Hello Ronald and friends! It is very nice to write You for a very long time. And thanks for the very well working uTracer. So here they come, hopefully You mail does not fill. You can see from pictures, that I have not made the other raw of banana plugs down. When it comes two or more connections to same plug, I just put them together to same banana point. It has worked so far and I have not seen any oscillation or so.
UK-Sold Amplifiers 1956-1981
In electronics, a vacuum tube U. For most purposes, the vacuum tube has been replaced by the much smaller and less expensive transistor, either as a discrete device or in an integrated circuit. However, tubes are still used in several specialized applications such as guitar amplifiers also called a valve amp outside the U.
Tube vs transistor amps. If you’re struggling with discovering a sweet tone, it’s time you get yourself a proper Fender tube amp. It doesn’t have to be a vintage amp, but is has to be a tube amp.
The Absolute Sound magazine http: In particular, they have become known as one of the premier manufacturers of single ended amplifiers SETs , preamplifiers. The soundstage at the show demo was just huge with holographic images dancing within a truly holographic 3d soundstage. Those big monoblocks also delivered the delicacy and midrange glory that SET is famous for but with a big tight bass wallop and crystal clear extended highs for which SETs were not known for at all…..
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Break Out the Museum Piece
The first Fender solidbody model, the Esquire , lasted in name only from June to October This model name was replaced by the “Broadcaster”, which lasted in name only from the October to January All Broadcasters have truss rods, where many Esquires often have no truss rod. In Gretsch had trademarked the name “BroadKaster” for a line of drums.
Unlike the rest of the free content on this site, our Buyer’s guide to vintage Fender amps costs 10$. We currently only support Paypal as payment method.
Return to the Main Index. Sometimes there just isn’t enough information on electric instruments and amps to allow them to be properely dated. And many people ask me to try and determine the year of their old amplifier, or to help them with the year of their older off-brand electric guitar. Since I primarily collect amps by Fender, and guitars by Gibson, Fender, Martin, National, Epiphone, Gretsch and Rickenbacker, I really can’t help them with these other less popular brands.
As you have probably noticed, there is plenty of information here to help date the brands that I am interested in. But where does that leave everyone else? Well I’m not one to leave you out in the informational cold, so here’s something that I use quite often in dating amplifiers and electric guitars. It’s called the “source-date code”, and it can help determine the approximate age of an electric instrument by the date its components were manufactured.
Source-Date Codes On American made vintage gear, the pots and speakers provide an excellent opportunity to date a piece of equipment by referencing their “source-date code”. The source-date code found on pots and speakers gives the manufacturer and date roughly when the components were made. It may have been some time before the part was installed at the factory, but it still provides a good approximation of when the gear was made.
BF/SF Super Reverb
Both uTracers PCB are okay. The wireless connection from my notebook to uTracer operates with BlueTooth and so I have more space in my motion. If the measure procedure lasts longer report the GUI a timeout signal from uTracer. The uTracer arrived safely yesterday and I verified the I will proceed to build with that in mind and not place the incorrect resistors.
gretsch ‘s hardshell case original! “no reserve” item number: sold. gretsch ‘s hardshell case original! “no reserve”.
Features one channel and two inputs; volume, bright, treble, treble expander, bass, bass expander, bright switch, deep switch, stand-by switch, pilot light for stand-by and operate. This amp was built to play larger halls and outdoor concerts. The lack of reverb was not a big issue as most live performances had acoustics full of reverberation halls, arenas. Peter Traynor built these things to stand up to road abuse, unlike a lot of vintage stuff.
It sounds great with either bass and guitar, providing a clean and loud tone. Works great in large club settings. Front panel has two input jacks, controls for treble boost, volume, treble expander, treble, bass expander, bass, presence, and bass boost. There is also a standby switch and corresponding green and red pilot lights. There are no effects in this head, but stomp boxes work just fine.
The front of the amp is wrapped in a Fender-style silver-face cloth [
dating fender transformers
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Today many people are familiar with this puzzle and its solution.
As of Apr this is our Top Rated Page. We are using the Hifi Year Book as we have the whole set To list all interesting amps from these years is the idea, not interested in a full list, only cherry picking the better ones & interesting ones.
This results in a fatter tone. Signal distortion In signal theory distortion is defined as a change of amplitude, frequency or phase. These are just different words for distortion. Distortion is for many tube amp guys considered a good thing since it makes the tone thicker, fuller and with more sustain. This is not desirable for all instruments. Will distort if signal level is very high hot humbuckers, boost effect pedals.
Signal enters the EQ stage with treble and bass pots. Signal enters the volume potmeter. Volume pot is not amplifying anything, just letting more current through. Will distort if signal level at this point is high, as a result of all previous signal processing to the original input signal. The cathode caps and resitors in preamp tube circtuits will add sag and compression if tube is pushed hard.
The signal in the reverb path is heavily amplified by the reverb driver tube V2 both halfs which drives the reverb tank like a loudspeaker. The reverb noise signal and dry signal is merged together.
The progress of this type of work is slow, hence the long hiatus, however, a lot of new data have been collected regarding Fender amplifiers, including production numbers. Advances have been made with regards to the production of tolex amps and it appears that much of this information can be applied to late s tweed amps as well. In addition, the dating-by-serial number tables have been revised and are more accurate.
The bad news is that there is still a lot of work that needs to be done on the silverface amps. Unfortunately, there is some sad news to report as well. Fellow Fender amp researcher, Greg Huntington, passed away June 5, after losing his battle with cancer.
Introduction. Sometimes there just isn’t enough information on electric instruments and amps to allow them to be properely dated. And many people ask me to try and determine the year of their old amplifier, or to help them with the year of their older off-brand electric guitar.
I promise the tables will still be there after you finish reading. We also received a report of a tweed 5G12 Concert. The 5G12 Concert is the earliest version from very late and early so the existence of a tweed example, while extremely rare, is certainly plausible since Fender was making lots of tweed amps during the same time period. Working at FMI — I was able to interview a fellow who wishes to remain anonymous who worked at Fender in in the amp department.
Although his job was somewhat limited, his recollections provided some really fascinating insights to how the amps were built. For instance, he confirmed our assumption that the amp chassis were put into stock after being stamped with serial numbers and that the chassis were pulled from the stock bins randomly just as with Fender guitar neck plates. The boss came around and said what we’d be building. The chassis weren’t used chronologically. Probably the same as the pots and transformers that we just dug out of the boxes.
I think in the corners of the boxes were older pots remaining from earlier dates I think the better, older hands did 35 a day. Like I said, there were 5 or 6 of us at the benches every day. But it wasn’t always ‘cool guitar’ amps, sometimes I was making Fender Rhodes Satellite amps on bent aluminum, sometimes only Champs. I remember two ‘suits’ from upstairs standing behind me occasionally doing time studies.