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Certain elements of the Blackface cosmetics were reintroduced in the mid-1970s on a series of amplifiers designed by Ed Jahns. The first amplifiers in this new line included the infamous 180W 'Super Twin' and 'Super Twin Reverb' amplifiers which featured active tone controls and a built-in distortion circuit that blended between clean and ...
The company was founded in the late 1970s by Jean-Pierre (John) Prideaux to build power amplifiers for the tour sound industry. The first amplifier, the P3500, delivered 475 watts-per-channel in a chassis that occupied a two-rack space at a time when competitors were offering 400 watts in a four-rack space.
The first practical prominent device that could amplify was the triode vacuum tube, invented in 1906 by Lee De Forest, which led to the first amplifiers around 1912. Vacuum tubes were used in almost all amplifiers until the 1960s–1970s when transistors replaced them. Today, most amplifiers use transistors, but vacuum tubes continue to be used ...
If hot-rodding Fenders was the first breakthrough, the second was developing an extra gain stage for the guitar input. Smith was building a preamplifier for Lee Michaels, who needed a pre-amp to drive his new Crown DC-300 power amplifiers. Smith added an extra tube gain stage to the preamp, with three variable gain controls at different points ...
Peavey's line of guitar amplifiers made specifically for blues, jazz, and classic rock players. The original Classic series amplifiers were introduced in the 1970s (and were originally called the Peavey 'Vintage' series which the first releases used 6C10 tubes in the pre-amp, NOT solid State. 6C10 amps have a Presence knob, not a Master.
The Orange brand was well established as a manufacturer of valve amps by the mid-1970s, but Cooper was keen to diversify the Orange product range and include solid state amplifiers for the first time. OMEC, which stands for Orange Music Electronic Company, was formed. Cooper engaged designer Peter Hamilton with the brief to design a ...
Fisher was the first to introduce stereo receivers with four channels. These innovations were brief and occurred in the mid-1970s which some [who?] consider The Second Golden Age of High Fidelity. Like many new concepts of the time such as Beta Format and VHS, there were a number of competing four channel formats.
Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. [5] This amplifier was marketed as the M1.0t for about $400.00.