Dakka's Army Paint Scheme Tester - Generate an automatic army painter for any image of any wargaming model. Simply upload an image, choose the areas you want to recolour and then apply colours from many major paint ranges, including metallic simulation. First test scheme. First attempt at a color scheme for my new Tyranids. Just a lowly termigant, but I tried my best so that I could see what bigger models would look like. Still working out paint consistency kinks - discovered that my wet palette dilutes paint over time. Obvious in retrospect, but caught me by surprise. May 7, 2017 - Explore shelltoekicks's board 'Tyranid paint scheme' on Pinterest. See more ideas about Tyranids, Paint schemes and Warhammer 40k tyranids. Tyranids color scheme generator free. Tyranid Painter v0.8d RANDOM SCHEME GENERATOR. The Tyranid Hive. Tyranid General Board. Genestealer Cults Board. Other Games Workshop stuff. Tyranid Art and Fan Fiction. Tyranid Army Lists. Tyranid Painter v0.8d RANDOM SCHEME GENERATOR Oct 16, 2009 17:30:48 GMT. Click the link down at the bottom to see how your paint scheme ideas might look in the online virtual tyranid painter. Please post any thoughts or suggestions. EDIT Should be last time I post on the old interface, was just working out a random color generator code for the bugs.

Fender '65 Princeton Reverb 15-watt 1 x 10 Tube Combo Amp Features: Series: Vintage Reissue series Tube amp 15 watts into 8 ohms 1 x 10' Jensen Special Design C-10R speaker Single-channel (2 inputs) Volume, treble, bass, reverb, speed, and intensity controls Reverb and vibrato effects 3 x 12AX7s, 1 x 12AT7, 2 x 6V6s, and 1 x 5AR4 rectifier tube.

1959 Fender Harvard 5F10The Fender Harvard is a (valve) guitar amplifier made by from 1955 to 1963. The Harvard appeared only in a tweed covered 'narrow-panel' cabinet, but in two very different circuit designs, namely 5F10 (1955–61) and 6G10 (1962–63).The 'Tweed' 5F10 model, launched in 1955, but not in time for the Fender catalog of that year, was a 10-watt amplifier utilising a 6AV6 (from 1956 a 6AT6) preamplifier tube, 12AX7 phase inverter tube, a pair of 6V6GT power amplifier tubes, and one 5Y3GT rectifier tube, with a P10R 10-inch speaker. The amplifier had a very simple circuit and used only a single channel with a two-stage preamp, with just a volume and (treble-cut) tone control.

The Harvard was a fixed bias amplifier, using a basic cathodyne phase inverter, but did include a selenium rectifier in the bias circuit. The 5F10 was discontinued in 1961.The extremely rare 1962–63 6G10 Harvard used a single 12AX7, 6V6GT and 5Y3GT; it was simply a way to use up leftover 50's (5F2-A) chassis and tweed cabinets, after Fender had re-launched an all-new class AB Princeton (6G2) in a -covered 'brownface' version. These Harvards sometimes even use old 5F2-A tube charts with the Princeton name scratched out; they can be identified by their Schumacher transformers (the same ones used in the new brown Princeton) and 1960s date stamps.Unusually for Fender, the Harvard had no predecessor and, although the Harvard name was revived later by Fender, no descendants.

The Harvard filled a gap between the student and Princeton models and the professional. The companion 5F11 Vibrolux was essentially identical to the Harvard, but with an added tremolo circuit driven by one side of a dual-triode 12AX7 which replaced the Harvard's single-triode 6AV6/6AT6, and was built into a Deluxe cabinet.The 5F10 Harvard's dimensions were 16.5 × 18 × 8.75 inches (42 × 46 × 22 cm), and it weighed 20 pounds (9 kg).The most famous user of the Fender Harvard, in conjunction with a guitar, was, who said that he used the amplifier for most of the classic recordings made with the house band, including. References.

Recording Guitar Amp.By Paul WhiteIs this the ultimate recording solution for fans of the classic Fender tube sound?Fender's original Princeton was built in the 1960s, and although rated at just 15W it became popular for its ability to produce a great tone at moderate sound levels, making it an ideal studio amplifier as well as a practice amp. Today you can pick up a battered original and pay silly money for it — or you could take a look at the new Princeton Recording Amp.Designed to recreate the tone of the original, this new version is built in Mexico using extremely up-to-date manufacturing methods, as its densely packed circuit boards testify: you'll find neither point-to-point wiring nor generously spaced, hand-assembled PCBs here. Nevertheless, its preamp and power-amp circuits are still based on the all-tube 65 Princeton Reverb model, and they drive a 10-inch Jensen speaker. It can provide a surprising amount of volume, considering the amplifier rating. The preamp stage comprises three 12AX7 tubes and one 12AT7 in the phase-splitter stage, driving a pair of 6V6s in a push-pull configuration.What really sets this new design apart from its predecessor is the addition of a 1U 'studio' rack just below the main control panel, where you'll find a compressor, a stomp-style overdrive and Fender's 'Trans Impedance Power Attenuator', which lets you wind up the amp to achieve the required amount of output tube overdrive, but enables you to turn down the speaker level as low as you like — in other words, it is essentially a sophisticated power-soak. This circuitry replicates the way a hard-driven speaker reflects energy back to the power stage, which in turn modifies the feel of the guitar, so playing dynamics are not compromised by reducing level.

When not required, this circuit may be bypassed completely. Reverb is provided by a tube-driven Accutronics spring (which sounds extremely sweet), and there's also a headphone output and a level-adjustable line output, with built-in speaker emulation for practising, recording or feeding to a PA system.

There's a ground-lift switch to cut out ground-loop hum and a speaker output jack, which normally feeds the internal speaker but can be disconnected to allow alternative 8Ω cabinets to be used. This model also includes FX loop send and return jacks, plus a four-switch floor controller that is used to access the overdrive, compressor, reverb, and the FX loop bypass. The footswitches override the corresponding panel controls, and there are status LEDs above each switch.The cabinet measures 420 x 510 x 280mm, weighing in at a hefty 21kg, and it is made from high-quality plywood, with the traditional Fender vinyl covering and grille cloth. As with many old Fender amps, the open-backed cabinet reveals the spring reverb tucked away in a vinyl 'bag' at the bottom of the cabinet, while a central slat shields the tubes. However, I'd expected a modern design to have a more effective physical barrier between the tubes and hands reaching up from the inside — especially as guitar players have a habit of using the back of the amp for storage and it is possible that the tubes could get damaged in transit by shifting 'cargo'. A perforated metal sheet would have been perfectly adequate.The main control panel is very simple, with controls only for Volume, Treble, Bass and Reverb.

The two input jacks offer a choice of two sensitivities, though they can be used together — in which case the sensitivity of both becomes equal. Input 1 is the most sensitive, and as a rule players will generally plug into this regardless of what pickups they have, on the basis that you can never have too much of a good thing.While the main control panel is pure pedigree Fender, with its black knobs and red 'jewel' mains lamp, the studio panel below looks a little like an afterthought. I suspect this is deliberate, though, in order to 'distance' the solid-state stomp effects within from the all-tube signal path of the main amplifier. The overdrive is very conventional and tonally fairly neutral, so it can be coaxed into fitting most styles, using its tone control. The other knobs govern the usual drive and output levels. Backtrack 5 free download for mac.

With just two knobs to tweak, the compressor offers control only over sustain and level but actually sounds spot-on, whether you're simply increasing the density of the sound or, at higher settings, adding a pedal-steel-like sustain. Both effects have bypass buttons but they can also be controlled from the floor unit, and when inactive they are completely removed from the signal path.On a practical note, I feel that the knobs on the studio panel protrude rather too far, and could be vulnerable to damage. They could have been half the height or less without compromising usability. In fact, the Attenuator knob on the review sample had an intermittent fault, even though there was no damage to the packaging and no evident sign of trauma to the front panel.Though an amplifier's sound is highly subjective, I rather like what this little amp has to offer.

Using a Fender Strat to test the Princeton, its wiry tonality came over very nicely indeed, sounding bright without being hard or clangy, but still with the characteristic Fender 'pinginess'. At higher volume settings there's enough gain to coax a sweet blues sound out of the Strat's single-coil pickups, and this works particularly well if you turn the volume up full and use the Attenuator to regulate the actual playing level.The recording output comes as a line-level XLR, and there's a headphone jack for monitoring the signal.Although the overdrive sounds pretty anonymous, in combination with the amp's own natural overdrive it works well enough for beefing up solos. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. All rights reserved.The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents.

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