(Condition: Serviced - Tested - Works Great! Serial Number: 025769. 4) Touched up a number of solder joints. It really isn't worth the trouble to replace the switch. The functionality of the amp. Aug 15, 2011 Serial numbers on those JBL's and on the Sunn amp won't do you any good. Sunn amps and cabs often had a date hand written inside the chassis/cabinet, but not always. If you check-out the Sunn amp page/forum there's a catalog page that should help you nail down when your amp was built. That's a nice rig BTW! 4, the order of the serial number components changed to (a)(c)(b), but the. Was used until 1. Possible values are shown in the table below. How the 'Hand Stamped' Date Code Works. The Code on the tube chart of your Fender Amp is made up of two letters. The First letter equates to the Year and the Second. Sunn Amp Serial Number Lookup. Penumbra Overture Download Ita. Search for: Search. Star Trek Prometheus Class; Skyrim Special Edition Campfire; System Shock.
Sunn Amp Serial Number Lookup Free
Industry | |
---|---|
Founded | 1965, Tualatin, Oregon |
Defunct | 2002; 18 years ago |
Headquarters | |
Key people | Conrad Sundholm Norm Sundholm |
Products | Instrument amplifiers |
Website | sunnamps.com |
Sunn amplifiers was a brand of musical instrument amplifiers based in Tualatin, Oregon. Valid product key for mac office 2008.
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History[edit]
Sunn Amp For Sale
In early 1963, the Kingsmen, a band based in Portland, Oregon, became known for their hit version of the song 'Louie, Louie'. After its hit single, the band soon embarked on a 50-state national tour.[citation needed] Because the band was used to playing small hops and school dances, many of the members found themselves ill-equipped with the amplifiers that they were currently using. Bassist Norm Sundholm discovered that his bass amp was not nearly powerful enough to play larger concert halls.[citation needed] Shadowplay mac download. Sundholm enlisted the help of his brother Conrad to help solve his problem. By 1964, the Sundholm brothers had designed a high-powered concert bass amplifier.[citation needed] The early Sunn amplifiers relied heavily on tube amplifiers designed by David Hafler and preamps sold by the Dynaco Hi-fi company, with many of the first units actually containing power amplifier chassis sold by Dynaco (models MKII, MKIII, MKIV) as well as modified Dyna PAS1 preamplifiers. By 1965, the demand for Sundholm's amplifiers had increased to the point where the family garage could no longer be used as the manufacturing facility. At this point the Sunn amplifiers still relied on the Dyna power amp circuitry, reworked to fit Sunn's own chassis but still employing Dyna produced and branded transformers and the same electronic design. Thus, the Sunn Musical Equipment Company was founded.[citation needed] Throughout the original Sunn Amplifier line they employed Dynaco designed and built transformers (up to the 120 watt MK VI transformer set) and Hafler based power amp designs until Sunn stopped producing the original line of tube amplifiers in favor or the solid-state Concert and Coliseum models. Later Sunn produced the electronically unrelated Model T tube amps.
Fender acquired Sunn in 1985, relocating operations from Tualatin to Lake Oswego.[citation needed] The stated intent was to both revitalize the Sunn amplifier lines and to produce some Fender-branded models as well, which included the Standard Series (Princeton Chorus and Ultra/Ultimate Chorus, both solid-state) and M-80 Series, and are identified as USA-made amplifiers with an 'LO'-prefix serial number.[citation needed]
Fender shut down the Sunn operation in 2002.[citation needed]
![Amp Amp](https://cdn.shopify.com/s/files/1/2098/2901/products/image_2150924b-6099-4198-aaaf-014f252dd130_530x@2x.jpg?v=1571719374)
Sunn Amp Serial Number Lookup Numbers
The band Sunn O))) was named after the company (to the point of including a typographic representation of the logo).
External links[edit]
- Sunn Support - official website
- Conrad Sundholm Interview NAMM Oral History Library (2016)
- Norm Sundholm Interview NAMM Oral History Library (2019)
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Sunn&oldid=975874833'
I had a client bring me his 1995 Fender Prosonic (in red Lizardskin!) with an unusual complaint - that in the studio, with reverb 'off', he could still hear a slight reverb slap-back at low volumes.
The Prosonic was designed by Bruce Zinky of the Custom Shop, but none of these amps were actually built there, nor were they sold as Custom Shop amps. The “LO” prefix to the serial number indicates that the amp was made at the old Sunn Amp factory in Lake Oswego, OR, and labeled “Fender Custom Shop”. Later, production was moved to Corona, and those amps are indicated by the prefix “CR”, and were not labeled 'Custom Shop'. The Lake Oswego amps are supposed to have better-quality components than the later models.
This particular Prosonic was produced in 1995 or early 1996, based on the Serial Number and the transformer codes. They only made 300 of the red “Lizard Skin” amps, this was #5 / 300.
The Prosonic was a complete departure for Fender. It was unlike any Fender amp ever made. It is probably closer in design to a Mesa or Marshall. The Class A setting is very reminiscent of a Vox AC30.
The amp features cascading gain stages with Master volume and an interesting 3-position rectifier selector for 1: Class A, tube rectifier/cathode biased, 2: Class A/B, tube rectifier/fixed bias, and 3: Class A/B, solid-state rectifier, fixed bias.
The Prosonic is a rare and highly sought-after amp – hard to find because the people who have them tend to hang on to them.
Anyhow,
I did notice a faint high-frequency reverb slap on striking damped strings with the reverb control “off”. The footswitch was cleaned and checked for continuity to ground. The condition persisted with the reverb turned off with the footswitch.
The Fender Prosonic schematic (for the combo amp, the head did not have reverb), had several errors in the reverb section. The footswitch schematic is not correct – it’s actually backwards on the schematic. In addition, the signal pull-down resistor, R304, is shown as 10K but the actual resistor is 20K. This is pretty typical of Fender schematic/production differences – not too alarming.
The Reverb footswitch acts by taking the reverb signal to ground, essentially turning it off. The amp was performing as designed in this regard; the reverb would turn off when the footswitch was pressed, except for that tiny signal that was leaking through somehow.
So back to the schematic (see partial schematic, Figure 1., below).
The footswitch grounds the signal at the wiper of the Reverb pot, before R42, the “blend” resistor. But wait – why is C24, a little 220 pF ceramic cap, sitting parallel on top of R42? After R42 the signal goes directly to shake hands with the Phase Inverter. It seems to me that this is the source of the leaky reverb – grounding the left side of C24 would not prevent some signal from scooting by R42 and joining the dry signal at the PI.
If we assume that C24 is acting as a high-pass filter, then any reverb signal above about 1.54kHz could, in automotive parlance, “blow-by”.
After some trepidation, I lifted one end of C24 and played the amp again. With the reverb on, I could not tell any difference with C24 out of the circuit. It is a really good sounding reverb (in the interest of full disclosure, I am deaf in my left ear).
With the reverb off, I could not detect the faint echo (slap-back, really) that was present before. I repeated this several times, because I wasn’t sure I could trust what I was hearing (or not hearing).
The fact is that this appears to be a design flaw, albeit one that very few people would detect; the effect is very, very small. I could not trust my ears after a while. So, oscilloscope.
The oscilloscope could readily detect delayed ringing when the reverb was on, even at a low reverb setting. However with the reverb off, The signal collapses more or less instantly. not even minor ringing was detected – so either the ringing isn’t there, or the oscilloscope cannot detect it (my scope is a 100 MHz DSO).
Thoughts?
Best Regards,
Don
The Prosonic was designed by Bruce Zinky of the Custom Shop, but none of these amps were actually built there, nor were they sold as Custom Shop amps. The “LO” prefix to the serial number indicates that the amp was made at the old Sunn Amp factory in Lake Oswego, OR, and labeled “Fender Custom Shop”. Later, production was moved to Corona, and those amps are indicated by the prefix “CR”, and were not labeled 'Custom Shop'. The Lake Oswego amps are supposed to have better-quality components than the later models.
This particular Prosonic was produced in 1995 or early 1996, based on the Serial Number and the transformer codes. They only made 300 of the red “Lizard Skin” amps, this was #5 / 300.
The Prosonic was a complete departure for Fender. It was unlike any Fender amp ever made. It is probably closer in design to a Mesa or Marshall. The Class A setting is very reminiscent of a Vox AC30.
The amp features cascading gain stages with Master volume and an interesting 3-position rectifier selector for 1: Class A, tube rectifier/cathode biased, 2: Class A/B, tube rectifier/fixed bias, and 3: Class A/B, solid-state rectifier, fixed bias.
The Prosonic is a rare and highly sought-after amp – hard to find because the people who have them tend to hang on to them.
Anyhow,
I did notice a faint high-frequency reverb slap on striking damped strings with the reverb control “off”. The footswitch was cleaned and checked for continuity to ground. The condition persisted with the reverb turned off with the footswitch.
The Fender Prosonic schematic (for the combo amp, the head did not have reverb), had several errors in the reverb section. The footswitch schematic is not correct – it’s actually backwards on the schematic. In addition, the signal pull-down resistor, R304, is shown as 10K but the actual resistor is 20K. This is pretty typical of Fender schematic/production differences – not too alarming.
The Reverb footswitch acts by taking the reverb signal to ground, essentially turning it off. The amp was performing as designed in this regard; the reverb would turn off when the footswitch was pressed, except for that tiny signal that was leaking through somehow.
So back to the schematic (see partial schematic, Figure 1., below).
The footswitch grounds the signal at the wiper of the Reverb pot, before R42, the “blend” resistor. But wait – why is C24, a little 220 pF ceramic cap, sitting parallel on top of R42? After R42 the signal goes directly to shake hands with the Phase Inverter. It seems to me that this is the source of the leaky reverb – grounding the left side of C24 would not prevent some signal from scooting by R42 and joining the dry signal at the PI.
If we assume that C24 is acting as a high-pass filter, then any reverb signal above about 1.54kHz could, in automotive parlance, “blow-by”.
After some trepidation, I lifted one end of C24 and played the amp again. With the reverb on, I could not tell any difference with C24 out of the circuit. It is a really good sounding reverb (in the interest of full disclosure, I am deaf in my left ear).
With the reverb off, I could not detect the faint echo (slap-back, really) that was present before. I repeated this several times, because I wasn’t sure I could trust what I was hearing (or not hearing).
The fact is that this appears to be a design flaw, albeit one that very few people would detect; the effect is very, very small. I could not trust my ears after a while. So, oscilloscope.
The oscilloscope could readily detect delayed ringing when the reverb was on, even at a low reverb setting. However with the reverb off, The signal collapses more or less instantly. not even minor ringing was detected – so either the ringing isn’t there, or the oscilloscope cannot detect it (my scope is a 100 MHz DSO).
Thoughts?
Best Regards,
Don