This is the amp I wanted but never had, until now. Clean headroom and full frequency response, it's clean and bright and has plenty of bass. It can get that sweet 6L6 tube tone without being too loud for small clubs. It could be your new amp!
I finally did it! I found the amp I needed years ago when I was playing praise rock- at first through a Music Man 210-65, then a Fender Deluxe Reverb, and then a Peavey Bandit 65, before I finally settled on a silver faced Fender Pro Reverb. How did I find it this amp? I built it! After years of building small, push-pull, cathode biased 6V6 amps with grid bias tremolo, great for rock, blues, Indie, etc., I decided to build something with a bit more power, clarity, and headroom. Judging from the reception that this amp got at Guitarlington 2015, there are quite a few guitarists around who appreciate that kind of amp.
The circuit design is original, although somewhat inspired by the famous tweed Bassman, in broad general concept kind of way. "Inspired by" doesn't mean the same as, in much the same way as "inspired by The Beatles" doesn't mean that you write new Beatles songs. A professional guitarist friend was playing through a tweed Bassman clone, and it was too much amp for the small clubs that he played in. He couldn't turn up load enough to hit the amp's sweet spot, so he resorted to using boost pedals to get that extra drive. This amp fills that gap, allowing you to get that sweet tube amp sound without being too loud for the venue. I think I hit the mark.
The Texas 2:10 Special uses a fixed bias, twin 6L6 output section with a 12AX7 preamp tube, and a 12AU7 tone driver/phase splitter. It's powerful, tight, punchy and articulate. I use the 12AU7 as a tone driver/phase splitter because it pumps more current than a 12AX7 could. Since these are not gain stages, there's no need for the high gain of the 12AX7.
The control panel features Volume, Treble, Middle, and Bass controls, along with the guitar input, power switches, and indicator light. When using the 2:10 Special, the guitarist will notice clean headroom and low noise. This amp can be played at quiet bedroom or club stage levels with equal ease. The ample headroom also means that it takes pedals really well, but it doesn't mean that you can't drive this amp to sweet tube distortion without splitting your ear drums- you can. It's loud enough, but not too loud the way some of those 2 x 12" speaker 50W+ amps can be. The low noise of this amp also makes it ideal for studio work.
Part of this amp's secret lies in the tone controls. Unlike the Texas Tone™ 12 amps, these tone controls are intentionally interactive. With all controls at their mid-point, the frequency response is relatively flat, with a slight dip in the mids, and a rolloff below the guitar's low E string to eliminate that unwanted bottom end clutter. The magic mid control gives this amp a wealth of versatility. Turn the Mid down and the Volume up, and you have that famous mid '60s clean scooped sound with plenty of low end. Turn the Mid control up, and you introduce more drive across the board. For a tweed tone, turn the Treble down, the mids up, and leave the Bass at the mid-point. For a scooped mid tone, turn the Mids down and the Volume way up. You may want to turn the Treble down, too. This amp has lots of top end, which means it works great with humbucking equipped guitars, and you can leave your treble booster packed away.
The chassis is made from heavy gauge, white painted steel. I got Mather Cabinet to build me a beautiful, high end, custom cabinet, complete with real thread inserts - no wood screws. It's a tweed style cab, of course, with rough cream Tolex and salt-and-pepper grille cloth, custom made for this chassis and two 10" speakers.
I love this amp. It's the amp I wanted but never had, until now. It could be your new amp!
The Blumentritt Amplification Texas Tone™ 2:10 Special custom guitar amp. $1,600.00.
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