Simon Dorn
Well-known member
Lots of variables and EQ-possibilities for sure.
novosibir
Well-known member
If the models from his new amp line sound just as convincing as his Marshall mods, then he really is a true master.
But that completely new amps sound just as convincing as modified old amps is damn difficult and costs the developer a long time full of blood, sweat and tears from this point on, when he switches from modding old amps to new builds. I would like to explain why this is so:
In new amps you no longer have good old Marshall transformers from the 80s:
- which were still made in good British craftsmanship
- in which the good old M6 transformer sheet metal made in the 80s was installed, which has not been available for a long time
- where double enamelled wire was used for winding
- in which another Nomex was used for the intermediate insulation of the winding layers
The technical impact of these differences is a long story for its own.
And above all, the laminations of the old transformers are enormously well-established through decades of operation with countless trillions of magnetic field changes, which caused structural changes that cannot be realized through technical processes.
Every good and experienced amp designer knows that the output transformer of a tube guitar amp (completely different standards apply to hi-fi) is the heart and soul of every amp. If the output transformer does not have the required characteristics, then you will never get the entire amp to sound convincingly. Inadequate output transfers cannot be concealed by any modification in the circuitry of the amp, it's absolutely impossible.
Conclusion: If the output transformer does not meet the requirements, then the entire amp will never be able to sound convincingly - and you won't be able to buy irons from Heyboer, Mercury Magnetics or Hammond that make you smile as satisfied as the good old original Dagnall or Drake made in the UK will do
Not quite as extreme, but up to a certain point this also applies to the power transformer, because its characteristic, for example to what extent it drops in the event of strong impulses in the secondary voltage determines, among other factors, how well the amp hangs on the guitar, or whether you have to fight for every note, also known as 'stiff amp'.
Another important point are the electrolytic capacitors, especially those for the voltage supply of the output stage and driver tube, because these determine how much residual ripple (and what wave form) of the wavy rectified supply voltages is fed to the tubes, where additional difference tones are then generated when mixed with the guitar signal...
... and in new amps you no longer have the good old Erie, Daly or LCR electrolytic capacitors, which you often still have in the old Marshall amps from the 80s or earlier - ok you get F&T's, JJ's and lots from Japan, China, Taiwan, etc. at Mouser, Newark or somewhere else - but they just don't deliver the flair and the charm in the sound like the old ones do ?
And there are a few more factors that positively influence the possible sound result of an old modified amp compared to a completely new amp - but it would lead too far to describe all of them here. After all, I don't want to write a textbook, I just want to show you some important factors.
If you are now wondering why my newly built DINO, British Purist, Rock Wizard and Pure Metal Machine amps still sound as if I had installed my circuitry in a good old and well-rehearsed Marshall amp, then just ask me...
... I would tell you some of my secrets, but only some, not all
mooncobra
Well-known member
Sacrilege!!! May Hermansson live forever!!
mooncobra
Well-known member
Have you seen the Hermansson transformers? They are magnificent pieces of machinery created by the gods and titans of industry, special metals that are not even named yet, discovered by Hermansson himself!If the models from his new amp line sound just as convincing as his Marshall mods, then he really is a true master.
But that completely new amps sound just as convincing as modified old amps is damn difficult and costs the developer a long time full of blood, sweat and tears from this point on, when he switches from modding old amps to new builds. I would like to explain why this is so:
In new amps you no longer have good old Marshall transformers from the 80s:
- which were still made in good British craftsmanship
- in which the good old M6 transformer sheet metal made in the 80s was installed, which has not been available for a long time
- where double enamelled wire was used for winding
- in which another Nomex was used for the intermediate insulation of the winding layers
The technical impact of these differences is a long story for its own.
And above all, the laminations of the old transformers are enormously well-established through decades of operation with countless trillions of magnetic field changes, which caused structural changes that cannot be realized through technical processes.
Every good and experienced amp designer knows that the output transformer of a tube guitar amp (completely different standards apply to hi-fi) is the heart and soul of every amp. If the output transformer does not have the required characteristics, then you will never get the entire amp to sound convincingly. Inadequate output transfers cannot be concealed by any modification in the circuitry of the amp, it's absolutely impossible.
Conclusion: If the output transformer does not meet the requirements, then the entire amp will never be able to sound convincingly - and you won't be able to buy irons from Heyboer, Mercury Magnetics or Hammond that make you smile as satisfied as the good old original Dagnall or Drake made in the UK will do
Not quite as extreme, but up to a certain point this also applies to the power transformer, because its characteristic, for example to what extent it drops in the event of strong impulses in the secondary voltage determines, among other factors, how well the amp hangs on the guitar, or whether you have to fight for every note, also known as 'stiff amp'.
Another important point are the electrolytic capacitors, especially those for the voltage supply of the output stage and driver tube, because these determine how much residual ripple (and what wave form) of the wavy rectified supply voltages is fed to the tubes, where additional difference tones are then generated when mixed with the guitar signal...
... and in new amps you no longer have the good old Erie, Daly or LCR electrolytic capacitors, which you often still have in the old Marshall amps from the 80s - ok you get F&T's, JJ's and lots from Japan, China, Taiwan, etc. at Mouser, Newark or somewhere else - but they just don't deliver the flair and the charm in the sound like the old ones do ?
And there are a few more factors that positively influence the possible sound result of an old modified amp compared to a completely new amp - but it would lead too far to describe all of them here. After all, I don't want to write a textbook, I just want to show you some important factors.
If you are now wondering why my newly built DINO, British Purist, Rock Wizard and Pure Metal Machine amps still sound as if I had installed my circuitry in a good old and well-rehearsed Marshall amp, then just ask me...
... I would tell you some of my secrets, but only some, not all
Behold!! The majestic transformer of mighty Hermansson!!
Attachments
Simon Dorn
Well-known member
Oh, The Master himself. Hi Larry!If the models from his new amp line sound just as convincing as his Marshall mods, then he really is a true master.
But that completely new amps sound just as convincing as modified old amps is damn difficult and costs the developer a long time full of blood, sweat and tears from this point on, when he switches from modding old amps to new builds. I would like to explain why this is so:
In new amps you no longer have good old Marshall transformers from the 80s:
- which were still made in good British craftsmanship
- in which the good old M6 transformer sheet metal made in the 80s was installed, which has not been available for a long time
- where double enamelled wire was used for winding
- in which another Nomex was used for the intermediate insulation of the winding layers
The technical impact of these differences is a long story for its own.
And above all, the laminations of the old transformers are enormously well-established through decades of operation with countless trillions of magnetic field changes, which caused structural changes that cannot be realized through technical processes.
Every good and experienced amp designer knows that the output transformer of a tube guitar amp (completely different standards apply to hi-fi) is the heart and soul of every amp. If the output transformer does not have the required characteristics, then you will never get the entire amp to sound convincingly. Inadequate output transfers cannot be concealed by any modification in the circuitry of the amp, it's absolutely impossible.
Conclusion: If the output transformer does not meet the requirements, then the entire amp will never be able to sound convincingly - and you won't be able to buy irons from Heyboer, Mercury Magnetics or Hammond that make you smile as satisfied as the good old original Dagnall or Drake made in the UK will do
Not quite as extreme, but up to a certain point this also applies to the power transformer, because its characteristic, for example to what extent it drops in the event of strong impulses in the secondary voltage determines, among other factors, how well the amp hangs on the guitar, or whether you have to fight for every note, also known as 'stiff amp'.
Another important point are the electrolytic capacitors, especially those for the voltage supply of the output stage and driver tube, because these determine how much residual ripple (and what wave form) of the wavy rectified supply voltages is fed to the tubes, where additional difference tones are then generated when mixed with the guitar signal...
... and in new amps you no longer have the good old Erie, Daly or LCR electrolytic capacitors, which you often still have in the old Marshall amps from the 80s or earlier - ok you get F&T's, JJ's and lots from Japan, China, Taiwan, etc. at Mouser, Newark or somewhere else - but they just don't deliver the flair and the charm in the sound like the old ones do ?
And there are a few more factors that positively influence the possible sound result of an old modified amp compared to a completely new amp - but it would lead too far to describe all of them here. After all, I don't want to write a textbook, I just want to show you some important factors.
If you are now wondering why my newly built DINO, British Purist, Rock Wizard and Pure Metal Machine amps still sound as if I had installed my circuitry in a good old and well-rehearsed Marshall amp, then just ask me...
... I would tell you some of my secrets, but only some, not all
mooncobra
Well-known member
Sadly Larry, all this is quite foreign to me. I should at least have a basic working knowledge but I don’t. I view amps and their internal workings as one of the great mysteries. To me, amps are a magical box that makes sound when I plug my guitar in. But I would love to build an amp. Perhaps someday I will acquire this powerful knowledge and make a creation worthy of the tone gods. Like the Larry amps.If the models from his new amp line sound just as convincing as his Marshall mods, then he really is a true master.
But that completely new amps sound just as convincing as modified old amps is damn difficult and costs the developer a long time full of blood, sweat and tears from this point on, when he switches from modding old amps to new builds. I would like to explain why this is so:
In new amps you no longer have good old Marshall transformers from the 80s:
- which were still made in good British craftsmanship
- in which the good old M6 transformer sheet metal made in the 80s was installed, which has not been available for a long time
- where double enamelled wire was used for winding
- in which another Nomex was used for the intermediate insulation of the winding layers
The technical impact of these differences is a long story for its own.
And above all, the laminations of the old transformers are enormously well-established through decades of operation with countless trillions of magnetic field changes, which caused structural changes that cannot be realized through technical processes.
Every good and experienced amp designer knows that the output transformer of a tube guitar amp (completely different standards apply to hi-fi) is the heart and soul of every amp. If the output transformer does not have the required characteristics, then you will never get the entire amp to sound convincingly. Inadequate output transfers cannot be concealed by any modification in the circuitry of the amp, it's absolutely impossible.
Conclusion: If the output transformer does not meet the requirements, then the entire amp will never be able to sound convincingly - and you won't be able to buy irons from Heyboer, Mercury Magnetics or Hammond that make you smile as satisfied as the good old original Dagnall or Drake made in the UK will do
Not quite as extreme, but up to a certain point this also applies to the power transformer, because its characteristic, for example to what extent it drops in the event of strong impulses in the secondary voltage determines, among other factors, how well the amp hangs on the guitar, or whether you have to fight for every note, also known as 'stiff amp'.
Another important point are the electrolytic capacitors, especially those for the voltage supply of the output stage and driver tube, because these determine how much residual ripple (and what wave form) of the wavy rectified supply voltages is fed to the tubes, where additional difference tones are then generated when mixed with the guitar signal...
... and in new amps you no longer have the good old Erie, Daly or LCR electrolytic capacitors, which you often still have in the old Marshall amps from the 80s or earlier - ok you get F&T's, JJ's and lots from Japan, China, Taiwan, etc. at Mouser, Newark or somewhere else - but they just don't deliver the flair and the charm in the sound like the old ones do ?
And there are a few more factors that positively influence the possible sound result of an old modified amp compared to a completely new amp - but it would lead too far to describe all of them here. After all, I don't want to write a textbook, I just want to show you some important factors.
If you are now wondering why my newly built DINO, British Purist, Rock Wizard and Pure Metal Machine amps still sound as if I had installed my circuitry in a good old and well-rehearsed Marshall amp, then just ask me...
... I would tell you some of my secrets, but only some, not all
Also, please allow me to cut to the front of the line for your amps. When I have both a Larry and a Hermansson, my tone quest shall be complete!
novosibir
Well-known member
It looks like an old Partridge 'made in UK' from an old Hiwatt from the 80's
mooncobra
Well-known member
Indeed it does.It looks like an old Partridge 'made in UK' from an old Hiwatt from the 80's
RedB4Black
Well-known member
Sounds killer!
Hermansson Amplification
Active member
Thanks for your input, Larry! If everything goes well I will have the first prototype up and running within a few weeks.If the models from his new amp line sound just as convincing as his Marshall mods, then he really is a true master.
But that completely new amps sound just as convincing as modified old amps is damn difficult and costs the developer a long time full of blood, sweat and tears from this point on, when he switches from modding old amps to new builds. I would like to explain why this is so:
In new amps you no longer have good old Marshall transformers from the 80s:
- which were still made in good British craftsmanship
- in which the good old M6 transformer sheet metal made in the 80s was installed, which has not been available for a long time
- where double enamelled wire was used for winding
- in which another Nomex was used for the intermediate insulation of the winding layers
The technical impact of these differences is a long story for its own.
And above all, the laminations of the old transformers are enormously well-established through decades of operation with countless trillions of magnetic field changes, which caused structural changes that cannot be realized through technical processes.
Every good and experienced amp designer knows that the output transformer of a tube guitar amp (completely different standards apply to hi-fi) is the heart and soul of every amp. If the output transformer does not have the required characteristics, then you will never get the entire amp to sound convincingly. Inadequate output transfers cannot be concealed by any modification in the circuitry of the amp, it's absolutely impossible.
Conclusion: If the output transformer does not meet the requirements, then the entire amp will never be able to sound convincingly - and you won't be able to buy irons from Heyboer, Mercury Magnetics or Hammond that make you smile as satisfied as the good old original Dagnall or Drake made in the UK will do
Not quite as extreme, but up to a certain point this also applies to the power transformer, because its characteristic, for example to what extent it drops in the event of strong impulses in the secondary voltage determines, among other factors, how well the amp hangs on the guitar, or whether you have to fight for every note, also known as 'stiff amp'.
Another important point are the electrolytic capacitors, especially those for the voltage supply of the output stage and driver tube, because these determine how much residual ripple (and what wave form) of the wavy rectified supply voltages is fed to the tubes, where additional difference tones are then generated when mixed with the guitar signal...
... and in new amps you no longer have the good old Erie, Daly or LCR electrolytic capacitors, which you often still have in the old Marshall amps from the 80s or earlier - ok you get F&T's, JJ's and lots from Japan, China, Taiwan, etc. at Mouser, Newark or somewhere else - but they just don't deliver the flair and the charm in the sound like the old ones do ?
And there are a few more factors that positively influence the possible sound result of an old modified amp compared to a completely new amp - but it would lead too far to describe all of them here. After all, I don't want to write a textbook, I just want to show you some important factors.
If you are now wondering why my newly built DINO, British Purist, Rock Wizard and Pure Metal Machine amps still sound as if I had installed my circuitry in a good old and well-rehearsed Marshall amp, then just ask me...
... I would tell you some of my secrets, but only some, not all
Yes, I'm a big fan of the old Partridge irons and I have those in my personal amp (Laney PA 100) which I rebuilt over 10 years ago.
The Hermansson transformers are made in England and winded on SRBP bobbins exclusively made in England for my transformers. In my opinion, the power supply has a big effect on how the amp feels and responds when you strum the strings, a power supply that "plays along" and gets the exact "compression times" can make wonders for the feel of an amp. Too many manufacturers these days tend to overlook these aspects and amps feel stiff and lifeless, there is a reason why guitarists love how a cranked old Plexi feels in the hands. I've designed a power supply for my amp completely without electrolytic capacitors and I've spent a lot of time tweaking and testing to get the right feel and response from the power supply.
All the best,
Henric Hermansson
Last edited:
Hermansson Amplification
Active member
Big thanks to all of you for your kind words! ??
D
DeathbyButterslax
Well-known member
Techdeth
RESIDENT ROCK PROFESSOR
Remember to sell me the prototype when done lol lol