So whats your Favorite tuning :)

[jelle]

I mean tubes, leaddress, caps to get the high end information of the signal to be just right. It differs per amp.

Jelle

[Mark]

Dear Jelle

Thanks for the reply. I notice you do an Angels Breath amp. What is it?

The silver chassis look fantastic!

Really nicely finished!

caps to get the high end information of the signal to be just right.

There are a few things that come to mind, silver mica versus ceramic. Treble cap values, shunt caps etc.

I'll have to look for gut shots of a Bluesmaster or go back to some of the shots of ODS amps that I have.

[glasman]

The Ripper circuit is basically a bluesmaster clean stage driving the overdrive stage that consists of one gain stage driving a cathode follower tone stack. Think Fender Bassman (5F6) or Marshall Plexi.

So instead of 4 gain stages before the power amp, there is 3 stages with a cathode follower driving the overdrive tonestack.

Gary

[erwin_ve]

The Ripper circuit is basically a bluesmaster clean stage driving the overdrive stage that consists of one gain stage driving a cathode follower tone stack. Think Fender Bassman (5F6) or Marshall Plexi.

So instead of 4 gain stages before the power amp, there is 3 stages with a cathode follower driving the overdrive tonestack.

Gary

And is the Cf stage at v2a so v2b can put the signal back on top?

[Mark]

Thanks Gary, I have yet another version to try. I somehow feel the Ripper wouldn't have a lot of gain, though maybe the tone controls work better and there is some compression from the CF in the tone of the amp.

[glasman]

The Ripper circuit is basically a bluesmaster clean stage driving the overdrive stage that consists of one gain stage driving a cathode follower tone stack. Think Fender Bassman (5F6) or Marshall Plexi.

So instead of 4 gain stages before the power amp, there is 3 stages with a cathode follower driving the overdrive tonestack.

Gary

And is the Cf stage at v2a so v2b can put the signal back on top?

V2A - Gain Stage - 100K as I remember.
V2B - Cathode follower into the tone stack. The grid is fed directly from the plate (no coupler) of V2A. V2B cathode will be around 190 volts.

Similar to the schematic below...

Gary

[jelle]

Dear Jelle

Thanks for the reply. I notice you do an Angels Breath amp. What is it?

The silver chassis look fantastic!

Really nicely finished!

.

Thanks! The Angels Breath is my custom platform to mix SSS and ODS features into one amp. This is great for people who are looking for something custom, like a 3 channel amp, 150W ODS reverb, etc.

Jelle

[ER]

Does the ripper completely bypass the clean stage tone stack or do PAB switching like on the bluesmaster HRM?

I've been drawing up a circuit like this for my next build (and had asked about a cathode follower tone stack on the recent strat thread) to try and get more of a plexi vibe going for OD. I always suspected that's what was behind the "megaplex" or whatever.

Since reading about how most prefer non-HRM I'm having second thoughts, and also to be honest I've never been the biggest marshall fan and never missed the ones I got rid of, but I do miss the Hiwatts I've owned and was thinking of a Hiwat tonestack just before the OD entrance trimmer. This would allow for some gain make up through the OD stages, switch in and out like normal HRM and the tonestack comes off the plate in the Hiwatt so it would be more similar in that sense.

Is the issue with HRM; 1) not bypassing the clean stage tone completely, 2) non-cathode follower tonestack (different impedance match than a true marshall), 3) having the tonestack so late with no gain stage following, or 4) the lead 1M "master" volume?

Also no one is mentioning power supplies on their favorite configurations, are they all the standard power supply or precision?

Thanks, Erik

[erwin_ve]

The Ripper circuit is basically a bluesmaster clean stage driving the overdrive stage that consists of one gain stage driving a cathode follower tone stack. Think Fender Bassman (5F6) or Marshall Plexi.

So instead of 4 gain stages before the power amp, there is 3 stages with a cathode follower driving the overdrive tonestack.

Gary

And is the Cf stage at v2a so v2b can put the signal back on top?

V2A - Gain Stage - 100K as I remember.
V2B - Cathode follower into the tone stack. The grid is fed directly from the plate (no coupler) of V2A. V2B cathode will be around 190 volts.

Similar to the schematic below...

Gary

Hi Gary,

Thanks! Something for me to experiment!

[glasman]

Does the ripper completely bypass the clean stage tone stack or do PAB switching like on the bluesmaster HRM?

I've been drawing up a circuit like this for my next build (and had asked about a cathode follower tone stack on the recent strat thread) to try and get more of a plexi vibe going for OD. I always suspected that's what was behind the "megaplex" or whatever.

Since reading about how most prefer non-HRM I'm having second thoughts, and also to be honest I've never been the biggest marshall fan and never missed the ones I got rid of, but I do miss the Hiwatts I've owned and was thinking of a Hiwat tonestack just before the OD entrance trimmer. This would allow for some gain make up through the OD stages, switch in and out like normal HRM and the tonestack comes off the plate in the Hiwatt so it would be more similar in that sense.

Is the issue with HRM; 1) not bypassing the clean stage tone completely, 2) non-cathode follower tonestack (different impedance match than a true marshall), 3) having the tonestack so late with no gain stage following, or 4) the lead 1M "master" volume?

Also no one is mentioning power supplies on their favorite configurations, are they all the standard power supply or precision?

Thanks, Erik

The PAB is standard stack lift. Basically give the same response as bypassing the tone stack while cutting a bit of gain.

If think the issue with most people is that they are not as smooth as a nom-HRM amp. Most build a non-hrm first and gets used to its gain / sustain characteristics.

I adjust every power supply on every amp I build. This means tweaking the dropping string to obtain the required voltages and required isolation between stages depending on the end goal of the particular amp.

[glasman]

And is the Cf stage at v2a so v2b can put the signal back on top?

V2A - Gain Stage - 100K as I remember.
V2B - Cathode follower into the tone stack. The grid is fed directly from the plate (no coupler) of V2A. V2B cathode will be around 190 volts.

Similar to the schematic below...

Gary

Hi Gary,

Thanks! Something for me to experiment!

It's a never ending adventure .

Kinda like sampling the beers of Belgium .

Now go out and find schematics on Trainwrecks and Komets and you have even more stuff to mess with (they are ALL along the same idea).

[ER]

I just need to take a moment to say thank you to all the contributors on this site for sharing their knowledge; While I would love to build one of each era of amplifier and tweak them to my hearts content, I don't have the luxury of the time or money to do so.

I can barely scrape up enough to get from one project to another, usually building in stages as funds allow and recycling parts from various scrounged items over the years. Therefore I have a real appreciation for the time and effort involved, and the value of the collective knowledge that is shared here.

Over the years I've owned over a dozen amplifiers of various makes and models (and was $200 short of owning my own dumble at one time) and have heard many different dumbles and many of the great players in real life which has made a real impression on me, but at this time in my life I can only choose one amp that I build myself so threads like this one are greatly appreciated in helping me make the most of my own limited efforts.

-Erik

[talbany]

The most important thing I've learned building all these different Dumble generation amps is they are in a class by themselves..Dumbles are unlike a Fender and Marshall and most other amps I've played and granted some generations you can get pretty close there is always something very different and unique about them..For me personally these amps don't replace my finely tuned Marshalls or Fenders..My misconception was if I build this Dumble X amp, that this would be the amp to replace those amps but that has not turned out to be the case..So for those thinking that this generation will be the amp that does everything, this might not come true..(it has not for me) They certainly are much more versatile than those amps and each generation has it's own sonic flare after you lock in to all the little nuances these amps are known, for me are by far the most enjoyable to play..It has been stated here many times that some players simply don't get the Dumble trip, if they are comparing these amps to other types and want it to be something it is not.. As wonderfull as these amps are they may not do everything spot on and you can easily tweak yourself mad trying..All the Dumble style amps I've built and tried have that uniqueness about them and have accepted them for what they are very different than other amps.. For me IMHO is the common thread that runs through them all..

I hope this Helps..
Tony

[ER]

Just confirming that I won't be missing out on anything going with the earlier amps is of the most value to me. While they are great players, to be honest I never thought Larry Carlton of Robben Ford's tone was anything that stellar (to smooth-jazz slick for me).

I don't think Stevie Ray ever sounded as good as he did on Texas Flood, and to me the ultimate would be David Lindley, he would plug just about anything you could imagine into those early amps and always sounded amazing. Kimocks amp sounds amazing, but to be honest I've never heard that guy sound bad no matter what he plugged into (he could even make a boogie sound amazing).

If I can come up with an amp that will do that with a strat and a lap steel and maybe mix in a little Hiwatt-ish every now and then for some Tommy Bolin/David Gilmore stuff with effects, I'll be total satisfied.

-Erik

[talbany]

IMO.. If you are going for that Texas flood/ velvet glove tone (apart from the Dumbleland) and in an ODS style the early 2n'd generation clean tone w/TS 9 I think will get you pretty close (w/ the low plate classic not far behind) IMO.. This will also get you close to the Lindley tone as well..Do a 100w w/ 1/2 power switch..Don't know about Gilmore or Kimmock..

http://ampgarage.com/forum/download/file.php?id=14336

Good Luck..

Tony