Interview with Kurt Cobain's Guitar Tech

Discussion in 'Amp Tech Center' started by pipethemike, Nov 8, 2019.

  1. pipethemike

    pipethemike TDPRI Member

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  2. mally

    mally Tele-Holic

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    Oh **** I clicked on something and it wasn't a video !!
    too much hard work mate
     
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  3. esseff

    esseff Tele-Holic

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    Quite an interesting article, thanks for posting it.
     
  4. JuneauMike

    JuneauMike Friend of Leo's

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    Good article. All I've read about this guy seems to suggest he didn't care about gear that much. Whatever worked, but it had to work. Including his sacrificial axes. This seems to confirm that. All his gear mods were designed to make stuff more reliable on the road.

    Interesting tidbit about Marshall amps and about Dave Grohl recording tunes later on (I'm guessing it was one of those things where the lead singer is late for the session so the supporting members start playing around with their own stuff to record.) Maybe it hints at Grohl's ambition early on, his own personal work ethic and desire to make hay while the sun is up. Like him or not, it speaks well of him.

    Not an aesthetically pleasing web page, but interesting nonetheless. If you're curious.
    http://www.kurtsequipment.com/
     
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  5. Wally

    Wally Telefied Ad Free Member

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    I stopped reading when he said the Rivera era TRII was an ultra linear design. That is not so.
     
  6. pipethemike

    pipethemike TDPRI Member

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    thanks for the correction. care to elaborate? all i know about the Twin Reverb II is from wikipedia:

    II Series and the Rivera Era
    The II Series amplifiers[5] were produced from 1982 until 1986, being the last Fender amps to be made at Fullerton. The specifications for these amplifiers (all 14 of which are listed here), and leadership of the design team, came from Paul Rivera (then marketing director) and are known as Fender Rivera era amplifiers. Some amplifiers in the series used the II moniker; the Champ II, Princeton Reverb II, Deluxe Reverb II and Twin Reverb II, while others such as the Concert and Super Champ did not. Many of these amps had the normal Fender clean sound and in addition a switchable mid voiced gain channel, designed to compete with the Mesa Boogie Mark Series series amps that had gained popularity at the time. The tube amps in the series feature hand-wired eyelet board construction and are also becoming sought-after collectors items, due to the design and build quality. The range included one small tube-driven bass amp, the Bassman 20. There were also some solid-state amplifiers using the II moniker, such as the Harvard Reverb II. Other solid-state amps produced during the Rivera era included the Yale Reverb, Studio Lead, Stage Lead, London Reverb, Montreux, and a solid-state issue of the Showman. Many of these units shared the same circuitry boards in one capacity or another.
     
  7. Wally

    Wally Telefied Ad Free Member

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    The TRII is not an Ultralinear design. The Twin Reverb amp’s produces from 1977-1981 were Ultralinear amps. So, I had no reason to continue reading after the author stated that it was a UL amp.
    Here is a link to the schematic should one care to see...

    https://schematicheaven.net/fenderamps/twin_rev_II.pdf
     
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