Chienmortbb

Yes a MOSFET acts more like a valve and compresses when pushed ina pleasing way. I think some people that say they love Class A/B mean MOSFET A/B.

I don’t anyone was deliberately trying to mislead and that includes Blackstar, I they could have chosen EL34, KT66, KT77, KT88 6550 or 6L6. The 6550 is probably more we’ll lnowm that any of the others all over the world ye to American influence and immediately gives the end user in indication of “valvey warmness”. I have not touched valves for years but from memory the KT88’s properly (or maybe improperly for hifi purists) biased could outperform all the rest but some preferred the way the 6550 sounded when pushed hard.

Bigger market. For what its worth the KT88 is a monster and I don't like valves. Thanks for the mini review by the way. IT is a shame that some music shops stock the Blackstar guitar range but not the Bass range ( Absolute Music are you watching?).

MOSFETS have as number of advantages over bi-polar transistors especially as they act more like thermionic valves in mnay ways. They are also inherently safe. That is as temperature increases, the MOSFET will become more resistive, reducing the output current and hence dissipation and heat. Bi-Polar transistors allow more current to pass as they get hotter and can suffer from thermal runaway until they go pop. The downside is that the power supply voltage for a MOSFET amp needs needs to be higher for a given output. So you need a beefier power supply but if there is enough available it might have a bit more real ,p[ower available at volume but as I always say, a watt is a watt so if they were louder then there must be some way to measure it.

Many of their amps were designed around MOSFET output stages and these were easy to scale up to higher powers. The BLX130 that I had spaces for extra output MOSFETs suggesting that the same PCB was used for a number of models. As electronics engineer I must say they well engineered, maybe over engineered, by the standards of the time.

The thing is that when discussing many things with religious zealots you get the same mantra over and over again. There are good amps and bad amps . Some people like bad amps. some like bad backs. The point is that it is the design than counts NOT the technology. Oh and having worked on a few. Trace amps were really well designed.

Phil my point was that it was designed for pole top mounting and would not perform as designed. It will have more bottom end and that may or may not be a good thing.

Not PC these days but absolutely brilliant.

The original PP3 had six 1.5V calls so 6 x 1.5V = 9V nominal With rechargeables the cell voltage is 1.2V As each cell is 1.2V so 6 x 1.2 = 7.2V ( i have never seem a 7.2V 9V battrery. BUT most manufacturers out in 7 cells to give 8.4V. Some now put in 8 cells making 9.6V hence the title of the thread. Most pre-amps use a rail splitting technique that effectively gives either 3.6V, 4.1V or 4.8V to each side of the circuit. 3.6V is close to the lower limit for many op-amps (op-amps are the basic building blocks for most onboard pre-amps). So basically the are covering their backsides. EBL are rated at 8.4 but quickly fall as can be seen by the chart below.

How are you getting on with them? What voltage do they put out?

I bought some cheap ones from Thomann tagged on to a larger order. They were OK but the winds were big and the strings seemed rougher. I bought some Picatos from Absolute Music for £12,99 and they were a different class. Funny though all the low cost strings are in lighter gauges. However I am about to treat myself to som hand wound strings from Newtone.

Bill is right that a passive cab wit that response is a PA top. The problem is when you put it on the floor, the low end becomes unpredictable (unless you designed it, then yopu could predict it.

I have always liked the look of this https://www.axminster.co.uk/axminster-drill-guide-500458

The thing is that those are all digital devices and in my experience add 2-3ms each minimum. The Ramsa WRDA7 digital mixer , for which I was Technical Manager, had a 2mS delay although Yamaha suggests that 4mS is the norm for digital mixers. I suspect that Smoothound are being truthful with their figures while many others choose a best case scenario. I have used my Smoothhound through a Zoom B1on and then FOH through a Behringer X Air and had no problems. Others have used my setup and never reported a problem. Incidently on the latency video above, although I can hear some difference at around 5mS, there does not seem to be a real issue with a double beat until close to 30 for me. The biggest issue we have had is that with some of the lower priced units, there is interference with the X-Air mixer's wireless signal causing remote operation to fail. This does not happen with the Smoothound. In my opinion, IEMs should not add any delay as they are monitoring systems. They should faithfully reproduce the signal they are given including timing

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