ilovefuzz.com

I remember Nick telling me that yours was a bitch to get right or something like that. Don't take my word for it.

AngryGoldfish wrote:I remember Nick telling me that yours was a bitch to get right or something like that. Don't take my word for it.

We'll wait for him to chime in i guess.

crohny wrote:

Ancient Astronaught wrote:In light of me picking up 2 cab's this weekend I'm putting a few pedals on the chopping block to help offset the cost. I've got a black on black BOE Mantra and a black on green EA Supercollider v2 i'm gonna give dibs to the doom room on. 106$ each shipped in the con-us, and I'll post pics tonight. Get at me if your interested.

Fuck, I have been wanting to try/buy both of those. <Also digging the grumpy face

This sums up my feelings on those pedals as well.

Ancient Astronaught wrote:

crohny wrote:Takes all the fun out of buying fuzz pedals.

BTW, a google image search of Hattie Watson was definitely a worthwhile investment of 15 minutes....

I'll have to give that a google when I get home.

whiskey_face wrote:motherfuckers im here. i missed all you guys

>>nitroholic<<

Glad you found us

dazedbyday wrote:To add to the Hattie love with a gif I saw the other day:

NSFW: show

Fuck I love that we can post titties over here.

Does anybody know about/have any experience with Samick Les Paul copies? There is a body and neck (bolt on) for sale cheap as hell on craigslist here that I'm curious about buying as a project. It looks like it has the correct body and headstock shape - I'm just worried it would be plywood or some shit.

The neck and headstock look bound, but the body has no binding - any way to add that?

AngryGoldfish wrote:

new05002 wrote:it sounds more complicated than it is. Its acutally still quite a vintage approach. Mixing is all done like a SB or Hiwatt or Bassman or whatever.

Has Skip's amp still been the hardest to design and build?

Skips was probably the hardest to design, it has a lot of stages in it and it was all designed around 12au7s. The hardest one to build was still the standalone verb unit. Easy design, hard to build.

Skips amp has many different gain stages and its very hard to keep the gain down while still have a lot of stages. Probably 7 or so stages and then a multiple stage phase inverter along with ab2 coupling. Surprisingly very little troubleshooting tho.

When I first powered it up, one of the supply resistors need to be increased from 3W to +5W or it would burn up. I was pulling a lot of current into the preamp and that resistor needed to have a larger power dissipation limit. I also removed a boost switch and replaced it with an LED for the FX loop as an indicator, Simple as that and looked better. I adjusted the Boost controls range a bit and prevent overloading the PI and getting distortion. Other than that it was smooth sailing.

I probably need more cab to even handle an amp like that. Skip says that its super fuckin loud at 3 but I could crank it more before I thought it was intense. More cab = more wind

I haven't seen that guy in a while. I remember his Matamp-inspired reverb unit was the first I saw of Dunwich, around two years ago. I've been in love ever since.

Seven gain stages? I thought his amp was just pure clean?

AngryGoldfish wrote:I haven't seen that guy in a while. I remember his Matamp-inspired reverb unit was the first I saw of Dunwich, around two years ago. I've been in love ever since.

Seven gain stages? I thought his amp was just pure clean?

Seven stages but their gain is very low. A lot of 12au7s, 1/5 the maximum gain of a 12ax7

Here is the signal chain from memory

Input -> Gain Stage -> Depth -> Volume -> Gain Stage -> Baxandall -> Buffer-> Fx Loop Send -> Fx Loop Return -> Gain Stage -> Boost -> Gain Stage -> Phase Inverter Drive -> Phase Inverter -> (Resonance and Presence at the PI) -> Gain Stage (on both halves of phase inverter) -> AB2 Coupling Stage -> Power Tubes -> OT -> Speaker Out

Its something like that

I hope you don't mind the slew of questions, but why have so many gain stages when they're so low in level? Why not just have the traditional two or three using 12AX7s?

AngryGoldfish wrote:I hope you don't mind the slew of questions, but why have so many gain stages when they're so low in level? Why not just have the traditional two or three using 12AX7s?

Well because gain is not a additive thing, its multiplicative thing. When you use tubes which have a lower mu factor (think this as gain) then the sensitivity goes down and the maximum gain you can achieve is lower. If I used 12ax7s I would have to put a ton of attenuation after each stage which would result in excess noise and more components while I could just start the design from a low gain perspective. The phase inverter is very complicated as well to achieve both perfect balance (as as perfect as I could) and also very large signal swing along with the AB2 coupling. The amp would be much simpler if he didnt not include an FX loop of course 2

12au7s also have a different tone then a 12ax7, when you actually design with the proper bias in mind, the stages will be darker, more bass. They have like 1/10 the plate impedance of a 12ax7 or so. which is to say they are much lower impedance output.

That makes perfect sense. You really do know what you're doing.


What do you, or anyone for that matter, think of someone profiling classic 'Doom' amps with a Kemper and using a tube poweramp to add dynamics and even-order harmonics? I've never seen it happen, but I imagine it would be far better than trying to get the same tones out of an Axe-FX or a small tube amp. I'm curious as to what people reckon.

AYO ancient, I got a buddy that's been wanting a mantra

AngryGoldfish wrote:That makes perfect sense. You really do know what you're doing.


What do you, or anyone for that matter, think of someone profiling classic 'Doom' amps with a Kemper and using a tube poweramp to add dynamics and even-order harmonics? I've never seen it happen, but I imagine it would be far better than trying to get the same tones out of an Axe-FX or a small tube amp. I'm curious as to what people reckon.

well i try to know what i am doing. I think i nailed what Skip wanted.

The profiling stuff is kool. As far as I have seen, no one has done a stoner/doom clip with either Axe FX or Kemper its normally chugga chugga but correct me if I am wrong.

oh yea and I simulated the shit out of Skips amp to see the clipping in it. I did lots of work to make sure it was clean without resorting to tons of attenaution. Dont get me wrong there is some attenuation due to the tone stack and the Boost control which allows one to tailor the signal into the phase inverter but its nothing like using 12ax7s. For example in a SLO100. To achieve a clean signal in that amp Soldano uses a lot of attenuation to get the signal small enough to not clip the entire amp. Its one way of doing it but if I was going to do it I would probably incorporate a 12au7 stage in the clean instead of a 12ax7.

I have this feeling the Kemper would be better suited for it than an Axe-FX, but I did see an Axe-FX at the Matamp factory once (though, of course, Matamp supply amps to all sorts of players, not just Doomers).

new05002 wrote:Skips was probably the hardest to design, it has a lot of stages in it and it was all designed around 12au7s. The hardest one to build was still the standalone verb unit. Easy design, hard to build.

Skips amp has many different gain stages and its very hard to keep the gain down while still have a lot of stages. Probably 7 or so stages and then a multiple stage phase inverter along with ab2 coupling. Surprisingly very little troubleshooting tho.

When I first powered it up, one of the supply resistors need to be increased from 3W to +5W or it would burn up. I was pulling a lot of current into the preamp and that resistor needed to have a larger power dissipation limit. I also removed a boost switch and replaced it with an LED for the FX loop as an indicator, Simple as that and looked better. I adjusted the Boost controls range a bit and prevent overloading the PI and getting distortion. Other than that it was smooth sailing.

I probably need more cab to even handle an amp like that. Skip says that its super fuckin loud at 3 but I could crank it more before I thought it was intense. More cab = more wind

Interesting, its crazy how complicated it was for in reality a simple single channel design. And yes through my 3x15 and 6x12 its super fucking loud, I've never had a chance to turn it up past 4 (or 11:00) and it was pretty stupid loud, as loud as my old model T reissue on 10 through the same cabs and the AD200B on 6 through the same cabs, except its: clearer, tighter and fuller sounding. I had no idea that adding the FX loop added so much to the circuit design, I'm glad I went that way though because it sounds magical with my the timeline and space through the loop.

And yes Nick, you nailed exactly what I wanted. Clean, loud, and massive sounding.

theavondon wrote:AYO ancient, I got a buddy that's been wanting a mantra

Ohrly? Is he on here? I can take some pics tonight and forward them to you if you would like, it really is an awesome pedal and i love the bax stack EQ, but with the Dunwich bass OD on the horizon i gotta be honest with myself, its not gonna get used. I was gonna save it for a small home board, but its unlikely I will get to putting that together anytime soon.

if skip had just wanted a single channel amp no FX loop at 100W I could have just built him a detuned DA120 but he wanted to achieve 200W RMS into 4 Kt88s with the mindset of achieving something hifi in some ways. So my inspiration from the amp comes partly from Ampeg SVT as well as a Matamp with my own design on the FX loop.

Whenever you go up to 4 88s the PI requirements become more of a hassle. They need low grid leaks which result in loading down the phase inverter signal in a normal design of a Matamp or Marshall PI. Even a 12au7 cathodyne does not work great.

thats why I prefer to use AB2 coupling or in the case of Bretts amp a 12au7 phase inverter from a V4 is also a good choice.