Thanks for the link. That was informative reading.
One solution is to deaden the sound escaping from your practice room.
I saw this wallboard used on several HGTV shows.
Goes up and finishes like regular sheetrock. No one will know it’s there.
I’m pretty sure it can be installed directly over the old sheetrock walls.
I’d do the walls first. That may be enough to keep the neighbors happy. Unless they live above you. Then Resilient channel is needed on the ceiling.
Thanks. Alas, I am moving soon out of this house and into an apartment so it’ll be an even worse situation then. This is a single family home on a double lot with an empty lot next to me and woods behind me. Really it was just the time of the night, it was just after 11PM and I had all the windows open. That won’t happen again.
I wish there was some type of headphone conversion for one of the outputs on the back of the amp.
I had a much-modified Blues Jr. that I had the same problem with. I added a Weber attenuators, I think it was the MicroMASS, but it’s also possible it was the MiniMASS. It worked as advertised and did a nice job retaining the overall tone of the amp while killing the volume. Within reason of course. There’s no substitute for moving a lot of air when it comes down to it. And on a Blues Jr., it’s a super easy set up. The connection from the amplifier segment to the speaker has standard 1/4 inch connectors on it, so unplug from the speaker and connect that to the attenuators, and run another short instrument cable from the attenuators to the speaker.
I ended up buying later a Blackstar HT-1R, their combo with a blazing full watt of power. Super happy with it.
Once you go tubes you’ll never touch a solid state anymore. 
I always put vintage tubes in my amps and get sweet mellow tones which you cannot get from new production tubes. No solid states will ever match that tone.
Right now I’m not out playing but I kept my Vox VT40+ with a sweet British Mullard 12ax7 tube in it. Yes, just one tube in this amp and it’s very mellow.
You can get too big a tube amp if you’re not going to crank it but a 5 to 15 watt tubes will do well for rooms and small venues. Pick the amps with separate drive and level controls.
When I quit playing I got rid of it all except for my Vox and my Parker.
I am in the process of planning an amp isolation cabinet.
I have an attenuator and it is OK, but not great. I do recording for the most part so one matters a bunch. I have tried just about every amp sim out there. I found a couple that are OK, Amplitude is pretty good for dirty tones but none that I have tried come close to a cranked amp.
So an iso cabinet. They sell them online for wayyyyyy too much money.
My amp is a combo, which makes it a bit harder as I have to get it vented so the amp doesn’t melt. So I am going to wall off the back of the amp inside the iso box, run some pvc with some bends in it to the tube area and put an intake and exhaust fan in so I ought to get good air flow without adding any noise.
I will probably post a build page when I do it.
Slee
That’s largely my experience with them. I’ll also add that it takes more energy to move bass frequencies. So, after a certain point you start to lack the watts to push them, and the tone goes thin as you turn it down more.
Any reason not to just pull the speaker out of the cabinet, extend the wires and build the iso box around the speaker?
I understand the combo cabinet contributes to the amp’s overall sound, but that’s largely due to how the cabinet interacts with the room. So once you enclose the combo amp in an iso box, you’ve substantially defeated the cabinet’s contribution to the sonic signature of the amp, right?
Well, it is a 2X12. So I’d have to yank both speakers and, going from memory, that may be a bit of a pain in the ass.
Also, the amp is a B-52 AT 2-12. It is sorta Boogie ish and they don’t make them anymore. I believe they did a run for Guitar Center and then stopped. I absolutely fucking love this amp. I don’t want to risk breaking anything. I am actually a bit worried about isolating it but figure if the heat issue is taken care of all will be well. I will probably run a thermometer by the tubes and power section for a bit to get an idea of normal operation then use those numbers to test the box.
It has a speaker out and I thought about using that but there is no really good way to bypass the 2 12s without risking blowing it up.
So instead of risking it, I will just do the whole amp.
I am using it on the second floor so I am going to get some rubber dampeners to sit under the box.
Slee
Wow, that’s a pretty impressive amp! I just looked it up, read the specs…it’s got a solid state mode in addition to being a tube amp? How does that work?
Also, some guy was selling one online for $350…that sounds like a bargain for a 100W tube amp.
There is a switch on back to go solid state. I tried it once, said ‘Yep, that is solid state and sounds like dog shit’ and switched it back. It also switches between class a and class a/b on the tube side. I run it on class a.
I got mine for ~500 or so which was a freaking steal. I know you can get them online pretty cheap. The thing is, I wonder if I got a one off that just rocks because, otherwise, I don’t understand why they didn’t sell a kajillion of the things. The clean tones are awesome, you can dial in gain from barely breaking up to full on death metal and it is loud. The only negative is the reverb, which is just OK. Oh, the high gain also sounds good at lower volume levels, I record at about 4 on the amp, which seems to be the sweet spot.
One of my old coworkers came over with his really expensive boutique high gain amp. He freaked when he heard my B-52. He played through it for about a half hour then we went to Guitar Center to buy him one but they only had the half stack which, for some odd reason, didn’t sound nearly as good.
The circuit diagram is online. I may try building one if I can find someone who knows enough about circuits to ensure I don’t kill myself…
Slee
How do Class A and A/B compare sonically speaking? I’ve read online that A/B amps have longer tube life due to less plate voltage ad idle but aren’t as sensitive as Class A amplifiers.
Which brings me to my next question: does your amp then have two completely different sets of tubes to cope with the different modes, or is there some other tech wizardry going on there?
It just seems to me that to have both those modes plus the ability to switch to solid state would really cramp the space in the chassis.
Iirc, Marshals are A/B and Vox are As.
A/Bs flop between tubes depending on the input signal (I think this is how it works) so they tend to be a bit less responsive. As just hit one tube all the time and are more responsive since there is no switch between tubes.
I run mine in A all the time. It is harder on the tubes but I like the tone. A has less headroom which means it clips faster (or at least I think that is the way it works, I am a computer geek and analog stuff isn’t my thing) and I like lots of gain.
I haven’t looked in the chassis in a while. I don’t remember it being all that cramped.
Slee
Well…your amp does weigh 85 lbs but that’s certainly not uncommon for a 2x12 amp combo of that size/wattage. I’m just wondering how that all works together with a flip of a switch along with weight, cubic volume of necessary space, etc.
I assume that “load box” is the same thing as an Attenuator? I have one on my Tweed replica. It runs at 18 watts, but I dial down the Attenuator in 3 watt increments. Works great.
Just hopped on Sweetwater to look at some of these…gosh, they’re expensive!
Slee, how are you attaching the isolation cab bits to the existing combo? I’d bet you’d hate to drill the combo, but I don’t see another way to do it without completely enclosing the amp, which isn’t optimal since the knobs would get hidden.
Yes, I mixed up and meant attenuator. An attenuator will output to a speaker at a reduced volume.
A load box will output to line or mic level signal. A load box is a nice way of pushing your signal into a recording setup and then monitoring it through headphones thereby getting all of your tone and volume to your ears while not waking the baby.
My preference would be to find a component which does both (there’s a bunch of them).
Care to share the brand/model of your attenuator?
I got mine through Clark amps years ago. Attenuators we’re kinda new and this boutique amp maker was know for his Tweed replicas and this box was matched to a Tweed circuit supposedly. It’s been fine, but I suspect there are dozens out there that can do the job now.
I don’t fiddle with the knobs much. I have my clean, kinda dirty and ‘rip their heads off’ tones set already so all I do is switch channels or play with the volume on my guitar.
Full enclosure is what I am going to do.
Slee