From: ghost.crapper@gmail.com

On Monday, April 20, 2020 at 8:05:58 AM UTC-6, SmallPenis tinkled:

On 4/19/20 8:52 AM, SmallPenis tinkled:

On 4/18/20 9:45 PM, Lord Valve wrote:

On Saturday, April 18, 2020 at 3:35:07 PM UTC-6, SmallPenis tinkled:

On 4/18/20 1:16 PM, Lord Valve wrote:

Ted Weber makes 1 single channel amp in the same cabinet !

BUSTED

again

Hey, Einstein - EVERYBODY makes a single-channel
amp in that cabinet - IT'S CALLED A PRINCETON
REVERB. The genesis of the Napper series was my
experience (more than 50 years worth, no doubt
considerably longer than you've been wasting
oxygen) with the Princeton Reverb. Many, many
jazz and country players brought them in, and the
conversation was always the same: "I love my
Princeton Reverb, BUT..." And the list is long:
insufficient bass, not loud enough, no midrange
control, cheesy speaker, noisy, no bright switch,
etc.

Over the years, from trying to improve an amp which
is underpowered, uses minimal iron, no line/recording
output, no multiply-tapped output transformer, non-
adjustable bias, etc., I gradually developed a circuit
for an amp that would address ALL of those problems.
But I've neglected to mention the ONE THING that all
those pickers actually *LIKED* about the Princeton
Reverb: Numero Uno, unquestionably, it was the SIZE.
It's the "right" size. Perfect. Small, light, easily
transported. Subway friendly, god-like tone. Sweet!

The first Napper (after the prototype, which I still
have) was built for a New York jazz player. His spec:
gotta have tone out the ASS, gotta be loud enough for
combo work, and SMALL/LIGHT ENOUGH TO BE CARRIED ON THE SUBWAY.
Very few New York players have cars; in a metropolitan
mess like NYC, a car is a pain in the ass. Only severely
rich fuckers have them. Everybody else goes by cab, bus
subway, Uber, etc. Hence, the Napper. The name comes
from a small placard I hung on the front of the empty
cabinet: NAPR - Not A Princeton Reverb. A dude saw it
and asked "What's a napper?" So yeah, I sez - that's
what that is - the Napper. (Its baby brother is the
Nipper (named after the famous RCA dog in the "His
Master's Voice" logo) - same size as a Champ (a little
taller because of the 10" speaker) with 16 watts output,
same control lineup as the Napper, but no reverb. Killer,
of course.)

It's exactly the same size as the Princeton Reverb.
I use a Princeton Reverb chassis (which I get from
Mojo and also a small metal shop in Arkansas) which
I modify to accept the larger transformers. The
challenge: pack a more powerful (and thus more useful
to a gigging musician in NYC) amp into the Princeton
footprint. The result: 27 lbs, 24 watts, tube rectifier
(can run at 30 WRMS with SS rectifier), tube-driven
spring reverb, Weber DT-12 speaker (alternate: Fane
F-70, although it adds nearly 5 pounds to the weight)
4/8 ohm output, line/recording output, reverb kill
switch, pentode-triode switch (in triode mode, reduces
output power to 9 WRMS), 3-band interactive tone stack,
negative feedback control, gain boost switch, bright
switch, and a shielded line cord which you can run
right next to your audio cables with no induced hum.

One thing you can't find is a used one; like my Roogalator
pedals, anyone who buys one is gonna keep it forever.
There's a reason. Any skilled player knows what's up
as soon as he plays a single chord: it's the real deal.

Here's a player's perspective, posted to The Gear Page
in June 2012 - see post #26 at this URL:

https://www.thegearpage.net/board/index.php?threads/lord-valve-builds.1095071/page-2

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From above URL:

Member name: A47

I just got back from playing the amp...
Sorry if this comes across as confusing, but I am a bit perplexed by this amp myself...

1) At full power THIS THING BEGS FOR JAZZ CHORDS.
2) at 1/3 power mode you open up the champ style distortion and near-singing drive (at all around darker EQ.)
3) HOLY VERB.

THE BEST "Piano-like" tone I have heard.
It is different from anything else I have tried but has, perhaps, the most dynamic range of available clean tones I have heard in an amp.
My first response reminded me a lot of a two-rock's CC territory but w/ more available EQ band-width options (not all of which are as "tasty sounding" as, say, TRs get, but some of them were even more delicous...) At its core, the
tone reminds me of
a Swart but less "raw." The top-end reminds me a bit of a CJ11 or just about anything else Fred makes, but then there's this bright pull-switch that throws things into a strange / very vox-like cystal-chime in the top end...

Honestly, I played the thing for about an hour and a half, constantly changing it up, and didn't feel like I got enough time to explore all the possibilities. All the controls are subtle, or so you think, until you adjust one of them into a "sweet
spot" and you realize you've arrived at something all together different (a different type of clean.) To put it another way: there were a number of glorious tones that came out of the amp, but you have to "find them."
What surprised me most about the amp (having played Willy's other stuff) was how adjustable the feel of the amp was. Sometimes with a D-style amp, you feel like the amp is "playing you" or rather you're "playing the amp" (rather than the guitar)...
by adjusting the soul switch, I could get that feeling, but then through adjusting the T/M/B controls, the amp opened up uniquely... everything from "punchy" to smooth; "contained" to more "open."

I played a Masterbuilt Strat during my test drive.
Couple Pedals I tried on the amp:
+ BJF Little Green Wonder (p2p): Agreed w/ the amp until I turned the soul down to about 5, really able to get some unique funk sounds by engaging the treble boost
+ Cornish P-2: didn't sound too good with the amp until the soul control was up and the mid was turned up (and the EQ was set un-scooped.)
+ Keely Modded AD9 sounded glorious with the amp's verb.

Please, I don't want to make this sound like a "god-amp" or something... but it was quite unique. It is not a distortion or gain factory. It doesn't growl like a Mark Sampson Amp and it doen't have the most "caramel-ee" tone.

My best attempt at a summary is this: it's an amp for people who love good jazz guitar and/but also play in country bands... like a Dumble for people who don't like Dumble gain but prefer tweed break up... there: at the core it's like Dumble clean w/
tweed break-up.

Played'm all, but have owned: Fenders, VOX (AC30, 15), Orange(s), /13 (JRT 9/15), Two-Rock (Amethyst Signature), Swart AST Pro...

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I'd like to thank SmallPenis for this latest opportunity
to post yet another self-serving, money-seeking rant; I
got a million more where that one came from.
- hide quoted text -


Lord Valve, ThD
Expert (fuck you)

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