I think… AND… If I remember, after HiWatt went into receivership, the people who took their name was changed to SoundCity… 
? Those were the people that setup shop in New York State…
I remember working on Touring/Stage Amps that I had difficulty lifting some of those amps… They had six 5560 output tubes connected to output-and-power transformers that were bolted to chassis that hard to believe… Yet… from a distance those amps looked like toys… 
Bill…
HERE is the only use I’ve found for my Sound City R120 except as an excellent donor of old Mullard tubes
SoundCity R-120 Amps were small in comparssion to some of the models that came through my shop..
They all seemed to have the same pre-amp circuit design, though..
I could never understand some of the tone filter designs that were connected to the tone controls..
Leo Fender and Peter Traynor never used all those parts..
I wonder if Peter Traynor is still with us, yet.
?I've seen other uses for them as well..
But History is History..
I know that way back in the '60's, if you were the Bar Band business, and you didn't have a Shure VocalMaster PA System to set up on the stage you weren't taken seriously by your employers..
Then, in the '80's I had a session in a studio on a day that turned out to be high humidity-and-heat for around here..
the tracking man dragged out this Shure VocalMaster amp from the storage room to prop open the door to allow the fresh air to ventilate the electronics, in the studio..
I asked him what he was doing with it..
His reply was..
it's the only thing he had with enough weight to hold the door open..
Sooo
Sad..
Bill..
I like the toys you got hanging up in that room…
I can only think that the room makes them sound pretty nice…
as well…
What does that mic make them sound like ?
Bill…
The mic is a Røde NTK and IMO it makes acoustic sources sound thick & creamy. I haven’t been able to make it sound good with dirty guitars but it might just be me…
The room is untreated and doesn’t sound good when you turn stuff UP.
I’ll keep on close micing EVERYthing & send stuff off to phoo for mixing in the foreseeable future, just like I have so far
Quote: (teryeah @ Oct. 16 2009, 7:30 AM)
The room is untreated and doesn't sound good when you turn stuff UP.
I'll keep on close micing EVERYthing & send stuff off to phoo for mixing in the foreseeable future, just like I have so far
Same here with this room I'm in-and-around..
I am slowly edging the SPL upward from the other room I've had..
In the house I had been playing with just under 85 db..
In this new room, I'm in-and-around 91 db..
That's a factor of almost two, that I have gone to..
If I find I am unable to get the SPL down, it'll mean that my fatigue time (at mix levels) will be shorter than in the old room..
The bottom end..
below 150 hzs. is dreadful..
If I can get used to it, it just might help my mixes down at those frequencies..
We'll see..
I haven't seemed to find any dirty room rattles yet.. The room is pretty solid at 91-92
db..
I know they're there.. I just haven't found any yet..
I really have to get the Hill 24-8.. to 16-2 desk out there..
and get some mics opened up..
I've so much maintenance to do on this antique junk I have to listen with, it ain't funny..
I haven't found any new toys that I like better than the old toys I have, that needs work..
Bill..
When I saw Led Zeppelin way back in 1970 Jimmy Page was playing through two Sound City amps, and four Marshall cabinets. The amps didn’t have the Sound City logo plate on them but I could tell what they were from the multicolored knobs and white. (I’ve sen one picture of that setup, the amps are on the side on boxes in the picture, but they were on a folding table when I saw them – I’ll see if I can find it again)
It’s been a really long time. Seems like I remember folks not liking Sound City because they were too clean, compared to the Marshalls of the day. Of course at that time volume wasn’t the issue. The louder the better, period.
I suppose that was right after the time Sound City became Hi-Watt. If you think about it, a large part of Pete Townshend’s tone on Live at Leeds and the other live Who recordings of that time period was that it was very clean and punchy. It’s a lot cleaner that most folks think, or remember. To get ‘the guitar tone’ on Won’t Get Fooled Again you pretty much need a hollow-semi-hollow guitar and an amp that almost isn’t into distortion until the strings are hit really hard (typical Townshend playing style). Most distortion and the chords don’t fade right, when trying to emulate the original.
Hi-Watt had a little more front end gain than the old Sound City amps.
LZ in 1970. It’s hard to tell from this picture that they are Sound City. They look more like Hi-Watt here because of the dark faceplate. Maybe they are Hi-Watt here, but we can’t see what’s on the table in front of the amps. Regardless, this isn’t the picture I was looking for that clearly shows Sound City amps. That picture was taken outdoors at Philadelphia about the time I saw them in Raleigh. This picture looks like it might be at Royal Albert Hall. If so that was just before they came over to America for their first tour headlining. The first tour was opening for Vanilla Fudge.
Quote: (teryeah @ Oct. 16 2009, 5:30 AM)
The mic is a Røde NTK and IMO it makes acoustic sources sound thick & creamy. I haven't been able to make it sound good with dirty guitars but it might just be me...
The room is untreated and doesn't sound good when you turn stuff UP.
I'll keep on close micing EVERYthing & send stuff off to phoo for mixing in the foreseeable future, just like I have so far
I have exactly the same experience with the NTK. Killer for acoustic stringed sources.
Also, it doesn't really like my tube preamps - better through solid state - why would that be? Too much tube-ness?
Hey, perhaps that amp we're investigating is a Selmer repackaged in an old Hiwatt box?
Quote: (teryeah @ Oct. 16 2009, 3:23 AM)
HERE is the only use I've found for my Sound City R120 except as an excellent donor of old Mullard tubes
Love it. Makes me feel much better. I had one of those amps in the 70's. Gave it away in the late 80's to a mate who needed some cash. Now they go for
£
£
£
£
£
£
£ on ebay.
… actually I may have a few of the valves/tubes from it tucked away somewhere. Must see if I can dig those out.
I’ve started to believe that mine’s a Carlsbro or a Laney.
Laney? Nah - couldn’t be, could it?
Quote: (TomS @ Oct. 17 2009, 7:34 PM)
Laney? Nah - couldn't be, could it?
Laney...
Now that's a Long-Lost name..
Carlsbro..
That's not a familiar name..
Don't know it..
I know Orange Amps..
Carlsbro..
Those are American Smokes..
Bill..
p.s.
Old Amps..
They're all a Big Myth..
If they don't stop in the middle of your Big Break/Line and the output tubes don't light up the back of the stage,
You got yourself a good amp..
Quote: (TonyR @ Oct. 13 2009, 4:51 PM)
Hmm...doesn't look right to me. I still say a Selmer reboxed.
It’s know known as “Thee Amp”
Tony’s “Thee Amp”, sorry TonyBoy, I haven’t a clue. Silvertone? The biggest Silvertone in history?
Looks very close to the Laney “Klipp” series, not sure the years on those. You can check out Laney’s web page and check thru the years or tv.