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previous: Kremator That's exactly what i wanted to kno... -- 8/8/2000 9:00 PM

Re: Laney Klipp

8/10/2000 8:41 AM
Nils	Re: Laney Klipp Hi, I got this information when I bought mine @ 100$ "I have owned a 100 watt Laney Klipp amplifier for twenty-five years, during which time it has been my main stage, studio, and practice amp, running into a 4x12 and a Laney 1x18 bass cabinet. I was initially attracted to this outstanding British amplifier by Laney's claim of endless sustain, then by hearing Russ Ballard (of Argent) using one. The Laney Klipp amplifier was available as an all-valve (with silicon rectifier) guitar head, in two versions; 60W and 100W. They had identical pre-amp sections, and their power amps were taken from the Laney PA amplifiers of similar output. The 60W version used two EL34 pentode valves in the output stage, and the 100W version used four. The preamp was a two-channel design, with two inputs to each channel, and comprised four ECC83 (equivalent to the 12AX7) dual-triode valves. One valve was the input amp for the two channels (one section each), one served as a mixer and cathode-follower (one section for each function), one was configured as a floating paraphase phase splitter (which requires two triode sections), and the remaining valve formed the basis of the "Klipp" circuit. This was actually a very clever bit of design centred around what was fundamentally a very simple concept. The Klipp channel, after initial amplification, fed the first half of the Klipp valve. This was arranged as a straightforward voltage amplifier, but its anode load provided the anode voltage of the second section, and its grid was DC-coupled to the grid of the second section, via a voltage divider from the commoned cathodes to circuit earth. Careful choice of component values meant that the Klipp control could be adjusted to provide virtually infinite sustain without the harsh sound normally associated with feedback. Each channel had its own volume control (with a "bright" switch) feeding a common three-band tone stack of orthodox design, which had an output for a slave amp. The power amplifier was a standard push-pull design, not ultra-linear, with fixed biasing, and the power supply was simple and robust with the valve heaters fed straight from a centre-tapped winding on the mains transformer, bias voltage taken (on the 100W version) from a -70V winding (dropped to -53V through a silicon diode), and HT coming from a bridge of four series pairs of silicon rectifiers (just four on the 60W version), a bank of huge smoothing capacitors, and a 20H choke. With the bass control set to zero, the middle at half-way, and treble, presence and Klipp on full, the amp delivers a snarl that can blister paint at forty paces, yet with more sensible adjustments gives a rounded, mellow tone reminiscent of Carlos Santana. I added foot-switchable channel selection to my amp, along with the ability to select zero, half, or full positions on the Klipp control, and half or full on the treble and presence. If you want details of this modification, which can be adapted to any other amplifier" I really like the bell-like tone of the clean channel Nils

8/10/2000 8:41 AM

Nils

Re: Laney Klipp

Hi,

I got this information when I bought mine @ 100$

"I have owned a 100 watt Laney Klipp amplifier for twenty-five years, during which time it has been my main stage, studio, and practice amp, running into a 4x12 and a Laney 1x18 bass cabinet. I was initially attracted to this outstanding British amplifier by Laney's claim of endless sustain, then by hearing Russ Ballard (of Argent) using one.
The Laney Klipp amplifier was available as an all-valve (with silicon rectifier) guitar head, in two versions; 60W and 100W. They had identical pre-amp sections, and their power amps were taken from the Laney PA amplifiers of similar output. The 60W version used two EL34 pentode valves in the output stage, and the 100W version used four. The preamp was a two-channel design, with two inputs to each channel, and comprised four ECC83 (equivalent to the 12AX7) dual-triode valves. One valve was the input amp for the two channels (one section each), one served as a mixer and cathode-follower (one section for each function), one was configured as a floating paraphase phase splitter (which requires two triode sections), and the remaining valve formed the basis of the "Klipp" circuit. This was actually a very clever bit of design centred around what was fundamentally a very simple concept. The Klipp channel, after initial amplification, fed the first half of the Klipp valve. This was arranged as a straightforward voltage amplifier, but its anode load provided the anode voltage of the second section, and its grid was DC-coupled to the grid of the second section, via a voltage divider from the commoned cathodes to circuit earth. Careful choice of component values meant that the Klipp control could be adjusted to provide virtually infinite sustain without the harsh sound normally associated with feedback. Each channel had its own volume control (with a "bright" switch) feeding a common three-band tone stack of orthodox design, which had an output for a slave amp. The power amplifier was a standard push-pull design, not ultra-linear, with fixed biasing, and the power supply was simple and robust with the valve heaters fed straight from a centre-tapped winding on the mains transformer, bias voltage taken (on the 100W version) from a -70V winding (dropped to -53V through a silicon diode), and HT coming from a bridge of four series pairs of silicon rectifiers (just four on the 60W version), a bank of huge smoothing capacitors, and a 20H choke.
With the bass control set to zero, the middle at half-way, and treble, presence and Klipp on full, the amp delivers a snarl that can blister paint at forty paces, yet with more sensible adjustments gives a rounded, mellow tone reminiscent of Carlos Santana. I added foot-switchable channel selection to my amp, along with the ability to select zero, half, or full positions on the Klipp control, and half or full on the treble and presence. If you want details of this modification, which can be adapted to any other amplifier"

I really like the bell-like tone of the clean channel

Nils

Replies:

SteveG I've had a chance to play this amp ... -- 8/10/2000 6:44 PM