Postby KevinOConnor » 19 Jan 2011, 09:56
Hi Guys
Yngwie's sound has always been more raw than other players. The G3 DVD is a good representation of this: Joe Satriani's PV amps sound fine for his solo performances where Joe plays his own songs, but his sound seems small and "fizzy" in the jam; Steve Vai's sound is often "plastic" with no extraneous fizz, so his sound remained consistent from solo to jam; Yngwie's sound was also consistent from solo to jam and did have a bit of fizz around it - as you expect there to be from a clipped amp.
So, it is not surprising that the YJM should essentially be a plexi with Power Scaling and a switchable boost. No one has mentioned what controls there are for the boost itself, as this is really the only "contentious" part of the design. Some players will love it, others will hate it, some will find the boost is "close" to what they want tonally but not quite. Depending on what range of control has been built in here, it may already be a winner. There is nothing at all wrong with this being a solid-state circuit as solid-state provides much more gain with lower noise than do tubes - not that an all-tube circuit has to be noisy, as the Swede amp project in TUT5 illustrates.
It is inevitable that Power Scaling be applied to all larger amps. I talked to Santiago about this years ago. The smartest thing he has done here is to adopt our idea of making the lower power limit very low, so there can be no question that the sound is "quiet" to all listeners.
Guys who like the sound of 100W amps versus 50W amps are enjoying a specific characteristic of paralleled tubes. Parallel tubes become a "composite" tube with a different sound than the individual tubes. It is sublte but important to the player. 100W amps can sound more "effortless" than 50s, but the 50W can sound more detailed or clean. It is a matter of taste.
In our books, we showed how to get "100W of tone" from a 50W amp. If the 1/2 power switch on the YJM switches a pair of tubes out, then the player has access to both sounds. Mixing tube types is something our amps have always done and we detail it in our FAQ and our books. Amp companies resist such features to avoid liabilities, but it is a lurking capability in all fixed-biased amps.
Autobiasing for guitar amps was introduced by Yorkville Sound in the Traynor CS-series in the late 1990s. This is a common circuit from hi-fi practise and inherently allows for tubes within a push-pull pair to be different. You do not have to be limited to just dissimilar tube-pairs, but can have dissimilar tubes within each pair. This means instead of having one EL-34 plus one KT-66 per half-cycle of the signal, you could have EL-34s on one half-cycle and KT-66s on the other.
With tube mixing of any kind in a four-tune output stage, you get the composite tube effect plus the different sonic signatures of the tubes.
All of the above applies to lower-wattage amps, too. There is no reason that, say, a 20W amp might not be built with large tubes - or multiple pairs of large tubes - just to get the sound of a big amp. For the player who truly will never need more than 20W, this becomes a less expensive option to having to buy a big amp. On the other hand, with Power Scaling fitted the big amp never has to be louder than the player desires AND if he does play loud some places he can use the same amp everywhere.
The poster who said such an amp was inevitable was correct. There will be non-signature versions over time - there has to be to satisfy all market price points and demographics.
Have fun
Kevin O'Connor