Henriksen Blu/Bud vs JazzAmp

[LJP]

Do the Henriksen Blue and Bud sound much different than the Henriksen JazzAmp? If so how?

[Campbell_jazz]

I’m curious too. The JazzAmp (from what I can surmise) is a class AB amplifier, whereas the Bud/Blu are class D.

Recently, I have begun to believe that class AB and D amps have different sound qualities, with the class A and AB amps sounding a bit more natural. I can’t put into words the quality of class D amp sound amplification, but there is an artificial quality to it that bothers me.

Curious what others on this forum, especially those who have owned both, think?

[Llewlyn]

I see a lot of variation in tone within the class D, and a lot depends on how they are engineered.
I really like my Bud 6 with my archtops, although I classify it as an electric sound.

Ll.

[Gitterbug]

I haven't had a chance to do A/B listening between the two, but there must be a reason why JazzAmp faded, and does not enjoy a cult status à la Polytone.

The JazzAmp was developed some 20 years ago and was originally meant for bass. The innate sound was dark and round, and Henriksen did gain reputation as an alternative to the aging Polytones. Versions sound different depending on edition and speaker(s) -10" or 12", with or without a tweeter, reverb or not.

My 2007 Convertible Head (w/reverb) was noisy, and a subsequent version with a different transformer was worse, especially in Europe. The circuitry was modified in Germany by/for the importer Liberty-Music. I believe the mod was subsequently adopted by the factory. Liberty is still selling substantial numbers of Buds and Blus, which since about 2017 have been built around the well-known and reliable IcePower power supply/power amp module.

My reading of the numerous threads here on the present Henriksens is that they are widely appreciated by performing jazz guitarists. I would most certainly have a Bud if I weren't making my own lightweight cabs to match the many excellent micro amp heads on the market today. All pro-quality 6.5" amps today sound clearer and more hi-fi than the smoky, dark jazz tones characteristic of the second half of the 20th century. Why: proliferation of FOH PA systems relegating the on-stage backline more to the role of a personal monitor; increased use of FX/modeling amps requiring an articulate and uncolored power amp/speaker combination; mature club and bar audiences happy with lower music volumes.

Edit: Two further points. Brighter voice cuts through in a band mix. Buds - and my Metros - are being used even for big band comping. Also, the resurrection of P90s on jazz guitars suggests an overall shift of taste towards brighter jazz sounds.

[213Cobra]

I see a lot of variation in tone within the class D, and a lot depends on how they are engineered.
I really like my Bud 6 with my archtops, although I classify it as an electric sound.

Ll.

Class D today should not be dismissed out of hand. It depends on how it is implemented.

In hifi, many Class D amps sound like excrement tonally, or just bland, but others can be excellent. The case that "woke" me on Class D was in having a necessity for a short term power amps solution in hifi when my solar power installation drove unacceptable noise into my SET power amps. All RFI related. So while I sorted that, I grabbed a pair of Class D power amps built around B&O modules. But the amps had proprietary input sections which pushed their sonic performance well beyond what I'd heard from Class D circa 2018. Then I had a friend who bought some vaunted low-efficiency, crossover-intensive $42K speakers that collapsed his various tube amps. I drove over to plug in my $2600/pair mono D amps to at least get him enough power, dynamics and tonality to evaluate his new speakers, keepers or not. A half dozen other audiophiles brought hyper-expensive amps to try to solve the problem. The Class D monoblocks gave him the foundation to decide whether or not to keep his $42K speakers.

Point is, it's not just the Class D module but the total implementation. I'm not a Class D advocate, but have become a Class D acceptor when the sonic proof is present. In guitar terms, my Little Jazz and Henriksen Bud by virtue of the output qualities suggest to me that both companies paid attention to the total implementation, including front-end and power supply.

Phil

[Llewlyn]

Class D today should not be dismissed out of hand. It depends on how it is implemented.

Phil

exactly what I was trying to say

Ll.

[Gitterbug]

It's impossible to categorically dismiss Class D today. While Quilter and DV Mark claim proprietary Class D technology, and so did Acoustic Image, the list of IcePower (a B&O offshoot) based guitar amps is pretty convincing: Fender ToneMasters, Raezer's Edge, Milkman, Harley Benton, to name the ones that first spring to mind. On the bass amp side, virtually all makes, apart from Quilter and MarkBass, have IcePower inside.

It's correct to point out that the front end matters. Quilter is a good example. The early Quilters tried to out-Fender Fender with needle-sharp, bright cleans, and were less suited for jazz than country, surf, steel, Western Swing etc. (I believe those are Pat Quilter's favorite music genres.) Given that this was only a decade ago, the learning curve has been steep. Perception often trails reality; even on this Forum some people keep repeating how awful a Class D amp sounded the only time they tried one - but can't remember when that happened.

[sgosnell]

AFAICT, Class D power amplifier sections are all very similar. The difference in sound comes from the preamp section and the speaker/cabinet, and that influences the tone far more than the power amplifier. A preamp pedal can be used to change the tone if the stock preamp section doesn't do it for you.

[Stringswinger]

I own two Class D Henriksens (Bud 6 and Blu 10) and I had a Class D Blu 6 and a Class AB (IIRC) Jazzamp head in the past. My experience is that the Class D Henriksens are warmer/rounder toned than the jazz amp that came before, but that could very well be a changed pre-amp section in the Class D amps. Years ago, I was lent a 12 inch Henriksen Jazz amp (no reverb, so I think it was an early iteration) for a gig and I found it to be a very muddy sounding amp. I suspect that Henriksen made a lot of changes to their amps over time.

IME, the Class D Henriksens have been a game changer for their company and jazz guitar amplification. These are great sounding, lightweight and reliable amps that afford classic jazz guitar tone.

From the mid 70's to about 2002, I was a Polytone guy (for solid state amps). I then switched to Acoustic Image (RIP) and now use Henriksen and sometimes Quilter (when I want that Fender tube amp sound). When it comes to guitars, I am stuck in the past, but I very much like these modern amps. My 67-year-old back loves them.