I was repairing a Silvertone 1484 reverb spring unit and noticed something I hadn't really seen covered in most of the online articles and videos on repairing them.
Right in the middle of the thing, are two razor cuts in the masonite base. I found the little remnant of thread hanging through the cuts, and taped off with masking tape under the original duct tape that holds the thing together. Definitely factory.
The one being repaired was actually in pretty good condition, the thread was broken, but still there and only one of the paper tapes on the end supports had gone missing. Working from the length of the thread, it just there to hold the reverb spring from bouncing around. Cheap and sort of effective I guess.
I dug up some nylon sewing thread that my wife said was the strongest in her kit. I wrapped two loops through the razor cuts, tensioned it to "just barely" and put a drop of Titebond on the back to hold it in place.
The end supports and the sensors for the piezo crystals I wrapped in a single layer of kapton tape. It seems to stay put for a long time and doesn't age.
The reverb works surprisingly well with everything held in place and working correctly. It's not fantastic, but if not turned up too high, sounds ok actually.
silvertone 1484 reverb pan repair notes:
Moderators: pompeiisneaks, Colossal
silvertone 1484 reverb pan repair notes:
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solderhead
- Posts: 151
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Re: silvertone 1484 reverb pan repair notes:
^ Nice.
I'm wondering -- where on earth did you find a Silvertone reverb unit in such clean condition? All of the ones I've ever seen have rusty reverb spring assemblies and dirty baseplates. I'm wondering if you found it in that kind of clean condition or if you had to soak the spring assembly in an EDTA bath to get the rust off.
I'm wondering -- where on earth did you find a Silvertone reverb unit in such clean condition? All of the ones I've ever seen have rusty reverb spring assemblies and dirty baseplates. I'm wondering if you found it in that kind of clean condition or if you had to soak the spring assembly in an EDTA bath to get the rust off.
Better tone through mathematics.
Re: silvertone 1484 reverb pan repair notes:
I have the whole unit, head and cabinet. It was stripped of speakers, but it had the full complement of "Silvertone" tubes from 1966, ie, RCA blackplate 6L6GC, Amperex Made in Holland ECC83 and RCA 6CG7 in it. I used the 6L6GC's in my Fender Pro Reverb, till one of them failed anyway.
It's been in my garage for the last 20-something years, waiting its turn. I initially got it, checked it out a little, got it running and set it aside. Just been sitting since. California dry weather I suppose.
The particle wood is banged up pretty good, and it took a good drop at some point as the power transformer mounting ears are bent.
I think I found it at a garage sale, best I can remember.
Need to redo the can cap. I had popped in some ICC capacitors into the voltage doubler I think around 2003 or so to get it running.
Some reason, now seems to be the time to finish it, and do something with it, and/or get it out of the garage.
It's been in my garage for the last 20-something years, waiting its turn. I initially got it, checked it out a little, got it running and set it aside. Just been sitting since. California dry weather I suppose.
The particle wood is banged up pretty good, and it took a good drop at some point as the power transformer mounting ears are bent.
I think I found it at a garage sale, best I can remember.
Need to redo the can cap. I had popped in some ICC capacitors into the voltage doubler I think around 2003 or so to get it running.
Some reason, now seems to be the time to finish it, and do something with it, and/or get it out of the garage.
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Stevem
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- Location: 1/3rd the way out one of the arms of the Milkyway.
Re: silvertone 1484 reverb pan repair notes:
My 1484 was just as clean when I picked it up but for its blown OT.
When I die, I want to go like my Grandfather did, peacefully in his sleep.
Not screaming like the passengers in his car!
Cutting out a man's tongue does not mean he’s a liar, but it does show that you fear the truth he might speak about you!
Not screaming like the passengers in his car!
Cutting out a man's tongue does not mean he’s a liar, but it does show that you fear the truth he might speak about you!
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johnnyreece
- Posts: 1061
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Re: silvertone 1484 reverb pan repair notes:
I'm assuming you've fixed it already, but if not, this particular OT is one that Weber sells a copy of: https://www.tedweber.com/wot1484/
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solderhead
- Posts: 151
- Joined: Thu Jan 16, 2025 5:42 pm
Re: silvertone 1484 reverb pan repair notes:
Do you guys play them much? I haven't played mine since I fixed in in the 90s. Although mine has the RCA blackplates and the Bugle Boys, it's never impressed me and I've only kept it around as a curiosity.
Better tone through mathematics.
Re: silvertone 1484 reverb pan repair notes:
I kind of said, "meh" and set it aside years ago.
The reverb was broken (of course) but electronically, with new caps in the voltage doubler it worked OK though. Then...20-something years of "need to do something with it".
Curiously, this one was factory equipped with almost all orange-drop signal capacitors. And it hadn't been messed with, other than being de-nuded of the Jensen speakers. All the iron is good. After 24 hours of slowly cranking up the voltage, the 3-section can cap reached an acceptable level of leakage current.
The thing with the 1484 is the tone stack. Go run one of the tonestack simulators (James stack) and plug in the values from the 1484 circuit. You'll see where the "meh" comes from. Pretty much, it doesn't do much useful. You can set it for nearly flat, or a big bass hump, or lacking some bass and nearly flat above 200 hz.
If combined with the original C12Q speakers, it would kinda work out. The C12Q can be.... shrill, piercing, unpleasant, especially in a Fender with a bright cap. But two of them in a 1484 is a usable sound, since it will help dial in a bit of mid-scoop that is found in more popular amps.
The reverb, is kinda usable, if the spring unit is working. It is piezo and only single spring. So it only does so much. The reverb control is on the *drive* side and the only control of the recovery side is "off" with the click switch on the knob or the footswitch. So it is all kinda wrong, but with just a touch of it, and the spring working and properly restrained with the black thread (see photos) it produces a passable sound. Zero negative feedback, and with all that midrange, it's a greasy, greasy sound.
The tremolo ain't half bad though. Novel approach to the circuit.
I can see how they sold so many. It is sort of close to a Pro Reverb of the same era, as it too, originally came with a crappy puny output transformer, two 12" speakers, 2 channels and tremolo and reverb.
The Silvertone is of course, made out of self-destructing particle board, and hand-wired rats nest, and a barely-passable reverb mechanism. Brand new, it probably looked nice and certainly, would have been loads cheaper than a Fender, and probably, "just good enough" for jamming or light gigging.
I still need to install a 3-wire cord, redo the can cap, install shorting input jacks (as found in Fenders), a shorting output jack and scrounge up a couple of Jensen speakers, and a whole lot of cabinet repairs.
Perhaps some tweeks of the tone stack to dial in more useful EQ range, and maybe shoehorn in some NFB.
The reverb was broken (of course) but electronically, with new caps in the voltage doubler it worked OK though. Then...20-something years of "need to do something with it".
Curiously, this one was factory equipped with almost all orange-drop signal capacitors. And it hadn't been messed with, other than being de-nuded of the Jensen speakers. All the iron is good. After 24 hours of slowly cranking up the voltage, the 3-section can cap reached an acceptable level of leakage current.
The thing with the 1484 is the tone stack. Go run one of the tonestack simulators (James stack) and plug in the values from the 1484 circuit. You'll see where the "meh" comes from. Pretty much, it doesn't do much useful. You can set it for nearly flat, or a big bass hump, or lacking some bass and nearly flat above 200 hz.
If combined with the original C12Q speakers, it would kinda work out. The C12Q can be.... shrill, piercing, unpleasant, especially in a Fender with a bright cap. But two of them in a 1484 is a usable sound, since it will help dial in a bit of mid-scoop that is found in more popular amps.
The reverb, is kinda usable, if the spring unit is working. It is piezo and only single spring. So it only does so much. The reverb control is on the *drive* side and the only control of the recovery side is "off" with the click switch on the knob or the footswitch. So it is all kinda wrong, but with just a touch of it, and the spring working and properly restrained with the black thread (see photos) it produces a passable sound. Zero negative feedback, and with all that midrange, it's a greasy, greasy sound.
The tremolo ain't half bad though. Novel approach to the circuit.
I can see how they sold so many. It is sort of close to a Pro Reverb of the same era, as it too, originally came with a crappy puny output transformer, two 12" speakers, 2 channels and tremolo and reverb.
The Silvertone is of course, made out of self-destructing particle board, and hand-wired rats nest, and a barely-passable reverb mechanism. Brand new, it probably looked nice and certainly, would have been loads cheaper than a Fender, and probably, "just good enough" for jamming or light gigging.
I still need to install a 3-wire cord, redo the can cap, install shorting input jacks (as found in Fenders), a shorting output jack and scrounge up a couple of Jensen speakers, and a whole lot of cabinet repairs.
Perhaps some tweeks of the tone stack to dial in more useful EQ range, and maybe shoehorn in some NFB.
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Stevem
- Posts: 4988
- Joined: Fri Jan 24, 2014 3:01 pm
- Location: 1/3rd the way out one of the arms of the Milkyway.
Re: silvertone 1484 reverb pan repair notes:
Yes, I put a big Hammond OT in mine.
I could only bolt down 3 of the feet but it’s fine since I never gig with the amp only record.
I could only bolt down 3 of the feet but it’s fine since I never gig with the amp only record.
When I die, I want to go like my Grandfather did, peacefully in his sleep.
Not screaming like the passengers in his car!
Cutting out a man's tongue does not mean he’s a liar, but it does show that you fear the truth he might speak about you!
Not screaming like the passengers in his car!
Cutting out a man's tongue does not mean he’s a liar, but it does show that you fear the truth he might speak about you!
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solderhead
- Posts: 151
- Joined: Thu Jan 16, 2025 5:42 pm
Re: silvertone 1484 reverb pan repair notes:
"Meh." My sentiments exactly.
My little 1484 has been waiting it's turn in line for 25-30 years now and I'm afraid it's gong to keep on waiting for a very, very long time. There are just so many other circuits that seem like a better use of my time that I leave the 1484 in storage where it is out of sight and out of mind.
I got my 1484 as a head only. It was abandoned because of an intermittent ground causing cut-outs. Whoever abandoned it kept the cabinet and abandoned the head. Based on how filthy it was, I'm guessing that had to be back in the 1960s. I think it was left behind on stage at a fraternal organization by some performer who didn't want to pay to repair a cheap amp when it failed. It got moved into a boiler room for storage but the owner never came back for it. It sat there for decades getting caked in dirt, grime and plaster dust. When I found it in the 90s it had to have been sitting on a shelf in that boiler room for 30+ years and it was a filthy mess. It was getting thrown away to clear the room when the boiler needed to be replaced and I saved it from the dumpster.
The intermittent ground turned out to be a loose volume pot as the ground connection was made by bolting the pot to the chassis, and the nut on the pot had become so loose that the pot began to wobble and signal was cutting out. My fix for the amp amounted to tightening the nut to fix the ground problem. After that everything else but the reverb checked out OK but the amp was still a big "Meh." The tone of the amp was so mediocre that I never bothered to fix the reverb. I had too many other great sounding amps to give it any time so it got shelved for a couple more decades. It's still waiting for me.
If I were smart I would have tuned it up and sold it when the White Stripes exploded on the music scene and Twin Twelves skyrocketed in price. I was just too busy to bother. The heads are now worth about 1/3 of what they were worth at their peak. I keep the amp around as an example of the era when American manufacturing with PTP construction was actually inexpensive enough that it could be used for bottom-tier amps that you'd find in the Sears catalog.
I never understood why people liked the amp. What they hear as "creamy milkshake distortion" sounds like muffled indistinct darkness to me. Admittedly, I've never tried it with the original Jensen speakers, but it sounded dark and without clarity even with EV or Celestion speakers, so back on the shelf it went...
That little OT was definitely a weak point. I always blamed it for saturating away the top end of the signal, but maybe that was a tonestack issue. In the era of cranked amps those undersized OT commonly failed and people replaced them with something more robust as they began to hot-rod the amps. All of that amounted to moving the point of failure somewhere else in the amp. My recollection is that these amps were never robust and everyone who tried to hot rod them back in the day ended up with a problem child.
Thank you for posting the info on the reverb fix.
My little 1484 has been waiting it's turn in line for 25-30 years now and I'm afraid it's gong to keep on waiting for a very, very long time. There are just so many other circuits that seem like a better use of my time that I leave the 1484 in storage where it is out of sight and out of mind.
I got my 1484 as a head only. It was abandoned because of an intermittent ground causing cut-outs. Whoever abandoned it kept the cabinet and abandoned the head. Based on how filthy it was, I'm guessing that had to be back in the 1960s. I think it was left behind on stage at a fraternal organization by some performer who didn't want to pay to repair a cheap amp when it failed. It got moved into a boiler room for storage but the owner never came back for it. It sat there for decades getting caked in dirt, grime and plaster dust. When I found it in the 90s it had to have been sitting on a shelf in that boiler room for 30+ years and it was a filthy mess. It was getting thrown away to clear the room when the boiler needed to be replaced and I saved it from the dumpster.
The intermittent ground turned out to be a loose volume pot as the ground connection was made by bolting the pot to the chassis, and the nut on the pot had become so loose that the pot began to wobble and signal was cutting out. My fix for the amp amounted to tightening the nut to fix the ground problem. After that everything else but the reverb checked out OK but the amp was still a big "Meh." The tone of the amp was so mediocre that I never bothered to fix the reverb. I had too many other great sounding amps to give it any time so it got shelved for a couple more decades. It's still waiting for me.
If I were smart I would have tuned it up and sold it when the White Stripes exploded on the music scene and Twin Twelves skyrocketed in price. I was just too busy to bother. The heads are now worth about 1/3 of what they were worth at their peak. I keep the amp around as an example of the era when American manufacturing with PTP construction was actually inexpensive enough that it could be used for bottom-tier amps that you'd find in the Sears catalog.
I never understood why people liked the amp. What they hear as "creamy milkshake distortion" sounds like muffled indistinct darkness to me. Admittedly, I've never tried it with the original Jensen speakers, but it sounded dark and without clarity even with EV or Celestion speakers, so back on the shelf it went...
That little OT was definitely a weak point. I always blamed it for saturating away the top end of the signal, but maybe that was a tonestack issue. In the era of cranked amps those undersized OT commonly failed and people replaced them with something more robust as they began to hot-rod the amps. All of that amounted to moving the point of failure somewhere else in the amp. My recollection is that these amps were never robust and everyone who tried to hot rod them back in the day ended up with a problem child.
Thank you for posting the info on the reverb fix.
Better tone through mathematics.
Re: silvertone 1484 reverb pan repair notes:
Still working on mine. The knobs got a dunk in the ultra-sonic cleaner and came out nice and clean. I found the knobs all had a dab of shellac in them to keep them on the pots. I figured I'd be in for loose knobs, but once all back together, nice and tight. Don't think I've seen shellac on pot-shafts before, but it ain't a bad idea.
Pulled the faceplate off to clean it and everything under it. So it is looking pretty good now.
Did some more rummaging around my parts and found I had a 1-inch, 3-section can cap I had made for a Magnatone project (basket case from a flood, but the amp works) that's also in the multi-year queue. Turns out it was a good fit for the 1484. It's been around a few years too, but I let it form up at rated 450vdc for several hours without any drama and then installed it.
I'm still working through the amp stage by stage, but it is working pretty well. No mods, just fixes, yet anyway. Running it into a 2x10" cabinet with 2 Reverend Alltone 1030 speakers in it.
I want to change the input jacks to grounding/switching type like typical Fender amps. Probably same for the speaker jack to prevent damage if operated without a speaker. Still need a grounded cord, but I'm out of Heyco strain reliefs.
The 1484 is kind of dark tone-wise, but honestly, it's not bad. I'll crank it up loud tomorrow and see how it does. May take it out to a jam pretty soon.
Pulled the faceplate off to clean it and everything under it. So it is looking pretty good now.
Did some more rummaging around my parts and found I had a 1-inch, 3-section can cap I had made for a Magnatone project (basket case from a flood, but the amp works) that's also in the multi-year queue. Turns out it was a good fit for the 1484. It's been around a few years too, but I let it form up at rated 450vdc for several hours without any drama and then installed it.
I'm still working through the amp stage by stage, but it is working pretty well. No mods, just fixes, yet anyway. Running it into a 2x10" cabinet with 2 Reverend Alltone 1030 speakers in it.
I want to change the input jacks to grounding/switching type like typical Fender amps. Probably same for the speaker jack to prevent damage if operated without a speaker. Still need a grounded cord, but I'm out of Heyco strain reliefs.
The 1484 is kind of dark tone-wise, but honestly, it's not bad. I'll crank it up loud tomorrow and see how it does. May take it out to a jam pretty soon.
Re: silvertone 1484 reverb pan repair notes:
Did some more work, hunted down a bad ceramic capacitor and a couple of off-value resistors.
Wow, this thing is strong and loud. Through the 2x10 cabinet, it is punchy and strong, actually quite good and usable. Maybe even too loud for today's world.
The trick to dealing with a small output transformer is to balance the output tubes for as little DC imbalance between the windings as possible. Small core means not much margin for magnetic saturation, which comes from static imbalance between the push-pull pair of output tubes.
Even the reverb is actually pretty decent surprisingly.
I'll have to experiment with an overdrive pedal and a power soak and channel jumping to see what it responds to best.
I wish the cabinet for the head and speaker wasn't such a mess. I'd like to find covering material that's similar to the original. The pressed chipboard has about as much structural strength as a tater-tot.
Wow, this thing is strong and loud. Through the 2x10 cabinet, it is punchy and strong, actually quite good and usable. Maybe even too loud for today's world.
The trick to dealing with a small output transformer is to balance the output tubes for as little DC imbalance between the windings as possible. Small core means not much margin for magnetic saturation, which comes from static imbalance between the push-pull pair of output tubes.
Even the reverb is actually pretty decent surprisingly.
I'll have to experiment with an overdrive pedal and a power soak and channel jumping to see what it responds to best.
I wish the cabinet for the head and speaker wasn't such a mess. I'd like to find covering material that's similar to the original. The pressed chipboard has about as much structural strength as a tater-tot.
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solderhead
- Posts: 151
- Joined: Thu Jan 16, 2025 5:42 pm
Re: silvertone 1484 reverb pan repair notes:
My 1484 head was caked in so much plaster and dirt when I found it that it was hard to recognize it as what it was. I had to scrub the tolex aggressively with soap, water and a brush to get it clean. The tolex held up well and cleaned up nicely. for a while I had thoughts about building a reproduction of the missing 2x12 cab, so I looked for a matching covering for a cabinet and came to the conclusion that it was a lost cause. One of the reasons that I lost enthusiasm for the restoration project was the higher demand for head/cab systems among collectors, and the lower demand for solo heads. To this day I've never seen a similar grey salt and pepper tolex. FWIW I've been keeping my eye out for that since the 90s.
With fresh caps and in-spec resistors I don't have any doubts that 475 VDC on a pair of 6L6 is going to be damned loud. If you're not adjusting the line down to 117 VAC input voltage I suspect that with 125 VAC the B+ could run as high as 507 VDC. Yikes!
I do remember the amp being roaringly loud but not particularly musical. If you've done a complete restoration it would be interesting to map the frequency response of the amp, either by doing the math on the circuit or just sweeping the amp if you have the right test equipment. I've never heard one of these amps knowing that it's had a full restoration, I've only heard amps with an uncertain service record. I've always thought that the undersized OT was responsible for the dark tone and I never gave much thought to the tone stack. It would be interesting to know how your experiments pan out once all of the RC filters are restored to spec.
I'm risk averse when it comes to that amp. That is to say, I'm just too chicken to try running that amp into an attenuator. To me that sounds like an easy way to blow the undersized OT. These amps have a reputation for that and I don't want to go there. Repro iron tends to cost more than the amp is worth and it's easy to get upside down on one of these amps.
I've heard a lot of nightmare stories about these amps failing when people tried to press them into service for gigging. It would be interesting to know whether the high failure rates were being suffered by people who were not aware of the line voltage / B+ problem and weren't taking steps to control it. I think that a variac or a bucking transformer are going to be necessary to protect the amp, especially if you plan on driving an attenuator.
With fresh caps and in-spec resistors I don't have any doubts that 475 VDC on a pair of 6L6 is going to be damned loud. If you're not adjusting the line down to 117 VAC input voltage I suspect that with 125 VAC the B+ could run as high as 507 VDC. Yikes!
I do remember the amp being roaringly loud but not particularly musical. If you've done a complete restoration it would be interesting to map the frequency response of the amp, either by doing the math on the circuit or just sweeping the amp if you have the right test equipment. I've never heard one of these amps knowing that it's had a full restoration, I've only heard amps with an uncertain service record. I've always thought that the undersized OT was responsible for the dark tone and I never gave much thought to the tone stack. It would be interesting to know how your experiments pan out once all of the RC filters are restored to spec.
I'm risk averse when it comes to that amp. That is to say, I'm just too chicken to try running that amp into an attenuator. To me that sounds like an easy way to blow the undersized OT. These amps have a reputation for that and I don't want to go there. Repro iron tends to cost more than the amp is worth and it's easy to get upside down on one of these amps.
I've heard a lot of nightmare stories about these amps failing when people tried to press them into service for gigging. It would be interesting to know whether the high failure rates were being suffered by people who were not aware of the line voltage / B+ problem and weren't taking steps to control it. I think that a variac or a bucking transformer are going to be necessary to protect the amp, especially if you plan on driving an attenuator.
Better tone through mathematics.
Re: silvertone 1484 reverb pan repair notes:
Design center input voltage for the power transformer in mine appears to be 120vac on the mains, as evidenced by 6.33 vac on the filaments and the B+ hits about 475 at the OPT center tap. The screens are powered off of a lower tap on the voltage multiplier, I'm seeing about 335v at the screens. Idle current on a pair of Sovtek 6L6WXT is about 37ma, about 17.5 watts of idle plate dissipation, so on the cool side.
It got a grounded cord and Fender style Hi/Lo input jacks with ground switching instead of the open jacks today. Little less hum with nothing going into it with the input jacks rewired. There's some, cause it's kind of a mess wire-wise and the power transformer is right in the middle of the chassis.
At low volume, it is kind of dark. No bright cap on the volumes. Set louder, it gets crisper and punchy.
I built a voltage bucker for my 1960 5F6A and tweed Tremolux, but given what I measured, I'm not afraid to run this 1484 straight off the wall.
It got a grounded cord and Fender style Hi/Lo input jacks with ground switching instead of the open jacks today. Little less hum with nothing going into it with the input jacks rewired. There's some, cause it's kind of a mess wire-wise and the power transformer is right in the middle of the chassis.
At low volume, it is kind of dark. No bright cap on the volumes. Set louder, it gets crisper and punchy.
I built a voltage bucker for my 1960 5F6A and tweed Tremolux, but given what I measured, I'm not afraid to run this 1484 straight off the wall.
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solderhead
- Posts: 151
- Joined: Thu Jan 16, 2025 5:42 pm
Re: silvertone 1484 reverb pan repair notes:
Silvertone ran the amps at plate voltages of 475 VDC with a 117VAC input, which puts the amp near the 500 VDC absolute design limit for Va on the 6L6GC. I haven't taken any measurements recently, I only mentioned 117 VAC because that was the original spec in the service manual. According to the documents that 117 VAC input should yield 480 VDC at the OT center tap. That's close to the Va limit for the 6L6GC before even adjusting for modern wall voltages.
With the amp on the bench you obviously have better data than I do. I don't know how high your wall voltages run, but I typically see 125 VAC. If everything works as it is supposed to, with my wall power that should add 7% to voltages that are already high enough to be way beyond design center values for 6L6GC and pushing the absolute limits. I agree that the heater voltage is a good metric for assessing the transformer, but I'm still chicken about what could end up being over 500 VDC plate to cathode voltage. For current production tubes JJ lists the limiting value of Va on their 6L6GC as being 500 VDC, so I'd use caution.
JJ 6L6GC spec sheet: https://www.eurotubes.com/store/pc/cata ... GCspec.jpg
The Service Manual seems to be a little more cavalier about wall voltages, and they don't seem to have reservations about pushing the 6L6GC to it's limits. The manual says:
With the amp on the bench you obviously have better data than I do. I don't know how high your wall voltages run, but I typically see 125 VAC. If everything works as it is supposed to, with my wall power that should add 7% to voltages that are already high enough to be way beyond design center values for 6L6GC and pushing the absolute limits. I agree that the heater voltage is a good metric for assessing the transformer, but I'm still chicken about what could end up being over 500 VDC plate to cathode voltage. For current production tubes JJ lists the limiting value of Va on their 6L6GC as being 500 VDC, so I'd use caution.
JJ 6L6GC spec sheet: https://www.eurotubes.com/store/pc/cata ... GCspec.jpg
The Service Manual seems to be a little more cavalier about wall voltages, and they don't seem to have reservations about pushing the 6L6GC to it's limits. The manual says:
Evidently, they weren't too concerned about it and thought that 125 VAC would not be a problem with the quality of 6L6GC that were available in the 1960s.POWER SUPPLY ... CAUTION. This amplifier is designed for operation from 105-125 volt, 60 cycle A.C. Never connect to a power supply having a different voltage or frequency.
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Better tone through mathematics.
Re: silvertone 1484 reverb pan repair notes:
Well, my 1484 is done, amp and speaker cabinet. Got a decent price on a pair of used Jensen C12Q (the new ones made in Italy). I had a remnant of aged Fender blackface style grill cloth to replace the dirty burlap someone put in long ago, and of course, some PITA masonite repairs on the baffle board.
I like it better with a 2x10 cabinet I have loaded with Reverend All-Tone 1030's (from the early 2000's). Warmer and punchier.
The modern C12Q's are pretty darn bright, and less efficient than the vintage C12Q's, which are also pretty bright.
My wall voltage is 122.5 at the moment, and the B+ is only 472v.
All in all, pretty rocking amp, and the reverb is actually reasonably usable and I like the tremolo. Optical type, but in the circuit at a different point in the preamp.
Only mod I did was to use shunting input jacks, wired in the Fender manner. I found it helpful with humbuckers, as the low-voltage preamp stages seem to be easily overdriven in the 1484.
I like it better with a 2x10 cabinet I have loaded with Reverend All-Tone 1030's (from the early 2000's). Warmer and punchier.
The modern C12Q's are pretty darn bright, and less efficient than the vintage C12Q's, which are also pretty bright.
My wall voltage is 122.5 at the moment, and the B+ is only 472v.
All in all, pretty rocking amp, and the reverb is actually reasonably usable and I like the tremolo. Optical type, but in the circuit at a different point in the preamp.
Only mod I did was to use shunting input jacks, wired in the Fender manner. I found it helpful with humbuckers, as the low-voltage preamp stages seem to be easily overdriven in the 1484.