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05-21-2023, 08:31 PM
Hi Enorbet2
Your amp draws from a variety of vintage sources to combine as one that provides safe, warm tones most seasoned players (eventually) strive for.
The front-end gain is the same as early Mesa amps, although a similar method was used in a later circuit point in the Mk2 amps. Randall took Howard to task as they both developed the same circuit at the same time; Randall lost his argument. Where mesa hung the gain stage across a mixing resistor as you do, Dumble did it better without the mixing aspect.
The CF-driven EQ is standard Marshall ripped from Fender with Bassman values. The gain stage values are generally "Fendery", which one could say are very similar to most guitar amps up to the 60s. Low-value coupling caps reign in fatness to make low-frequency distortion tighter.
The FX loop is like the Dumblator: series jacks with a high-gain free-running stage after. It is easy to run into a noise penalty here, as Fender and Peavey both did, but the goal is to be able to use pedals between the preamp and power amp.( The London Power loop does this without a noise penalty.)
The PA has not been described apart from the use of KT-77s. These are a "muddy" or "creamy" tube depending on your taste. They are what makes a significant part of the Hiwatt tone.
Overall, the amp should have a warm clean sound that rolls through overdrive into a fat distortion. The speakers can make or break that sound as they heavily filter the signal coming from the amp.
Old-school players usually want to work a bit for their tone. Amps that roll into breakup through pick attack and/or use of the guitar volume control (yes, that is what that control does) are very satisfying to play through provided the loudness produced is controllable. The most amazing sounds from the pre-digital age were created by players pushing their gear and themselves to the limit. I still prefer doing it that way.
Your amp draws from a variety of vintage sources to combine as one that provides safe, warm tones most seasoned players (eventually) strive for.
The front-end gain is the same as early Mesa amps, although a similar method was used in a later circuit point in the Mk2 amps. Randall took Howard to task as they both developed the same circuit at the same time; Randall lost his argument. Where mesa hung the gain stage across a mixing resistor as you do, Dumble did it better without the mixing aspect.
The CF-driven EQ is standard Marshall ripped from Fender with Bassman values. The gain stage values are generally "Fendery", which one could say are very similar to most guitar amps up to the 60s. Low-value coupling caps reign in fatness to make low-frequency distortion tighter.
The FX loop is like the Dumblator: series jacks with a high-gain free-running stage after. It is easy to run into a noise penalty here, as Fender and Peavey both did, but the goal is to be able to use pedals between the preamp and power amp.( The London Power loop does this without a noise penalty.)
The PA has not been described apart from the use of KT-77s. These are a "muddy" or "creamy" tube depending on your taste. They are what makes a significant part of the Hiwatt tone.
Overall, the amp should have a warm clean sound that rolls through overdrive into a fat distortion. The speakers can make or break that sound as they heavily filter the signal coming from the amp.
Old-school players usually want to work a bit for their tone. Amps that roll into breakup through pick attack and/or use of the guitar volume control (yes, that is what that control does) are very satisfying to play through provided the loudness produced is controllable. The most amazing sounds from the pre-digital age were created by players pushing their gear and themselves to the limit. I still prefer doing it that way.
