Everything Guitar Network Shop Mods!Copperhead Audio Electronics CapacitorsUpgrade Fender Tube Guitar Amplifiers

Everything Guitar Network

Brevis...

Price: variable

Likes: clean up your amp sound

Dislikes: someone has to install ‘em

Wow Factor: clean, more open tone

More Info: Copperhead Audio

by John Gatski

  Like the hot-rodding of cars that has gone on for as long as there have been cars, guitar amp hacks and mods have been pursued for that ultimate “golden tone.“ Most mods from amp specialists or the tech-savvy do-it-yourself-er are designed to give that vintage tube tone from the 1950s-60s, the so called "golden age."

  The Copperhead Audio custom capacitors are designed, according to Owner Doug Weisbrod, to improve the tone of any amplifier — from a Fender Tweed to Silverface, to Marshall JCM’s and everything in between. Yes, even the new Fender reissues — such as the Deluxe, Twin and Princeton Reverb 65’s — are candidates.

 These custom cap kits were developed, according to Weisbrod, because amplifier mod/repair customers were constantly asking him if there were small signal capacitors available that would be upgrades for the stock capacitors.

CAE offers custom voicing caps in different values

  In the audio capacitor world, there are the “audiophile capacitors.” “orange drops,” stock replacements like “Illinois Capacitors,” and recreations of the “Fender Blues,” and the “Marshall mustard's.” That’s about it. The replacements are cheap metal film types and the recreations suffer from the same flaws as the originals. The “audiophile capacitors” are often poorly made, standard manufacture variety that offer little in the way of sonic improvements. They are just made from more expensive materials, that may offer some benefit, but they do not take advantage of construction techniques that will make them  the best in terms of sound.

  The effect of tone capacitors on guitar amp tone is significant, yet subjective. One kind of tone may be liked by one owner, but the next guy may not like it at all. That is why making a good cap that has wide appeal is tricky.

Bit by the Copperhead

  Capacitors are an integral part of many audio components including guitar amps. They are used in the power supply, phase coupling and tone stages of tube guitar amplifiers. Most capacitors are made from electrolytic, film and foil, metalized film, ceramic or mica.

  Copperhead Audio capacitors are made from a special material formula created by Weisbrod, and are claimed to the lower the Equivalent Series Resistance (ESR), Dielectric Absorption and Corona effect, all of which Weisbrod believes can negatively affect the sound of an audio circuit.

A CAE Fender amp "cap" mod kit

  Tone cap mods in guitar amps have been offered for many years, but Weisbrod said the Copperhead caps open up the midrange/treble sound of an amp — with a significant smoothing  — and the change tightens the bass to the point that you can turn up the tone controls to lessen the filtering effect when it is used extensively. Copperhead Audio capacitors also increase sustain by reducing ESR and mechanical distortion when the part is under load, Weisbrod added.

The upgrade

  So the guinea pig for the Copperhead mod was my 1966 blackface Deluxe Reverb (AB763). Doug had done a basic tune up, a year before, which was mostly filter cap replacement and a few resistors. With a Jensen Neodymium speaker and stock value tubes, the Deluxe Reverb sounded like a typical BF Deluxe, but I could never use the treble control to open up the sound because the midrange sound gets too hard. Most stock Deluxe Reverbs sound the same in stock form.

  With the Copperhead cap mod, Doug replaced all the tubes, and replaced all the tone and bypass caps with the Copperheads.  He only did just the reverb channel, since it is more widely used in the Deluxe Reverb amps. According to Weisbrod, my Deluxe Reverb amplifier was received with the original Fender “Blue” capacitors. Also original ceramic values of .47pF (Bright) and .10pF (Reverb Filter) were there. There was one non-original capacitor which was a .01uF “Orange Drop” at the phase inverter input. That should have been a ceramic .001uF.

  The Copperhead mod’s sonic improvement becomes more evident as you turn up the amp. In stock form, the congested dynamics of the 6V6’s limited output, combined with stock caps, made for reduced dynamics. The Copperhead mod’s sonic output was not so grungy.

  Ultimately, Weisbrod did two rounds of mods: Round 1 — the Fender “Blues” were replaced with the CAE Coppers. The non-original Orange Drop was swapped with a CAE Black .001uF. The ceramic .47pF and .10pF were replaced with Silver Mica. Doug said Ceramic and Silver Mica both have a gritty audio nature and have both been used by Fender over the years. Silver Mica has a lower ESR and, therefore, allows a bit more sustain. Silver Mica caps are also more expensive than ceramic types — which is why Fender prefers to use ceramics. Currently there is no film and foil improvement for these values — with the exception of the old Phillips film and foil polystyrene and aluminum capacitors. While these are better-sounding materials than Silver Mica or Ceramic, they have a variably higher ESR, since the leads are “laid in” rather than soldered — making the internal lead connection resistance rather high.

Initial impressions

  To make sure that the tube change was not changing the sonic variable more than the caps in the Deluxe, I listened to the mod with the old tubes and the new tubes. Other than taming some noise, the tubes did not make that much difference. After the first phase of the mod, I played the Deluxe with a number of guitars using my normal demo Wireworld Micro-Solstice guitar cable, the most transparent cable I have ever used (excellent high frequency extension and zero microphonics). Guitars included the first-year production Fender Mark Knopfler Stratocaster with Fender 60th anniversary ’54 pickups, a 2001 American Series Telecaster and a modified 2008 Gibson  Les Paul Studio (Seth Lover pickups and a Bumblebee Cap kit /CTS pot upgrade).

  Upon playing the Knopfler Strat, I immediately noticed a tighter, focused sound from the 50-year old Deluxe using the CAE caps. I could finally turn up the treble controls without it sounding so harsh. Upper-end detail from lead picking, as well as bridge pickup rhythm, was so much more apparent with the cap upgrade.

  On the negative side, the amp lost a bit of the compressed warmth sound that the blackface are noted for, and there was still a tinge of midrange grittiness. I enjoyed the openness and the ability to use the tone control, but I wanted back some of that 6V6 character. A delicate balance, to be sure, but I was confident that Doug could get me there.

Tweaking the caps

  On the second round, the Silver Mica .250pF treble input capacitor was replaced with a CAE Black in both channels.  Doug said that during this round of cap tweaking, he made a switch to the CAE Black .250pF, which he believed would cure the midrange grittiness of the stock .250 pF Silver Mica cap.

  After a week of tweaking the Deluxe, Doug returned it to me for good. And wow, what a difference the final selection of tone caps made! As mentioned, the bass was much tighter, yet full,  to the point where you could actually turn the control to  “5.” The same with the treble control. The high-mid and low-treble opened up, as I could hear more string/pickup harmonics, yet it retained the vintage tune smoothing that we all love in a Fender BF.

  Upon playing the Knopfler Strat, I immediately noticed a tighter, focused sound from the 50-year old Deluxe using the CAE caps. I could finally turn up the treble controls without it sounding so harsh. Upper-end detail from lead picking, as well as bridge pickup rhythm, was so much more apparent with the cap upgrade.

  It took me a while to dial in exactly where my favorite tone control positions needed to be with different guitars — since the old settings no longer applied. Instead of treble between 2 and 3, it could now run at 4-5, depending on guitar. The bass I could now run at 5 without the flabby tone that the old caps imparted. This also improved the lower-mid’s impression.

  On all guitars, the opening up the top allowed me to hear more of the guitar, and less of the filter effect of the stock cap amp circuit. My Yamaha SA-2100 ‘335 clone, with Seymour Duncan Seth Lover humbuckers, really came alive with the Copperhead mod, less midrange edge and more air, yet still classic tube.

  The Mark Knopfler Strat — with the limited edition Anniversary 54 pickups, the best set of Strat pickups ever made (IMHO) — rang like a bell with the cap upgrade. BTW, the Copperhead mod’s sonic improvement becomes more evident as you turn up the amp. In stock form, the congested dynamics of the 6V6’s limited output, combined with stock caps, made for reduced dynamics. The Copperhead mod’s sonic output was not so grungy. Shall I dare say, the old Deluxe was, er, articulate. If you swap out the 6V6’s for a set of 6L6’s and rebias (which I did try), the dynamics improve even further.

The verdict

  The Copperhead capacitor modification for the vintage 1965 Fender Deluxe Reverb reverb channel resulted in a nearly perfect balance of vintage, yet truer-to-the-guitar/pickup tone, than the stock, replacement tone caps that were in the amp. The parts cost, excluding new tubes, was $240, the labor was another $200. But that is with Copperhead Audio doing the actual work. Do-it-yourself-ers can save the $200, and according to Weisbrod, those who are handy with a soldering iron and can read a schematic, it is pretty easy to swap out the caps.

  All types of guitar and pickup combinations revealed the improved sonic transmission of the Copperhead Cap mod, including the Les Paul, a P90-equipped SG Special, Gibson L5 jazz guitar, and Telecaster. The upper-end harmonics of my Mark Knopfler Stratocaster showed a marked decrease in mid harshness, but yet had a more-open top-end without being edgy. You could turn up the tone control and let through more treble. Equally impressive was the dynamic tightening of the bass, which also allowed me to turn up the bass tone control.

  Kudos to Copperhead Owner Doug Weisbrod for coming up with an inexpensive way (if you do the work yourself) to improve the tone of classic and modern amps. I can’t wait to try the mod in a modern amp, such as an Orange or Marshall. This cap kit is an Everything Guitar Network Grade A Award winner.

  Copperhead Electronics is located in Manassas, Va. The web site is http://www.copperheadaudioengineering.com. Phone number is 540-439-3162. ©All original articles on this site are the intellectual property of the Everything Guitar Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Wireless Guitar System Review!Sony DWZ-B30GB Transmitter/Receiver"Entry-Level Wireless Relays Clean Audio"

Brevis...

Price: $499 Retail

Like: •Exceptional Audio Quality,

•Robust Build-Quality, •Six Channels

Dislike: •No Functional Complaints

More info: DWZ-B30GB 

by John Gatski

  Wireless guitar systems have improved so much in the last few years that plugging-in now means attaching a little box on your belt with a small locking cable and a receiver box placed near your amplifier. No longer is it necessary to run a big, long cable into your amplifier or rack of pedals. Even in the studio, wireless boxes make it much more convenient.**A textbook example of how-to-do-it-right in a high quality wireless transmitter/receiver system is Sony's DWZ-B30GB, a low-cost setup that performs with DW’s that cost twice the price. 

Features

  Contained in a belt clip transmitter/standard-sized receiver set, the Sony DWZ-B30GB Wireless system allows guitar players to relay their precious signal via**a 24-bit/2.4 GHz wireless signal with six user selectable channels. At $499 retail, the package is perfect for onstage players for acoustic or electric guitar who want a more upper-echelon signal delivery at a not over-the-top price.

  The easy-to-attach, belt-clipped, compact ZTX-B01 transmitter (3-inches tall by 2.5 inches wide), connects to a guitar — via 1-meter 1/4-inch-to-1/8-inch locking connector cable. The front panel contains a small channel indicator, channel selector button and a power button. The screw-on belt clip is a sturdy metal design that gripped my belt pretty well.

Belt-attached transmitter

 The transmitter runs on two AA batteries. The transmitter contains a mic/instrument switch to allow use of a dynamic mic, as well as a guitar. An attenuator switch enables three gain schemes: (0 dB, -10 dB and -20 dB). A top-mounted lock/unlock switch enables the user to prevent accidental adjustments during a performance.

**The six frequencies range from 2.4022 GHz to 2.47825 GHz and a narrow/wide switch allows tuning to a slice of the frequencies that is less susceptible to interference from similar wireless signals.

The receiver

  The ZRX-C30 receiver unit features balanced XLR, 1/4-inch instrument level outputs, as well as a handy 1/4-inch tuner output. Onboard controls include cable selector (1a through 1b), which is a cable “tone” generator that simulates the “sound” of a real cable, from 1 meter to 25 meters; the onboard DSP progressively rolls off the high frequency as you select the larger number.

**A USB jack is contained on both the transmitter and receiver, but no explanation in the manual. I figured it is used for software updates, which was confirmed by Sony.

Full-featured receiver

**The ZRX-C30 includes LEDs for the power, transmitter/receiver RF connection and the receiver’s receipt of audio. The receiver is powered by a 9V battery or an included 12V adapter.

  The kit includes the transmitter cable, AC adapter, belt clip and CD and paper manuals. Overall, for an entry-level wireless system, the Sony DWZ-B30GB build is robust — with its metal enclosures and sturdy switches. You can buy cheaper, but not with this quality.

The audition

  I used the wireless in my home studio with my rig of guitar amps, as well as straight into my mixer and into an A/D converter, recording straight at 24-bit. Guitars included a Gibson Les Paul Studio equipped with Seymour Duncan Seth Lover humbucker pickups, a standard Fender Telecaster American Series, a Mark Knopfler Custom Strat with Custom Shop 57/62 single-coil pickups and a Gibson L5CES with Classic ‘57 humbucker pickups. I also hooked up a mono channel output from my Nord Electro-3 (Hammond B3 mode) to wirelessly transmit a signal to a Fender Twin Reverb combo amp.

  To test the robustness around other wireless signals, I also turned on an older wireless mic system at the same frequency, thus, giving me the chance to use the DWB30GB’s narrow frequency mode.

The Sony DWZ-B30GB is a first-rate, digital wireless system for those who need just a single-channel input/output. Its robust digital, 24-bit signal was as clean as the proverbial digital audio whistle.

  As a basic, single-channel wireless system, the Sony DWZ-B30GB worked like a charm. The first thing I noticed was how clean and extended the signal was. My old vintage style 20 ft. cable often picks up room noise from other components, which gets magnified through the tube guitar amps. The Sony wireless was much cleaner, and with more dynamic punch to the audio. The humbucker pickup guitars had much more audible high-end attack, yet without losing their inherent warmness; this wireless sounds great. Driving the overdrive mode in a Line 6 amp with the Les Paul, also sounded more distinct with less mush than with my vintage cord. Only high-end music cords give me this kind of sound.

  Delay was negligible, and any interference from the other wireless was nil when I flipped the Sony DWZ-B30GB to the narrow mode. I never had a drop out in close or when moving into another room.

  My extreme distance test for Sony DWB30GB was playing the guitar from the top level of my five level Cape Cod house. I wanted to record a really loud, distortion track through a Line 6 amp — without blowing out my ears; playing five floors away was an effective way to “play it loud.” I hit record, went to the top floor, played the riff, then went back to the recorder to play it back. The recording was spot-on with no drops out or audible anomalies. Talk about a long distance track.

 As a basic, single-channel wireless system, the Sony DWZ-B30GB worked like a charm. The first thing I noticed was how clean and extended the signal was. My old vintage style 20 ft. cable often picks up room noise from other components, which gets magnified through the tube guitar amps. The Sony wireless was much cleaner.

  If you want to muddy up the sound like a cheap, long cable, the cable tone dial changes the sound, and successive clicks roll off the high frequency. However, because a digital wireless’ virtue is its clean, full bandwidth delivery, I was much more interested in that sound than the dirtied up sound of the cable simulator circuit.

  Using the Nord keyboard in the Wurlitzer electric piano mode and the Sony wireless, through a mono output, I was able to relay the signal across a 20 ft. room with any wires. Yay!. And again, the sound was super clean through the Fender Twin Reverb reissue — with a tighter, more distinct upper midrange and treble than the standard 25 ft. cable I usually use.

  With its mic mode, I did a bit of singing through an Audix I5 dynamic plugged into the ZTX-B01 transmitter. Again, the dynamics, and low noise of the digital system were readily apparent. The sound was extremely tight, versus the 25 ft. Whirlwind cable.

**The Sony DWZ-B30GB ergonomics are first rate, as well, with the included cords and easy access to the battery compartments. The locking, guitar-to-transmitter cord worked perfectly. Battery life was robust as well. In fact, I had no complaints with the Sony DWB30GB. Well, maybe just the yellow legend around the dials. But that has nothing to do with its performance.

The verdict

  The Sony DWZ-B30GB is a first-rate, digital wireless system for those who need just a single-channel input/output. Its robust digital, 24-bit signal was as clean as the proverbial digital audio whistle, even in the narrow mode, and it could transmit from considerable distance. For its mic or instrument transmission capabilities and fine performance, I also gave the Sony DWB30GB an Everything Guitar Network Grade A Award.

©All original articles on this site are the intellectual property of the Everything Guitar Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Acoustic Guitar Review!New Martin D18 Standard Dreadnaught:“Mahogany/Spruce Favorite Gets New Vibe”

Brevis...

Price: $2,899 Retail

Like: More bass, comfy neck

Dislike: this one had tight tuners

More info: Martin New D18 Standard

by John Gatski

  From the late 1930s, the standard bearer for mahogany dreadnaught acoustic guitars was the non-scalloped, braced Martin D18. From Bluegrass, Folk, and Country to Progressive rock, the D18’s cutting, crisp tone and rhythmic could do it all.

  For 2012, the D18 finally receives key performance upgrades that improves playability and gives it enhanced bass response and loudness — right out of the case. For the first time in 70+ years, there is no longer a standard, non-scalloped braced D-18; the new D-18 Standard, retail priced at $2,899, gets the forward-shifted bracing of the old D-18V. Couple that new bracing pattern with the new Modified Low-Oval/High Performance neck dimensions from the Performing Artist Series, and you got yourself one great USA-made acoustic guitar.

Features

  The new D18 Standard’s main ingredients are the premium sitka spruce top and genuine mahogany back and sides. A mahogany (or Spanish cedar) neck and ebony fretboard and bridge complete the wood trimmings. Other changes include the Modified Low-Oval/High Performance neck, brown tortoise shell pick guard and open tuners. Dimensions are typical of C.F. Martin dreadnoughts including the versatile 25.4-inch scale neck length.

  The key difference between the new D18 and the old standard is the bracing. Whereas the old D18 used the long-running, non-scalloped X-bracing pattern that crossed about 1.5 inches from the sound hole. The new D18 gets the bracing from vintage D18V (no longer made). The vintage 18-style bracing crosses 1-inch from the sound hole and is scalloped to allow for more vibration of the top. The bracing is based on the late 1930s Martin dreadnaught X-brace pattern. The new D18 also gets a vintage-spec bridge plate, which also enhances the volume of the top.
  The body is sprayed with a slightly tinted vintage toner and finished with the classic Martin nitrocellulose over coat. The neck is finished with a satin toner. The black pick guard from the old Standard also has been changed on the new D18 Standard. It is now the tortoise-shell style, stick-on pick guard — seen on various models in various vintage models. I think the tortoise shell color pick guard looks more classic than the old black version, which is still used on the D28 Standard.

With the new version's sonic improvements, enhanced midrange projection and fuller bass, thanks to the vintage-style braces, the D18 is now even better.

  Neck-wise, the D18 Standard is now equipped with the new neck dimensions that first showed up in Martin’s Performing Artists Series guitars. Based on my sample, the new D18’s Modified Low-Oval/High Performance neck is much easier to play with a medium action saddle than the older standard neck D18s. In fact, it was a joy to play. Much less of the medium-string tensioned, finger fatigue of the old standard neck when using a higher action saddle. The new neck feels perfect for strumming or flat picking. 
  Spec-wise, the 25.4-inch scale length neck measures 1-3/4 inches wide at the nut and 2-1/8 inches wide at the 12th fret. String spacing at the bridge is 2-3/16 inches. The neck‘s outer dimensions result in a slimmer taper at the 12th fret, making the new D18 much more comfortable than the old standard neck, which is still used on many of the standard Martin rosewood models, including my beloved J40. With the new neck, however, my hand did not feel as cramped, especially in the first five frets, and it allowed for faster chord changes and fretted notes. The neck on my new D18 Standard review sample was as comfortable as any Taylor I have played with medium strings.

No more black pick guard

  As previously mentioned, the bracing is vintage, forward-shifted, scalloped sitka spruce x-style that crosses one inch from the sound hole. This bracing pattern is well known to those who have played the D18V, HD28V and many other modern vintage-spec Martin models. This ‘30s style bracing allows more of the top to vibrate, and to my ears, the new D18 Standard has more bass right out of the box, compared to the previous standard D18.

  The D28 Standard still has the old non-scalloped, non-forward shifted style, and I have spoken to some Bluegrass players that still prefer the tighter bass of the non-shifted non-scalloped braced Martins. Having played numerous Martin dreadnaughts — with and without the forward-shifted bracing — I hear more bottom end in the forward-shifted brace guitars. Thus, this bracing change really helps the new D18.

   The new ’18 still utilizes the 1930’s style ebony belly bridge as the Vintage series, but the bone saddle is the modern, drop-in version, as opposed to the glued-in version of the Vintage line.

  As with the old versions of the D18, the new standard D18 has no neck binding, but is adorned with the simple, dot neck fret markers. One notable departure from the old D18 is the tuners. The old enclosed tuners have been replaced with the vintage style open tuners, made for Martin by Gotoh. 
  The tuners look retro and they tuned to pitch, but on this early sample, several of them were very hard to turn with the standard medium strings. I have played numerous Martins with the open tuners and never have experienced such tight turning knobs. I figured that, maybe, this early sample had some offset in the peg head holes — causing the strings to pull harder.

With the new neck, however, my hand did not feel as cramped, especially in the first five frets, and it allowed for faster chord changes and fretted notes. The neck on my new D18 Standard review sample was as comfortable as any Taylor I have played with medium strings.

  The overall fit and finish and construction of the new D18 Standard sample I auditioned was first rate. No excess glue inside the body, purfing was straight and the neck set was absolutely perfect. (The only cosmetic blemish in the wood was a small “pitch pocket” in the spruce top.); Martin sure knows how to build ‘em in that Nazareth, PA factory. 
  The D18 comes in a quality, vinyl TKL-made case to protect this fine guitar. The guitar comes with its end piece removed to reduce the chance of a drop-induced body crack during shipping, a calamity that I have witnessed in the past. 

The audition 
  In a word, the new D18 Standard is the best modern D18 I have ever played! I have played numerous good-sounding 1950s and early 1960s D18s, but I have never been a big fan of the early 70s and later standard D18s. They never seemed to have quite as much bottom as the older ones. The vintage style D18V had more bass, and the new D18s uses the same bracing, giving it more power. Plus the extremely player-friendly Modified Low-Oval/High Performance neck makes the new D18 play so damn easy. 
  Rhythm bluegrass strummers and pickers will love the full-bass and loud, articulate midrange of the new D18 Standard. At full strum, it could easily hit 93 dB on my decibel meter at three feet. Versus a 2000s era D18 Standard I borrowed, the new D18‘s sound was much more mature with the scalloped, forward-shifted bracing. The old Standard version, in my opinion, often took years to get decent bass projection. that the new one has brand new. 
  It is not as loud and crisp as the red spruce topped Golden Era Martin D18, but I think the tone is better controlled. The new standard D18 is warmer, but still has great midrange and top end. Right out of the case, this guitar can perform 100 percent with a Bluegrass band or folksinger. The loud midrange can compete with the banjo and the bass offers up the rhythmic bottom end you expect from a fine acoustic.
  Those rockers who like the Martin sound will also love the easy playability of the neck. Fretting and note picking is really comfortable, and despite medium saddle height, the medium Martin SP Lifespan strings did not tire my fingers.

  In recording the D18 with various microphone at 24-bit, I heard the classic Martin mahogany/spruce sound, that is plenty loud and oozes that cutting tone when aggressively picked. The best D18 I have ever played was a 1953; The new one I tested was very close — with that ripe bass and healthy top-end projection. 

  As good as it is as a flat picker and strummer, the new D18 Standard dreadnaught still is a mighty fine finger picker, producing warm tones that are easily coaxed from the fast, low-profile neck. But those sounds are never too dark; it’s a good choice if you want a big body, finger picker. Less dark than the rosewood-bodied 28 Series Martins. 

The verdict 
  With the new D18 Standard, Martin has breathed fresh air in to the world’s best known mahogany/spruce top dreadnaught. The mighty D18 has been popular with country, bluegrass, folk and rock musicians for more than 70 years. With the new version's sonic improvements, enhanced midrange projection and fuller bass, thanks to the vintage-style braces, the D18 is now even better. You don’t have to wait for the guitar to season for five years. It is loud and full right now. Throw in the Modified Low-Oval/High Performance neck that is so easy to play and you’ve got yourself the perfect Martin dreadnaught. Highly recommended and worthy of the Everything Guitar Network Grade A Award.

 ©All original articles on this site are the intellectual property of the Everything Guitar Network. Any unauthorized use, via print or Internet, without written permission is prohibited.