I've had quite a few Webers. Good company. I liked the Silver Bell as my main speaker with various heads for a few years. The different power ratings do sound different. I stuck with 50w mostly.
I started to need a bit more "poke" and defaulted to Celestion Vintage 30.
The Michigan is modeled...
Just a couple more anecdotes.
The Orange tester has quickly identified which of several tubes had failed in an amp, instead of swapping, powering up, listening.
It also warned of some near the fail point.
It has also kept me from buying more when it "seemed" like it was time to replace.
I preferred the 12L. Don't know if the top end was different, but the L had more mids so the top wasn't so prominent.
My memories from 30+ years ago.
I've been using Celestion or Jensen type speakers since the 90's
I've done this several times with good results.
Sometimes when swapping a neck from a body with a cutaway heel to a normal body, there's one hole that's not in the right place. Also done it with all 4 neck holes when the body holes don't line up.
Fill with a dowel, glued in with TiteBond, trim...
Yes they are. Mine was a good deal because it was in a custom made reflex cabinet with a 15. Original cabinet long gone.
I put it in a Weber head box. Had to get a plain front panel and drill the mounting holes to fit the Fender chassis.
I did a 3-prong conversion and replaced the electrolytics...
SL 67 is currently my favorite for those plexi type sounds.
I had the Marshall reissue 1959 and 1987 PC board versions, long gone, and recently also got a Dr Z EMS and a Marshall SV20.
They all have their thing, which is good. I just keep loving the Suhr these days.
If I sweat at all, my fingers just stick to the lacquer. Too much to be playable.
My 2018 EJ had lower than expected frets, but I liked the neck shape so much I had the fingerboard stripped and stained and refretted with taller frets.
Yes, in output and top end clarity. The "+" is quite a bit hotter and darker--great for high gain, but I wanted to be able to back off a bit and have more even volume between bridge and neck.
In coil split, both are good. The regular SSH isn't too thin, IMO.
Edit: I also had an old DiMarzio...
I changed a Suhr SSH+ to an SSH in the bridge of my Modern Satin and got enough clarity to satisfy.
I also went with an old DiMarzio Bluesbucker in the neck for less mid spike.
It's a lightweight guitar, which is comfortable, but it's been trickier than some to get in the zone for me.
Yes, and I'm impressed by how a delay (TC G Major) in the FX loop doesn't wreck the tone or the touch sensitivity.
Really nice amp. Has the Marshall "teeth" and a smooth sustain, pretty refined.
I'll say I still prefer a Suhr SL67, my other Marshalls are long gone, but the SV20 is quite fine.
I've been told by reputable repair shop that some years, Fender was using gang saws to cut all the slots in one pass.
When the blades were replaced, sometimes the spacers would get put back in the wrong order and the fret placement would be off.
I believe that was post CBS and before the 80's...
I have humbuckers close to the bridge and also further out.
Overall I prefer a bit more distance from the bridge, but it also depends on the guitar, the wood, the bridge, the pickup.
And re: the neck pickup location, I usually prefer a 22 fret neck but I've made friends with the 24's as well...
Sure, I think it's very good.
When I realized the "guitar hero" or "successful original band" jobs were really hard to get, learning to read made me much more hire-able and gave me a career after all.
And sure, there are some brilliant musicians who don't read standard notation, and some who...
Experience. Yes, that is one of the major challenges, compared to say, piano, where middle C is only in one location.
And once you get more fretboard knowledge and know a few alternate fingerings, you can pick the one(s) that work best for your picking hand.
Well, you know, TBH, there's reading, then there's sight reading, I guess.
Most of the reading gigs I've had, there was just enough time to look ahead to check the lay of the land, so to speak.
I've usually been spared the scary, open the book, immediate count-off scenarios.
Basically yes, if the nut slots aren't too high.
To take that out of the equation, you can compare, say, the 3rd fret with the 15th.
From there, you deal with the equal tempered system we use, which actually is out of tune with the natural overtone series, but lets us play in all 12 keys equally...
My hands used to sweat a lot, so I killed strings in about an hour of playing.
I boiled stainless steel round wound bass strings in the 80's.
Just water. No more than 5 minutes, just enough to get the gunk melted out.
Lay them on a towel, dry well, let air dry for a while. Put back in package...
So there's that, too, for real.
Yeah, back on the age thing, in the 80's I found some older folks (like 70-80) range liked some of our band's stuff while the 40-50 range didn't. There's a lot of variety of taste out there.