TFIRE's Guitars & Amps http://tfire.fotopic.net/ 18 rows en-gb 60 Guitar: Tokai Love Rock http://tfire.fotopic.net/c1010059.html I'm not supposed to like Les Pauls. But this one works for me. Sunday 2 July 2006: I'm not supposed to like Les Pauls. But this one works for me.

Tokai Love Rock Tokai Love Rock Tokai Love Rock Tokai Love Rock

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]]> Sun Jul 2 2006 Guitar: Duesenberg 12 String http://tfire.fotopic.net/c1010057.html Guitar: Duesenberg 12 String Sunday 2 July 2006: Guitar: Duesenberg 12 String

Duesenberg Double Cat 12 Duesenberg Double Cat 12

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]]> Sun Jul 2 2006 Odds & Sods http://tfire.fotopic.net/c841611.html Odds & Sods Friday 27 January 2006: Odds & Sods

Good advice never hurt Guitar in Plant/Krauss band Guitar in Plant/Krauss band

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]]> Fri Jan 27 2006 Matamp MiniMat http://tfire.fotopic.net/c802525.html Matamp MiniMat. The best small amp yet. Thursday 22 December 2005: Matamp MiniMat. The best small amp yet.

MiniMat sitting on top of my C7 MiniMat sitting on top of my C7 Matamp MinMat sitting on top of my effects rack for home/practice use

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]]> Thu Dec 22 2005 Matamp C7: Modifications http://tfire.fotopic.net/c616676.html Matamp C7, modified with six position voice switch. Second cabinet added. One cab has a Celestion Alnico Blue, the other has a Celestion G12H. Friday 15 July 2005: Matamp C7, modified with six position voice switch. Second cabinet added. One cab has a Celestion Alnico Blue, the other has a Celestion G12H.

Matamp C7, modified with a six position voice switch. Reverb deleted. Matamp C7 and two 1x12

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]]> Fri Jul 15 2005 Matamp C7: The attenuator http://tfire.fotopic.net/c499401.html That 7 watt Matamp C7 too loud for you? Then plug in the attenuator. Tuesday 12 April 2005: That 7 watt Matamp C7 too loud for you? Then plug in the attenuator.

02. Rear of the C7 attenuator 01. Front of the C7 attenuator

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]]> Tue Apr 12 2005 Effects: Pedals http://tfire.fotopic.net/c493982.html Effects: Pedals Friday 8 April 2005: Effects: Pedals

2009-02-13: Fulltone Robin Trower Overdrive (Top) 2009-02-13: Fulltone Robin Trower Overdrive (Base) 02. Carlsbro Wah/Swell - Bottom 01. Carlsbro Wah/Swell - Top 03. Carlsbro Wah/Swell - Inside 11. Colorsound Supa Tonebender - Interior 10. Colorsound Supa Tonebender 25. Axe Juice - Internal 21. Axe Juice - Front 23. Axe Juice - Left Side 24. Axe Juice - Right Side 22. Axe Juice - Rear

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]]> Fri Apr 8 2005 Effects: Pedal Board http://tfire.fotopic.net/c492260.html Pedalboard put together on a PedalTrain base. This photo collection will get updated as the pedalboard evolves. Thursday 7 April 2005: Pedalboard put together on a PedalTrain base. This photo collection will get updated as the pedalboard evolves.

2005-04-05: Pedal board in case 2005-05-05: Top side of the board 2009-02-13: A Fulltone Robin Trower Overdrive replaces the AC Booster 2008-08-23: Took away the Combinator 2009-02-09: Wiring Diagram 2008-08-21: New pedalboard 2005-05-02: Instructions for mounting a Pedal Power under a Pedaltrain 2005-04-10: Retired the Analog Chorus in favour of a Boss Super Chorus 2005-04-30: Cured the popping of the Xotics on/off switching by putting an old Carl Martin Combinator switcher on the board 2008-08-21: New pedalboard (Top) 2008-08-21: New pedalboard (Bottom) 2008-08-21: Mounting plate for Pedal Power 2 under Pedaltrain Pro 2008-08-23: Top view of the simplified board (1) 2008-08-23: Top view of the simplified board (2) 2008-08-23: Underneath the simplified board (1) 2008-08-23: Underneath the simplified board (2) 2008-08-23: Underneath the simplified board - close-up of the Pedal Power 2 mounting 2009-02-09: Added Nova Delay in place of DD20. Not tidied the cables yet.

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]]> Thu Apr 7 2005 Matamp Factory Tour http://tfire.fotopic.net/c462466.html A few shots of the Matamp factory. A place of wonder for amp fanatics. The shots of amp coverings have what appear to be a few duplicates: it's difficult to get the lighting right for an accurate colour rendition, and you'll see slight variations from shot to shot. Sunday 13 March 2005: A few shots of the Matamp factory. A place of wonder for amp fanatics. The shots of amp coverings have what appear to be a few duplicates: it's difficult to get the lighting right for an accurate colour rendition, and you'll see slight variations from shot to shot.

10. Wiring Room 1 11. Wiring Room 2 12. Wiring Room 3 20. Samples of amp coverings 21. Samples of amp coverings 40. Samples of speaker grille cloths 30. Samples of amp coverings 22. Samples of amp coverings 23. Samples of amp coverings 05. Main Area

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]]> Sun Mar 13 2005 Matamp C7: An amp is born http://tfire.fotopic.net/c461933.html Jeff Lewis building my Matamp C7 on 13th-15th March 2005. Model C7-MG, Serial Number 000001. Sunday 13 March 2005: Jeff Lewis building my Matamp C7 on 13th-15th March 2005. Model C7-MG, Serial Number 000001.

01. Cutting the first panels for the speaker cabinet 02. Cutting the panels for the speaker cabinet 03. Cutting the panels for the speaker cabinet 04. The specification for the 1 x 12 05. First joint 06. About to put on the lower back panel 07. Lower back panel in place 08. Second side panel being glued and pinned 09. Strips to support the baffle added 10. Final adjustments to the internal bracing 11. Putting the curved edges on the cabinet. First, the back bottom edge 12. Then rounding the top side 13. Getting the corners rounded off 14. Sanding the edges and corners 15. The baffle has been routed across to take the gold t-piece. Now, the centre for the speaker cutout is being located 16. Checking the speaker location and marking out the holes for the bolts 17. Routing out the speaker cutout 18. Cutting recesses for the t-nuts so that the bolts don't touch the grille cloth 19. That's all the woodwork done on the baffle 20. Fixing the small pieces of wood that will give the front aperture rounded internal corners - which will make the baffle, with its surrounding tadpole, fit well 21. Cleaning off surplus glue 22. The rounded internal corners 23. Routing for the stringing 24. More routing for the stringing 25. Spraying the inside of the cabinet matt back 26. More spraying 27. Cutting out the covering. This is for the lower back panel 28. Finishing a corner on the lower back panel 29. Starting to cover the speaker cabinet 30. This will be the join on the base of the cabinet, but it will be just as good as if it was in open view 31. Completing the covering of the four sides 32. Last join before doing the edges and corners 33. Great care taken to make the corners smooth, with joins that are very hard to see 34. The feathering being done prior to sticking down the corners 35. Nice clean corner 36. The hot air gun is used to make the covering more flexible and to drive out surplus moisture, to ensure a good fit and a nice clear edge line 37. The top back panel is covered, and screws can be put in place ready for assembly 38. The top part of the baffle receives matching covering 39. Now the grille cloth is held in place by a gold t-piece tapped into the routed line 40. Securing the bottom edge of the grille cloth 41. Starting to pin on the tadpole round the baffle 42. Pushing the gold stringing into the two routed lines 43. Now we're on to the amp - sanding the corners and edges and putting in the routing for the stringing 44. Here's what a C7 looks like underneath 45. Loose assembled speaker cabinet, with covering of the amp shell going on 46. The feet go on the cabinet 47. A front board has been made that will give a 48. Not long to go now... 49. A C7 needs to be made to go in the shell - and it will have a lower profile than this demo one on the right 50. Jeff wires up the Celestion Alnico Blue

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]]> Sun Mar 13 2005 Wiring for Suhr pickups http://tfire.fotopic.net/c361693.html Diagram does not correspond to either of my Suhrs. Tuesday 7 December 2004: Diagram does not correspond to either of my Suhrs.

Wiring diagram

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]]> Tue Dec 7 2004 Guitars: Some departed friends http://tfire.fotopic.net/c361686.html Some of these guitars had to go to make way for some new friends. Gone: - Epiphone Explorer - Gibson 335 Dot - PRS Custom 22 - Fender USVR 62 Strat - Parker Nitefly - Ibanez JS700 - Fender USAmStd Telecaster Tuesday 7 December 2004: Some of these guitars had to go to make way for some new friends. Gone: - Epiphone Explorer - Gibson 335 Dot - PRS Custom 22 - Fender USVR 62 Strat - Parker Nitefly - Ibanez JS700 - Fender USAmStd Telecaster

Some of these guitars had to go to make way for some new friends.

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]]> Tue Dec 7 2004 Effects: Morley Bad Horsie Wah http://tfire.fotopic.net/c361667.html Here's a modification that you can easily do to a Bad Horsie if you find that the sweep of the pedal has an audible peak that you want to smooth out. This was advice given to me by Morley. It just involves altering the physical position of an LED to change how much light gets to a photo-resistor. Make the adjustment very slowly and carefully! Probably voids your warranty, so it's up to you. Tuesday 7 December 2004: Here's a modification that you can easily do to a Bad Horsie if you find that the sweep of the pedal has an audible peak that you want to smooth out. This was advice given to me by Morley. It just involves altering the physical position of an LED to change how much light gets to a photo-resistor. Make the adjustment very slowly and carefully! Probably voids your warranty, so it's up to you.

Alteration of a Bad Horsie to remove a peak in the pedal's sweep

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]]> Tue Dec 7 2004 Guitar: Travel Outfit http://tfire.fotopic.net/c208411.html All in one small flight case for easy travel by air: | Hohner G3T | Zoom PS02 | Headphones | Cables | Tools | Strings | Strap The pickups have been changed to two Dimarzio Red Velvets and a Dimarzio Norton. Thursday 17 June 2004: All in one small flight case for easy travel by air: | Hohner G3T | Zoom PS02 | Headphones | Cables | Tools | Strings | Strap The pickups have been changed to two Dimarzio Red Velvets and a Dimarzio Norton.

Hohner G3T & Zoom PS02 in flight case

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]]> Thu Jun 17 2004 Guitar: Suhr Classic (Serial #3050) http://tfire.fotopic.net/c206754.html Specification: | Body Style: Classic | Body Modification: None | Body Wood - Back: Swamp Ash | Body Wood - Front: Flame Maple | Body Finish: Bengal | Binding: N/a | Output Jack: Side | Neck: Maple | Fingerboard: African Rosewood | Neck Style: Even Taper C Huge | Fingerboard Radius: 10''-16" | Fingerboard Marking: Abalone Face & Side Dots | Headstock Logo: Abalone | Headstock: Figured, matched paint | Frets: Heavy | Nut Width: 1.687" | Nut Material: Tusq | String Gauge: .010 - .046 | Tuners: Sperzel Trim-Lok | Bridge: Gotoh Wilkinson VG300 | Hardware Finish: Chrome | Pickup - Bridge: DSV+ (White) | Pickup - Middle: V60LP (White) | Pickup - Neck: DSV (White) | Electronics: Volume | Electronics: Tone - Neck/Middle; Push/Push Neck Split | Electronics: Tone - Bridge; Push/Push Bridge Split | Knobs: White Plastic | Pickguard: White Pearl Tuesday 15 June 2004: Specification: | Body Style: Classic | Body Modification: None | Body Wood - Back: Swamp Ash | Body Wood - Front: Flame Maple | Body Finish: Bengal | Binding: N/a | Output Jack: Side | Neck: Maple | Fingerboard: African Rosewood | Neck Style: Even Taper C Huge | Fingerboard Radius: 10''-16" | Fingerboard Marking: Abalone Face & Side Dots | Headstock Logo: Abalone | Headstock: Figured, matched paint | Frets: Heavy | Nut Width: 1.687" | Nut Material: Tusq | String Gauge: .010 - .046 | Tuners: Sperzel Trim-Lok | Bridge: Gotoh Wilkinson VG300 | Hardware Finish: Chrome | Pickup - Bridge: DSV+ (White) | Pickup - Middle: V60LP (White) | Pickup - Neck: DSV (White) | Electronics: Volume | Electronics: Tone - Neck/Middle; Push/Push Neck Split | Electronics: Tone - Bridge; Push/Push Bridge Split | Knobs: White Plastic | Pickguard: White Pearl

Specification Front from neck Headstock Front Headstock Rear Back of body End view Full Frontal Bridge Top Top (with flash) Front from neck 2 A close-up of the front 2008-08-25: Fret Polish 2008-08-25: Fret Polish

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]]> Tue Jun 15 2004 Effects: Guitar Rack System http://tfire.fotopic.net/c173905.html The story of the evolution of my guitar rack system. Monday 2 January 2006: The story of the evolution of my guitar rack system.

2004: The schema for the rack 2005-06: Trying to figure out how to rebuild the rack for more versatility 2005-10: Discovered the Switchblade. Thank goodness I didn't build this! 2004-02: The half built rack 2006-10-07: Signal flow is Guitar > BS-2 > Wah > RC Booster > Switchblade 2006-01-07: Gone back to a rack setup - see the photo collection called 2005-05-04: Here's the Pedal Power 2 underneath the Pedaltrain 2005-05-05: Underside of the board 2006-10: Effects rack with the RSP-550 and MPX-1 added 2006-01: Back of the rack 2006-01: Back of the rack 2006-01: Pedal drawer 2006-01: New effects rack 2006-01: Effects rack - drawer extended 2006-01: Back of the rack 2006-01-25: A side view of the Pedal Power underneath the board 2006-01-25: Another side view of the Pedal Power underneath the board 2006-01-25: The Pedal Power clears the ground by about 10mm 2006-07: Effects Rack and Amp Case 2006-10: Pedal Drawer 2006-10-07: The reorganised floor board 2006-10-07: Close-up of the FX-1 2006-10-07: Got the Pedal Power 2 and the Pedal Power AC under there, with the BS-2 too 2006-10-07: Got the Pedal Power 2 and the Pedal Power AC under there, with the BS-2 too 2006-10-07: Got the Pedal Power 2 and the Pedal Power AC under there, with the BS-2 too 2006-10-07: The BS-2 fits neatly under the top edge of the Pedaltrain board 2006-10-07: Showing the notches cut to accomodate the power connectors on the supplies 2006-10-07: The BS-2 fits neatly under the top edge of the Pedaltrain board

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]]> Mon Jan 2 2006 Watkins Westminster http://tfire.fotopic.net/c54036.html It was 1976 or 1977. I was working on a project in Leicester during the sandwich year of my degree course. There was a consultant from London on the project, and we got talking over lunch one day. He learned I played guitar, and told me that he had an amp 'up in the attic at my Mum's house in Croydon' that he no longer used. He asked me if I'd be interested in it. "Sure", I said, always ready to accept something for nothing, and expecting something like a Marshall or Hiwatt to turn up. When he delivered it, under the red leatherette cover was this funny looking little amp with a V front. It certainly wasn't a big, loud Marshall. I was kind of disappointed. But then I powered it up and plugged my Japanese Strat copy in. Oh my goodness ... the sound of angels. What a wonderful, complex distortion. There was a box that came with it that you plugged into a socket on the back. It was a hand-built reverb unit. The 'spring' was the element taken from an electric bar fire, and at each end it was connected to phonograph heads that I'd only ever seen before on my Dad's gramophone. It sounded like the Albert Hall - beautifully spacious and rich. Time passed. In the early 90's, I tried to do some research. What was this amp? It didn't match any of the circuit diagrams I found on the web and in books. The speakers, and their position, were different from every other Westminster I could find pictures of. I contacted Charlie Watkins himself, who tried to help, but he couldn't remember the details of what had been produced back in the 50's. He did remember enough to be able to confirm that it was a Watkins original, and it probably came from a run of 30 or less amps of that specification. By now, the amp was struggling. It still had the working original valves, but several of the other components weren't functioning, and there were some bad solder joints. The first technician that looked at it did his best, restoring it to working order, and getting the original tremolo working again. The hand-made reverb unit had to be sacrificed in order to get that going, but it was worth it. The technician found a copy of the original 1962 magazine article that had described how to build the reverb, so I let him have it in return for getting the amp working. But it wasn't working quite right. Move on to 2005, and my Watkins Westminster found its saviour: Jeff Lewis at Matamp. He carefully examined the circuit, got it working properly again, and did some sleuthing on the dates of manufacture of the components. The amp couldn't have been made before 1955, because such-and-such a component wasn't available, and it was unlikely to be have been made after 1957 because of some other thing he found. Jeff gave me a full description of this electronic archaeology, but I didn't remember it all. And so, in 2007, my Watkins Westminster still sounds fabulous, completely different from any other amp I've heard in its gorgeous distortion voice. And I've never seen another like it. My only regret is that I don't know how to get back in touch with the bloke who so kindly gave me this amp thirty years ago, to tell him how grateful I am for his gift. Sunday 21 September 2003: It was 1976 or 1977. I was working on a project in Leicester during the sandwich year of my degree course. There was a consultant from London on the project, and we got talking over lunch one day. He learned I played guitar, and told me that he had an amp 'up in the attic at my Mum's house in Croydon' that he no longer used. He asked me if I'd be interested in it. "Sure", I said, always ready to accept something for nothing, and expecting something like a Marshall or Hiwatt to turn up. When he delivered it, under the red leatherette cover was this funny looking little amp with a V front. It certainly wasn't a big, loud Marshall. I was kind of disappointed. But then I powered it up and plugged my Japanese Strat copy in. Oh my goodness ... the sound of angels. What a wonderful, complex distortion. There was a box that came with it that you plugged into a socket on the back. It was a hand-built reverb unit. The 'spring' was the element taken from an electric bar fire, and at each end it was connected to phonograph heads that I'd only ever seen before on my Dad's gramophone. It sounded like the Albert Hall - beautifully spacious and rich. Time passed. In the early 90's, I tried to do some research. What was this amp? It didn't match any of the circuit diagrams I found on the web and in books. The speakers, and their position, were different from every other Westminster I could find pictures of. I contacted Charlie Watkins himself, who tried to help, but he couldn't remember the details of what had been produced back in the 50's. He did remember enough to be able to confirm that it was a Watkins original, and it probably came from a run of 30 or less amps of that specification. By now, the amp was struggling. It still had the working original valves, but several of the other components weren't functioning, and there were some bad solder joints. The first technician that looked at it did his best, restoring it to working order, and getting the original tremolo working again. The hand-made reverb unit had to be sacrificed in order to get that going, but it was worth it. The technician found a copy of the original 1962 magazine article that had described how to build the reverb, so I let him have it in return for getting the amp working. But it wasn't working quite right. Move on to 2005, and my Watkins Westminster found its saviour: Jeff Lewis at Matamp. He carefully examined the circuit, got it working properly again, and did some sleuthing on the dates of manufacture of the components. The amp couldn't have been made before 1955, because such-and-such a component wasn't available, and it was unlikely to be have been made after 1957 because of some other thing he found. Jeff gave me a full description of this electronic archaeology, but I didn't remember it all. And so, in 2007, my Watkins Westminster still sounds fabulous, completely different from any other amp I've heard in its gorgeous distortion voice. And I've never seen another like it. My only regret is that I don't know how to get back in touch with the bloke who so kindly gave me this amp thirty years ago, to tell him how grateful I am for his gift.

02. Amp from top/back 01. Watkins Westminster with Suhr Classic 04. Circuit diagram sent to me by Charlie Watkins - but it doesn't appear to match this amp 99. Impostor! Looks cute, though. 06. The current interior. The model number appears to be 318/T (T is for tremolo) 09. Transformers, Rectifier & Power Valves 08. The preamp as it is now 03. Top Plate 07. The preamp circuit board in the early 90s 05. The interior in the early 90s, before the amp was overhauled to get the tremolo working again 10. Matamp Minimat on top of Watkins Westminster 11. Matamp C7 on top of Watkins Westminster

Published in TFIRE's Guitars & Amps

]]> Sun Sep 21 2003 Guitar: Suhr Classic (Serial #1960) http://tfire.fotopic.net/c50439.html Specification: | Body Style: Classic | Body Modification: Chambered | Body Wood: Alder | Colour: Daphne Blue | Output Jack: Side | Neck: Maple + Pau Ferro | Neck Style: Even Taper C Med. | Headstock: Natural | Fingerboad Radius: 10''-16" | Frets: Heavy | Nut Width: 1.687" | Nut Material: Tusq | String Gauge: .010 - .046 | Tuners: Sperzel Trim-Lok | Bridge: Standard Trem; Push-in Arm; 2.065" Width; Steel Block | Hardware Finish: Gold | Pickup - Bridge: JST VTB | Pickup - Middle: JST V60 (Aged) | Pickup - Neck: JST V60 (Aged) | Electronics: Vol; Tone - N/M; Tone - B; 5 way | Knobs: Aged | Pickguard: Parchment 3 ply Tuesday 9 September 2003: Specification: | Body Style: Classic | Body Modification: Chambered | Body Wood: Alder | Colour: Daphne Blue | Output Jack: Side | Neck: Maple + Pau Ferro | Neck Style: Even Taper C Med. | Headstock: Natural | Fingerboad Radius: 10''-16" | Frets: Heavy | Nut Width: 1.687" | Nut Material: Tusq | String Gauge: .010 - .046 | Tuners: Sperzel Trim-Lok | Bridge: Standard Trem; Push-in Arm; 2.065" Width; Steel Block | Hardware Finish: Gold | Pickup - Bridge: JST VTB | Pickup - Middle: JST V60 (Aged) | Pickup - Neck: JST V60 (Aged) | Electronics: Vol; Tone - N/M; Tone - B; 5 way | Knobs: Aged | Pickguard: Parchment 3 ply

Suhr Classic with Watkins Westminster Body Rear - Suhr Classic Guitar Body Front - Suhr Classic Guitar End - Suhr Classic Guitar Front view: Suhr Classic #1960 Headstock Front - Suhr Classic Guitar Headstock Rear - Suhr Classic Guitar Top - Suhr Classic Guitar Wiring change Wiring before change made Inside the neck pocket

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]]> Tue Sep 9 2003