There's a bit of a story behind this amp:
It started with an old friend offering me a blonde fender-style cabinet that he picked up at a show in return for repairing the reverb in his '63 Epiphone Pathfinder amp. It was a new aftermarket cabinet, clearly never used, so I jumped at the deal. It was a 2X12 cabinet, and his reported dimensions suggested that it would fit a Super Reverb chassis, so I figured I'd use that as a platform for one of my project circuits.
Looking for a chassis, I instead found a complete Super Reverb that was too good to pass up. The cabinet looked like it had been dragged behind a tour bus, and it was advertised as a "black face" when it was clearly silver face, but I figured it would be difficult not to get enough parts out of it to justify the purchase.
At that point, I had never even heard of 70W, Ultralinear Super Reverbs...
What I discovered when I opened it up, however, prompted an immediate change of plans:
I had by that time learned that this was the one model of Super Reverb for which 'blackfacing' really wasn't feasible, so I really wasn't prepared for what I found. It had, in fact, been properly retro-converted, including a complete complement of Mercury Magnetics transformers (power, output, choke, and reverb), a GZ34 rectifier, properly modified bias circuit, and some of the neatest, boutique-approved wiring I'd ever seen. I also learned that this swollen version of the SR was too wide for my cabinet, but I found a brand new Mojotone Twin Reverb cabinet at an attractive price, so I grabbed that, and the Super Reverb chassis did indeed fit it perfectly.
The conversion process had left holes where the original Master Volume and Normal Channel mid control had been, filled with crappy looking plastic plugs. I decided to restore those controls, mainly for cosmetic considerations. However, I implemented the new Master Volume as a post phase-inverter cross-line circuit, with an extra two capacitors isolating it from the bias supply, and a push-pull pot set ups so that the default position has it completely out of the circuit, and a 'pull to enable' facility.
Since I rarely ever used the normal channel on a Fender anyway, I didn't feel too bad about restoring the middle control. After studying some schematics, I decided to modify it to a 6G5-A tone circuit utilizing that oddball 4-terminal treble pot. Sifting through my parts bin I discovered a pot from an old Baldwin organ that measured exactly 6.8k, so that gave me my middle control.
I replaced the 6L6s with a pair of Gold Lion (reissue) KT66, which I'd done on some Fenders in the distant past with good results (after contacting Mercury Magnetics to ensure their transformer was up to the increased filament current), and I also implemented an 'RMS control', that I first encountered in one of Dennis Kager's Sundown amps, and have since used in all of my fixed-bias amps:
With the control fully clockwise, it has no effect whatsoever on the circuit, but turning it the other way introduces some additional cathode biasing whose effect is more tactile than auditory. Since there were already some extra plugged holes in the back of the chassis, I stuck the pot in one of them.
Finally, I replaced the reverb drive tube with a 12AU7, which I find make the reverb more suitable for my personal tastes.
... which brings me to the speakers, and (finally) the subject of my question:
My cab now contains a pair of vintage Altec Lansing alnicos, with a claimed frequency response of 60-8000 Hz. I've used these, and the 15" version, in many amps in the past, and think they're the best speakers ever made -- they have a crystalline sparkle without the tendency toward harshness that characterize JBLs of the same era. There's just nothing quite like them available any more (other than, perhaps, the ones being reproduced by Great Plains Audio, which I have not heard.)
The end result is, for my tastes, the best sounding clean amp tone I've ever heard, so I'm reluctant to mess with it further, other than to ensure that it's perfectly adjusted.
My point(s) of uncertainty involve those KT66s, through the 2-ohm-secondary OT, pushing the 4-ohm load presented by those two Altecs.
So, to all the more experienced amp gurus out there, where would you set the measured cathode current to best bias this combination? I'll be pouring over ValveWizard's site to come up with my own value, but would appreciate a sanity check from those more experienced than myself.
Finally, would it be worth swapping that OT with a similar model from Mercury Magnetics featuring multiple secondary taps? What would be the implications (tonal and otherwise) of the properly balanced relationship between OT and speaker load?
Thanks to all for sticking with me through this rather verbose diatribe!