To the reverb design eliminated an entire 12AX7, meaning only two 12AX7s (besides the phase inverter) were requiredįor pre-amp, reverb return, reverb send, and tremolo oscillator. At about the same time, a moderate revision Ones were wired for a tube rectifier, and eventually the GZ34īecame standard. Rectifier in order to make the same plate voltage with a small-Įr power transformer to save space and reduce heat, but later For the first 3 years, the Mark III had a solid-state
Available only as a 112 combo, it was more than 10 pounds lighter than it’s predecessor, andįeatured reverb, tremolo, and the 5/17 switch as standardĮquipment. The Marshall 18-style was too large to fit into the 5E3 box. Immediately, but being completely out of organ hardware at this point, I had to develop a new smaller aluminum chassis from scratch, as (triode/pentode) switch which created a dual power feature. Have reverb or tremolo, but it marked the debut of the “5/17” The chassis for a pair of 12AX7s, the Limited Edition did not
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(with some modifications) to complete the series that came toīe known as the Limited Edition. Work, and turned to the solid pine 5E3 tweed deluxe box Since I had another 26 HammondĪO-35 chassis available, I needed an enclosure that would Was a 10-piece “Clairmont Classic” re-issue of the originalĪmp as I cleaned out a storage unit that still had a few originalĬabinets and organ chassis. Push-pull amp with a long-tail phase inverter with virtuallyģ-knob set-up. Several hundred Mark 2 amps were made before any otherĬhanges were contemplated, although during that period there “modular” additions as either (or both) could be added to any
Is not in the signal path, manipulating the bias voltage on the Soon after came the late ‘50s Gibson-inspired bias-vary tremolo, which begs the question whyĪnyone would ever use any other method. The signal degradation from doing it the “normal” way, and while it sounds different, it’s effective This combo was the launch pad for most of the innovations that would define later models – it could be a 1x12 or aĢx10, the same chassis could be adapted to the 33-watt models,Īnd it facilitated features like reverb and tremolo, which wentįrom the beginning, the secret sauce has been in the simplicity, including the single tone control, and I was loathe to add any feature that Holes drilled in the right places, and I continued to build the ex-Īct same 3-knob Super 17 on this platform, which would soonįind its way into the Marshall 18-watt style birch-ply comboĬabinet that many other small builders have embraced over the The-shelf aluminum Marshall 18-watt kit chassis with all of the The erratic and inconsistent supply of organ parts. It would be another 60 or 70Īmps before the Mark 2 showed up, which was the solution to I was about 40 units in to what wouldīe retroactively be known as the “Mark I” before it occurred to me that amp building could be a viable career alternative to wrenching Hammond organs. Mark IV iteration was a fairly linear path that reflected my RG: The evolution of the Super 17 from it’s humble beginnings on recycled organ chassis to the current (and probably final) Can youĭescribe how this model has evolved from yourĮarlier work in terms of design, component selection, tone stack and other features? Is this the most
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Sound and all the practical features you could wantĬrammed into a portable 1x12 cabinet. TQR: The Mark IV is a modern classic with a great Reproduced with the kind permission of the Tone Quest Report. From the December 2013 Tone Quest Report.
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