lrgrbt wrote:You did it again Larry..... You are my #1 inspirational cabinet builder.... What a beautiful cabinet..... Congratulations on another stunner.
Bob
Bob, I really appreciate your comments especially due to the fact you know what is involved in making these type of cabinets.
This really was a fun project working with Allyn, and in the end everything came together beautifully..
Distortion wrote: This really was a fun project working with Allyn
Larry, What great complementary work! With Allyn's amp, this will sound as good as it looks Craftsmanship is alive and well Using solid figured boards, are there dimensional changes that, in time, are more likely to affect shape, i.e. warping?
Distortion wrote: This really was a fun project working with Allyn
Larry, What great complementary work! With Allyn's amp, this will sound as good as it looks Craftsmanship is alive and well Using solid figured boards, are there dimensional changes that, in time, are more likely to affect shape, i.e. warping?
Hi Tim,
With wood there can always be unforseen problems but all the wood I use is kiln dried and straight or I don't use it. The way I build wreck style cabinets there are about 15 biscuits spaced out holding the box together. The traditional Wreck style 45 degree mitered corners are not normally as strong as fingerjoints or dovetails. But because the front panel is also held in place by biscuits it stabilizes the entire box. Some builders use bracing for the front panel which gives you the option of removing it. Because I use biscuits the panel is not removeable but to my way of thinking it makes the entire cabinet stronger this way.
I also like the clean look you get when using biscuits vs internal bracing.
Needless to say both ways work but my preference is biscuits due to its apperance plus added strength.
Thanks to Allyn & Larry I finally have a Wrecklica! Beautiful inside and out. Wished I played guitar as good as these guys do their things.
Was on KF's list for years for an Express, Rocket and Liverpool, whichever came off the bench first. Offered deposits on the @$1,200 each which KF said he would accept when I got close to the front of the line, but never got close. Closest I got was a call from G Webber for one of his "Wreck-designed" deals; he got my name from KF's list. Didn't take up offer.
Bought early Alessandro w/ 12AX7s and EL34s; he was tight w/KF and even have an TW Airbrake made by George. Then by chance ran into Riverfront Music in BR, LA to meet Hogy and Mike who were working on prototypes with an NJ amp guru who I probably never heard about, KF. Own K60 #8 and KF50 LTD #3. So having an Express circuit is kinda like finding the grail.
Received some attention at FL Tonefest; BJF took her for a very long drive. Noticed immediately the importance of tube seletion; a Bugle Boy in V1 versus a medallion Mullard changes its voice massively. Some say KF's "tweaking/voicing" was largely just finding the right 5 tubes that worked together to create magic.
Currently have: V1: Mullard; V2:Bugle Boy; V3:Mullard 8162/4024/12AT7 and a closely matched pair of Mullard El34 xf2s. Sounds very strong, louder than I expected, compression and sag that the KF50 doesn't have, doesn't like the Airbrake very much after a couple of clicks...more to come as I tweak further. Getting an early Mullard 12AT7 (warmer than the 8162) for PI and will swap BB and Mullard; more of a KF way to voice with brighter tube in V1 and warmer tubes downstream.
One of the guys commented that the WAF was at the max with your cabinet work! Love the bird's eye control panel and the luster of the finish. It's very, very deep.
Thanks for getting the unit to me and in such great shape. Having a ball with it.
Craftsmanship is alive and well 
Using solid figured boards, are there dimensional changes that, in time, are more likely to affect shape, i.e. warping?
