Indian Love Call
Billy Jack Wills

Live at Wills point Sacramento CA 7/24/54 

This is my 1964 Wright/Sierra D8 6 pedals.

What can I say its roughly the same weight as the RMS Queen Mary, but its my favorite guitar to date, it works for me.

The front neck is tuned to Bb 6th and has seven tuning changes.

The rear neck (or closest) is tuned F13th and has 3 tuning changes.

Hi to Lo

Front neck, F D Bb G F D Bb G

Rear neck, F D A G Eb C A F

The great Western Swing steel guitarist Billy Tonnesen once gave some very sage advice ” think of your tunings as one big tuning “.

That certainly made sense to me, I also think its always good to have tunings in similar registers ie A6 and E13 ( or E7/E9 ) hence the Bb and F key  choices

Here is my 1959 Wright Custom Volume Tone pedal, it was originally made for Bert Rivera

I have over the years heard people right off ( no pun intended ) the Wright pedal  as a clone of the Bigsby, but after close inspection that doesn’t hold water.

Though similar the wright is physically different in shape and size.

That said, unless you like tinkering I would recommend that if your after one of these units get yourself the Fender version, in fact the new Korean made one is great for the money  

Spade Cooley
Club of Spades

Spade Cooley Orch, live late 50’s

Earl James (Joaquin) Murphey, blows the roof off the joint

Here is the Voice box, a cheap Vox AC15 repro cab from GC $130, it was closed backed with a Chinese Celestion ( actually didn’t sound bad ).

I fashioned a 40% open back panel and installed an Altec 414Z woofer that had been reconed  and remagged by Great Plains Audio with a full range 417C kit.

Though not visible, there is a Weber beam blocker in front of the speaker which diffuses the highs from the center to the edge of the speaker.

Im often off access to the speaker so the beam blocker gives me a better picture of my eq 

I had been thinking about trying EF86’s for a while just to see if they would yield new sonic horizons (Nope !)

Luckily for me Skip dug up this adapter out of the mother load, it sure did save a lot of grief.

The long and the short of it was that both tube types sound identical sonicly, but the EF86 is way quieter 

She may look a little rough around the edges, but she purr’s like a finely tuned Jaguar.

The power section has cold war period tubes, mid 50’s Mil Sylvania’s 807’s (5933) and a 1960 Russian Mil 6N7 Dual triode phase inverter , all NOS.

The amp has a two channels, #1 is the blend channel its an active eq arrangement.

It has two controls Bass Vol and Treble Vol, as each knob is turned gain and Hi or Lo frequencies are increased.

Both channel #1 controls have there own tube 6SJ7 or EF86 ( they are both sharp cut off pentodes) they come together at the next gain stage (6SF5).

Skip had been employing this idea on his tube mixers with good results, we decided to adapt it and I must say its extremely useful. 

We later found out from SoCal amp guru Tim Maag that Bob Crooks used this very idea in some 50L15’s (nothing new under the sun I guess )

Channel #2 is a completely  different animal it is a totally flat eq and lends itself well to Jazz guitar or Hawaiian steel, it also has a lower gain. 

1953 Stromberg Carlson AU33 (25 watts)

1953 Stromberg Carlson AU33 (25 watts)