Yes, a headphone amp for Kong or a new practice bass amp for Lemmy!Headphone amp?
that came from a permanent fleamarket inside a hall.Where did you get that? Is this a former PA for a football stadium? WSW is top stuff, that wasn't cheap.
That's an interesting idea, we should talk about it again when I'm ready. I still have to think about the "VU" integration.Just looking at what you collected together Rock ,
Think about the possibility of incorporating the meter drive as limiter of sorts , an extra load that can be placed at the drive end of the circuit , , the lightbulb limiter is also something well worth building in to a spring reverb driver of this kind
These are valid points, I have had some experience with hum from spring reverb tanks in the past. Nevertheless, I want to try to get everything into one box. I try to manage the challenges with a careful layout and additional shielding measures if necessary. I will most likely hate myself when implementing this plan.Incorporating your nice Tele mains transformer inside a box with a couple of tanks is going to be a chalenge ,
Your best result might be to make this box the drive amp only end ,sheild and remote the tanks themselves as much as is nessary to get rid of the induced mains hum , and use something else dedicated at the recovery end ,preferably right close to the tanks . There might well be a case to build in a dedicated recovery stage into the tank housing itself , minimise any chances of noise ,
At the moment I have planned a fixed pad at the input for line signals plus a dwell pot.An adjustable pad in the form of a wirewound pot I also very much reccomend incorporated to trim the drive levels to the tank. it gives a good range of tones depending on how you adjust the gain staging , it avoids causing gross distortion in the transducer and spring itself , yet still have the output stage running hot as hell .
Good ideas!A modern 2 channel desktop interface with low noise inputs works well as a reverb recovery sub mixer , just short patch leads , choice of mic line or instrument input is a matter of audition and see , the different load impedences involved will change the sound of the spring output appreciably , it adds more of a sonic pallette to play around with.
The typical desktop interface sloped top panel control surface lends itself perfectly to the job, a simple set of controls , one function per control , no messing with menus , straight in to the sonic sweet spot ,with an entirely analog signal path all the way .
I've been curious about this for a long time and waiting for a good opportunity to ask someone here, and/or find out what the consensus is on old parts.A few things to keep in mind when using parts from the long ago and used to be... Suggest testing parts before you put the effort into making something new out of them. Problems may not even show up until after the build.
Yes, leakage currents, for example, are a critical parameter for capacitors. If they are too high, the operating point of the subsequent amplification stage can be shifted. It gets really nasty when you replace an anode to output transformer coupling capacitor in your vintage U47 microphone with an untested and leaky old capacitor and you kill the original transformer with it.I want to know if there are critical qualities to a capacitor that one could miss by simply testing for capacitance value?