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Power attenuator (THD Hot Plate) on Marshall 1959 Super Lead Plexi. A power attenuator, used with a guitar amplifier, is a type of attenuator that diverts and dissipates a portion of the amplifier's power to enable hearing the amplifiers high-volume characteristics at lower volume.
The Hot Plate power attenuator was first released by THD in 1994. [1] It was designed to act as a type of master volume control for tube-based amplifiers, without sacrificing the distorted sounds such amplifiers make when they are played at full volume.
A line-level attenuator in the preamp or a power attenuator after the power amplifier uses electrical resistance to reduce the amplitude of the signal that reaches the speaker, reducing the volume of the output. A line-level attenuator has lower power handling, such as a 1/2-watt potentiometer or voltage divider and controls preamp level ...
A post master volume, transformer coupled, guitar level effects loop is also provided. [10] In addition, the amp contains much of the same circuitry as the original Single Channel non-reverb amp. In 2020 Jim Kelley began building a two channel version of the Line Amp. Unlike the FACS Line Amp, these amps feature two distinct inputs.
Power-tube distortion is required for amp sounds in some genres. In a standard master-volume guitar amp, as the amp's final or master volume is increased beyond the full power of the amplifier, power-tube distortion is produced. The "power soak" approach places the attenuation between the power tubes and the guitar speaker.
In high frequency horns, the L Pad is seen by the crossover, not the amp. L pads may not necessarily use continuously variable rheostats, but instead a multi-position rotating selector switch wired to resistors on the back. Tapped transformers are not L pads; they are autoformers. L pads can also be used at line level, mostly in pro applications.
These amps were made from May 1982 to December 1985. Serial numbers started with 0100 and ended on 2390. This was Mesa/Boogie's first attempt at having a reissue of the Mark I. It had two cascading gain inputs and its controls were Volume(gain) 1, Volume(gain) 2, Master, Treble, Bass, Middle, Limit or Presence (depending on the version).
The tube amps in the series feature hand-wired eyelet board construction and are also becoming sought-after collectors items, due to the design and build quality. The range included one small tube-driven bass amp, the Bassman 20. There were also some solid-state amplifiers using the II moniker, such as the Harvard Reverb II. Other solid-state ...