I have been selling Henriksen Jazz Amps for 16 years and have witnessed an interesting development during this time. I still remember meeting the “old” Bud Henriksen (yes, the “Buds” are a reminder of the original developer). The first “Henriksen amp” was designed as a bass amplifier, especially for double bass. A 12-inch Eminence Beta speaker was the right choice for this. There was no tweeter or reverb at the beginning. Then jazz guitarists realized that this was a wonderful amp for jazz. For them, the decisive factor was that it produced a warm tone that had previously only been known from tube amplifiers – even at bedroom volume. Logically, a 10″ amp was soon added, followed shortly afterwards by reverb and a tweeter. Initially, these were still available to order as options.

In 2009, we encountered problems in Europe. Henriksen had changed the layout of the circuit board, causing the amplifiers in Europe to produce an audible hum under 230-volt and 50-hertz conditions. For jazz musicians, this was unacceptable. Together with Günther Christ from Soundclinic in Ingelheim, we found a solution and equipped the amplifiers with a more powerful toroidal transformer. I had to have the transformers specially manufactured in the Netherlands at great expense. But this allowed me to continue offering my customers good jazz amplifiers. The amplifiers from this period had the additional model name “Liberty Version.”

After Bud Henriksen’s death, his son Peter took over the business and later asked me if he could incorporate the “Liberty Version” circuit into the main series. I have been an “exclusive dealer” ever since.

Peter Henriksen did not remain idle and continued to develop the models. The next generation of Henriksen Jazz Amps—models 210 and 212—became even more balanced and versatile. In particular, they could now also be used for acoustic guitars. Above all, however, came the “Bud,” a small cube with an edge length of only 22 cm, with two channels. When I first played it, I was totally surprised at how much punch the little guy had. Technical background: The magnet of the 6.5“ Eminence speaker used is the same size as the magnets in the 10” and 12″ speakers. The “Bud” quickly became my best-selling model. With its gig bag, it is extremely easy to transport, especially on public transport. Compared to the 10“ model, the sound is slightly more compressed and centered. However, the fact that the 10” speaker sounds a little more brilliant is only noticeable in a direct comparison. The biggest innovation, however, was the two independently operating channels. Each channel has a 5-band EQ and five parallel preamps, which allow the sound to be truly modeled to suit the listener’s preferences.

We are now in the third generation. Initially designated 310 and 312, they were soon further developed. This resulted in the Blu SIX, Bud SIX, Blu TEN, Bud TEN, and Bud HEAD. The circuitry of the “Blu” models is somewhat simpler. The gain pot is missing and the 5-band EQ is spread slightly differently. Common to all models is the new power supply via a digital power supply unit. I was skeptical at first, but after extensive comparison testing, I can say that they lack neither power nor dynamics compared to the old analog transformers. The amps are just significantly lighter.

Transistor amplifiers can be very simple in design—as we usually know them. However, transistor technology can also do the opposite, avoiding the technical limitations of tubes. Henriksen amplifiers are very complex in design. Added to this is the high quality of the selected transistors. This alone means that no waste heat is generated and therefore no fans are necessary. Behind the 5-band EQ, for example, there are five parallel preamplifiers that can not only reduce the sound but also actively amplify it, etc.

“You have to hear Henriksen amplifiers for yourself.”

Actually, Henriksen Amps could do this from the start, it just took us a while to realize it. Henriksen Amps are the ideal amplifiers behind all types of multi-effects devices, amps, and cabinet simulators—in short, sound processors for guitars. Technical developments have meant that at the end of the sound chain, it is no longer the usual tube amplifiers with their strong inherent sound, but neutral “playback devices,” touted as “the” FRFR, full range, flat response solution. Ultimately, however, these are nothing more than active PA speakers in a combo look: full frequency range with linear frequency response. But somehow neutral, HIFI-like, without the usual response. This unpopular feeling is mistakenly blamed on the processors. In my opinion, this is wrong. At the end of the chain, a guitarist should not have a unit with PA speakers, but neutral-sounding amplifiers in front of neutral-sounding guitar speakers. But guitar speakers, not PA speakers. My friend Jörg calls this ARGR – Amp Range, Guitaristic Response.

“You have to hear Henriksen amplifiers for yourself – for example, behind a Line 6 Helix.” You can do that at my store!