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The original "up to eleven" knobs in the 1984 film This Is Spinal Tap "Up to eleven", also phrased as "these go to eleven", is an idiom from popular culture, coined in the 1984 film This Is Spinal Tap, where guitarist Nigel Tufnel demonstrates a guitar amplifier whose volume knobs are marked from zero to eleven, instead of the usual zero to ten.
In 1992, Guitar Player Magazine conducted a one-to-one test with a 1973 JMP Marshall 50-watt amplifier head, and found the two sounded “very close”. [11] From 1990-1991, a very limited run of THD 50-watt bass amplifiers was also produced. These bass amplifiers were dubbed the “Classic Bass Head”. [1]
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 ...
One of the challenge with the large, powerful 4x10 Fender Bassman-type amps is that to get the tone a player wants, they have to turn up the amp to a loud volume. These amps are designed to produce a variety of sounds ranging from a clean, warm sound (when used in country and soft rock) to a growling, natural overdrive, when the volume is set ...
These factors, called "end effects", cause the electrical length of an antenna element to be somewhat longer than the length of the same wave in free space. In other words, the physical length of the antenna at resonance will be somewhat shorter than the resonant length in free space (one-half wavelength for a dipole, one-quarter wavelength for ...
These circuit changes gave the amp more gain so that it broke into overdrive sooner on the volume control than the Bassman, and boosted the treble frequencies. This new amplifier, tentatively called the "Mark II", was eventually named the " JTM 45 ", after Jim and his son Terry Marshall and the maximum wattage of the amplifier.
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These amps are referred to as the Brown or Brownface Fender amps. The Deluxe was one such model that made this transition in 1961. The circuit was also changed to include a tremolo effect, separate tone controls for the input channels, and a long-tail pair-type phase inverter. The preamp tube complement was changed to a trio of 12AX7 tubes, and ...