutaway allow easy access to the upper frets. The RG features a basswood body with a 5-piece Wizard II-7 neck with 24 jumbo frets, 7-string standard fixed bridge with string-thru-body stringing, The neck heel is contoured very shallow which makes playing in the upper register more comfortable.
The neck is 5 pieces, with walnut strips inserted between pieces of maple. A 7-string can open up new doors and can be useful for many types of styles.
Jazz great George Van Eps was noted for playing a 7 back in the 30's, using the extended scale for easier runs, while some of today's hottest players, such as Munky and Head from "Korn" use them for a very bottom heavy tone. Overall this guitar pretty nice shape, although the clear control cover on back is homemade and doesn't look great.
WE will cut a better cover in black plastic by the time it ships out. This was my personal guitar for around 5 years before I listed it on the site. I love the tone, playability and especially the ultra fast shallow neck. It started out its life as a black Ibanez Roadstar but the body is about all that's left and even the body has undergone modification. The tremolo area has been enlarged to accommodate a Gotoh vintage style trem with heavy steel block, which replaced the original "Pro Rok'r" locking tremolo.
A small brass plate covers the remains of the Ibanez tremolo route. The top of the body has been refinished in 3-tone sunburst, and it's not a spray can job, but a pro refinish with nitrocellulose lacquer; the back remains original black.
The big mystery of this guitar is the neck. We have no idea what kind of neck it is and suspect that it's quite possibly a custom built neck due to the unique 3-piece wood pattern visible on the back of the headstock, and the asymmetrical routing of the truss rod hole we will add a truss rod cover at no expense. The front of the headstock has a flamed maple veneer and the neck has around a 20 degree angled headstock; very cool indeed.
Fretboard is some quality ebony with 22 jumbo frets. It also has been pro finished in nitro and there is some discoloration under the clearcoat that indicates it might have been black, or simply hand oils had penetrated the wood prior to finishing. The main thing you'll notice about the neck, however, is the thin profile. It's at least as thin as an Ibanez Wizard, perhaps thinner. Somebody sunk quite a bit of time into the finish on this guitar and it does have a vintage vibe.
A recreation of a modern classic in a new, smaller footprint. Like the original 70s Muff, this reissue has three controls that lets you dial in the perfect harmonic distortion and sustain. Choose some warmth and edge, over the top aggression, or anything in between. Works equally well for guitar or bass and features true bypass.
Powered by any standard 9V power adapter. Catalinbread Sabbra Cadabra Overdrive. The pedal contains two circuits, one modeling Tony's Laney amp preamp circuit while the other models Tony's Dallas Rangemaster. Like many of the effects of our idols there is some mystery surrounding Tony's modded Rangemaster pedal. Catalinbread ascertained the mod allowed it to be a full-range boost rather than the stock circuit which was just a treble booster.
In the days before hot rodding amps, it was designed to push tube amps into overdrive. On this pedal you can adjust the Range control to tune the boost from treble-boost to a full-range boost.
Controls include Presence, Gain, Volume 4 named after the album , and the aforementioned Range. It is designed to work superbly with your guitar's volume, tone, and pickup selector, including excellent touch-sensitivity.
Other features include all-metal chassis, high-quality true-bypass switch, powered by 9V—18V power supply and of course made in the USA. Included in the box are a Sabbra sticker and Catalinbread guitar pick. Danelectro Dan Echo , pic2. Excellent sounding echo, possibly the best on the market for the money.
Ray McCauley, probably the hottest player in North Greenbush, says this is his favorite echo pedal of all time. This is one of the good full-sized pedals with metal case - not the little flimsy plastic series. You get cool vintage tape effects with the warmth very close to an all-tube echo. The hi-cut cuts the highs on repeats which perfectly simulates the tone of a 60s-era tape echo. It is quiet and is perfect for slap-back and more.
Electronics Nova System , front effects lit up , back , stock pic. Electronics builds some of the finest rackmount effects I've had in stock.
The Nova System takes TCE's technology and puts it on the floor for the gigging musician who wants something organized, but not as complicated as a rack system. Above all, it's made for the player who wants quality tone.
It also features a vast array of effects taken straight from the king of floor-based processors; the G-System, so you're guaranteed top-notch compression, EQ, noise gate, modulation, pitch, delay and reverb. This thing is built for the road with a thick metal case and heavy duty switches. Rather than explaining with words, check TCE's site link for videos on editing as well as performance demos.
Includes box, power cable and manual. Excellent value in a carved top, gloss finish Les Paul. The LPM was one of the models which featured a facsimile of Les's actual signature and "" on the headstock commemorating what would have been his th birthday year huh?
There are many small enhancements on this guitar which I'll mention but the Gibson G-Force tuning system is the most obvious. An improvement from Gibson's first Robot tuners, these tuners can also be tuned manually, although you'll get around tunings on a charge of the rechargeable battery. The G-Force will quickly around 3 seconds tune your guitar to standard pitch plus remembers a selection of alternate tunings such as Open D and it can even remember your own custom tuning.
This is a blessing to guitarists who use several different tunings, especially in a live pressure situation. Between songs just start your tuning and you can ask the crowd, "how you feeling tonight?!
To cap it off they chose a new gold molded case that looks futuristic and can sustain up to a 15 foot drop. Gibson finished this guitar in a nitrocellulose Translucent Ebony which shows the grain very well, especially under stage lights. Pickups are Gibson '61 Zebra with Alnico V magnets putting out a lower output of 7.
They sound very good and are touted as "slightly "unmatched" bobbin windings for a 60s era tone with enhanced highs Realizing that not every player will love robotic tuners Gibson designed this guitar to retrofit with vintage-style Gibson tuners and we can do this swap if desired.
But, if you want to experience something pretty cool I recommend you try the tuning system before deciding. Includes original gold case plus G Force charger, tuner manual, guitar manual, warranty, and color photo. They were initially offered with a stop tail or a quality Floyd Rose trem, which I also have in stock. It's fatter sounding than the maple-top versions and with these Alnico Classic humbuckers, it has much of the classic 'Burst tone which lets your playing style shine through rather than a scorching high-output sound.
Features include all-mahogany construction, set-neck design, fret rosewood fretboard with "XII" inlay on the 12th fret, Gothic cross headstock, side dot position markers only, LockTone Tune-O-Matic bridge and stopbar tailpiece for more sustain and easier string changing, Grover tuners, black hardware, Satin Black finish and This guitar plays beautifully and is in very clean used condition.
Includes hardshell case. Note: A Floyd-equipped model appears lower on this page. One is original cone; other one I had reconed as you can see in the pic. CTS made in '72, 42nd week , manufactured for Fender Doesn't affect performance.
If you need original equipment to restore your valuable vintage Fender amp, here's a nice pair. Many feel this series is the best value in a USA guitar on the used market. By the way, this guitar weighs just a hair over 6 lbs with an unchambered body!
Like my last G-series, this guitar set up extremely well and is a joy to play. The stock Godin pickups sound excellent and I don't recommend replacing them. Cosmetically it's in nice shape for a used guitar with no glaring issues. Includes Godin gigbag. Released in '08 in commemoration of Washburn's th anniversary, this small bodied guitar has the vibe of a genuine antique parlor guitar thanks to the dark stain and factory distressed finish.
In addition it appears the original owner wanted it to look even more vintage and sanded the finish a bid more. It now truly has the look of a guitar that's been handed down through generations. It has top of the line appointments all around including headstock, neck, and body, adorned with pearloid inlays, herringbone trim, and abalone. It has a distinct mid-range hump that any parlor model will have but doesn't sound overly boxy and is much more balanced that I had anticipated.
The setup is very good and comfortably playable in all registers. The most remarkable thing about this guitar is the price. Parlors are one of our hottest selling acoustics and with this cool aged vibe I think this one is especially attractive.
Rocktek Pedal Lot , pic2. Good quality effects for a good price. All are mint in the box. Manual included with Delay and EQ. Trailer Trash Pedalboard and Pedaltrain Case , case. Easy and simple solution for your pedal transportation needs. Board has Velcro already attached so just apply to your pedals and you're assembled.
Pedalboard is Trailer Trash's "Flat Trash 24", a wide board measuring 24" wide, 12" deep. Includes shoulder strap and extra Velcro for your pedals. Bogner Ecstasy Blue Overdrive Pedal , pic2. It uses Class A gain stages rather than op-amps and diodes like most OD's.
The Mode switch selects Plexi or Blue gain levels; the Variac switch gives you the tone and, equally important, feel of a dropped input voltage; the Boost function has an independent volume and gain control; the Pre-EQ switch controls openness and presence of harmonics; the Structure switch offers EQ and gain structures from 3 of your fav Ecstasy amp models, the Ecstasy, Custom Shop , and 20th Anniversary.
Click here for a good demo by Bogner. This guitar presents as new and untouched. I was told that the run of this model goldtop VOS, P90s, Bigsby was limited to pieces but I haven't verified that yet. Beautiful shape, killer tone, superb set up. This guitar is a combination of excellent parts starting with a '15 Deluxe Player Strat ash body with nice figuring and gloss finish.
It also features a fret Mex neck with gloss finish on front, satin on back, featuring Fender locking tuners. Other features include vintage style synchronized tremolo bridge with bent steel saddles and heavy duty block, mint green pickguard and trem cover, aged white knobs and selector, and Schaller locking strap pins.
This one has all the favorite features as if built for you and it's in showroom condition. Includes Fender deluxe gigbag. THE classic British tone of all time and like the originals, this baby is hand-wired. With a tone that can easily cover the old hits, this model also has modern enhancements which allow you to cover more musical ground. It starts with the traditional Vox two-channel design: Top Boost and Normal, with High and Low inputs for each channel.
Want full breakup in smaller venues? Just use the OP Mode switch which cuts the output power to 15 watts. Included is the custom-fit dustcover and I can include an aftermarket 1-button footswitch. Prices on vintage AC30's are out of site. This one is in perfect condition, with only a few hours of home use.
This is one of the more high-end signatures made with a neck-thru-body design, 7-string, and a Floyd Rose tremolo. The BUZ-7 features a standard Quality hardware and electronics were used including a Floyd Rose trem, Grover tuners, Fishman Fluence SRC Signature active pickups, with a push-pull control on the tone knob that allows you to select between pickup voices.
This model comes in quilted maple see-thru black only. It's quite a striking looking guitar that plays beautifully and sounds exceptionally good.
Includes Roadrunner gigbag pictured that's a little long for the guitar but offers excellent protection. Really cool new line from Fender for the fans of real vintage Teles. While Fender has opted to put modern features on many of their "vintage" Tele models, the Vintera unashamedly features the original rounded 7. It also features Tim Shaw-designed 50's style single coil pickups with Alnico II and III magnets, Formvar-coated wire and staggered and beveled pole pieces, for the real quack and growl of the Tele's of old.
Other features include solid alder body, vintage ash tray bridge with 3 brass barrel saddles, vintage style tuning machines, and knurled dome knobs. Cosmetically it's got the look as well with classic custom colors such as this Fiesta Red, single-ply white pickguard and vintage-tinted neck.
It's in beautiful condition with no flaws noted. Aluminum on the headstock is much livelier than plastic. Drop-in ready, pro assembled. Vintage mint green with cool gold dome knobs and switch tip. Barely used — mint condition. One of my favorite boutique amp builders, I've loved them since Mark Bartel and I were "next door neighbors" at a Philly guitar show 20 years ago.
They nail everything that's great about hand-built American amps. I love the onboard trem and reverb and the watt Sky King also has really cool features like built-in attenuators, one for each channel on this model! Factor in pure blackface and tweed tones and all things add up to the perfect grab 'n' go combo. The touch responsiveness is incredible with the simple the flip of the mode switch taking you from increased presence in the pentode mode to a spongier feel in ultralinear mode.
Both the channels give a nod to the 50s and 60s Fender and with a tweak of the Mid-Bite control you'll notice tighter gain, more like a Marshall in responsiveness. Both the Reverb and Tremolo are tube driven, with the Trem being the preferred bias-modulated circuit which is much more lush than a signal shunting type.
Both of the effects on this amp are warm, smooth and very lush - and both are footswitchable. Tone King used their "Ironman II" power attenuator on this model. They also sell the Ironman as an outboard standalone attenuator. It allows the amp to go from searing leads to subtle whispers, all with clarity and warmth. The reactive load technology makes your sound transparent on at any output power selected and it ensures you'll have the same "feel" and responsiveness at full power as you have dialed way back.
Again, there is a separate attenuator for each circuit. Love it. Speaker is a 12" Tone King by made by Celestion. It's a top quality speaker than you'll probably love. It weighs in at around 50 lbs. It also features dual speaker outs with loads of 4 ohms or 8 ohms. Click here for a really good demo. This guy is good. These tones have been available for almost 40 years but you needed a special pickup mounted on your guitar, a digital to audio converter box, and then some sort of synth.
It was cumbersome and if you only needed it for a few songs a night, too much to lug around and hook up. Without any special equipment the HOG allows your guitar to sound like a synth. Just hook it up like any other stop box, from your guitar to your amp, and you're in business. You'll have control of up to 10 interval pitches including fifth and third intervals, filter sweeps and pitch bends.
Using dedicated filtering and envelope filters, with numerous setup and footswitchable options, the HOG is an ultimate performance tool.
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