Tuckster
505 posts
May 01, 2010
8:49 AM
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I know my buddy bridges the channels on his SJ. What is it? Are you cascading 2 gain stages? I always thought more gain = more trouble in regards to harp amplification.
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Kingley
1129 posts
May 01, 2010
9:17 AM
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Technically I'm not sure what's happening.
With most Bassman style amps you can bridge the channels to get a fatter, overdriven sound. You do it by plugging your mic into "Normal Channel 1" then take a cable from "Normal Channel 2" into "Bright Channel 1". Then use both volumes to mix the sound to taste.
Some people swear by it, some avoid it like the plague. My opinion is that if you want to use a big amp at a lower volume for smaller gigs then bridging can be a pretty good option if you don't have a small amp as well.
Mark Burness will hopefully see this thread and be able to give a far better explanation than I ever could.
Last Edited by on May 01, 2010 9:19 AM
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barbequebob
778 posts
May 01, 2010
11:04 AM
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I avoid it like the plague because I find it thins the sound out to my ears more than anything else.
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Sincerely,
Barbeque Bob Maglinte
Boston, MA
http://www.barbequebob.com
CD available at http://www.cdbaby.com/cd/bbmaglinte
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Cisco
113 posts
May 01, 2010
11:13 AM
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To my ears bridging fattens up your tone and makes it more dimensional. To me, it sounds thinner if you don't bridge.
I'm basing my experience on using the following amps (for harp and guitar) - Fender 59 Bassman RI & LTD, Fender 57 Deluxe, Fender 57 Twin, Super Sonny 410.
Last Edited by on May 01, 2010 1:44 PM
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Tuckster
506 posts
May 01, 2010
11:48 AM
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As a Bassman 50 head owner,you've piqued my interest.From what Kingley said,I think you're parralleling the mic signal into 2 separate preamps.Since my Bassman is already "fat" enough,I don't see any advantage,particularly since we have 2 completely opposite opinions already.
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hvyj
318 posts
May 01, 2010
2:38 PM
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Be aware that if you are playing an amp with 2 channels one of which has an on board reverb tank (like, for example, a Fender Super Reverb, Deluxe Reverb or Twin Reverb), the channel with reverb is OUT OF PHASE with the other channel. This means if you bridge channels there will be phase cancellation which will not sound very good. Non-reverb amps don't present this sort of phasing problem if you bridge channels.
Last Edited by on May 01, 2010 2:39 PM
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strawwoodclaw
19 posts
May 01, 2010
2:44 PM
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I have a vintage Supro that I bridge the channels with , It helps a lot with feedback & thickens the tone without the channels bridged it is not that Harp friendly. The Sonny JR sounds alot better to my ears when bridged
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Greg Heumann
418 posts
May 01, 2010
4:17 PM
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I bridge my Cruncher and Super Sonny. Why? I don't know. I am a glutton. I tend to believe "more is better" Maybe I think it makes me look 1.65% cooler. I have just always done it. I DO actually try without it once in a while and the sound is a little muddier - I like a little edge to my tone - the better I get, the more I want that. (Conversely, as a beginner I LIKED mud - it hides a lot of mistakes!)
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/Greg
BlowsMeAway Productions
BlueState - my band
Bluestate on iTunes
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Joe_L
205 posts
May 01, 2010
4:51 PM
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Greg - it actually makes you look 3.1415% cooler.
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walterharp
309 posts
May 01, 2010
5:53 PM
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nice nerdy responses... :-)
the bassman (5f6a..h, whatever?) circuit has the strange property that both input channels interact. even if you don't bridge, the other volume knob influences tone. try it, don't bridge and then fool with the volume input on the side that you are not plugged into. since the preamp setup is the same with many circuits related to the 5f6a (including many specialty harp amps, the sonny amps and many others) this is true with them as well.
first blush, the first preamp tube is a split tube, and each half of the tube amplifies each side of the signal, so if you split the signal in half, then amplify it with two sides of equal gain it should be same difference.
interesting twist, the way the circuit is set up one side bleeds into the other.
Burness and many others could certainly comment more knowledgeably on this, but bottom line, you like the tone bridging, then do it, if not, then don't. can't tell the difference, then go for the differential cool factor.. probably has a root of pi somewhere in there.
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barbequebob
780 posts
May 02, 2010
12:04 PM
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I have a real '59 Bassman and I can attest to that!
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Sincerely,
Barbeque Bob Maglinte
Boston, MA
http://www.barbequebob.com
CD available at http://www.cdbaby.com/cd/bbmaglinte
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rbeetsme
263 posts
May 02, 2010
3:53 PM
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I'm technically challenged, so I don't know what bridging does electronically. I bridge mine often, here is my explanation. You are giving yourself another channel to tailor your sound. It can be a bigger, fuller sound. I like the tone. I started doing it on my SJ because Gary suggested I try it. I occasionally use it on my Dano Commando too, unless I want a clean channel open for a stand mic.
Last Edited by on May 02, 2010 3:54 PM
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hohnerjones
14 posts
May 02, 2010
4:00 PM
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I forgot you had an SJ and a Commando. Are you a super wanker, woof-woof lawyer?
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barbequebob
784 posts
May 03, 2010
10:28 AM
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A somewhat abriged explanation of the 5F6A circuit of the 4-10 Bassman having the two channels interact with each other is that whatever channel and input you're plugged into, the volume control of the channel that you're NOT plugged into is affected by that volume control.
On those amps, let's say you're plugged into the #1 input on the normal channel. Set the volume and tone controls as you like on that first. Then the volume control of bright channel will affect the normal channel as you turn that volume control up.
What happens when you do this is that the gain goes up and it also boosts the bass and lower mids, especially when you put that other volume control on 6. However, anything past 6, you will begin to notice a big drop in volume and negates anything that you could do with that volume control.
I've found that this is also true on some of the tweed 2-10 Supers and the tweed Twins from 1958-1960, and also on the newer Custom Shop Vibrolux amps as well.
Using this has actually allowed me to turn the bass control down to as far as 6 and I have less feedback and this works like a charm.
This little thing also occurs on the Bassman reissues as well.
The best explanation for this stuff is in a book written by Gerald Weber of Kendrick Amps in a book entitled "A Desktop Reference of Hip Vintage Guitar Amps," and its available at http://www.amazon.com as well as http://www.kendrick-amps.com.
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Sincerely,
Barbeque Bob Maglinte
Boston, MA
http://www.barbequebob.com
CD available at http://www.cdbaby.com/cd/bbmaglinte
Last Edited by on May 03, 2010 10:29 AM
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