By Dave Hunter
Guitarists love amps—really love them. Amplifiers may well glance uninteresting to the remainder of the realm, yet to guitarists they're choked with mystique, romance, and rockin' sound. And whereas there are various strong-selling electrical guitar histories on hand, here's the 1st illustrated heritage of the electrical guitar’s ally, the amp. World-famous guitar and amp historian Dave Hunter tells the tale of 60 of the best amps ever equipped, together with classics from Fender, Marshall, Vox, the weird EchoSonic that created Elvis' sound, and the last word esoteric $75,000+ Dumble amps. the tale is illustrated with 1000's of technical images, infrequent machines, catalogs, memorabilia, and the amps of the celebrities, from Jimi Hendrix to Stevie Ray Vaughan to Eric Clapton. This is a e-book guitarists will drool over.
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Additional resources for Amped: The Illustrated History of the World's Greatest Amplifiers
As simple as the amp’s circuit is, though, the Champ’s power supply and filtering stage aren’t a whole lot smaller than those of the medium-size Deluxe amp. The Champ still has three larger electrolytic (filter) capacitors to feed the OT, output tube, and preamp tube, and the 5E1 Champ that preceded the 5F1 even had a choke—something many midsize amps still lacked at the time—although it was replaced in this iteration by a 10k dropping resistor between the first and second caps. Given the noise that high-idling single-ended circuits can be prone to, heavy filtering is often a necessary component of the design—and important if you want to rein in the fur.
Anthony Pidgeon/Redferns/Getty Images 28 12/19/11 10:32 AM (Text) (RAY) (Fogra 39) Job:12-27525 Title:MBI-149852 Amped #175 Dtp:204 Page:28 1955 Fender Pro 5d5 TV-front Fender Pro with a sunburst Gibson Les Paul Standard. Amp and guitar courtesy Nathaniel Riverhorse Nakadate/photo Kerry Beyer dEluxE hEadroom We think of Fender amps from the 1950s as generically “tweed”—a word that has become synonymous with chewy, rich, slightly brown tones and superb touch sensitivity. Yet there is no single template to credit with all these characteristics but rather three different incarnations of tweed-covered amps through the course of the decade, with even more circuit variations hiding behind this simple cosmetic description.
A split-load PI is partly responsible for the creamy, sweet breakup of many 1950s tweed Fender amps—probably best recognized as produced by the 5E3 A 1959 Fender Bassman 5F6-A. Dave Porter/Alamy 12/19/11 10:35 AM (Text) (RAY) (Fogra 39) Job:12-27525 Title:MBI-149852 Amped #175 Dtp:204 Page:56 1958–1960 Fender 5F6-a BassMan • Preamp tubes: 12AY7 first gain stage, 12AX7 cathode-follower tone stack, 12AX7 long-tailed pair phase inverter • Output tubes: Two 5881s (heavy-duty 6L6 type); class AB, fixed-bias • Rectifier: GZ34 (5AR4) • Controls: Vol Normal, Vol Bright, Treble, Bass, Middle, Presence • Speakers: Four Jensen P10R 10-inch drivers with alnico magnets, wired in parallel • Output: 45 watts RMS into a 2-ohm load Deluxe—but the amount of distortion this inverter topology contributes to the sound means it can never get the most from a pair of 6L6/5881 output tubes.