trinityamps.com

As promised, I would share a sound clip of my Trtiwatt which I built about a year ago.
I took longer than expected since I had to sound proof my room for my neighbours and I did not yet have the right recording equipment.
Anyway, now I have!

I recorded the solo of Mother by Pink Floyd.
Below the settings:
Linked input
Normal channel: 1:00
Bright channel: 11:30
Bass:12:00
Middle: 2:00
Treble: 10:30
Presence: 2:00
Master volume: as desired, mine's at 9:30 (that's loud enough! )

Signal chain:
Fender strat with SSL-2/SSL-2/SSL-6 configuration. Used the SSL-6 in this clip.
into > Buffalo FX Ram's head > Buffalo FX Power Booster > Vintage Dluxe Electric Mistress ( set about 50% in loop using a Lehle Parallel mixer) > Boss RT-20 (realy mildly, don't overdo this one)> The beautiful Triwatt.
Delay and reverb was added in the mix to keep things clean.
Used a Sennheiser E906 off-axis with the presence toggle set to flat.

The speaker that I use is a Reeves Vintage purple. Highly recommended! I have swapped out around a dozen speakers and this one is definetly it imho.
I find that the Triwatt (and Hiwatt amps in general) are very picky about speaker choice.
You can just contact Reeves through e-mail. They do ship them separately. Delivery was insanely fast. USA -> Netherlands just took a single weekend (shipped friday, got it on monday).

Let me know what you guys think of it!
And for those who do not (yet) own a Triwatt. Go build one or get one prebuild. It is really as great as they say it is!

More clips comming if desired. I am re-recording the whole "The Wall" album doing guitars and vocals myself.

Feel free to share your clips as well. I am very curious to know what sound you guys get out of this beast.

Cheers!

Hi Matt,

Thank you for your kind words!
It is pretty hard to find musicians in my neighborhood. Guys from my age (26) are usually not into musical instruments.
And then I have got find those who are hardcore Pink Floyd fans like me haha. Nearly impossible... That is why I opted to re-record the album doing guitars and vocals myself.

Regarding the self-isolating project. Send me a DM if you need some advice. My project has turned out quite well tbh. My neighbors stopped complaining, so mission accomplished!

My recording gear is not that sophisticated.
I am using the Sennheisser E906 into an Audient ID14 going into my computer (Acer Aspire i7)
My DAW is Cubase Elements 10.5 in which I do the mixing (compression, EQ, delay, reverb).
I learned that recording without delay and reverb is best since that prevents overflowing the track.
You can always add those later with some plugins. It is hard to spot the difference between plugin and real stompbox delays in a mix.
I use a pair of Adam A7X monitors and the Sennheisser HD6 Mix headphones for mixing.

By the way, my PI tube is an 12AX7 tube. You should try it. It really sharpens and fattens the tone on low volume. Can't comment on high volume though.

I will send some new clips when I have recorded and mixed them.

The tubes I use are as follows:
V1 t/m V4: Tung Sol 12AX7
PT: JJ 6V6 matched

I used a Jan Philips 12AT7WC as my PI but switched that for the Tung Sol 12AX7 to give the amp a little more bite and saturation at low (bedroomish) level.


Regarding C6. I did indeed switch that to a 22n which sounded good on its own, but it sounded a bit muddy in the mix. I then swapped back and forth between several values and eventually settled with a value in between the original value (1n) and suggested 22n, being 10nf.

I found that that gives me enough bass without it being muddy. Also, with that value I can keep my bass control at noon and use that to increase or decrease the bass if I would like.

I am still in the process of recording and getting to know my DAW but you will find a short clip as an attachment.

Gertjan, I just ordered the Triwatt kit and had questions about your tubes. Are they the current production tung sols? Also have you tried any others? I'll have to make a tube order anyway for whatever power tubes I'll choose, so I could throw some pres on order too. I've got a bunch of the sovtek long plates and a handful of others. I've got three new TS as well but they're tied up in my 18 watt and they're DEFINITELY not coming out of it.

Yes, I am running the current production TS 12AX7s since that was what Stephen suggested.
Haven't tried others though so please post your findings and I might be doing some tube rolling myself!

Hi guys,

As promised, another sound clip.
This time I did another brick in the wall part 1.
Don't mind the vocals tho, this is about the guitar and the wonderful amp.
All guitar parts were done by me using my buddy: The Trinity Triwatt.
It is the perfect David Gilmour amp!

Opinions are more than welcome.
@Steve, perhaps you would like to use these for sales measures (aduio samples). Feel free to do so. I got all seperate files if you like.

Regards,
Gertjan

Gertjan these clips really showcase the amp! Great playing and thanks for sharing!

As for tubes, I am currently running a NOS 12AT7 as the PI but may swap out a couple of AX7s to hear the difference. The tone I am getting from the amp is really great so I am hesitant to change anything. No circuit mods at this point but I may try out some of the tweaks just for fun (e.g. Page, Townsend).

Thanks you guys for the kind words. Ik will keep adding these showcase. Next up is The Thin Ice. It's got a great solo for the Triwatt + rams head. Loving the tone!

@PharmRock, swapping the PI obviously is a very easy mod. The ax7 gives it earlier break up. I use it to not having to put the amp very loud in my recording room. I can get easier to the edge of break up that way. You might want to try it out. Personally I would not recommend it in live situations when you need a loud amp since it will stay pretty dirty, unless that is what you are looking for of course.

Hey man, did you ended up doing some mods or tube rolling? I am curious to your experience.

I ended up switching to a 0.0047uf C6 cap instead of the 0.01uf I had installed. That is right between the original value (0.001nf) and the one I used for the last few months (0.01nf).

It is really sounding awesome!

As promised (although a little later than planned*): The Thin Ice - Pink Floyd solo.
Of course I used the Triwatt for that wonderful sound.


Effects Chain: Seymour Duncan SSL-5, Effectrode PC-2A, Buffalo FX NOS BC239C Ram's head, Buffalo FX Power Booster, Vintage EHX Electric Mistress (1979).
Delay and reverb added in the mix. I also mastered this one just to showcase the studio tone you are able to get with the amp.

*Perhaps a little off topic, but the reason that it was recorded a little later than planned was because I repainted my guitar with nitrocellulose lacquer. That takes ages to dry!
Still, the result is way better than I could have hoped for. Added a picture as attachment. Just for the die hard Gilmour fans on this forum (which I know there are).

Another excellent clip showing off the Triwatt! Your black Strat looks great, too!

Thank you for your positive comments!



It's funny that you ask me this question since I was thinking about this myself lately. Sometimes I am right on it the first take and other times I need to tweak and try some stuff out.
Generally, I do tend to use the same amp settings for all my records from the same Pink Floyd Era.
Right now, I am working on The Wall so the triwatt is set up pretty aggressively.

I must admit, it took some time to set up the mic for perfect recordings. In my experience, you just need to try it out. There should be one (or several) sweet spot(s).
I tried around 10 different positions, recorded the same riff and then tried fitting them into a certain mix.
The position in which I had to do the least amount of post processing was the right position for me.
Somepositions had harsch overtones while others sounded very mushy. It is quite tricky and shifting it 1 inch makes a huge difference.
However, once you have found the sweet spot, you are good to go!

Well I had the the 4.7n cap in C6 ever since but reading your post I got remebered to the fact that I had! My settings have been bass on 9 o'clock which was perfect but then I read your post yesterday and remebered that I had that 4.7n in C6. I just installed the default 1n back again so now my bass is around 12 which makes more sense given that that is the middle soundwise. The difference between 4.7n and bass 9o'clock or 1n and bass 12 o'clock is small but noticable. In the end it is better to have your optimum settings around noon since that will give you most flexibility either way.

Kind of funny that I went back to the default value in the end. I guess I should have just get used to the amp more in the beginning. I compared it too much with my previous amp. Also, when doing these records, I became aware that the bass was too much since I had to remove a lot when eq'ing in Cubase!

My The Wall project was on hold for a while because I had a 1976 Mistress which I wanted to use which needed repairing and a new SAD1024 chip. I have now repaired that and I will be continuing with the project now. Perfect spending of the winter time.

Here is a clip I did with the Deluxe Mistress still.
Chain:
Strat, SSL-5 bridge PU > Cornish OC-1, Cornish P-1, Bufallo powerbooster, Cornish LD-1, Deluxe Mistress (1979)

Thanks for the kind words!

The amp is just gorgeous. The Rawson Sparfield Starfinder (one on one Crescendo clone) really is one of the best speakers to pair it with. It seriously is even better than the Reeves Vintage Purple. That makes sense though, since the Reeves is a Fane Purple clone, not a Crescendo Clone. Perhaps the Hi-Tone Crescendo gets close too but I have never tried that one though. Callaway doesn't sell them seperately. Every pedal is being handled just so well by the amp. My Cornish P-1 just sings eternally and the Tube driver has so much dynamics and harmonics.

I am still in love with the Triwatt. Awesome amp!

Will upload new clips when I have recorded them!

@Stephen, you may use my clips for audio samples om the website if you'd like.

Yes it is. A 911 model from 2017.

Well, actually I did own a TD-X. I sold it yesterday brcause I bought the Tube Driver. The TD-X is like 85% spot on. Especially the low gain sounds are pretty convincing. I have ordered a 12au7 tube to fit in the Tube Driver. I am curious how that sounds.

If you happen to find a TD-X nearby, go for it. It is a fantastic pedal. Convenient too, as opposed to the Tube Driver which has the power chord.

Here is two more clips.
Enjoy!

SSL-2 (neck) > Cornish OC-1 > Bufallo FX Power Booster > Triwatt > DAW
Reverb and delay added in the mix

Shine on!

Thanks for the kind words!

Regarding the amount of takes, it really depends. I believe these were between 2-3 takes.

Usually I just do a few short samples (around 2 to 4 bars) and carefully listen how they work out in the mix.
If I then need to do a lot of work to try and get it to sit well in the mix, I usually change some settings on the amp or pedals.
E.g. For the first solo I had to back of the volume on my guitar to 8 and the tone control on my guitar to 7. I also increased the blended signal on the OC-1 compressor and reduced some highs on the Power Booster. It then sounded a lot rounder and fuller without the harsh transient attacks of which I thought they were too apparent initially and did not fit wel with the rest of the track.

After that I just do one full take and listen carefully to the whole track. Sometimes I am off on many occasions and I just do it all over and sometimes I only do a few parts again which I don't like. E.g. sometimes I miss a string or make a little error but the rest of the track is okay. I will then only rerecord that little part with the error and fit it in with the rest.

These solos didn't take too many takes. I believe between 2 to 5 some small parts in between.

Did another one.
This time with a little less gain.

Signal chain:
SSL-2 into OC-1 > BKB Tube Driver into Triwatt