The first in our new line of amplifiers, the Hawker explores the sonic heritage of great British guitar amplification. Rather than covering Plexi territory we looked at Selmer, Watkins, and a even Vox for inspiration. It delivers true single-ended tone with the benefits of a push-pull setup and hum reduction. Optimised for low-noise, this non-clipping series loop uses a discreet, high-voltage buffer and a return gain stage with level control.
A true bypass switch is included if you want to remove the loop from the circuit entirely. Perfect for time-domain effects such as Reverb and Delay. A switch located on the rear changes the dynamic response of the amplifier, switching between two separate high-voltage windings and rectification methods.
Select PUSH for a strong attack with increased clarity and dynamic headroom. Every note rings clear when clean and screams when the amp is pushed into overdrive. Engage PULL for pliable sag, pre-compression, and bloom. The softer response and overall sweetness of the PULL setting really make it difficult to stop playing. This speaker gives the amp a pristine top end, tight mids, and just the right amount of bottom end warmth.
Inputs: 1. Output: 2 x KT66 Cathode Biased. Preamp: 1 x2 x ECC Construction: Baltic Birch Ply. Dimensions: x x mm excl. Weight Combo : 23 kg. Line Voltage: v 50Hz. Click the logo above to read the full magazine review opens new window. A switch located on the rear changes the dynamic response of the amplifier, switching between two separate high-voltage windings and rectification methods Select PUSH for a strong attack with increased clarity and dynamic headroom.This is a collection of common guitar amp tone stack schematics and layouts.
I like this much more than the basic Fender Tweed Champ style single-knob tone control. Presented below are the schematic, and a layout diagram for building the tone control on a push-pull pot to include DPDT bypass. Insertion loss is relatively low at least compared to a standard 3-knob tone stack. With the tone pot placed in a local feedback loop, it should have a wide range of control. It also came up again in a thread on low-insertion loss tone controls.
Sean K. That should provide a lot of tonal possibilities with a simple circuit and low insertion loss.
TMB tone stack FX pedal for a tube amp with no tone controls ?
In fact, the only difference really is with the treble pot. Magnatone used it in a whole series of amps — the A, MA,and BNF use it as well. Insertion loss is lower than the standard Fender tone stack, but obviously higher than 1 knob controls. Here's an in-depth analysis of it. Presented below are the schematic and 2 layout diagrams. The first is for building the stack on 2 normal pots.
The second is for building it on a dual-concentric pot.TS1 Tone Stack Concepts
Like a tube cathode follower, the source follower lowers the driving impedance to drive the tone stack with less signal loss. I had an unused space for another switch on the front panel, so I added a tiny modification to change the frequency response of the tone stack. It simply parallels a pF capacitor with the pF treble cap. The effect is centered around Hz, depending on the position of the controls. This is the classic 3 knob tone stack used in assorted variations in so many classic amps.
Tried and true, it has fairly high gain loss and big mid scoop. Like any tone stack, its response characteristics can be drastically altered with differing impedances and component values.
There are numerous minor variations to this circuit.
Some leave out the Mid control, replacing it with a fixed resistor. In others, C3 is wired to the wiper of the Mid control, which is wired as a voltage divider instead of a variable resistor. It looks like it has lots of possibilities. Table of Contents. Overview This is a collection of common guitar amp tone stack schematics and layouts. Moonlight Tone Control Schematic. Marshall 18 Watt Tone Control Schematic. Marshall 18 Watt Tone Control Layout. Fender Pro 6G5 or 6G7 tone stack layout.
Passive Baxandall Tone Stack Schematic.
The Tone Stack Explained in English for Humans
Layout on 2 Standard Pots Layout on a single dual-concentric pot. Basic Tone Stack Schematic. Basic Tone Stack Layout. All Rights Reserved.Baxandall tone stack mod.
Has anyone ever done a Baxandall tone stack mod on their amp? It's my understanding Steve Vai does this to his amps. I am interested in doing it to my Metro 12, amp. Re: Baxandall tone stack mod. If a Baxandall tone stack sounded any good, Bogner, Friedman, Cameron, Fortin, and everybody else would be doing a "Baxandall mod" and charging big bucks for it. They're not. Because it sounds like poo in a guitar amp. Don't waste your time.
What exactly does it do? Could someone post a reliable link to the specs? The Baxandall tone stack is much more powerful and versatile than the FMV tone stack. I have a few amps with it and much prefer it. I did not modify anything. The amps came stock with the baxandall tone stack. If you can shoot me a solid resource, drop by a link. I am capable of Googleing but I want a solid resource.
Everyone calls it a Baxandall, but it's actually a James tone stack. Baxandall is active. The James is very similar and passive. I don't have a link I just know them from using them for over 40 years. I've never played on a amp that was modified to the Baxandall tone stack.
Ampeg, Orange,THD, etc Yeah, the original Baxandall was an active tone stack, and the passive version as you would use in an amp is the James. Less insertion loss than a TMB stack, and you basically only control the bass and treble.
The mids zoom right through minus the insertion loss. I suppose it might sound OK if the amp was designed around it as mentioned above. A better idea if you want to mod a TMB style amp might be to install a tone stack lift switch, where you disconnect the mid pot from ground, essentially lifting the stack out of the circuit.
Bogner did this on the Helios, but I can't remember what he called it. I like this mod with an increased resistance to ground vs a complete lift. I've had success with anywhere from 15k - 27k inserted between the mid pot and ground.
You can tune to taste. This will give you a large mid and volume boost when engaged. On all TMB tone stacks one side of the mid pot is connected to ground, and this is the ground point for the entire tone stack.Log in or Sign up. The Gear Page. TMB tone stack FX pedal for a tube amp with no tone controls? Mar 21, 1. Messages: 1, A pedal you can use in the FX loop as an always on tone stack.
Not interested in graphic eq pedals, treb, mid and bass controls with no tone suckage would be ideal. Anyone know of such a pedal s? TelejesterMar 21, Mar 21, 2. Empress Para-Eq. Mar 21, 3. Messages: 2, TaborMar 21, Mar 21, 4.
Messages: EQD Tone Job is another. Junco PartnerMar 21, Mar 22, 5. How do those pedals fare when compared to the orange two stroke?
TelejesterMar 22, Mar 22, 6. Messages: 11, The Empress is a parametric EQ, so it might not be that intuitive to quickly adjust. Mar 22, 7. I've been very happy with this pedal - It effectively turns my single-channel amp into a dual-channel amp. I get a pretty convincing Blackface-style tone that satisfies me when I want that kind of sound. Mar 22, 8.
RYANM likes this. Mar 22, 9. Mar 22, Messages: 3, I used a Dr.
Scientist Cleanness like this for years. It worked beautifully. Messages: 5, Fromel Shape EQ if you can find one.Discussion in ' The Workbench ' started by HollowbodySep 9, Log in or Sign up. Marshall Amp Forum. HollowbodySep 9, Joined: Jul 30, Messages: 3, Likes Received: This is actually an excellent question!
Part of the reason the classic Marshall Amplifier sounds the way it does is due to the way that tone stack is set up. The classic Marshall Tone stack tends to emphasize the upper mids, which in turn tends to drive into distortion sooner in that layer.
Now whether or not it was designed that way I don't know. Now you will see some variations in tone stack as far as the range of the Pico farad capacitor usually pf — pf for the classic Marshall Tone stack and pf for the early JTM 45s. MajorNutSep 9, This will answer a lot of your questions. The tone stacks used in guitar amps are pretty similar in design and vary only in component value. The typical Fenders values Deluxe Reverb et al, which Mesa also uses in the Mark series, is more hi fi sounding.
Used on guitar it sounds a little scooped. The values used in the Bassman and Marshalls is a bit more mid present. Marshall later revised it to be ever more mid present, particularly upper mids. To my ears I prefer the Fender style stack for clean and funky playing. For overdrive and leads I prefer to more mid present sound of the Marshall stack. Edit: Sorry Major, hadn't meant to talk over you.
You were quicker on the draw!! PaoloJMSep 9, MajorNut likes this. Definitely check out the Duncan TS calculator. It lets you change component values and see the affected frequency gain.
The first is like a Bassman less mids and gain. The second has more mids and gain. You can use in between values to experiment but I've found that the stock combinations work best.The guitar amp. Why does one control seem to alter what another one does? Why does the mids knob affect volume? And why is the treble pot more like a blend control? There seemed to be two camps: guitarists, who, despite an adorable belief that the three knobs do what the labels suggest, have no understanding of it; and amp builders, who understand it too well and talk to each other in Martian.
As I forced myself to learn it anyway, I took notes using the ordinary language that my brain prefers. Those notes became this article. An understandable description for players who want to better grasp how to get the tones they seek. I will sometimes have to use words like capacitor and resistor, but only to identify where we are. It is however handy to know that:. A high-pass filter lets sounds above a set frequency through, and is formed by a capacitor followed by a resistor.
A low-pass filter lets sounds below a set frequency through, and is formed by a resistor followed by a capacitor. I recommend opening the little circuit diagram in a new window to keep your bearings while reading. Unnervingly, if you see it enough it even begins to make sense. The diagram and the article describe the so-called FMV tone stack; the design used by Fender, Marshall, and Vox, and the hundreds who followed in their footsteps.
It is called a stack because in an electrical diagram the sections sit on top of each other like this, incoming signal at the top, ground at the bottom. The treble circuit is first in the tone stack.
The signal comes in, hits the treble capacitor, then, in place of a single resistor to complete a high-pass filter, like a neat little component on a circuit board, it instead sees the combined resistance of all three pots — the Treble, Bass, and Middle pots — which lie in a row between the treble cap and ground. So, being at the top of the stack, the treble circuit has the longest journey in terms of resistance, which is resistance against losing stuff to ground.
It sees resistance from the Treble pot, then the Bass pot, then the Mids pot, with ground at the end. Turning the treble control clockwise imposes the least attenuation of this high-end sound isolated by the high-pass filter made by the treble capacitor and the three pots.
It seems we can never add or boost in the tone stack. You thought the bright and pretty soprano on the right was the only one there — she was all you could see. Now as you pan left you find a baritone and a tenor standing in the corner. When the Introduction to Tube Amplifier Theory says in its short summary, my notes in brackets.
For the treble control, we made a high-pass filter in order to play with stuff up there in the zingy, sparkly ceiling of sound. For the bass we want the opposite, a low-pass filter, so we can play with stuff down in the low end. To make one of these you just put the components of a high-pass filter the other way around: resistor then capacitor.
A low-pass filter. Luckily, the arrangement that comes next, of that same cap then the bass knob — a variable resistor — makes a high-pass filter right afterwards.The Tone Stack calculator is designed to help you check out the design and response curves of a variety of tone stacks used in popular guitar amplifiers. It is intended to be of interest to amplifier technicians, amp modifiers, hobbyists and students. Intro The Tone Stack calculator is designed to help you check out the design and response curves of a variety of tone stacks used in popular guitar amplifiers.
Key features. Simply click on the appropriate tab to bring up a different schematic. Components : Values can be altered simply by double-clicking on the component.
With potentiometers, the taper can also be altered. The generator source impedance can be altered to give realistic simulation results for both cathode followers and common cathode drivers. Snapshots : Freeze any trace so it can be overlaid by other traces. Up to a maximum of 12 traces can be frozen in this way. Can sweep the controls to show the range.
Printing : Send the graphical results to your printer for a hard copy. Other features: Online context sensitive help, variable plot resolutions supported to optimise performance. Operating system : Windows 95 or later. Tone Stack Calculator is a 32 bit application, and has not been tested to run under Windows 3.
Processor: Minimumrecommended Pentium or better. Display : x or greater, with 16 colour capability, as a minimum. Recommended x or better. Large fonts are supported. Memory : As per minimum requirement for operating system.
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