10.09 - trip-tik: are you kidding me ?

Dont understand any of this ;) but I so love this amp... amazed that the amp-builder-guru himself chimes in here. Amazed that I am blown away of an amp I never heard of 2 weeks ago...
For the love of everything, I hope Cliff models all your amps now ;) and hope you build a few new ones too...

Rock on! and thanks thanks thanks!

He's welcome to model anything of mine. I love the guy and his work, he's a good friend.

We are local to each other and also both classic car nuts too that frequent many of the same car shows and cruise nights, so that just seals the deal.
 
Sounds like an interesting concept... Any chance of a setting in the advanced page to have this available for all amps?

While I can't speak for what Cliff can and can't do or make available, I can speak for amplifier design.

In the Triptik, The initial bass cut happens after the first gain stage, but is incrementally brought back in through the next stages while also controlling and manipulating the high and the mid bands too. There are several filters at various points in the gain stages to manipulate these other bands.

One band is always relative to the other two. In other words if you want more bass, you don't necessarily have to increase that, you can attenuate the other two bands to create the same effect.

Keeping the bass out of earlier stages allows each stage to be set up for more gain, so you get more gain from less stages which keeps the S/N ratio down and the dynamic range up.

The feedback loop in the power amp is frequency dependent and allows more mid-highs to be passed back to the phase inverter on the inverted input out of phase with the normal input which flattens the response and lowers the power amp gain (closed loop gain) much more for just those two bands. The bass band is not attenuated anywhere near as much so is amplified at a level much closer to the open loop gain of the power amp.

So basically what I am saying is while it's clearly very possible for Cliff to emulate a resonance control on the power amp feedback loop, there is much more to it when constructing the frequency responses of each gain stage.

The first time I used a filtered feedback loop to get more bass and tighten lower end was back in the early-mid 80's when I was messing around with the old Parks, Marshalls and Sound Citys and modding them for myself and the lads back home in the North of England ! I first saw a filtered feedback loop in an ancient hi-fi amp my Dad gave to me to mess with, as well as some old Fender amps used frequency dependent feedback. This concept had genesis way before my time any most certainly decades before the new wave of Hotrod Marshall Modders were building amps. Messing with the frequency cut off points and the amount of feedback was something of a crap shoot at first for me, mainly because I didn't truly understand how critical all the stages were to get the results I was looking for back then and study resources were almost always restricted to the public library. Remember the days...no internet ?
Ironically the values I use now are very much the same as what I used back then
 
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Can I just say that I bought my Triptik after falling in love with the OD2 model on the Axe-FX. So that is at least one point of proof that modelling CAN lead to actual amp sales... :)

If Alan and Cliff are still checking into this thread - May I suggest a model of the Carol-Ann JB100 amp? That's the one Joe B used in the first solo on "Stop!", right? Loved that tone...
 
Can I just say that I bought my Triptik after falling in love with the OD2 model on the Axe-FX. So that is at least one point of proof that modelling CAN lead to actual amp sales... :)

If Alan and Cliff are still checking into this thread - May I suggest a model of the Carol-Ann JB100 amp? That's the one Joe B used in the first solo on "Stop!", right? Loved that tone...

If he gives me a spin in a certain new car he's just obtained, then I'll give him the circuit to that one ;) That's the holy grail tone to me personally. It had a different transformer set to any of the other JB's and run EL34's.
 
If he gives me a spin in a certain new car he's just obtained, then I'll give him the circuit to that one ;) That's the holy grail tone to me personally. It had a different transformer set to any of the other JB's and run EL34's.

I love that tone! Now I know what I'm listening to while I walk home from work tonight. :)

Terry.
 
For what its worth, hearing many samples of your amps on YT and now hearing the model on the Axe FX makes me want the real deal too..... so many great things out there...so little money... :(
 
Yeah it's a great sound, can't wait to record some bits with it. Sounds like the 100w plexi but less gritty and has a really solid punchy feel about it.
 
wow, 10k views in 5 days..
need to go check what i am missing (was pretty set with my existing amp choice already).
not too familiar with carol-ann amps but will likely start off with the 1x12 and 2x12s IRs since i think these are what the amps come with.
hope it sounds as good as what everyone is claiming it to be.
 
Got to chime in here.

The Triptik model is fantastic. It covers so many bases. Very much looking forward to trying out the models of the remaining amp channels in future firmware.

Many thanks to Cliff, Alan and jharpersj :).
 
maybe it's a V8 baby carriage..

bty - posting in here is actually proof that my death in the other thread was just a hoax... tee heee...
but sshhhh... don't tell anyone..
 
Damn, where was FAS and Carol Ann and all of these NH muso's when I was living around Nashua ~2004-2005? The only music scene I knew about and got gigs at were one cool bar / brewery on Main St. in Nashua, I think all the other gigs were at Chinese restaurants (I'm dead serious!).
Anyway, what are some GO TO, built into the II cabs for this amp? I like the aggressive nature of this amp and it will be a nice contrast to the solid, straightforward hot rodded Friedman tone (that I love so dearly).
 
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