While working on my current project, I'm thinking ahead to my next amp build. I have built several single ended projects, and its time to move into push/pull. I got an old Stromberg PA, which was fried but has a cool looking chassis. It will do great for a two octal (6v6) power stage and a two or three stage preamp. I don't have a great deal of room, so, two is preferable.
I was thinking of the following (schematic links beneath).
Princeton AA964
http://www.schematicheaven.com/fenderamps/princeton_aa964_schem.pdf
Deluxe AA763
http://www.schematicheaven.com/fenderamps/fender_deluxe_aa763.pdf
Deluxe 5E3
http://www.schematicheaven.com/fenderamps/deluxe_5e3_schem.pdf
Trainwreck Express
http://www.schematicheaven.com/newamps/trainwreck_express.pdf
I was leaning toward the Princeton as I could get rid of the trem circuit and turn it into a different gain stage for another channel. I would think I could run it into the tone stack, just switch between plugs.
The trainwrecks are interesting also, but there are 10 or so variations. Anyone have any opinions on which are best?
Also, any suggestions for "off brand" amps are welcome (Supro, ect). As always, any help is appreciated!
I was thinking of the following (schematic links beneath).
Princeton AA964
http://www.schematicheaven.com/fenderamps/princeton_aa964_schem.pdf
Deluxe AA763
http://www.schematicheaven.com/fenderamps/fender_deluxe_aa763.pdf
Deluxe 5E3
http://www.schematicheaven.com/fenderamps/deluxe_5e3_schem.pdf
Trainwreck Express
http://www.schematicheaven.com/newamps/trainwreck_express.pdf
I was leaning toward the Princeton as I could get rid of the trem circuit and turn it into a different gain stage for another channel. I would think I could run it into the tone stack, just switch between plugs.
The trainwrecks are interesting also, but there are 10 or so variations. Anyone have any opinions on which are best?
Also, any suggestions for "off brand" amps are welcome (Supro, ect). As always, any help is appreciated!
I suggest trying them all. Think about the amp as a series of building blocks: output stage, phase splitter / driver, tone controls, input tube.
The Princeton is a good place to start. Then you might try cathode biasing the output stage. See how you like it. Then you might exchange the second gain stage and concertina phase splitter for the longtial pair as in the later Deluxe ...
Two 9 pin tubes and two 8 pin tubes for the output stage is plenty.
-- Dave
The Princeton is a good place to start. Then you might try cathode biasing the output stage. See how you like it. Then you might exchange the second gain stage and concertina phase splitter for the longtial pair as in the later Deluxe ...
Two 9 pin tubes and two 8 pin tubes for the output stage is plenty.
-- Dave
i'd also take a look at this one, it's something me and a friend have been working on...
it's out of a PDF i have of an old Acrosound catalog with a few modifications, mostly in the PSU.
An externally hosted image should be here but it was not working when we last tested it.
it's out of a PDF i have of an old Acrosound catalog with a few modifications, mostly in the PSU.
I think a amp with a nice warm clean channel and a hot channel utilizing PP el34s would be a real nice amp. I had thought about adapting this Matchless circuit into a full amplifier with a clean channel also. Maybe you will be interested in such a project.
http://thejaffes.org/rory/hotbox/hotbox.php
http://thejaffes.org/rory/hotbox/hotbox.php
Guitar amps.
The sound will depend more on the specific parts used than anything else - other than the bias points for the outputs.
For example, if you decide to clone a "Fender" <pick ur model>, it will probably not sound particularly like the one you are trying to emulate, unless of course you happen to pick the right parts... and since it is hard to go back in time...
Most of these "designs" are rehashes of either the basic Fender design, or sometimes the Marshall design. For example the "presence" control is commonly found in the same place you find it in these "designs" as it is in many Fender amps...
etc...
Remember that the main thing you're going for in a guitar amp is the opposite of what you are going for in a hi-fi amp. The hi-fi amp is designed to NOT distort, whereas the guitar amp is designed to intentionally distort! So, what you think is "tone" is in real terms the nature of the distortion being produced - and from where that distortion stems from.
_-_-bear
The sound will depend more on the specific parts used than anything else - other than the bias points for the outputs.
For example, if you decide to clone a "Fender" <pick ur model>, it will probably not sound particularly like the one you are trying to emulate, unless of course you happen to pick the right parts... and since it is hard to go back in time...
Most of these "designs" are rehashes of either the basic Fender design, or sometimes the Marshall design. For example the "presence" control is commonly found in the same place you find it in these "designs" as it is in many Fender amps...
etc...
Remember that the main thing you're going for in a guitar amp is the opposite of what you are going for in a hi-fi amp. The hi-fi amp is designed to NOT distort, whereas the guitar amp is designed to intentionally distort! So, what you think is "tone" is in real terms the nature of the distortion being produced - and from where that distortion stems from.
_-_-bear
Sorry if this is a bit off topic, but I have no experience with instrument amps and am curious. You speak specifically of guitar amps. I assume you mean an electric guitar where the amp/guitar together are the instrument. Makes perfect sense.
But what is done for other instruments such as acoustic guitar, violen, wind instruments, etc.. If they are amplified from a microphone near the instrument, I would think that intentional distortion would not be desireable. Does that mean a PA amp, which is designed to amplify without much distortion?
What about the sort of hybrid case of an acoustic guitar with a magnetic pick up. Do those also pick up the overtones contributed by the body, or do you want more of a guitar amp to add body to the sound?
If I've described some of the applications more or less correctly, then I'd assume that all the combinations are used at one time or another depending on taste. Is there a most common mode, though?
Sheldon
But what is done for other instruments such as acoustic guitar, violen, wind instruments, etc.. If they are amplified from a microphone near the instrument, I would think that intentional distortion would not be desireable. Does that mean a PA amp, which is designed to amplify without much distortion?
What about the sort of hybrid case of an acoustic guitar with a magnetic pick up. Do those also pick up the overtones contributed by the body, or do you want more of a guitar amp to add body to the sound?
If I've described some of the applications more or less correctly, then I'd assume that all the combinations are used at one time or another depending on taste. Is there a most common mode, though?
Sheldon
The answer depends on the artist, and their intent.
For things like /acoustic/ instruments that you want to make louder, then that is "Sound Reinforcement", meaning clean amplification and speakers.
If the artist is using "effects", and depending on what they are, one may or may not want to introduce the added distortion(s) of a so-called "guitar amplifier".
Some artists may use both.
_-_-bear
For things like /acoustic/ instruments that you want to make louder, then that is "Sound Reinforcement", meaning clean amplification and speakers.
If the artist is using "effects", and depending on what they are, one may or may not want to introduce the added distortion(s) of a so-called "guitar amplifier".
Some artists may use both.
_-_-bear
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