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In digital and analog audio, headroom refers to the amount by which the signal-handling capabilities of an audio system can exceed a designated nominal level. [1] Headroom can be thought of as a safety zone allowing transient audio peaks to exceed the nominal level without damaging the system or the audio signal, e.g., via clipping. Standards ...
A few Dumble amps have a Dumbleator circuit built in, but most have "un-buffered" input jacks that tap directly out of the pre-amp and into the power amp. Dumble likely created this external loop because of the difficulty of fitting effects loop buffering into the amplifier chassis (and the limited use of effects loops for most players).
The amount of gain produced surprised both men, and Smith combined the cascaded design with the small form factor of the Fender Princeton, creating the first high-gain amp, the "Princeton Boogie." [1] [8] Released in 1972, the Boogies solved the issue of amps not having enough gain to sustain notes at volumes suitable for smaller venues. [4]
At the age of 18, Dave Friedman moved from his native Detroit, Michigan, to Los Angeles, where he worked at a store renting high-end instruments to studio musicians. [1] [2] While there, a customer brought in a Soldano SLO 100 modified by Bruce Egnater of Egnater Amplification; an impressed Friedman contacted Egnater about creating a new preamp, which became popular with local studio musicians ...
Clapton asked Jim Marshall to produce a combo amplifier with tremolo, which would fit in the boot of his car, and one of the most famous Marshall amps was born, the "Bluesbreaker" amp. [7] This is the amplifier, in tandem with his 1960 Gibson Les Paul Standard (the "Beano"), that gave Clapton that famous tone on the John Mayall & the ...
Rivera, like other amplifier builders such as Soldano, began building Fender-based amplifiers to try to capture a piece of the market for hot-rodded multi-channel amplifiers dominated by Mesa Boogie. [ 4 ]