I Lied About this Amp and Speaker (the details)
Posted: Thu Aug 24, 2023 12:37 pm
From the multiple speaker swap tales and threads of 'What's on your Workbench,' here are the more detailed story on my AMI Lil Giant:
The objective of my AMI Lil Giant design has always been to have a very portable guitar amp, which was equally sublime at home, studio or gig. With or without the 4x10 Marshall cabinet loaded with (2) Weber Alnicos (like the Jensen's found in the 1964 Super Reverb) and (2) Weber Blue Pups (like the Celestion Alnico Blue).
Background: This amp was built using donor parts, which a music store was going to scrap: a 1974 Fender Princeton Reverb chassis and cab, with July 1967 Fender Bassman transformers.
I have had multiple expensive and inexpensive speakers, 'internal' to this amp and have struggled to get it to sound 3-dimensional 'big'. Problem solved. The 'lie' is. that the Sunn 128G looked like a keeper. The 12" Celestion Creme Alnico is back in and now sounds huge at any volume. Which clean, is a pretty loud 42watts and distorted & dimed - a crushing 85 watts! Master volume preserves the tone really well at all levels.
While addressing the power transformer (1967 Fender Bassman) running a bit hot, it dawned on me that the combination of things I did to create 'thump' (which is typically diminished in small combo format) was creating massive sub-harmonic spikes. Since the output trans (also a 1967 Bassman) couldn't translate that into sound, it was causing the other frequencies to 'squish' and have phase problems.
The results are, this is one of the best amps I have heard. Equally great at internal dirt or as a pedal platform.
Corrections I made yesterday:
1.) Replaced the EH-6CA7 output tubes with a NOS (early 70's from my stash) Sylvania 6L6GC STR. They both sound similar (phenomenal), but the 6L6 puts less strain on the power transformer. The downside is, the unicorn NOS 6L6 tubes are probably worth >$500 for the pair and I'll be putting some wear on them.
2.) Simplified the negative feedback (Presence) circuit by substituting a 56K resistor and 0.1uF bypass cap, for the overly complex resonance type circuit.
3.) Applied a 1500pF bypass cap between the lead and ground fo the reverb control pot, to mellow the reverb and allow it to fit more in a band mix.
The objective of my AMI Lil Giant design has always been to have a very portable guitar amp, which was equally sublime at home, studio or gig. With or without the 4x10 Marshall cabinet loaded with (2) Weber Alnicos (like the Jensen's found in the 1964 Super Reverb) and (2) Weber Blue Pups (like the Celestion Alnico Blue).
Background: This amp was built using donor parts, which a music store was going to scrap: a 1974 Fender Princeton Reverb chassis and cab, with July 1967 Fender Bassman transformers.
I have had multiple expensive and inexpensive speakers, 'internal' to this amp and have struggled to get it to sound 3-dimensional 'big'. Problem solved. The 'lie' is. that the Sunn 128G looked like a keeper. The 12" Celestion Creme Alnico is back in and now sounds huge at any volume. Which clean, is a pretty loud 42watts and distorted & dimed - a crushing 85 watts! Master volume preserves the tone really well at all levels.
While addressing the power transformer (1967 Fender Bassman) running a bit hot, it dawned on me that the combination of things I did to create 'thump' (which is typically diminished in small combo format) was creating massive sub-harmonic spikes. Since the output trans (also a 1967 Bassman) couldn't translate that into sound, it was causing the other frequencies to 'squish' and have phase problems.
The results are, this is one of the best amps I have heard. Equally great at internal dirt or as a pedal platform.
Corrections I made yesterday:
1.) Replaced the EH-6CA7 output tubes with a NOS (early 70's from my stash) Sylvania 6L6GC STR. They both sound similar (phenomenal), but the 6L6 puts less strain on the power transformer. The downside is, the unicorn NOS 6L6 tubes are probably worth >$500 for the pair and I'll be putting some wear on them.
2.) Simplified the negative feedback (Presence) circuit by substituting a 56K resistor and 0.1uF bypass cap, for the overly complex resonance type circuit.
3.) Applied a 1500pF bypass cap between the lead and ground fo the reverb control pot, to mellow the reverb and allow it to fit more in a band mix.