THIS IS THE Story of hilgen amplifiers
Welcome to the world of electro-archaeology. When complete, this site will offer detailed information about every model of bass and guitar amplifier the Hilgen Manufacturing Company built and marketed during the mid-1960's (apparently only from 1964- 1967). Most of that information will be derived from my own collection of Hilgen amplifiers, which is complete except for the Meteor, Star, Galaxie, and Model 5053 Swing-Away Bass. Detailed photographs will illustrate the wiring of these amplifiers -- an important consideration because (a) all schematics except for the Model HM-B, Model B2051 "Basso," Model B2052 "Basso Profundo," and Model 2053 "Basso Grande" amps have apparently vanished from the earth, and (b) many existing examples have been modified. (Indeed, the last three schematics first appeared on this site.) The best we can do is to study different examples of the circuitry to attempt to determine what was most likely the original design. I will also be providing tube charts and information about the speakers, knobs, components, pilot lights, and other components found in these amplifiers.
Why do this? Because Hilgen amplifiers have been sadly overlooked in the history of electric instrument amplification. They were all-tube amps, point-to-point wired except for the Swing-Away models -- Hilgen's top-of-the-line models, that use an early circuit board for part of the preamp section. They possess a sound unlike any other amp I have ever heard -- and I have played for many hours through vintage Fender, Marshall, and Ampeg amps, among others. For lack of a better word, to me, they sound "woody," while the better-known models sound "glassy." Glassy is beautiful. However, it is not the only possibility. The volume and tone controls on the Hilgen amplifiers are highly interactive, producing a wider range of frequency response and harmonic content than other amps of their time. Each input is separately voiced -- often a "high" and "normal" guitar or bass input, an "instrument" input, and an "accordion" input. The voices are quite distinct. The "accordian" input is often the most musical and rich.
At present, I do not know how "clean" they ever sounded. I suspect not very, which may account for their unpopularity in 1965/66. However, to modern ears, they break up nicely even at very low volumes, and sing when pushed to their limit.
If I am lucky, at least some of the information I provide on this site may later be proven incorrect. There is so much to learn, so many gaps to be filled. However, I will strive to make this the most accurate source of information possible on Hilgen amplifiers.
Should you possess any Hilgens, in any condition, I would welcome you to photograph them yourselves and send them to me. READ SAFETY WARNING FIRST!!!!
I am also interested in acquiring Hilgens, no matter how battered or malfunctioning, to add to my personal data base. An amp that is missing all its knobs or back panel, has a blown speaker, has tolex hanging in shreds, or "died" long ago, may still offer vital clues about how these amps were designed and built.
I look forward to working with you on this site.
John Bannon
[email protected]
Copyright John Bannon 2013. All rights reserved.
Why do this? Because Hilgen amplifiers have been sadly overlooked in the history of electric instrument amplification. They were all-tube amps, point-to-point wired except for the Swing-Away models -- Hilgen's top-of-the-line models, that use an early circuit board for part of the preamp section. They possess a sound unlike any other amp I have ever heard -- and I have played for many hours through vintage Fender, Marshall, and Ampeg amps, among others. For lack of a better word, to me, they sound "woody," while the better-known models sound "glassy." Glassy is beautiful. However, it is not the only possibility. The volume and tone controls on the Hilgen amplifiers are highly interactive, producing a wider range of frequency response and harmonic content than other amps of their time. Each input is separately voiced -- often a "high" and "normal" guitar or bass input, an "instrument" input, and an "accordion" input. The voices are quite distinct. The "accordian" input is often the most musical and rich.
At present, I do not know how "clean" they ever sounded. I suspect not very, which may account for their unpopularity in 1965/66. However, to modern ears, they break up nicely even at very low volumes, and sing when pushed to their limit.
If I am lucky, at least some of the information I provide on this site may later be proven incorrect. There is so much to learn, so many gaps to be filled. However, I will strive to make this the most accurate source of information possible on Hilgen amplifiers.
Should you possess any Hilgens, in any condition, I would welcome you to photograph them yourselves and send them to me. READ SAFETY WARNING FIRST!!!!
I am also interested in acquiring Hilgens, no matter how battered or malfunctioning, to add to my personal data base. An amp that is missing all its knobs or back panel, has a blown speaker, has tolex hanging in shreds, or "died" long ago, may still offer vital clues about how these amps were designed and built.
I look forward to working with you on this site.
John Bannon
[email protected]
Copyright John Bannon 2013. All rights reserved.