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Some of my favorite all time amps are those from the Fender Tweed era. The magic of the Tweed Deluxe with it's half a dual triode used
to drive the output tubes in a manner where the tone control pushes this half of the tube is magic that is found on the Tweed Deluxe,
Tweed Super, and Tweed Bandmaster as an example. The Tweed Bassman is an icon and some consider it to be one of the finest guitar
amps ever produced.
There are some great builders around today that produce wonderful new examples of these amp. Some of these builders hold strict
guidelines to stay with the original concept, materials, construction methods and ideas. Some put their own twists on things. I think that
each method has it's own strong points. Rick Gessner at Valvetrain has four or so lines of these amps and can build to many of these
methods but the amp's which had his own twists were of interest to me when I was first exposed to a 6L6 version of Tweed Deluxe
(although it was also in a gorgeous hardwood mahogany cabinet).
One has to remember that back in the day of these originals the idea was to build an amp that sounded good and was reliable as
cheaply as possible. The vintage output tube sockets of the day had three major parts ... a piece of metal attached to the chassis
where the inside non-metal socket would float (and rattle) and in this assembly were the loose pins (that would also rattle). Only carbon
comp resistors were available and these are wonderful in many ways in the tone circuit but are not always the most reliable choice in
some areas of the power supply as an example. Carbon comp resistors are not as stable as carbon film resistors which are generally also
more noisy. The carbon film keep the mojo or vibe of these amps where carbon comp resistors used to be used. Metal film/oxide resistors
are used in power supply areas where their advantages are noted. There are very pricey capacitors that are used in high end audio
applications such as paper and foil and oil and foil caps that were used in the past. There were no "orange drops" back then and caps
were pretty spectacular in many ways. Use a very high end cap in the tone positions of an amp with cheap caps and you find that at
lower levels the amp has an openness and transparency that had been missed before. Today there are more high quality components
available and I believe that if Leo Fender was making amps today he would have used many different components then were used
back then.
There are a few "tweed folks" that I think are terrific. Victoria Amps, Pierson Amps, and Valvetrain Amps. They are all different and all
have their own way of doing things. You would be very happy with any of the amps from these folks.
The last project on building an amp of my own design was done my Ludovic Pierson at Pierson Amps and it came out well enough that
Carl Verheyen is using the amp on his CD that is in the process of being recorded. For my latest project I contacted Rick Gessner at
Valvetrain to build me a "Tweed Bassman". I wanted to go a bit outside the box on the Bassman and Rick Gessner had shown me in
other amps that he was the guy to do this next amp. A Bassman used a 2 ohm output transformer and a 27k resistor in the feedback
loop. I wanted an amp with 4 and 8 ohm capacity so an external cab could be used when desired. After my stint on the Loggins &
Messina tour (June-Oct 2005) where Jimmy Messina used three 4x10 Bassmans I felt than a single Bassman with an extension cab would
be a better concept and wanted to explore this idea. But .... what made the original Bassman different than the Marshall JTM-45 that
was a direct copy of the Bassman were a few things but most notably it was the feedback loop on the Fender came off the 2 ohm tap
and on the Marshall it came off the 16 ohm tap. So ... off to the folks at Mercury Magnetics for some transformer help and the most
interleaved output transformer in their lineup. Now we had an 8 ohm transformer that could run the internal speakers configured for 8
ohms and also another 8 ohm extension cab with the internal speakers for a four ohm load. But ... when the impedance is changed the
feedback loop is of a different value if you want to keep things optimum. We were also far off from that 27k used at 2 ohms. So ... Rick
and I worked together and voila .... a variable feedback loop that will also have a few twists (pun intended) to boot.
There are going to be some additional changes .... Aluminium chassis as Rick uses which is non-magnetic, laser etched control panel (a
twist of modern) where an amp that receives hard use will keep its lettering, but a vintage "tortured tweed" cab as there are a lot of folks
into that "relic" thing that would love this amp on stage as one would not see the control panel from the front anyway.
There will be a heavy epoxy turret board and some unique caps and components as well as some additional technical twists. The
speakers will be Weber AlNiCO 10s but the amp will also be used to test other speakers such as the Jensen P10R, various ceramic 10"
speakers and original Jensens and new Emenance speakers in an A/B setup using an external 4x10 open back cabinet. This will be a
very hard working amp to say the least.
The amp is being built to use current production tubes so one does not have to hunt or pay for NOS stuff. I want tubes that can be
found and changed on the road without even having to look at the bias. Output tubes will be the not yet released GT 5881 short bottle
which were so amazing in Sam Austin's 6L6 Valvetrain tweed deluxe slant on the 6V6 version. These were amazing in the amp
compared to everything else we tried. Preamp tubes will be trace selected 12AY7 in V1 and a 12AX7M in V2 with an SAG-AX7-MPI for V3.
What I intend to do on this page is have photos which will show the amp from it's start to it's finish in various stages of construction. As the
photos are put up I will have my own comments or have comments from Rick Gessner. During this process you can write Rick for his take
on things or ask questions or whatever. This is going to be a fun project.
When the amp is completed it will be available for folks in my local area to play or borrow for live gigs.
to drive the output tubes in a manner where the tone control pushes this half of the tube is magic that is found on the Tweed Deluxe,
Tweed Super, and Tweed Bandmaster as an example. The Tweed Bassman is an icon and some consider it to be one of the finest guitar
amps ever produced.
There are some great builders around today that produce wonderful new examples of these amp. Some of these builders hold strict
guidelines to stay with the original concept, materials, construction methods and ideas. Some put their own twists on things. I think that
each method has it's own strong points. Rick Gessner at Valvetrain has four or so lines of these amps and can build to many of these
methods but the amp's which had his own twists were of interest to me when I was first exposed to a 6L6 version of Tweed Deluxe
(although it was also in a gorgeous hardwood mahogany cabinet).
One has to remember that back in the day of these originals the idea was to build an amp that sounded good and was reliable as
cheaply as possible. The vintage output tube sockets of the day had three major parts ... a piece of metal attached to the chassis
where the inside non-metal socket would float (and rattle) and in this assembly were the loose pins (that would also rattle). Only carbon
comp resistors were available and these are wonderful in many ways in the tone circuit but are not always the most reliable choice in
some areas of the power supply as an example. Carbon comp resistors are not as stable as carbon film resistors which are generally also
more noisy. The carbon film keep the mojo or vibe of these amps where carbon comp resistors used to be used. Metal film/oxide resistors
are used in power supply areas where their advantages are noted. There are very pricey capacitors that are used in high end audio
applications such as paper and foil and oil and foil caps that were used in the past. There were no "orange drops" back then and caps
were pretty spectacular in many ways. Use a very high end cap in the tone positions of an amp with cheap caps and you find that at
lower levels the amp has an openness and transparency that had been missed before. Today there are more high quality components
available and I believe that if Leo Fender was making amps today he would have used many different components then were used
back then.
There are a few "tweed folks" that I think are terrific. Victoria Amps, Pierson Amps, and Valvetrain Amps. They are all different and all
have their own way of doing things. You would be very happy with any of the amps from these folks.
The last project on building an amp of my own design was done my Ludovic Pierson at Pierson Amps and it came out well enough that
Carl Verheyen is using the amp on his CD that is in the process of being recorded. For my latest project I contacted Rick Gessner at
Valvetrain to build me a "Tweed Bassman". I wanted to go a bit outside the box on the Bassman and Rick Gessner had shown me in
other amps that he was the guy to do this next amp. A Bassman used a 2 ohm output transformer and a 27k resistor in the feedback
loop. I wanted an amp with 4 and 8 ohm capacity so an external cab could be used when desired. After my stint on the Loggins &
Messina tour (June-Oct 2005) where Jimmy Messina used three 4x10 Bassmans I felt than a single Bassman with an extension cab would
be a better concept and wanted to explore this idea. But .... what made the original Bassman different than the Marshall JTM-45 that
was a direct copy of the Bassman were a few things but most notably it was the feedback loop on the Fender came off the 2 ohm tap
and on the Marshall it came off the 16 ohm tap. So ... off to the folks at Mercury Magnetics for some transformer help and the most
interleaved output transformer in their lineup. Now we had an 8 ohm transformer that could run the internal speakers configured for 8
ohms and also another 8 ohm extension cab with the internal speakers for a four ohm load. But ... when the impedance is changed the
feedback loop is of a different value if you want to keep things optimum. We were also far off from that 27k used at 2 ohms. So ... Rick
and I worked together and voila .... a variable feedback loop that will also have a few twists (pun intended) to boot.
There are going to be some additional changes .... Aluminium chassis as Rick uses which is non-magnetic, laser etched control panel (a
twist of modern) where an amp that receives hard use will keep its lettering, but a vintage "tortured tweed" cab as there are a lot of folks
into that "relic" thing that would love this amp on stage as one would not see the control panel from the front anyway.
There will be a heavy epoxy turret board and some unique caps and components as well as some additional technical twists. The
speakers will be Weber AlNiCO 10s but the amp will also be used to test other speakers such as the Jensen P10R, various ceramic 10"
speakers and original Jensens and new Emenance speakers in an A/B setup using an external 4x10 open back cabinet. This will be a
very hard working amp to say the least.
The amp is being built to use current production tubes so one does not have to hunt or pay for NOS stuff. I want tubes that can be
found and changed on the road without even having to look at the bias. Output tubes will be the not yet released GT 5881 short bottle
which were so amazing in Sam Austin's 6L6 Valvetrain tweed deluxe slant on the 6V6 version. These were amazing in the amp
compared to everything else we tried. Preamp tubes will be trace selected 12AY7 in V1 and a 12AX7M in V2 with an SAG-AX7-MPI for V3.
What I intend to do on this page is have photos which will show the amp from it's start to it's finish in various stages of construction. As the
photos are put up I will have my own comments or have comments from Rick Gessner. During this process you can write Rick for his take
on things or ask questions or whatever. This is going to be a fun project.
When the amp is completed it will be available for folks in my local area to play or borrow for live gigs.
A few of the features of this particular amp will be
|
Mercury Magnetics transformers.
.080 Aluminium chassis - custom product of Valvetrain. This will also have a laser etched control panel. Some of
the other components are seen here. Micalex Tube sockets with retainers - rated at 10,000 insertions and no
rattle. Valvetrain's Laser etched control panel. Reverse etched so the letters never wear off.
the other components are seen here. Micalex Tube sockets with retainers - rated at 10,000 insertions and no
rattle. Valvetrain's Laser etched control panel. Reverse etched so the letters never wear off.
The Turr-let board - a Valvetrain development. Some of the wire and components. The caps were picked to
be the right cap in the right place in the circuit. Critical tonecaps are gold oil Jensens still in their bag. Extra
upgraded capacity Carbon Film and Metal Oxide resistors. Hand wired with vintage style cloth covered wire.
be the right cap in the right place in the circuit. Critical tonecaps are gold oil Jensens still in their bag. Extra
upgraded capacity Carbon Film and Metal Oxide resistors. Hand wired with vintage style cloth covered wire.
The Valvetrain tweed and tolex cabinets are void free solid pine with either dove-tail or finger-joint
construction. This cab will be finished in lacquer by Rick Gessner.
Additionally - Switchcraft jacks and switches from Carling and Mountain.
Our pots will be depending on application; custom made or from PEC, CGE, CTS or Alpha.
construction. This cab will be finished in lacquer by Rick Gessner.
Additionally - Switchcraft jacks and switches from Carling and Mountain.
Our pots will be depending on application; custom made or from PEC, CGE, CTS or Alpha.
The power transformer from Mercury Magnetics with Valvetrain's bracket for mounting to the cab for additional
support.
support.
| Photos will continue throughout the building process and dialogue process between the builder (Rick Gessner / Valvetrain Amps), and myself. This is our quest for tone and a desire to build a 4x10 Bassman foundation amplifier with a number of twists. It is hoped that we capture the magic of the best originals but give modern flexibility in areas of variable front end gain to match the lowest output vintage pickups or the hottest modern pickups. We are striving to capture the feel and playability of the 2 ohm 4x10 Bassman yet allow the use of 8 ohm cabinets and extension cabinet use while MAINTAINING the proper feedback loop. It was the feedback loop that was a big difference between the original Fender Bassman and the Marshall JTM-45. Click on the thumbnails above for a larger version of any of the photos. |
| 4/12/06 - a few photos for now click on the Valvetrain logo above at the top of this page for more info. More photos as I have them. The projected price on this amp which will be built to order is $3495.00 Click here to return to main Guitar Amplifier Blueprinting website. |
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