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phat tone
technical information  |
This amplifier started its life as a solution to an ever-present problem in today’s professional gigging scene; the management and audience of the modern nightclub was no longer seeking out the ear-shattering volumes created by the bands of days gone by, and the traditional amplifiers used to create these legendary tones were unable to attenuate the volume without suffering serious compromise in sound quality. In order to facilitate the professional and semi-professional musician’s goal of creating music with an “organic” and lively feel, a different approach was needed. The first step was to determine the overall tone desired; in this case, the English sound from the 60’s and 70’s was chosen due to the virtually timeless sound that has been used on recordings and live performances since then. The tone of the late 60’s English amplifiers was a dynamic, clean sound which followed every nuance of the player, and reinforced the color of the guitar itself. In the tradition of the greatest of these amplifiers, no master volume is available on this “clean” channel, only the 3-knob tone stack and the mix between 2 separate input channels, labeled “bright” and “dark.” Next was the search for a versatile lead tone which could be suited for many styles of music; something with enough grit to cut through a live mix, but still retain the sound of the guitar and the picking style. The lead channel of this amp was designed to range from a thickening of the overall sound to a high-gain grind capable of backing the player up in the most aggressive passages. It was decided that two separate master volumes would be incorporated into this channel, allowing the player to have this sound at their disposal for chunkier rhythm lines, and then to retain this tone at a different volume level for “solo” work. The channel switching duties are handled by a rugged 2-button footswitch and a relay-driven network. Relays impart a small “click” when switching, but after trying many different methods, they were selected due to their complete lack of tone coloration. The dynamic range of solid-state and optical methods as well as their penchant for changing the response of the amplifier ruled those methods out. The reliability and ease of maintenance and repair made the relay the only realistic choice. The modern venues for live music have a different approach to sound than the rooms of days gone by. In the past, guitars were typically plugged into half-stacks or even larger rigs, and the volume inside the club was cranked to the point of severe hearing damage. Nowadays, the club owners demand much more controlled sound delivery at a volume that will encourage patrons to spend more time inside. To this end, an output section capable of delivering 18 to 20 watts has been designed, with the tone and character of the 50 watt power sections of the past. This size of power section allows the power tube interaction which is necessary for full, thick sound. Sustain and harmonics are maximized without the “processed” and controlled sound that detracts from the true guitar tone. The JJ 6V6S* power tubes selected for this amp have a tone and power unheard of from this tube type in the past; for rock/blues/NWOBM/heavy country tones, no previous incarnation of this tube has delivered the crunch and powerful sound available in this unit, and they are highly recommended for tube replacement. The preamp section has been designed to allow any 12AX7/ECC83 tube to be used without the worry of incompatibility, a problem which has surfaced in recent years among some of the newer high-gain amplifiers. JJ 12AX7S* preamp tubes are standard, but feel free to plug in any 12AX7/ECC83 tube, including your cherished Old Stock units, and the tone coloration of the tube you choose will shine through. The electronics are constructed on a fiberglass eyelet board, essentially a more rugged version of the construction used by the major California amplifier manufacturer during their heyday of the 60’s and 70’s. The durability and reliability of this method has been tested over time, and today’s printed circuit board construction does not measure up in terms of maintenance, repair, or modification. The tube sockets are mounted to the chassis, and the components themselves are of a much higher quality and rating than those used in any amplifiers of a comparable price. The wiring itself is silver-plated Teflon-jacketed wire, and is all hand-wired and soldered; unlike many currently produced amplifiers, there are no computer ribbon cables, no terminal plugs, nor anything else likely to vibrate loose and cause failure. The chassis is solidly mounted into the cabinet, and is designed to allow quick and efficient repair and modification by a qualified technician. The cabinet box is lightweight, yet rugged and tuned to deliver a solid bottom end, and a thick, yet tight top end, which will be easily heard through the band mix. The speaker is a clone of the original 30 watt English speaker from the late ‘60’s, long since discontinued, although reissued in a lesser form by its manufacturer. The speaker chosen for this amplifier is handmade in the USA, and captures all the distinct character of the original, and is by far, the finest overall rock’n’roll speaker built today. A speaker diffuser is standard on all units, and disperses the sound much more evenly to all areas of the room without the “beaming” effect of the large speaker cabinets previously used. Unquestionably, you will enjoy this amplifier as soon as you plug in; the construction and component quality is among the finest available today at any price, yet the costs have been kept reasonable by keeping the focus on the quality and sound, rather than the marketing schemes so popular among the competition. The simple, yet versatile control layout will allow you to dial in your sound quickly, and give you dynamics and control simply unavailable from any mass-produced amplifier. Matching extension speaker cabinets will be made available in 2005, allowing you to spread your sound out more evenly throughout the venue. |