So early attempts to get the mid dip shifted from 500Hz to 800Hz by altering the value of the slope resistor were unnecessary as this shift happens automatically if you have a typical steel EQ setting with the treble at around 3.5-4.

What's got me thinking lately is how the Webb has that dip firmly fixed at 550Hz, regardless of your tone settings. And there's the Evans HV EQ that has the mid dip also at around 500Hz, but if you add the "depth" control, it bumps that dip on up to around 800Hz. Pretty cool. Most Peavey guys seem to dip at 800Hz.

If you think of Lloyd's Twin tone, based on his settings, he's getting a dip at around 800Hz. By raising the treble from 3.5 to 5.5, that dip shifts downward. Any Webb user (set on #2) will have a HUGE dip at 550Hz. I guess that's the heart of the Webb voice. That may be useful for those with modern Peaveys with the sweepable mid control wanting to experiment with different voicings. I analyzed an older Evans LV amp and it had a dip down around 375Hz. I think that's also where the Standel's have their dip. It's also where the Webb puts it's #1 setting dip, however the Webb's dip is HUGE where the Evans and Standel are less extreme. The mid dip frequency and amount is the key to the general "voicing" of an amp it seems.

My vote (currently) for the Twin is to keep that slope resistor at 100k.

[This message was edited by Brad Sarno on 07 October 2004 at 07:22 AM.]

I also use my Webb 6-14E (4 ohm JBL) for Hawaiian music on my Fender Dual Professional (trapezodial pickups). With these thinly wound pickups, it seems that I must set the Tone Selector on #3; or I cannot dial in any acceptable tone. Does this make sense to you?

Also, the booklet that came with the amp. recommends starting with the Sensitivity control set wide open (on 10). Technically, what would be the occasion for backing this setting down? And, what would be the practical lower limit.

...just looking for the most technically logical starting settings for this Fender guitar.

The sensitivity control is meant to be full on unless you happen to be sending the amp a very hot signal. Your Fender guitars surely won't be that hot. In my experience, the more you back down that Webb sensitivity knob, the more thin and bright the sound. The more you crank it, the fatter and warmer the sound. You want to drive those FET's in the Webb a bit so keep it cranked up.

I've read that Jimmy Day used #3 on his Webb as well.

Brad Sarno

I like the 56k slope R for guitar more than steel because I'll typically have the treble up higher, like 5 or 6. With the 56k and that setting, that puts that dip at around 800 or so which does sound nice. It's just that on steel with the treble back around 3.5, the mid dip can get a bit too high up for where I'd like the steel mid-dip.

I like the idea of having one channel of each. I think I'll try it. I was considering putting a 3-pos switch with 2 resistors across a 150k slope resistor. That way you could have a variety of mid dip positions. I think it makes sense to have one fixed slope resistor so that plate always has a good fixed load. Then let the switch just add in parallel either resistor one, resistor two, or none to drop the value. That seems to be a safer way to do it since there's pretty high voltage off that plate. I'd like to try a value that gives me my steel treble setting but keeps the dip down at 500 to see what the Twin sounds like voiced like a Webb. I'm guessing about 150k. Hmmm...

Try it...and you might like it!

Yea Bob, at the steel shows Brumley is usually the tone champion in my opinion. That Steel King sounded pretty good, but that ol' Bassman is magic.

Bill, I agree on that reissue Fender thing. The reissues only look like the originals. They surely don't sound as good. Inside they're (most of them) printed circuit boards and cheap grade metal film resistors and mylar caps. The circuits are pretty true to the original as far as the schematics go, but the layout is completely different. The lack of point to point wiring is also a key issue I think. The new transformers also are probably different sounding. Fender does make a few of these exotic hand made reissue amps that are quite true to the original, but they are well over $2000 and are in a special category. Most Fender reissue stuff just doesn't live up to the original, by a long shot. I love that rugged military grade build quality of the old stuff. I much prefer my '69 Twin, '68 Deluxe Reverb, and '68 Princeton Reverb over just about any amp available today.

Brad

Download it from here :
http://www.duncanamps.com/tsc/