THE SHOP - NEWS - FEEDBACK - OWNERS and PLAYERS - PRESS REVIEWS - RANT
Pat Davern's guitar stolen - Pat's custom shop Gibson was stolen from Festival on or about the 6th of September. It's quite unique, a blonde SG with silver covered PAF's and has "13 of 500" stamped into it under the pickguard. Pat is completely heartbroken, so if you have any ideas as to it's whereabouts please contact us and we'll put you in touch with him
We've moved again.....but it's just across the road from the old place!
More pics to follow....
Well I've been slacker than usual keeping this up to date - but lots of things have happened. A new shop, and new workshop are the major things. However the JFR25 now has switchable output power of 25watts, 12 watts and 6 watts. A head version of the JFR is under development and on the drawing board is a new 12 watt amp. However We've got to fill orders already on the books before we're allowed to tinker with new toys!
Apologies for not keeping the "News" section of our site up to date - here's what's happened in the last 12 months.....
Sydney Blues/Rock outfit Rusty Weld & The Nightsweatsare recording an EP in studios hidden in the suburbs. Keep an eye and ear out for these guys....they're something very special.
Bluebottle Kiss have recorded and released their brilliant new album "Doubt Seeds".Guitarist Ben Grounds used our APR501 "Road Warrior" loan amp to record the guitar parts. The National tour that followed the albums release saw the 501 go along for the ride. Ben's own APR501 is now under construction.
Our service department has got busier and we're now able to return Re-issue Fender amps to their original "Point to Point" specifications. Check out our "Services" page for more detailed info and pics.
The last 12 months have seen us busy on our own amp front. A "Hi-Gain" version of 50 watt head is under development with the help of several guitarists including Jerk and Ink guitarist/luthier Charles Cilia
A Head version of the JFR25 Combo is also under development.
Two quadboxes have joined a speaker cabinet range. Plus a special 2x12 cab is under developent with the help of some professional guitarist friends.
Pete is proud to announce that Sean Campbell has joined the festivities at Valveart as an apprentice. Sean's gig is to help Pete out and keep him on track with all things valve amp. The other staff are worried as Sean and Pete went to school together - and led each other astray in the late 70's.....musically and chemically. There has been far to much laughter eminating from the workshop of late.......
Upcomers The Golden Age are in Sydney's Electric Avenue Studios recording their debut album. Producer/engineer Evan McHugh takes "Frankenstein" (the very first APR501 built) in to record the guitars.
Billy Thorpe and Rose Tattoo guitarist Dai Pritchard takes an APR501 on the road for the national Alice Cooper Tour.
The Sleepy Jackson are in Sydney's Big Jesus Burger Studios recording the much awaited new album. Also in the studio is an APR501 at the request of Luke Steele.
The Captains Package have finished recording their debut Album. Guitarist Matt Campbell makes extensive use of an APR501 throughout the record.
We've just survived our first Christmas in the new shop! ......now it's time for some sleep.....
Vale our beloved Cath Synnerdahl.
You have taken your talent and passion to a plane beyond human perception. The void that is left defies comprehension and earthly dimensions. But somehow our spirits feel your love in the beauty of the natural world that surrounds us. We know you're here.
"The credit belongs to the person who is actually in the arena, who strives valiantly; who errs and comes short again and again, who knows the great enthusiasms, the great devotions, and spends themself in a worthy cause; who at best, knows the triumph of high achievement; and who, at the worst, if they fail, at least fails while daring greatly, so that their place shall never be with those cold and timid souls who know neither victory nor defeat."
Watchout Jimi, Wolfgang and Ludwig - you've got competition....
We have moved! The new address is "Corner of George and Bridge Streets, Windsor NSW 2756". It's known (to the posties) as 14 Bridge Street, it's also known to many as "Blakes Music Centre". But now Reynolds Valveart and Blakes Music Centre have joined together under the umbrella of River Music (NSW) Pty Ltd. River Music is a company founded by Pete, Gail and Dave from Reynolds Valveart.
The new shop is easy to find - it's next to the roundabout at the top of Windsor (just before you head down to the bridge over the Hawkesbury). Pics will be posted soon...!
Some exciting news coming soon for Reynolds Valveart and Sydney customers. Some fine details to iron out before we can make it public....stay tuned!
Geez, doesn't time fly when you're too busy to update the "News" section of your website! We're still here - it's just that we've been too busy building Combo's, Heads and Speaker Cabs, answering emails, plus all the redtape that goes with trying to run a business these days (where did I put the "RANT" section of the website?)
It's still good fun despite the mandatory/institutional BS!
The Frankston International Guitar Festival was (in my boys' words) totally sick! We met lots of kindred spirits - our motel room was right next door to Andy Marshall (of THD Amplification...can that boy rip on the Oud! (see pics))
The Frankston International Guitar Festival is on at Frankston Victoria from March 13th - 16th. We'll be there at the Expo (booth 23) with an APR501 and 502 plus the JFR25 combo. Drop in and say gidday. For more info visit the Festival's site here
Bob Sledge's EP launch is at DMC nightclub in Oxford St Sydney on the 7th. An Eastcoast tour follows. For more info visit their site here
Changes to the "Products" page are complete (have a squizz). The "Speakers" page is yet to be finished (it will be as soon as we get these Quads loaded and take some photos!)
The Lime Spiders have got back together for a national tour. Guitarist Dave Sparks has pensioned off the beloved Hiwatt, replacing it with his new APR501C.
The long awaited recordings of our various Amps and their tones takes place at studios in Glebe. Sounds come from the APR501 and 502, the JFR25 combo and the Sledgehammer. Guitars used are a Les Paul, Fender Strat and a Grubisa Merlin. The tones will soon be available for you to listen to on CD.
The new 150watt JPR152 "Sledgehammer" makes it's public debut at Sydney's Metro Theatre.
The 150w amp (with hi-gain boost on Channel B) is put through it's paces in a voicing session by guitarists Shane Sponberg and Dave Peck. Time to put away the OD pedals kids....!
Project "Sledgehammer" begins when the development of the 120w amp takes a twist - over 150 pure clean rms watts are obtained with the use of KT88 output valves. Yee Hah!..... This inspires the search for a hi-gain mode for Ch. B....
The first Reynolds Valveart combo is born as Adrian Ross' 25watt Class A amp is completed
December 2001/January 2002
Bushfires (and recovering from bushfires!) Oh yeah, merry Christmas and happy New Year!
The Dave Wilkins Band is in Sydney's Velvet Studios putting the finishing touches on their upcoming new album. Guest guitarists include Dave Leslie and Mark "Diezel" Lizotte. The band is also making a guest appearance at Sydney's Redfern Oval on the 18th.
The Jimmy Barnes "RAW" tour starts on November 29th - you can get all dates and venue details at jimmybarnes.com. If you go you'll be treated to the guitar wizardry of hired gun Dave Leslie.
The LIVID Festival is on again in Brisbane October 13th. Be sure to listen to Alex Lloyd's guitarist Kinnon Holt and his APR501C
Alex Lloyd will be appearing on "Rove Live" on Tuesday the 2nd. Guitarist Kinnon Holt is currently using an APR501
Thirty Odd Foot Of Grunts are appearing on the "Ray Martin Show" on monday the 1st
September 2001Aussie band "GRINSPOON" are in at the soon to be closed Festival Studios recording a new album. Amongst their quiver of amps is the APR501 used by Dave Leslie at Colonial Stadium....Dave doesn't need it any more - he bought his own custom 501! (By the way, don't you just hate 'bean counters'? - the studios at Festival have played such an important part in the history of Australian music...they should be a national icon - not bloody office space.)
Vale Mark Thomas, we hope you have found peace at last. You will be missed....
August 2001Russell Crowe's band "Thirty Odd Foot Of Grunts" tour the US. Check their official site, gruntland.com for dates and details. Included in their backline are 3 APR501C's.
Jay Leno show on the 16th features TOFOG playing live.
European release of Jimmy Barnes live DVD/CD of his Colonial Stadium concert with Bon Jovi. It features the guitar of Dave Leslie and his APR501.
The Tenants record a new single in studios at Glebe, Sydney. A prototype 100 watt APR amp used extensively by guitarist Jace the Ace Rooke.
Dave Wilkins from Thirty Odd Foot Of Grunts orders an APR501C for the Grunts upcoming US tour. After hearing Dave's amp at rehearsals, Lead guitarist Dean Cochran orders one.
Russell Crowe orders his own APR501C!
Winner of the APR501 given away by Australian Guitar magaazine is Nicolas Walker of Canberra, ACT.
APR501 tone fills the Colonial Stadium in Melbourne on the 24th. Dave Leslie, hired gun guitarist for Jimmy Barnes, cranks his 501 and catches the attention of Ritchie Sambora. Negotiations continue...
Name: Dave Sparks
Message: Pete, You will be happy to know that one show in to the tour, I have had heaps of feedback about the amp. We had 350 at the Annandale last night which was a nice number for that room. After the gig about a dozen people came to ask what the amp was and comment on how great it sounded. Our Front of house guy who does most of the scene bands at the moment said it was probably the best guitar sound he has worked with.
Name: Dave Peck
Message: Dear Reynolds Valveart, After swearing only to use fruity coloured guitar amps with minimal knobs and maximum watts, i must now say that after my gig last night at the annandale, my new 'sledgehammer' by reynolds valveart has to be the BEST guitar head on the planet bar none.
Dave - Bob Sledge
Owners and Players
|David Storey from Tasmania and his custom made APR501. You can read Dave's opinions of his amp at Harmony Central|
|Cameron Knorre from Queensland with his pair of custom APR500s and assorted 6 string exotica. The amp on the right is a 501C, on the left is a 501VR with aluminium chassis.|
(There are lots more pictures to follow from various people... check out www.harmony-central.com for some user comments)
From The Australian Guitar Magazine - Volume 19- Christmas 2000
I'm sure that more than a few of our readers took a long hard look at the Reynolds "doll house' shaped heads which we featured fleetingly in issue seventeen. I was as fascinated as the next man by their cool retro style reminiscent of an old radio, while the accompanying story promised an all valve, point to point hand-wired construction, so as to circumventany modern considerations of emulation and its attendant problems, simply by creating classic valve tone the same old way it was always created. This issue, we get to take a much closer look at those very same devices. The custom nature of the Reynolds business to this point has seen the original 50 watt amplifier develop along two distinct lines (responding to input from clients), so that we have a pair of unique models to consider, largely delineated by the nature of their respective B channels. And further to the archetypal 501 and 502 models, Reynolds have been kind enough to let us also take a peek at a custom variation they have produced for Sydney guitarist Miles Fraser, a design that has proved so successful Peter Reynolds hints that it may well become the 503.
IT'S JUST A PHASE
The Reynolds 500 series amplifiers are designed around two totally independent preamp channels - channel A is based on classic American amplifiers, channel B on British devices, and I am sure that if you think about it, you could probably guess the brands involved.
By starting with a preference for particular vintage models, Peter Reynolds developed his original prototype, and with the assistance of brother Dave, began honing the design based on their own observations and the input of selected guitarists who had access to the earliest prototypes.
The original design featured three gain stages on the B channel, which necessitated a unitygain stage on the A channel (that is, a third gain stage that simply inverts the signal to keep it in phase with Channel B, without increasing the signal
level). When a test pilot suggested that the second channel need not be so gamy, it was back to the drawing board and a reduced gain B channel emerged, allowing the unity gain on channel A to be shelved. When trying to decide which B channel they preferred, the Reynolds brothers hit upon the idea of a boost switch, which would engage the third gain stage on channel B, however this would require that the unity gain stage on channel A could likewise be switched in and out.
This lead to the development of one of the Reynolds' most interesting features, the pair of switches that are responsible for engaging and disengaging these extra gain stages. When they are set in the same direction, everything is in phase and sounds luscious, however when they are set differently, so that one or the other gain is engaged alone, some very odd sounds eventuate. And rather than be all precious about it, insisting that you use these switches only for the purpose they were originally intended, Peter Reynolds actually suggests that people try the out of phase settings.
This basic design constitutes the 501 model. Responding to further advice that channel B could actually be a little more gamy, Peter redesigned the channel, increasing the gain stages and adjusting the boost to compensate for some minor instability that Resulted. The result was well received and became the beefier 502. To my mind, the 501 covers all the classic vintage tube amp territory,with its boost switch providing a delineation roughly along the lines of British hard rock rhythm/lead, while the 502 is reminiscent of a more modern, subtly hotrodded device (remembering that both models essentially share an A channel).
All the 500 series Reynolds amps feature separate inputs for each channel, and channel switching is achieved via an A/B box, though a channel linking switch allows you to plug straight into the A input, with the resulting output being a blend of both channels. Each channel features three band EQ and bright switch, channel B adds master volume and there is a global presence control. On the back panel, in addition to the phase switches and all the usual stuff, these amps also feature a negative feedback switch (high/low impedance feedback loop) and an output power switch (pentode/triode, with triode resulting in half power, as well as a subtle variation in tone).
|TURN IT UP!
These amplifiers are true all tube devices, constructed faithfully in the manner that great models were back in the day, and as such, they really come out to play at high volume. The common A channel is a perfectly realized American combo tone, without any of the Inappropriate sharpness that many that some such amps suffer, and being an incredibly soulful rendering of this classic sound, you can confidently wind out the volume on this channel without any fear of exposing lurking flaws. The evolution of channel B (and the general acceptance of a generically American A channel) speaks volumes about the deeply personal relationship guitarists feel with their overdriven tone. The 501 should please anyone who digs that British crunch, the unboosted mode particularly captures the classic overdrive favored by late sixties Brits like The Small Faces' Steve Marriott, while the boost provides the perfectly complimentary lead tone. The 502 is my favorite, with the B channel Introducing a little more grunt - which makes it the perfect canvas for stompbox generated buzz-saw overdrive. It Is Peter Reynolds' estimation that these amplifiers perform best when wound out, with distortion effects employed for colouring rather than volume/gain manipulations, and after using these amps in several high volume situations, this is unquestionably the case. If you are looking for a partner in crime for your Les Paul and Big Muff, the 502 would take a lot of beating.
THE BOTTOM DUE
As with Miles Fraser's potentially prototypical 503, which features subtle modifications such as an extra gain stage in parallel and treble enhanced boost circuit, Peter Reynolds is happy to work with clients tweaking an amplifier to their perfect specs. The advantages to be enjoyed in dealing with a local boutique manufacturer cannot be overstated. This style of amplifier is potentially problematic and it is re-assuring to know that you can contact the actual builder rather than a warranty department should anything go askew, yet rarely do you get the promise of such service without paying a hefty premium. Happily, the Reynolds amp is priced as if it were any old mass-produced import rather than the handcrafted local wonder that it is - and for the consumer at least, that's the best of both worlds.
When I can think of something intelligent and topical it'll pop up here!