Telecaster Project 2014- 'Old' Nitro Finish

Completed 12/28/14

'Old Man' vibe from Eddie Vedder

Heres what happens when you
play a telecaster

The project will be to improve on the previous Tele builds with a custom Telecaster build that has special attention to finishes and is more authentic as a 50s replica. The previous builds focus more on hardware and circuits.

This will also be a heavy chunky guitar.  The heavy body and neck will be a good base to stress the thin nitro finishes and it is also how many of the early 50's telecasters were built- thick profile necks and heavy bodies. Many players think a  heavy body and neck improves the sustain and tone so we will see how that goes.

Body

Starting with a Fender Baja body that is on the heavy side with the poly finish stripped off. The Classic Player Baja Telecaster was designed by Fender's Master Builder, Chris Fleming, who specialises in Teles and has built instruments for many artists including: John 5, Billy Gibbons, David Gilmour, John Mayer, Pete Townshend, Joe Walsh and Ron Wood.

The Classic Player Baja Tele design is based on a '52-style Telecaster with a typical ash body. The construction of the Baja is not perfect and a known small fault is the bridge pickup rout shows slightly under the curved edges of the bridges but the cut of the body and hardware size are 50s spec. 

The body is a flat slab of wood with no "comfort contours", only a tightly radiused edge on the front and back. Some bodies of this example are fairly light for an ash Tele, being about 4lbs, but there have been many reports of much heavier examples, so it seems there is quite a bit of weight variance from guitar to guitar. This body is heavy at close to 6 lbs.  

First step is to prep the body. The sanding started with medium then fine paper and down to #800.  This took a lot of time and to keep the front and back dead flat the heavy sanding is best done with a long block of wood otherwise you can oversand and groove the body.  Beer and sandpaper job.

Color and Paint

After looking at photos of guitars including Eddie Vedder's photo above and a side trip to Nashville I wanted to replicate an old finish exactly as it may have aged.  

During the 50s and 60s Fender got their colors from Ford and GM since that was the base of the spray coat business and there were a limited number of choices - see old color chart below- 1960 chart with 14 colors and sunbust no extra charge.  Red, white black, blue were the typical choices and the most common finish was clear (Fender blonde- Springsteen & Townsend teles).  The clear coat yellowed pretty rapidly. Most of the old yellow Fenders are actually white with a clear overcoat that has yellowed.  This is also true of old 'greens' which are actually blue base color with a yellowed overcoat to give a green appearance.

Here is an old clear coat blond finish and you can see how the original finish is preserved under the pickguard where the sunlight UV can not breakdown the finish. Thanks to 'better living through chemistry' this does not happen to your car or guitar finish any more.

I took the body to a special shop for the paint.  I decided to go with the look of an Olympic White base and yellowed clear overcoat all in nitrocellulose.  The finish was done by a pro - Curt Wilson at Old School Guitar Repair (http://oldschoolguitar.net/about/ ).  Check out his work.

OK here we go.  Curt had the body for a few weeks and the finish is great - 4 coats nitro olympic white sprayed with 5+ coats of a 'yellowed clearcoat' and a final clear coat over it all. Really nice effect with thinned yellow coats on the edges.  The yellow matches the tone on a few of my guitars with yellowed nitro over white binding so it captures the look.

Thinned yellow top coat on the edges

Stress Relic

The idea here will be a minimum wear just to show that there is white under a yellowed clear coat. Looking at all the reference photos the two areas get worn- the outside edge of the lower left bout from arm/sleeve buffing and belt buckle wear in the middle section of the back.  After some work with 220 paper and wet sanding down to 1200 microfine came up with this:

Old yellowed nitro over white binding

Next steps are buffing it out to high shine and weather checking or spider cracking

Weather Checking

Weather checking the finish is the most important part of this project.  I have worked with overcoat nitro finishes and the checking works ok but it is not as complete as authentic old weather checked finishes.  The reference finish I have is on a 69 stratocaster that came as a second hand guitar from a NYC bar band player and it had a rough life when I picked it up in the 90s.  The sunburst finish is weather checked and shown below:

Front horn

Back 

The checking is fairly complete except on the sides with areas of horizontal dominant lines.  It is also subtle and only noticeable close up under a bright light. 

This telecaster body is a dense heavy ash so the stressing should produce dramatic differences when cooling the thin nitro (see the 'Relic Techniques' section of this blog in this case the body was not heated before cold treating).  The body is left to stand for a little over two months before doing the weather checking to make sure it is fully cured.

The results were better than expected and the photos show it pretty well. 

Electronics and Final Assembly.

Neck pickup is a Fender Custom Shop Twisted Tele and the bridge pickup is a Fender Custom Shop 51 Nocaster. Get it - the 51 pickup in a 52 body design.

The circuit is the same as the 'Telecaster Project' (see Telecaster Project 2013).  5 position switch for neck, neck+bridge series/hum canceling, neck+bridge parallel, neck+bridge out of phase, bridge.  The tone knob pushed in is 0.47uF capacitor and pulled out is a 0.10 uF capacitor for a thinner tone.  The volume knob in goes to the tone control  and pulled out is hot to the output jack bypassing the tone control and circuit impedance.  

Finally it is also a 'greasebucket' circuit having the tone control roll off highs but not going 'muddy' by also rolling off some lows.  This works for both the 0.47 and 0.10 caps.

Final Assembly

 

Neck is a U shape also called the baseball bat since it is large,  The profile is preferred by players with large hands but some find vibrato much easier on a thicker neck.  It is also a common early 50s profile so it matches the body and pickup.  Neck has creme dots, aged back with light relic and weather check on the head with vintage tuners,  All metal is lightly aged- acid faded.  Bakelite pickguard.

The goal was to make a tele with better finishes and it came off as a early 50s partcaster light relic that challenges Fender Custom Shop $5000 guitars. The wear is right and will improve as it is played for years with a ding here and there and wearing through the thin nitro.  Circuit is solid with 15 tone options on board (5 with 0.47 cap, 5 with 0.10 cap and 5 bypassing the tone control).

I will post video and sound checks if I have time.


Final Specs

Brand: Toneworks
Model: Fender Replica Nocaster
Type: Nocaster
Year: early 50's
Aging: Light Relic
Finish Type: Nitrocellulose Lacquer 'yellowed clear' over white
Body Wood: Heavy Ash
Neck Wood: Maple
Neck Shape: Nocaster "U"
Fingerboard: Rosewood
Fingerboard Radius: 9.5" Radius rather than "10" Radius found on Fender Customshop
Inlays: Dots
Scale Length: 25.5"
Width at Nut: 1.650"
Nut Material: Corian rather than Bone
Frets: Dunlop 6105
Pickups: Fender Custom Shop Twisted Tele Neck, 21 Nocaster Bridge
Controls: 5-Way Switch with Tone & Volume Push Pull including Greasebucket Circuit with 15 tone options rather than Fender 3-Way Switch & Modern Wiring with 3 tone options
Hardware : Nickel/Chrome
Bridge: 50's
Tuners: Vintage Nickel Tuning Keys
Pickguard: Black Bakelite 5 Screw Hole

Note: Body is on heavy end of Fender specs.  Total weight 8.5 lbs

Reference Photos

Old white with pickguard removed

Nashville

Blues Junior Amplifier Modification

Intro and Background- Why are tubes still around and what is in the box

"Once upon a time, vacuum tubes were used all over the place. They glowed their little hearts out in our television sets, car and home radios, hi-fi systems, and guitar amplifiers, and were crucial components in myriad military applications, from radar technology to missile guidance systems and more. Bit by bit they have been replaced in all of these functions by other forms of more compact and more stable technology… except in guitar amps, where they maintain their preeminence over all kinds of far more advanced electronics. Is this just nostalgia, or mere perversity on the part of guitarists? Not in the least: when used to amplify electric guitars, tubes still simply sound better than anything else out there. Sure, there are some respectable sounding solid-state amps, and digital modeling amps have also made inroads into the market, but ninety-nine out of a hundred serious pros (if not more) continue to use tube amps for both recording and touring, and these little glowing bottles still define the cornerstone tones of rock, blues, and country guitar." David Hunter article Premiere Guitar  


Historically tube amps were put together using a relatively small selection of tubes taken from military and radio applications. Advances in the technology after the war enabled "hifi" in the fidelity power range. Widespread low cost use during the 60s was the hayday then eventual decline as transistors and digital circuits took over.   The tubes amplify the input signal and do this with a 'voice' rather than crystal clean amplification (voice=some signal distortion resulting in nice round waves instead of square waves). Variations in capacitors and condensers in their circuits give them different types of tones which have become the characteristic sounds of Fender or Marshall or other signature amps. 

The origin of the tube amp business for guitars started with Fender amps during the 40s as the electric guitar business developed. Later Jim Marshall modified a Fender Bassman circuit changing the preamp tubes and started Marshal Amps (British company 1962). Randal Smith had a small California shop modifying Fender amps and did a few changes to the Fender Princeton that caught on launching Mesa Boogie (California 1969 termed 1st boutique amp company now mass production).  These 3 amp companies are the real legacy kings and if you look up any famous guitarist they have spent time on stage with one of these amps at one time in their careers if not throughout their careers.

Whats inside the box- the typical circuit is:

Signal from mic or instrument  >  Preamp Stage  >  Amplifier Stage  >  Speaker


Typically before the signal hits the preamp you can adjust the gain (power to the preamp tubes), treble, midrange, bass to change “shape” of the sound. The preamp then sends the modified signal to the power amp, which amplifies it in preparation to drive the speaker. Using the master volume control, you adjust the amount of power that is sent to the amplifier stage tubes which increases or decreases the speaker volume.

The preamp is needed since the instrument signal is to low to efficiently be the input to the amplifier stage to give you nice high volume.  Preamp tubes  are the smaller tubes in the amp and most are 12AX7, 12AY7 or 5751s which basically operate at different gain levels.  They tend to have limited impact on voice quality but many musicians - including Stevie Ray Vaughn- and boutique amp companies play with different tubes in this stage to drive more distortion before the signal hits the output stage.  We will skip the preamp for now and look at other changes that make a bigger difference. 

Where it gets a little weird is there are hundreds of amps out there and they all use a relatively small number of amplifier stage tube types.  There are just not that many types available in the power ranges needed for a sound amplifier.  Almost all amps use these main power tubes: 

• 6V6 & 6L6: Fender is known for using 6V6's in their smaller amps and 6L6's in their larger amps. They have a lot of clean headroom so you get more volume from the amp before they start to distort. 
• EL34 & EL84: Marshall is known for using EL34's and EL84's in their heads. These have less clean headroom, so they'll distort at lower volumes, but the distortion is usually warm and smooth.
• The EL-84 power tube is little brother to the EL-34, the tube found in Marshall and Orange heads. The lower-powered EL-84 is often characterized as having a little bit of the EL-34′s trademark “bite” and mid-range push, but with a little less low bottom and a slightly more supple sound. Fender also uses the EL84 with circuits that optimize a cleaner Fender legacy sound.

The standard stock amps made by the big companies today are the common sound for mass production but often there are issues with the models like some cheap parts, poor bass response or limited high end. This usually results in a player having someone do amp modifications to give the amp a better sound or response profile. This is not about the effects you put on the sound it is about opening up the dynamic range of the amp.  A classic example is an amp that is always played with the bass, mid or treble wide open. It would be much better if you got this sound with the controls set half way.  The other common example is an amp where the bass sounds the same at any setting above 2 or 3. 

The flabby sound quality has resulted in an industry of amp techs that modify these amps to meet a players needs.  It also results in high end custom/boutique amps to get better sound from the same tubes.  The reality of custom/boutique amps is they are expensive and you are really paying for a few high quality resistors, capacitors, potentiometers and circuit wiring changes.  Granted the boutique amp companies will stress the importance of woods used in the cabinets, US assembly and handmade point-to-point wiring but this is really minor when compared to quality circuits. 

If you are buying a tube amp first decide which tubes you prefer by listening to amps or artists that favor certain amps and you can look up those amp models and tubes.  Here is a neat video of Billy Corgan who has used many different amps through the years and for touring he had the tube amps custom modded into different programmable heads- like a very high end custom Line 6 amp.  It shows how he used all these different tube amps for signature tones in his music and not many pedal effects. 

Billy Corgan rig rundown

Project- Improving a Small Combo Tube Amp -  Selecting the Amp

Everyone should have a small combo tube amp. Something that would be good for home practice, studio or a small venue gig without dragging around big suff and speaker cabinets.  Ideally the combo amp can also act as a amp head so you can plug into other cabinets or slave to other amps if needed. These models are small grab-and-go amps that give all the volume you need before you add effects.  The volume and sound from a tube amp based on the watt rating is much louder than a solid state amp so 12 to 25 Watts is plenty for a small venue.  

• Fender Champ- 1948 through 82 and vintage model since 2006. 5 watts and single 6V6 tube $400 to $1000 used.
• Fender Deluxe- Stevie Ray and Neil Young favorite- 22 Watts, 1X12 speaker 6V6 tubes and 2 channel $969
• Fender Princeton – 12 Watts, 1X12 speaker 6V6 tubes and 2 channel $999
• Fender Blues Junior ‘II’ 2005 to 2010- 15Watts, 1X12 speaker EL84 tube $400 before the ‘III’ came out.
• Fender Blues Junior III-15Watts, 1X12 speaker EL84 tubes $529

• VOX AC 15C1- 15Watts, 1X12 speaker EL84 tubes $600 to $900
• Marshall DSL 15C - 15Watts, 1X12 speaker 6V6 tubes $500
• Mesa Boogie Transatlantic- 15Watts, 1X12, 2 channel EL84 tubes $1700
• Orange Tiny Terror combo- 15Watts, 1X12, 2 channel EL84 tubes $900

• Matchless Lighting 112 – 15 Watts one channel 1X12 EL84 tubes $2500
• Top Hat Royal 20- 20 Watts 1X12 EL84 tubes $2000
• 3rd Power Dream Weaver- 12” speaker 18 & 38 Watts using EL34s at 60 pounds and $3300

If you want to spend more time with writeups and videos of small EL84 tube amps this has 9 amps in one article  Premier Guitar Champions of Chime EL84 Amps

So these are all single speaker 1X12 amps up to 25 Watts with prices that range from $500 to $3000 using just a few tube combinations.  Some have a lot of flexibility with 2 channels and impedance switching 4/8/16 ohms so you can run off different speaker cabinets.  Some are very limited with only a volume and tone knob (Fender Champ and some of the boutique amps). The high priced amps also use point-to-point wiring where they are using soldered wire circuits instead of circuit boards to make connections.  The low cost amps suffer from cheap components that limit sound quality. 

Warning- You can kill yourself modifying an amplifier since the circuit stores high voltage.  Nothing here is an instruction on how to stick your hands inside any electrical equipment and make changes since it can make you fly 10 feet across the room or burn down your house.

The project is to take a low cost tube amp that comes standard with lousy parts and do some modifications opening up and improving the sound to see if it can approach some of the sound qualities of the crazy high priced amps.  The first step is to pick an amp to work with and we will use the Fender Blues Junior. Below in the Background section is the Fender specs and manuals are available on the Fender site. 

Blues Junior Combo Tube Amp

Control Panel- on the Blues Junior the 'volume' adjusts the preamp power so it is 
the same as the gain control on most other amps and the 'master' adjusts the power to the main power tubes so it is the same as the volume control on most other amps.  
Dont ask me why they did this.

We are using the Blues Junior because it is cheap and has a good foundation to work with. There are a lot of them available as used on the internet so you can pick one up for a good price.  There are ‘collector’ models with tweed or different cases but they all have the same circuit and tubes. I was able to purchase a 2010 for $300 in excellent condition after looking for 2 weeks. 

There is a lot of info on the internet with modifications for amps but the info on the Blues Junior is very detailed with lots of options. Here are a few good sources:

• Mhuss- includes cathode follower mod which we will not do since it is difficult and does not have much impact on sound.  http://mhuss.com/tindex.html
• Bill Machrone mods.  BillM is very generous with his info and due to poor health his kits are not available. He is the well known guy for knowing what is going on in these amps and modding them,  http://billmaudio.com/wp/
• Fromel Electronics http://www.fromelelectronics.com/

Here are some videos of Blues Junior amps with mods

• https://www.youtube.com/watch?v=LSyc-VuH6fA
• Here is a video of the amp with some BillM mods: www.youtube.com/watch?v=1CZOJ9-NQgk

Amp Upgrades and Modifications

After a lot of web research here is what will be added/changed in the amp:

1. Output transformer- TO22 from Dave Allen switchable for 8/4 ohms http://www.allenamps.com/parts.php
2. Presence control- mod based on BillM info
3. Standby switch- mod based on internet info
4. Reverb tank replacement - MOD 8EB2C1B
5. Auxiliary out jack- for connection to external cabinets or slaving the amp and will automatically turn the internal speaker off
6. Line out jack - for connecting to mixer, computer or other device that needs a low signal
7. Tone stack upgrade - Fromel
8. Bias modification for running the tubes cooler - Fromel
9. Electrolytic Capacitor upgrade to higher quality power caps and increasing the capacitance of 1st stage filter - Fromel
10. Wire Dressing to reduce hum – BillM board pics

Cost for Parts- $170 total 

• The parts in the Fromel supreme kit is $25 and the actual kit with instructions from Fromel (recommended) is $70
• Standby switch and presence control parts $10
• Line out and auxiliary cabinet jacks with resistors $8
• New reverb tank $17
• T026 4 ohm/8ohm output transformer $65 from David Allen

2nd Warning- People have died sticking their hands in amp circuits that store high voltage.  Nothing here is an instruction on how to modify any electrical equipment.

Reverb Tank


The stock reverb tank is a thin 2 spring tank that has a history of failure at the RCA connectors.  I went with a MOD 8EB2C1B and here is a description of the tank:


“Replacement Reverb Tank For 8EB2C1B, Black Finish Voiced To Sound Like the Original Tanks From the 60's Solid, Sturdy Construction Short (9 1/4") 3 Spring Unit, Medium Decay Input Impedance 800 Ohms, Output Impedance 2,575 Ohms.

Testing the amp with the original tank, 
MOD 8EB2C1B and an old larger 
70s amp  reverb tank.  The MOD tank
was a big improvement and sounded best

The Transducers are wired directly to their respective RCA jacks as opposed to current production tanks where Transducers are connected by a detachable plug to their respective RCA jacks. This makes the tanks less receptive to any outside interference. The original Hammond Accutronics tanks from the 1960s were also wired directly to their respective RCA jacks. In addition very close attention has been paid to the spacing and size of the lamination of the Transducers resulting in a more vintage like tone.”

Standby Switch

It is not required to have a standby switch but it does help to heat the tubes and also use it as a mute switch.  



This is the wiring for the existing switch which is a 2 position 4 lug on/off switch and this can be changed with a on/standby/off switch using a Carling 3 position 4 lug switch.  










I got the wiring from looking at internet pictures of modified amps and seeing where they made the changes.  

Output transformer- TO22 from Dave Allen switchable for 8/4 ohms

This swap achieves 2 things. The amp is noticeably louder and gives the option for a 4 or 8 ohm output so you can hook up to external speaker cabinets.  There is plenty of power here and with the new transformer playing at home is usually on volume and master settings of 2 or 3.

Stock output transformer - left
Allen 4ohm/8ohm -  right

Power spectrum T022 from BillM
as Bill notes low distortion in the
bass and improved tone throughout

Power spectrum stock from BillM

Adding the auxiliary cabinet and line out jacks

You can damage a tube amp by turning it on without a speaker plugged in so the safe configuration is to keep the internal speaker in the circuit and automatically turn it off when you plug into a new cabinet. Most amps use this and that's how this circuit is set up.

The wiring here puts a switch in the circuit to select 4 or 8 ohm output so it will normally be set at 8 ohm for the internal speaker.  The signal then goes to a switchable jack as the external auxiliary for the extension cabinet that when in use will cut the signal to the internal cabinet.  This allows the internal speaker to stay plugged in and off while the external speaker is used. The line out allows you to plug into a mixer or other low signal device knocking the signal down by a ratio of the resistors.  The output is knocked down by about a factor of 4.5. 

If you want to use the internal speaker while using external speakers you need to wire the external jack in series or parallel then do the calculation and set the impedance switch to the proper impedance before you plug in.   Most amps just turn off the internal speaker so you only have to set the impedance switch to what ever lines up for the external cabinet- less to think about. 

Another approach is needed if you want to use the internal speaker but balance the volume of the internal speaker independently of the extension cabinet. In this case you need to install an L-pad between the output transformer and the internal speaker which will allow control of the power (volume) of the speaker while looking like 8 ohms to the transformer. 

Parts Express Speaker L-Pad Attenuator 50W Mono 1" Shaft 8 Ohm Part # 260-255 

Presence control


This is a BillM mod and you should buy it from him.  His site is temporarily suspending orders due to his health so checking the internet you can get the details of the change but basically R25 is replaced with a 10K pot.  

This achieves the following from BillM " The presence control affected overtone frequencies in the human voice range, making the voice more “present,” hence the name.  But the presence control is not part of the tone stack. Instead, it controls the amount of negative feedback in the output stage. Negative feedback controls the accuracy of the output stage’s reaction to the signal sent to it by the prior stages in the amplifier. With no negative feedback, the output stage tends to overshoot and exaggerate the high midrange and sharp, percussive sounds. With too much negative feedback, the amp sounds slow and mellow; pick attack is muted.

The presence control lets you adjust presence from a brighter, louder tone that puts an aggressive edge on your pick attack to a more laid-back sound that’s ideal for jazz or a warm, mellow tone that swallows pick attack and lets the note bloom out. The stock value for presence is at about the 1 o’clock position on the control"







Capacitor and Resistor Changes - http://www.fromelelectronics.com/



Tone Stack - Replace the awful Bass and Mid caps with high quality WIMA caps. The new caps have corrected values to open up the tone and get rid of that boxy sound. Note other high quality caps rather than WIMAs can be used but the values are important. 

The Treble cap is replaced with a high quality Silver Mica cap. The adjusted value shifts the mids up very slightly, the result is an amp that sounds huge and warm, not boxy and thin.

Twin Mod - The mids on the amp have a flabby bottom. This mod enables you to take all the mids out of the tone allowing more flexibility and versatility. This is accomplished with just a short jumper wire on pins 2 & 3 of the treble control but the result is far better control of your tone.

From BillM shows where to short
the treble pot on the back of the board

Power Stiffening - Doubles the capacitance in the first filter stage, this reduces hum and increases reserve power for solid bass and strong picking, 

Cooler Bias - . This mod lets the amp run cooler without sacrificing tone by changing R52 to 27K ohms. The new bias resistor sets the on the tubes to about 8.5w should let them run cooler like most Fender amps and add to tube life.

Electrolytic Cap Upgrade - Replaces all of the power filter and cathode bypass caps with high quality F&T and Nichicon caps. The current Blues Juniors made in Mexico are known to have leaky filter caps.  The Fromel kit rectifies these issues.





























Proper Lead Dress - 


Take a look inside a boutique tube amp and you will see all the wires carefully twisted and placed for greatest reduction in oscillation and noise. The Blues Jr has all the internal wires zip tied together in parallel so the dressing needs to be improved. 

I checked online photos including some of Bill Machrones work to see what the lead dressing looked like in addition silicone was added at the base of the ribbon connectors and the flabby connections on the wire to the reverb tank.

Stock wiring with a few nylon ties removed

Amp after all mods and lead dressing

Sound Test 

 I had a stock amp around and was able to compare it to the fully modded amp. The changes in the sound of the amp are dramatic- my wife even thinks so and she rarely comments on any equipment stuff.   Here are a few videos testing the amp compared to a stock Blues Junior III and comparing it to the Fender settings on the Egnator Tweaker 15 amp which uses 6V6 tubes common to smaller old Fender amps.

Blues Junior Mod Compared to Stock

Blues Junior Amp Specs and details from the Fender website:

ELECTRONICS
VOLTAGE: 120V
WATTAGE: 15 Watts
CONTROLS: Reverb, Master, Middle, Bass, Treble, "Fat" Switch, Volume
CHANNELS: One
INPUTS: One - 1/4"
SPEAKER JACK: One 1/4" Mono
FOOTSWITCH: 1-Button Footswitch for “FAT” boost

HARDWARE
CABINET MATERIAL: 7-Ply 3/4" Birch/Maple Plywood
AMPLIFIER COVERING: Black Textured Vinyl
GRILLE CLOTH: Silver
AMPLIFIER JEWEL: Red Jewel
FRONT PANEL: Black
HANDLE: Molded Rubber "Dog Bone" Style


SPEAKERS: One - 12" 
TOTAL IMPEDENCE: 8 ohms

TUBES
PREAMP TUBES: 3 x 12AX7
POWER TUBES: 2 x EL84
RECTIFIER: Solid State
REVERB DRIVE: Solid State

MEASUREMENTS
LENGTH (IN INCHES): 9.81
HEIGHT (IN INCHES): 16
WIDTH (IN INCHES): 18
WEIGHT (IN POUNDS): 31
LIST PRICE: $529