A while back a friend was throwing out a Geloso 219A chassis, minus the mains transformer, most of the valves and many components underneath. Some of the other components were dangling. This was an interesting chassis, indicating that is could be run from 6VDC, 12 VDC or mains voltage with 2 6X5 rectifiers. Basically, it used a 12AY7 for a driver and a 6SL7 as a phase inverter running 2-6V6’s in push pull. Quite state of the art for 1954.
When you drink beer and stare at something, occasionally a creative image occurs (this doesn’t work with ex-wives). About a year ago I was given a small amp chassis from what I think was an organ, using a 12AX7 and 2- EL84’s. I used this donor organ chassis (not organ donorJ) to build a 1957 Fender 5E3 adding an extra 12AY7 for a driver and deviated from the 5Y3 rectifier to a 9 pin type. It sounds ok, but I’ve always liked the 6V6 sound better than the 6BQ5/EL84 sound, a subjective matter of taste, but I’m right. I used to own a Traynor pp EL84 amp and it was ok, but the 6V6 Gibson Hawk was special. Sorry to all you AC30 fans, but with 4 EL84’s in ppp they are ok, barely. Come on, don’t get sensitive. There’s a reason people call the 6V6 a blues bottle.
I installed a foreign power transformer on the chassis and had to punch another socket for the 5Y3 rectifier since the size of the transformer did not allow me to use either of the original 6X5 sockets. The other deviation from the original 5E3 was that I used a 6SL7 for a phase inverter instead of the 9 pin 12AX7 since the octal socket was existent. I’m not particularly proud of the build underneath the chassis. Admittedly it is a bit sloppy. It was sort of like using everything in your fridge to make a stew, knowing you could never repeat the recipe. I wanted that 1957 Fender tweed sound, and was a bit concerned about the 6SL7. This turned out to be unwarranted. With an early 60’s Harmony Stratoliner hollow body, the tone of this amp on my monitor speaker was sweet, even with my crappy playing.
So then my friend Roy came over to visit (Roy Visser’s Built for Comfort Blues Band). Roy loved the sound and he’s going to get an early Christmas present. I went over to Andre’s house to use his table saw and router for the cabinet. My original plan was to mount the chassis in the speaker cabinet somehow, but Andre talked me into leaving it exposed because of the intrinsic valve appearance. I agreed. On the way home I stopped by Builder’s Whorehouse to get spray paint to make the chassis and cage presentable. I also needed to put a handle on top to make the amp portable. Picked a color near the drab olive green/brown original color (we Americans spell color without a U). I was smiling when I got home. Al l 6 dogs were happy to see me and man I was ready to finish off this amp and surprise Roy. I used tape to mask all the Italian stuff and the valve sockets, set up the saw horses, painted the wood black and was ready to spray. I began to spray and this frigging gold/copper paint came out! I was thinking death penalty for a minute, and then started laughing, knowing some kids must have switched lids on the cans of paint. It was funny, really. Roy, if you ever read this, well, now you know. I used an infinity10 inch speaker.
This Hat Trick15 watt amp is butt ugly, but I’ll stand by the tone with a twinkle in my eye.
Remember Roy;
Tono= Tone
Micro= Guitar 1
Fono= Guitar 2
Thanks to Ollie for consultation, aka mental enema
Thanks to Jarrod (the Vipers) for turning me on to James Harmon Blues Band (Extra Napkins CD) while I built this, Nice Chicago sound.
http://upload.facebook.com/media/set/?set=a.186667041353853.39892.100000316752602&type=1
