Standard mounting dimensions provided by most guitar speaker manufacturers are: overall diameter, baffle hole diameter, mounting hole diameter, mounting holes B.C.D. and depth.
Can you explain mounting dimensions and how to install a new speaker in my combo amp? |
Standard mounting dimensions provided by most guitar speaker manufacturers are: overall diameter, baffle hole diameter, mounting hole diameter, mounting holes B.C.D. and depth.
Overall diameter is the dimension from opposite sides of the speaker frame. It is used to determine if the speaker frame will fit on the baffle. The baffle hole diameter is the dimension from the inside of the gaskets on two opposite sides. This is the area that projects the sound. Ideally, you donāt want any of this area to be covered. If you are building a new cab, use this dimension to make the speaker hole in the baffle.
The mounting holes diameter is the width of the mounting hole. This helps determine the size of bolt or screw to use for mounting the speaker. The mounting holes B.C.D. dimension is measured from the center of one mounting hole to the center of the opposite mounting hole. āB.C.D.ā stands for bolt circle diameter. This measurement helps determine if existing mounting holes line up with the new speaker. You can use the mounting holes diameter as a tolerance in relation to the mounting holes B.C.D. For example, if your mounting hole diameter and the B.C.D. dimension isnāt equivalent, the speaker may still fit. The mounting holes diameter may provide you some extra room; the bolt doesnāt necessarily have to be centered in the mounting hole.
The depth is simply the total distance from top to bottom of the speaker. If youāre front-loading the speaker, you can subtract about 1/4ā from the speaker depth for the basket flange. Then subtract your baffle thickness from that to determine how much of the speaker will be sticking out past the baffle. Certain applications may require the need for other dimensions to avoid hitting transformers or tubes. Donāt be afraid to call or email the speaker manufacturer for this info.
For the sake of this discussion, Iāll assume this is the most common, rear-loaded application. To install your new speaker, you obviously need to remove the old one. Some applications require removing the amp chassis. Typically, the screws to remove the amp chassis are located in the top of the cabinet, possibly in the handles. Unhook the wiring from the old speaker (be sure to remember how it was). This may require soldering. Carefully remove the amp chassis, and make sure you set it somewhere it will remain level. You donāt want to harm the tubes or any circuitry.
Remove the speaker mounting screws or bolts, and pull out the old speaker. Assuming youāve chosen a direct fit replacement, install your new speaker. Be careful not to shove a bolt or drill through your new speakerās cone. Been there, done that, not good! As you tighten the new speaker down, work from opposite sides; in other words, tighten in one spot and then go to the opposite side and do the same thing.
Try turning the nuts about the same amount. How much to tighten is the topic of much debate; youāll just have to use good judgment and common sense. If you get too tight, you could potentially create problems, like distorting the speaker frame. I think a few good turns with a nut driver/ screwdriver without causing a hernia is sufficient. Carefully re-install the amp chassis and wire the new speaker back just as you found it (be sure your new speaker is the appropriate impedance).
We hear a lot about how wiring affects your sound. What size wire should I use on my guitar speakers? |
I recommend using 16 or 18 AWG speaker wire for guitar applications. You wonāt gain any advantage using larger wire unless you are dealing with a long length. You donāt want to use any smaller wire because it may not carry the current of the amp.
I canāt find a 4-ohm speaker replacement. Any suggestions? |
You can use a higher impedance speaker, but you will sacrifice output. You lose Ā½ the perceived output (-3dB) for every doubling of impedance. It is not recommended to chose a speaker lower in impedance than that stated on your amp. It can potentially damage your amp.
You are welcome to submit your speaker related questions to info@eminence.com
Anthony Lucas is a senior lab technician at Eminence Speaker LLC, where he specializes in guitar-speaker design and customer support. He has been with the company for more than a decade.
Selenium, an alternative to silicon and germanium, helps make an overdrive of great nuance and delectable boost and low-gain overdrive tones.
Clever application of alternative materials that results in a simple, make-everything-sound-better boost and low-gain overdrive.
Might not have enough overdrive for some tastes (although thatās kind of the idea).
$240 street
Cusack Project 34 Selenium Rectifier Pre/Drive Pedal
cusackmusic.com
The term āselenium rectifierā might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts thatās likely because you pulled one of these green, sugar-cube-sized components out of your ampās tube-biasing network to replace it with a silicon diode.
Thatās a long-winded way of saying that, just like silicon or germanium diodesāaka ārectifiersāāthe lesser-seen selenium can also be used for gain stages in a preamp or drive pedal. Enter the new Project 34 Selenium Rectifier Pre/Drive from Michigan-based boutique maker Cusack, named after the elementās atomic number, of course.
An Ounce of Pre-Vention
As quirky as the Project 34 might seem, itās not the first time that company founder Jon Cusack indulged his long-standing interest in the element. In 2021, he tested the waters with a small 20-unit run of the Screamer Fuzz Selenium pedal and has now tamed the stuff further to tap levels of gain running from pre-boost to light overdrive. Having used up his supply of selenium rectifiers on the fuzz run, however, Cusack had to search far and wide to find more before the Project 34 could launch.
āToday they are usually relegated to just a few larger industrial and military applications,ā Cusack reports, ābut after over a year of searching we finally located what we needed to make another pedal. While they are a very expensive component, they certainly do have a sound of their own.ā
The control interface comprises gain, level, and a traditional bright-to-bassy tone knob, the range of which is increased exponentially by the 3-position contour switch: Up summons medium bass response, middle is flat response with no bass boost, and down is maximum bass boost. The soft-touch, non-latching footswitch taps a true-bypass on/off state, and power requires a standard center-negative 9V supply rated at for least 5 mA of current draw, but you can run the Project 34 on up to 18V DC.
Going Nuclear
Tested with a Telecaster and an ES-355 into a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab, the Project 34 is a very natural-sounding low-gain overdrive with a dynamic response and just enough compression that it doesnāt flatten the touchy-feely pick attack. The key adjectives here are juicy, sweet, rich, and full. Itās never harsh or grating.
āThe gain knob is pretty subtle from 10 oāclock up, which actually helps keep the Project 34 in character.ā
Thereās plenty of output available via the level control, but the gain knob is pretty subtle from 10 oāclock up, which actually helps keep the Project 34 in character. Settings below there remain relatively cleanāamp-setting dependent, of courseāand from that point on up the overdrive ramps up very gradually, which, in amp-like fashion, is heard as a slight increase in saturation and compression. The pedal was especially fantastic with the Telecaster and the tweed-style combo, but also interacted really well with humbuckers into EL84s, which certainly canāt be said for all overdrives.
The Verdict
Although I almost hate to use the term, the Project 34 is a very organic gain stage that just makes everything sound better, and does so with a selenium-driven voice thatās an interesting twist on the standard preamp/drive. For all the variations on boost and low/medium-gain overdrive out there itās still a very welcome addition to the market, and definitely worth checking outāparticularly if youāre looking for subtler shades of overdrive.
Some of us love drum machines and synths, and others donāt, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But thatās not to say he hasnāt made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the bandās career is best. Some of us love drum machines and synths and others donāt, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmarkāincluding delay time, feedback, and independent rate and depth knobs for the modulationāplus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ā80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.