tag:blogger.com,1999:blog-25067992713884391412024-03-13T04:38:07.733-07:00Three Chords and Some TubesA blog about the history, current state, and the future of the electric guitar and tube-based amplifier combo and how this de rigueur musical instrument that matured during the Rock N' Roll-era continues to both evolve and refuses to die.Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-2506799271388439141.post-73261854020158693332020-10-07T02:31:00.000-07:002020-10-07T02:31:29.289-07:00Remembering Eddie Van Halen<p>His fans around the world may have been saddened by his
death at the age of 65, would heavy metal music be radically different without
the musicianship and technique of Eddie Van Halen?</p>
<p class="MsoNormal">By: Ringo Bones</p>
<p class="MsoNormal">His death was announced by his son, Wolfgang, after a
20-year battle with cancer, fans around the world now mourns the passing of
Eddie Van Halen at the age of 65. Fans who had known Van Halen since the 1970s
and 1980s could be forgiven that he died too soon because there are “rock-stars”
today who are twenty years older who are still touring – that is before the
2020 COVID 19 lockdown. </p>
<p class="MsoNormal">Eddie Van Halen, whose full name is Edward Lodewijk Van
Halen, was an American musician famously known around the world as the
guitarist of the band Van Halen which he co-founded back in 1972 with his
brother Alex Van Halen on drums , bassist Mark Stone and singer David Lee Roth.
Even though the two-handed tapping technique for the electric guitar was
already demonstrated by electric guitar pioneer Les Paul back in the 1950s,
this guitar playing technique was more famously associated with Eddie Van Halen
during the 1970s, probably because Van Halen manage to compose better songs in
which to show-off the technique than Les Paul did back in the 1950s. Without
this technique, which was later dubbed as “shredding” during the late 1980s
Hair-Metal era, heavy metal music would sound radically different without Eddie
Van Halen’s influential technique. </p>
<p class="MsoNormal">During the 1980s, Eddie Van Halen’s well known collaboration
with the King of Pop, the late great Michael Jackson, on the iconic guitar solo
on the song Beat It was probably his most well known musical collaboration.
Those dodgy Van Halen live bootleg recordings were a must-have for the aspiring
guitarist back in the 1980s. add to that the departure of long time singer and
frontman David Lee Roth to be replaced by Sammy Hagar had caused a Kultur-Kampf
in the Van Halen fanbase back in the mid 1980s, detractors often derogatively referring
the Sammy Hagar fronted Van Halen as “Van Hagar”. Eddie Van Halen is indeed no
stranger to real-life musical drama. And, by the way, Eddie Van Halen was also
a clever inventor with various guitar related patents credited to him, like a
musical instrument support that allowed him to play his signature two-handed
tapping technique while standing up on stage for prolonged periods without
tiring, an adjustable string tension control allowing more precise adjustments
than a whammy bar, a type of humbucking pickup and ornamental designs for
guitar pegheads and pickups.</p>Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com0tag:blogger.com,1999:blog-2506799271388439141.post-67304572853522938012019-12-31T02:15:00.000-08:002019-12-31T02:15:04.729-08:00Single Coils Versus Humbuckers: Which One Is Actually Louder?<br />
<div class="MsoNormal">
Even though the current consensus online is that humbucking
electric guitar pickups sound louder than their single coil counterparts, is it
really true that single coil pickups generate a much higher voltage output than
humbuckers?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During the latter half of the 1980s working as a luthier’s apprentice,
I often connected a voltmeter on the electric guitar’s output jack to measure
how much signal it generates. If connected right in its hum-bucking mode, humbucking
electric guitar pickups output about half as much voltage than that of a single
coil pickup. Single coil electric guitar pickups typically output a little over
one volt peak-to-peak unloaded and yet when connected to a vacuum tube guitar
amp with a distortion pedal in tow, humbuckers tend to sound – probably to mine
and everyone’s ears – louder and with a more complex tone than its single-coil
counterparts. But why do online forums discussing the merits between the two
most popular electric guitar pickup configurations often fail to mention the
voltage output issue? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Back in the late 1980s – where hair metal glam rock reigned
supreme on MTV and on mainstream FM radio – electric guitars with built in DSP
and or effects that can only be powered by a single PP3 / 9-volt battery and
sounds acceptably good to most working musicians - like the Gibson Firebird X - is still the stuff of science
fiction. Much later on, most electric guitars with internal built in battery powered preamplification
and DSP effects I’ve serviced recently tend to output around 100-millivolts or
so, much, much “quieter” than their “vintage” counterparts equipped only with a
potentiometer based volume control and passive low-high tone control. And to my
ears and everyone at the repair shop often swear that the electric guitar with
the built in battery powered DSP and preamplification sounds much louder than
their vintage counterparts.</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com0tag:blogger.com,1999:blog-2506799271388439141.post-26457893423430637872018-05-14T21:57:00.000-07:002018-05-15T20:14:43.068-07:00Is Gibson Going Bankrupt? Despite going through a serious slump during the past 12 months, is Gibson filing Chapter 11 a sure sign that the iconic guitar manufacturer is going under?<br />
<br />
By: Ringo Bones<br />
<br />
<br />
<div class="MsoNormal">
The company that became familiar to every teenager who wants
to be a famous rock star that is also famous for making Gibson guitars and
Baldwin pianos filed for Chapter 11 bankruptcy protection early Tuesday, May 1,
2018, after going through a serious sales slump during the previous 12 months.
The Nashville, Tennessee based Gibson Brands requested court protection from
its creditors, saying it had strong support from its loyal customer base that
would allow the company to eventually survive. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Founded in 1894 and had virtually the biggest influence of
20<sup>th</sup> Century music even before World War I, the company states that
it plans to continue designing, building and selling musical instruments and
equipment, including other brands such as Wurlitzer, Dobro, Epiphone, KRK and
Cerwin Vega. But the company states that it would kill its Gibson Innovations
Unit, which makes Philips-based headphones, speakers and other electronic
accessories. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Not only famous for producing musical instruments that
shaped 20<sup>th</sup> Century music and post World War II rock n’ roll, Gibson
is also well-known for providing guitars and other musical instruments to
iconic rock-stars and Blues artists such as Elvis Presley, BB King, Keith
Richards, Pete Townsend and Lenny Kravitz. Gibson sells more than 170,000
guitars annually in more than 80 countries, according to a recent court filing.
The company claims market share of more than 40-percent in electric guitars in
the 2,000 US dollars and above price range. But sales have declined
significantly and cost-cutting efforts haven’t done enough to stop the bleeding.
In recent months, lenders required accelerated repayment as the company’s
business deteriorated. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Gibson CEO Henry Juszkiewics said in a recent statement that
“Over the past 12 months, we have made substantial strides through an
operational restructuring…” adding that Gibson will “refocus on our core
business of musical instruments, which we believe will assure the company’s
long-term stability and financial health.” </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com0tag:blogger.com,1999:blog-2506799271388439141.post-32493149078045317682017-12-03T01:10:00.000-08:002017-12-03T01:10:11.866-08:00High Voltage Capacitors: The Secret To Vintage-Sounding Electric Guitar?<div class="MsoNormal">
Can changing the stock capacitors on your “modern” electric
guitar make it sound as if it was built in the 1950s?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I recently discovered this “tweak” almost by accident near
the end of summer of 2017 after fixing – actually tweaking - a late 1970s Japanese
made Gibson Les Paul equivalent after the owner complained it started picking
up AM radio during high-gain settings of the preamplifier in use. It was late
Saturday night after all DIY electronic shops have already closed for the
weekend in my neck of the woods when the closest functioning 100-picofarad ceramic
capacitor to replace the one on the guitar that was essentially used to prevent
it acting as an AM radio with a detached lead which I replaced with one rated
at 2,000 volts and looks like it was manufactured from the 1950s. to my
surprise, The Japanese Les Paul replica’s DiMarzio Super Distortion humbucker
pickups started to sound slightly like a mid 1050s PAF (Patent Applied For)
humbucker pickups. And it ever sounded more vintage after I replaced the stock
0.1-microfarad 50-volt mylar capacitor used in the guitars low-to-high tone
control with one rated at 1,600-volts. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Given that most original Gibson Les Paul electric guitars
from the 1950s with original PAF humbucker pickups has now become “investment
grade musical instruments” that are now often speculated by anyone interested
in using musical instruments as investment tools – i.e. mid 1950s Gibson Les
Pauls with their original PAF humbucker pickups which are left unmodified or
has been properly maintained by collector standards now start at around 8,000
US dollars or more. While used pristine quality Japanese made replica Gibson
Les Pauls from the late 1970s hover around 300 to 500 US dollars on the used
market despite often used in classic rock gigs. So it makes perfect economic
sense to sell that heirloom Gibson Les Paul for around 12,000 US dollars or
more and use that money to buy more “tonally flexible” newer electric guitars
or one of those snazzy new recording equipment.</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-73670430899923430572016-06-07T03:03:00.000-07:002016-06-07T03:03:57.939-07:00Pro Co’s The RAT: The First “Modern” Guitar Distortion Pedal? <!--[if gte mso 9]><xml>
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<![endif]-->Well noted as the first one to extensively use IC op-amps in
its construction, can the Pro Co Rat be considered the first “modern” guitar
distortion pedal due to its reliability and tonal consistency?<br />
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<br /></div>
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By: Ringo Bones </div>
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<br /></div>
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The raison d’être of guitar distortion pedals is to
replicate the pleasing tone of accidentally damaged electric guitar combo amps –
i.e. ripped and torn speaker cone and / or a dislodged vacuum tube, etc. – and thus
the birth of iconic and pioneering guitar distortion pedals of the 1960s like
the Dallas Arbiter Fuzz Face and the Big Muff Pi which primarily uses early
germanium transistors. Despite of their wicked sustain and tone, germanium
transistor based guitar distortion pedals from the 1960s are not well known for
their tonal consistency – especially in live performance / touring situations –
because early germanium transistors were notorious for their wild parameter
drift with ambient temperature changes and thus tonal consistency from start to
finish of a live performance – never mind from the next concert venue to the
next – eludes these great sounding but notoriously unreliable guitar distortion
pedals. Legend has it that the late great Jimi Hendrix once bought 10
individual Dallas Arbiter Fuzz Face pedals and switch between ones that
maintained the most tonal consistency when played live. </div>
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<br /></div>
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The stated problems of early guitar distortion pedals
probably what inspired Pro Co engineers Scott Burnham and Steve Kiraly to
hot-rod existing distortion pedals during the mid 1970s – such as the Dallas
Arbiter Fuzz Face - as suggested by their clients in order to make these units
sound better. But eventually, the two Pro Co engineers discovered the “weaknesses”
of these early guitar distortion pedals and thus paved the way to a better new
and improved guitar distortion pedal. </div>
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<br /></div>
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The original Pro Co Rat was developed in the basement of pro
Co’s Kalamazoo, Michigan facility in 1978. It was notable for its extensive use
of IC op-amps – or integrated circuit operational amplifiers – such as the 8-pin
dual in-line monolithic Motorola LM308 op-amp. The Pro Co “The RAT” in a
nutshell is a distortion pedal with a quite simple circuit that can be broken
down into four simpler blocks – the distortion stage, tone control stage,
output stage and power supply. Given that the basic circuit was based on a public
domain Popular Electronics published design based on an IC op-amp that was
published around 1966 but was, at first, dismissed by serious guitar players
because it’s sustain wasn’t as good as that of germanium transistor based
guitar distortion pedals. But Burnham and Kiraly noticed the tonal consistency
and immunity from temperature drift of the op-amp based distortion circuit and
thus worked on it until they managed to design one with a tone and sustain that
is more on less equal to that of germanium transistor based units. </div>
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<br /></div>
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The IC op-amp based circuitry of “The RAT” inspired a host
of copycat models during the 1980s – especially during the heyday of Hair Metal
bands. And some of them use other op-amps such as the ubiquitous during the
1980s Motorola LM741. The original Dallas Arbiter Fuzz Face and Big Muff Pi
with their original germanium transistor based circuits may be fetching
sky-high second hand prices on eBay these days, but these units can be a pig to
maintain tonal consistency in live concert tour situations, never mid if you’re
a bar-based working musician. Thus, the Pro Co’s “The RAT” and its op-amp based
variants now reign supreme in the loud guitar playing world.</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com2tag:blogger.com,1999:blog-2506799271388439141.post-73119049955508170922016-05-01T02:47:00.000-07:002016-05-01T02:47:05.834-07:00Mutilated Loudspeaker Cones: The Ultimate Electric Guitar Distortion Effect? <!--[if gte mso 9]><xml>
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<![endif]-->Even though there are “insurmountable” logistical issues
that preclude their widespread use in live performance situations, are
mutilated loudspeaker cones the ultimate sounding electric guitar distortion
effect?<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Tales of guitarists intentionally mutilating the loudspeaker
cones of their combo amps by slashing it with razor blades, poking strategic
holes using a very sharp pencil or by other means in order to obtain a “unique tone”
seems to be as old as the history of Rock N’ Roll music itself. Back in 1956,
guitarist Paul Burlison of the Johnny Burnette Trio “accidentally” discovered
that a partially broken loudspeaker cone of his combo amp that was damaged
during transport during one of their band’s tours resulted in a distinctive tone
that Burlison and the rest of the band found “pleasing” – i.e. resulted in a
two-tone sound that produced quite clean trebles but sounded really distorted in
the low frequencies which the band likened to a horn section playing full blast
– but music critics and reviewers at the time noted that the resulting guitar
sound as “horrible”. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During the late 1950s, guitarist Link Wray intentionally
poked strategically placed holes in his electric guitar amp’s loudspeaker cones
to further distort his tone. And by the way this was during the time when PP3 /
9-volt battery powered guitar distortion stomp-boxes were yet to be invented.
In 1964, a fuzzy and somewhat distorted sound gained widespread popularity
after guitarist Dave Davies of The Kinks used a razor blade to slash his combo
amp’s loudspeaker cones to produce the distinctive tone in the band’s single “You
Really Got Me” – an act which also got The Kinks dubbed as the grandfathers of
Heavy Metal Music. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Even though intentionally mutilating loudspeaker cones of
electric guitar amps to produce a distinctive tone seems to be a still esoteric
practice a few years later, the practice probably got more popular after Brian
Eno slashed the loudspeakers of the guitar amp to ribbons using a razor blade
that was used during the recording session of his Nerve Net album. Eno
described the tone as a little bit like those African instruments called mbiras
where you have little tongues of metal that you play with your thumbs and
around the base of each tongue is a piece of wire that rattles and buzzes as
you play. Eno liked the resulting sound which he described as “this kind of
halo that you can get on a sound. And it’s a halo of distortion really.” Thanks
to Brian Eno, the most widely known use of razor blade slashed electric guitar
loudspeakers in a recording session in recent years was Sonic Youth’s remake of
The Carpenter’s “Superstar” in the 1994 album If I Were A Carpenter. Given that
intentionally mutilating the loudspeaker cones of your electric guitar amp –
why isn’t it in widespread use? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Setting aside a loudspeaker cone or a whole guitar combo amp’s
loudspeaker cone <span style="mso-spacerun: yes;"> </span>to be intentionally
mutilated might seem viable in recording studio situations, but if you are a
touring guitarist or yet a guitarist who carries his or her 40-pound combo amp
to a gig night after night, the very exercise seems to engender some logistical
nightmares. The most obvious of which - is the realization which sadly only
dawns upon to anyone who had performed such a stunt for a long period of time –
is that a slashed loudspeaker cone or a pencil-poked loudspeaker cone’s timbre
changes over time, especially if you play it loud. The timbre may change for
the better or for the worse but you can never go back to a tone that was
produced last week or three days ago – unless of course you have recorded that
in a recording studio and it is also the very reason why bass guitar players have not experimented with mutilating their loudspeaker cones by either slashing it with razor blades or poking holes in them using a sharpened pencil. It looks like “mutilated loudspeaker cones” are for
recording studio use only and leading digital guitar effects manufacturers
still haven’t perfected an electric guitar effect that consistently replicates
a mutilated electric guitar amp loudspeaker cone that can be used in live gigs. </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com0tag:blogger.com,1999:blog-2506799271388439141.post-11558940830311813932016-03-27T03:05:00.000-07:002016-03-27T03:05:49.274-07:00Re-Amping: The Most Cost Effective Way To Record Killer Guitar Tones? <!--[if gte mso 9]><xml>
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<![endif]-->It may be a still relatively esoteric technique to most
amateur or indie musicians, but did you know that re-amping could be the most
cost effective technique to record killer guitar tones?<br />
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<br /></div>
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By: Ringo Bones </div>
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<br /></div>
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Lets face it, recording studios with very good acoustics
costs ungodly amounts of money for the musician who has yet to achieve
commercial success and given that most – as in a little more than half – of hard
rock and heavy metal guitar based music in current mainstream FM airplay have
god-awful guitar tracks when compared to classic rock tracks – even those
during the hair metal era of the 1980s and early 1990s. But can the “ham-and-egger”
musician this day and age even manage to record killer guitar tones like they
use to during the golden age of hard rock and heavy metal on a shoestring
budget? Fortunately, there is such an electric guitar recording technique and
it is called re-amping. </div>
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<br /></div>
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Re-amping: Running final guitar takes off tape – or other
digital recording media – into guitar amps miked in a live room and recording
them back onto tape or other digital recording media is one of those electric
guitar recording techniques that gives more bang for the buck and yet produces
an inexplicably excellent result. Given that it is quite a simple and ingenious
method to “fatten the tone” of anemically recorded guitar tracks, clean or
distorted, it is quite a relatively esoteric technique and not-so-often talked
about studio recording technique. I mean when was the last time a Billboard Top
40 rock guitarist ever mentioned re-amping during press interviews back when
Ronald Reagan was still the elected emperor of the free world? It was probably
Rollins Band guitarist Chris Haskett who revealed that he used re-amping to
record the electric guitar tracks of his solo albums during an interview with EQ magazine that was published
in their April 1998 issue. </div>
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Legend has it that it was the funk maestro George Clinton
who was the first one to have used re-amping in the studio around the late
1970s. After not being happy with a drum sequence sound during a particular recording
session – i.e. it had an “anemic tone” – George Clinton allegedly ran 24-outs
to 24 separate loudspeakers placed on chairs in a live room and then miked the
set-up in stereo and ran it back into tape. It was said that it not only “fattened
the tone” of the drum sequence but also made it punchier. I first heard this
particular anecdote about George Clinton’s studio recording techniques back in
1995, but many amateur hard rock / heavy metal musicians since the mid 1980s noticed
that live miking guitar amps resulted in a more punchier and fatter tone as
opposed to sending electric guitar signals <span style="mso-spacerun: yes;"> </span>directly into the mixing board and then to the
recording device. </div>
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<br /></div>
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Back in 1992 while testing the stage mikes for our band’s
live rehearsal, out of curiosity I got a Casio SA-1 “pocket keyboard” and placed
a Shure SM57 Beta directly in front of its itsy-bitsy speaker and clicked in
the “tuba” setting. Unexpectedly, it resulted in something akin to a cross
between an electric bass guitar tuned 2-frets down and a very large pipe organ.
The resulting tone is so beautiful that it preoccupied my band and I for almost
half an hour and an inflated band rehearsal studio bill. On recording acoustic
guitars, re-amping tends to make them sound as if the amps and recording
equipment as if it uses 1930s era vacuum tubes – i.e. 6SN7s, 6SL7s or even Type
85 vacuum tubes. </div>
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<br /></div>
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Another advantage of re-amping is not only does it cuts down
on your recording studio costs but also you don’t have to worry about blowing
the vibe or the take, which, more often than not, happens when you over-obsess
the mike placement during the actual recording session. It is almost like
working with MIDI – the performance is already there. You have a little bit
more leisure about guitar amp placement, and miking and tone so a that point
you can do a lot of work very effectively in a small project room and make it
bigger later. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com0tag:blogger.com,1999:blog-2506799271388439141.post-14714349497770034412015-10-26T02:14:00.000-07:002015-10-26T02:14:12.805-07:00Can The Type 85 Vacuum Tube Be Used As An Audiophile Grade Fuzz Unit? <!--[if gte mso 9]><xml>
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Even though it dates back from the 1930s Golden Age of
Radio, but can the Type 85 vacuum tube work as a heart of an audiophile grade
fuzz unit? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To some, an “audiophile grade fuzz unit” may sound oxymoronic
because after all they are primarily designed to produce harmonic distortion at
relatively low volumes in electric guitar amplifiers. But given that vacuum
tubes and electric guitar electronics had been going hand-in-hand for over 60 years
with exceedingly good sounding results, should electric guitar electronic
effects designers explore underutilized vacuum tubes for possible use in the
hopes of designing one that offers both versatility and good sound quality? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fuzz units or fuzz pedals as they are originally known were
originally introduced back in the 1960s and were readily embraced by rock and
Blues electric guitar players. It makes use of germanium signal diodes to clip
the electric guitar signal originally produced by the magnetic pickups to
produce a chainsaw-type distortion. Germanium semiconductor diodes have a lower
voltage drop, Vf = 0.2 volts, in comparison to silicon semiconductor diodes at
Vf = 0.6 volts. This means that the signal is clipped at a much lower level.
The sound produced by this electric guitar effect / processor is quite
versatile. It can sound warm and fuzzy to nasal and grainy. The most famous
example of this effects unit is the Dallas Arbiter Fuzz Face. Originally, they
are composed of solid-state semiconductor parts – i.e. germanium signal diodes
and germanium transistors during the 1960s to operational amplifiers by the
start of the 1980s, but will a better-sounding one be made around the Type 85
vacuum tube? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Type 85 vacuum tube is a duo-diode triode vacuum tube in
a single enclosure designed for use as the first-stage detector, automatic
voltage control and first stage audio amplifier in 1930s AM radios / AC line
operated receivers. It was also used as the phase inverter in several 1930s era
public address amplifier designs. It is electrically identical to the octal
base 6V7. The Type 85S is a spray shield type made by Majestic. The Type 85
vacuum tube has a maximum plate voltage rating of 250 volts DC but it is
typically run at 135 volts, a maximum plate current of 8-milliamperes but
typically it is run at 3.7-milliamperes, a maximum grid voltage of -20 volts
but it is typically run at -10.5 volts, a filament or heater voltage of 6.3
volts and a filament current of 300-milliamperes. The Type 85 vacuum tube has
an amplification factor or mu of 8.3 and a transconductance or gm at 750 and it
has a plate resistance of 11,000-ohms. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Type 85 vacuum tube is a multiunit vacuum tube that is
it is a vacuum tube containing several independently acting tubes in one
envelope. The electron stream is divided into several parts, each part being
acted upon by one set of electrodes. The top metal cap is electrically
connected to the ground and therefore does not represent a high voltage
electric shock hazard. But can the two vacuum tube signal diodes enclosed in
the Type 85 vacuum tube be used as “clipping diodes” for it to be used as an “audiophile
grade fuzz unit”? </div>
<div class="MsoNormal">
Even though hobbyists and DIY-ers well versed on how the
Type 85 vacuum tube works are still relatively rare, Kara Chaffee of
deHavilland managed to design and produced one in current commercial production
called the deHavilland Mercury preamplifier. Although she didn’t use the two
built in vacuum tube diodes and left them unconnected. But given the Type 85
vacuum tube’s robust tone and crystalline clarity, would it be a great vacuum
tube not just for electric guitar preamplification and distortion work, but
also for acoustic guitar amplification given its robust tone can make a typical
acoustic guitar’s built in piezoelectric Fishman Transducers sound as if they
were 3,000 US dollar Condenser Tube Microphones? </div>
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Even if the Type 85 vacuum tube’s big size might intimidate the
contemporary 21<sup>st</sup> Century guitarists, there are now pack-of-gum-sized lithium polymer rechargeable
batteries with nanostructured anodes sold in Airsoft shops that can hold enough juice to power a
Vietnam War era AN / PVS-2 starlight scope with its 15,000 volt photomultiplier
tube for 15 hours straight before recharging, so battery operated fuzz pedal units
using the Type 85 vacuum tube is technically feasible this day and age. And given
that the Type 85 vacuum tube was used as a automatic voltage control unit in AM
radios during the 1930s Golden Age of Radio, with its built in vacuum tube
diodes, it could also be useful as a gold channel or audiophile grade
compressor-sustainer unit, noise gate and limiter. </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com2tag:blogger.com,1999:blog-2506799271388439141.post-44822459388528754792015-10-18T03:58:00.000-07:002015-10-18T03:58:43.952-07:008-String Electric Guitars: The Ultimate Heavy Metal Music Guitars? <!--[if gte mso 9]><xml>
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<![endif]-->Though the idea is as old as the traditional 6-string guitar
itself, does adding extra strings for expanded range the makings of the
ultimate guitar for heavy metal music?<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Even though the idea of adding some extra strings to the
instrument to expand its range is as old as the traditional 6-string guitar
itself – indeed it is, in fact, much older than the one cobbled up by Andres
Segovia. Renaissance and Baroque era lutenists often added extra bass courses
to their advanced lessons to facilitate a more ambitious musical counterpoint.
More recently, George Van Eps conceived a 7-string Gretsch in hopes of rivaling
the piano’s harmonic richness. During the mid-1980s, Steve Vai created a
7-string Ibanez so that he could “shred” unimpeded across five-and-a-half
octaves and Jazz guitarist Charlie Hunter employed 7-string and 8-string Novax
guitars to play simultaneous bass and guitar lines. </div>
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<br /></div>
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But the more recent 7-string and 8-string solid-body
electric guitar mania springs fourth from a more visceral desire – to play
heavy metal guitar riffs so low in pitch and lethal they make your fillings
rattle. Ever since rap hip-hop and hardcore punk metal hybrid bands like Korn
and Limp Bizkit got lucky enough to get regular mainstream FM radio airplay
during the late 1990s, guitar companies have ever since issuing an
unprecedented number of electric guitars with low B-strings (61.7 Hz). During
the heyday of hair-metal, 7-string and 8-string solid-body electric guitars was
usually an expensive custom item, but ever since the Y2K scare came and went,
7-string and even 8-string solid-body electric guitars in the 500 US dollar to
1,500 US dollar price range suddenly became something that any self-respecting progressive
avant-garde 21<sup>st</sup> Century era heavy metal band can’t do without. </div>
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<br /></div>
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The most popular 8-string solid-body electric guitar in
current manufacture is by Ibanez – as in their Ibanez RG8 8-string electric
guitar, though the first mass-produced 8-string guitar was made by Ibanez
Guitars in Japan – as in the Ibanez RG228 – primarily as a toe-in-the-water
exercise to capitalize on the low-frequency-guitar-riffs mania of the late
1990s. And ever since, the 8-string solid-body electric guitar has been in
widespread use by modern heavy metal guitarists who first got their major
record label deals back in the mid-1990s. Such as Fredrik Thordendal and M<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">å</span>rten
Hagstr<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">ö</span>m
of Meshuggah, Dino Cazares of Fear Factory, Stephen Carpenter of Deftones,
Justin Lowe and Trent Hafdahl of After the Burial and others. The 8-string
solid-body electric guitar is particularly associated with the “djent” sound
popularized by Meshuggah and other contemporary metal artists. </div>
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<br /></div>
<div class="MsoNormal">
The 8-string guitar’s standard tuning, from low to high, is
F#, B, E, A, D, G, B, E. Other alternative tuning interpolations are available
and, more often than not, 8-string guitar users chose other tuning permutations
to suit according to his or her playing style. Many prefer to tune the low F#
string to a low E (41.2 Hz) which gives the 8-string guitar the same range as a
4-string bass guitar and to provide the 8-string guitar with a fuller sound
three different E-strings were used as “sympathetic resonance strings”. While
some progressive metal and alternative metal guitarists tend to tune their
8-string guitars in either open-D tuning or a more exotic Jazz-based
major-thirds tuning. </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-90612641933097251722015-10-11T12:43:00.000-07:002015-10-11T12:43:05.801-07:00Tweed Electric Guitar Amplifiers: The Ideal Electric Guitar Amplifier? <!--[if gte mso 9]><xml>
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<br />
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Even though heavy metal guitarists may beg to differ but are
tweed electric guitar amplifiers the ideal electric guitar amplifiers when it
comes to tone? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A full Marshall stack may be visually impressive to look at from
the perspective of kids of all ages but seasoned electric guitar players more
often than not that when it comes to “purity of tone” – at least from an
electric guitar player’s perspective – tweed amps, or combo amps from the 1950s
is where its at. But do seasoned electric guitar players know something that
the rest of us don’t? </div>
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<br /></div>
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Since they hit the market during the 1950s, tweed electric
guitar amps – especially ones manufactured by Fender – had been sought after
even before Ronald Reagan became president. They had been traditionally used by
Blues and Country musicians and before the advent of those Marshall heads and
stacks, also by rock n’ roll guitarists as well. Acoustically, tweed amps have
a sharp treble roll off above 5,000 Hz and a bass roll off between 60Hz to
100Hz depending on the diameter of the loudspeaker used. The nickname tweed
originally refers to the lacquered beige light brown fabric covering these
combo style amplifiers but there are younger guitar players out there who think
that tweed is short for traditional. </div>
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<br /></div>
<div class="MsoNormal">
Even though the timbral roar of Marshall heads and stacks was
the dominant electric guitar tone of 1980s era MTV, some iconic MTV music videos
had tweed electric guitar tones during the main guitar solo. An excellent
example of which is the main guitar solo by Eddie Van Halen on Michael Jackson’s
Beat It. And believe it or not, most stadium rock / metal guitarist of the
1980s and present want their stadium filling Marshall stacks to have a timbre
of a mid 1950s Fender tweed combo amp which is easier said than done form a
technical perspective. At least it keeps us vacuum tube electronic technicians
gainfully employed since the late 1980s. </div>
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<span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><br />
</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-41094812763603602452015-09-27T12:10:00.000-07:002015-09-27T12:10:23.820-07:0015-Inch Electric Guitar Speaker Upgrade: The Ultimate Electric Guitar Amp Upgrade? <!--[if gte mso 9]><xml>
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Even though some guitarists disagree, does using a 15-inch
electric guitar speaker instead of the “stock” smaller speaker the ultimate
electric guitar amplifier upgrade? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="tab-stops: 104.6pt;">
By: Ringo Bones <span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormal">
Even though I was born too late and not fortunate enough to
have been there when Jimi Hendrix experimented in the recording studio with
15-inch Eminence and Celestion organ speakers and managed to record many of the
sweetest tone in the electric guitar playing world, my “conversion” as a big
speaker fanatic happened back around the mid 1990s during an electric guitar
gear / music recording gear exhibition in Hong Kong got me acquainted with the
Marshall JTM 60 – a vacuum tube based combo amp that comes with three 12AX7 preamp tubes and two EL34 output tubes with a 15-inch
Eminence made Heritage speaker as standard. With a representative generous
enough to let me toy with the combo amp for probably 90 minutes, both of us
reached the conclusion that it is quite impossible to squeeze a bad tone out of
a 15-inch electric guitar speaker mounted in an open-back cabinet driven by
good old fashioned vacuum tubes. But sadly, there are electric guitar players –
including some great ones – that dislike big speakers being used in electric
guitar playing applications. And I even got confused when the Marshall
representative told me that the Marshall JTM 60 comes in variants with two
12-inch speakers and three 10-inch speakers that got me in a quizzical
head-scratching mode to ask why. But are there any circumstances in the
electric guitar where bigger isn’t actually better? </div>
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<br /></div>
<div class="MsoNormal">
Big electric guitar speakers – especially old ones or
vintage reissue ones with whizzer cones with diameters of 15 inches or bigger
(I’m still searching for organ speakers / electric guitar speakers with whizzer
cones bigger than 15-inces by the way)- gain mythical status because celebrity
guitar players tend to promote / endorse them in various ads to leading guitar
playing magazines. Remember Yngwie Malmsteen’s “tone-testimonial of the
Celestion G12T-75 electric guitar speaker that goes: “because of its very fluid
tone and it compliments the violin-like tone and feel of my guitar playing. I
have used Celestions since the early days of my career in Sweden.”? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During a Guitar Techniques magazine interview back in
February 1996, the late great guitarist Gary Moore had found it strange that
the then Fleetwood Mac guitarist Peter Green used Fender speaker cabinets with
two JBL 15-inch speakers driven by two Fender Dual Showmans and Moore says “he
would never want to play through that”. Was Moore’s criticism born out of his
preference of small and older vintage 1950s era Fender Tweed combo amps because those usually come with 10-inch or 12-inch speakers? <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With a more pragmatic outlook, Creedence Clearwater Revival
guitarist John Fogerty says there are situations where 15-inch speakers are
more suitable than 12-inch speakers and 10-inch speakers and vice versa. In his
Audio magazine interview back in January 1998, John Fogerty said that “a Rickenbacker
guitar sounds best through two 15-inch speakers if you’re using it for rhythm.
The 10-inch or 12-inch speaker is much more focused: that’s why all the lead
players like them so much, for playing single-note stuff.” But in my actual
live performance use in smallish Jazz/Blues club venues, I tend to get much
more applause and interest from the audience while playing through 15-inch
speakers hence my current ongoing search for still functional organ or electric
guitar speakers bigger than 15-inches mounted in an open baffle. Currently, I’m
in love with my open-baffle mounted Eminence Red Coat 15-inch Big Ben guitar
speaker.</div>
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<span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><br />
</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-1672032652002095182015-09-06T11:33:00.000-07:002015-09-06T11:33:16.740-07:00Yamaha THR10C Physical Modeling Guitar Amp: The Best Physical Modeling Guitar Amp?<!--[if gte mso 9]><xml>
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<![endif]-->Since the commercial proliferation of physical modeling DSP
based guitar effects and amps since the early 1990s, does the 21<sup>st</sup>
Century era Yamaha THR10C physical modeling guitar amp the best of them?<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Unlike the Yamaha THR10X which is geared more towards harder
edged foot pedal dependent Texas Blues and heavy metal electric guitar tone, I
only acquired the Yamaha THR10C because it was offered recently as a bargain in
our local pawn shop and given that it is already out of warranty, my previous
familiarity of its internal DSP / physical modeling circuitry allowed me to
perform mods that allowed me to fit an external bigger speaker – i.e. a 15-inch
electric guitar speaker with whizzer cone either by Celestion, Eminence, or
Jensen or any other great old model or to connect it to another solid state
guitar amp that has nary a physical modeling DSP preamplifier stage – to fully
test out whether physical modeling DSP / digital signal processing based
electric guitar amps had really progressed sonically or are still stuck in the
post Operation Desert Storm euphoria of the early 1990s and only the ergonomics
had evolved. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Priced at around 450 US dollars when it hit the market
during the middle of 2013, the Yamaha THR10C or specifically the amp’s DSP /
physical modeling circuit – according to Julian Ward of Yamaha UK – was originally
developed from the physical modeling technology used for the 1993 era VL1
Synth, thus explains my familiarity of the amp’s innards given I was repairing
and servicing something like it since the end of Operation Desert Storm. Given
that the other DSP based physical modeling guitar amp I can compare it side-by-side
with is the 1997 era Line 6 AxSys 212, all I can say is makers of physical
modeling amps completely missed the boat market-wise of the mid to late 1980s hair metal boom
where such devices would have proved a godsend if they where available in their
mid to late 1990s incarnations. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With its 24-bit <span style="mso-spacerun: yes;"> </span>A/D
D/A converters sampling at 44.1KHz to guarantee 16-bit fidelity Redbook CD ready
tone, the Yamaha THR10C’s five settings really proved useful if your preferred
genre of music is 1960s era electric Blues and early 1970s era Classic Rock.
Sadly, the Yamaha’s built-in small speakers will be found wanting when you
crank it up in a beer pub gig setting. With the mod I recently did, every
working musician in my neighborhood who use the Yamaha THR10C as their main gig
amp in the local beer pubs in our neighborhood are now paying me to have theirs
with a switchable option to hook up a 15-inch external electric guitar speaker with
whizzer cone like the Eminence Red Coat Big Ben model or similar mounted in an
open baffle. Sadly when used in such configuration, such a revealing external
speaker as the 15-inch Eminence allows you to hear the “quantization noise (?)
/ or very low level click-click noise” of the Yamaha THR10C’s physical modeling
DSP chip when you crank the amp’s volume to have it roaring at around the 110
dB SPL level. Sadly, to my audiophile trained ears at least, physical modeling
DSP guitar amps are indeed really stuck in the time of post Operation Desert
Storm euphoria of the early 1990s in terms of sonic performance. Although once
you switch back to the built in tiny speakers, it allows you to practice in
relative silence without the threat of eviction, divorce or arrests for
disturbing the peace. But like all physical modeling DSP based guitar amps
produced since then, its recording options will easily allow you to record
AC/DC like electric guitar tones without resorting to cranking up your amp to
play at AC / DC concert volume levels – i.e. 120 to 130 dB sound pressure
levels. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But if you’re involved in a cover band whose guitar tones
are more akin to Avril Lavigne’s first two albums, the Line 6 AxSys 212 with
its patent pending Tube Tone physical modeling DSP system is a better choice
because such guitar tones can easily be had by twiddling the Line 6 AxSys 212
controls. It took me between 45 minutes to an hour toying with the Line 6 for the
first time back in 2004 when I bought one after it was offered as a bargain in
our local pawn shop. The 1989 Soldano Super Lead Overdrive setting is a good
starting point in the Line 6 by the way. Inexplicably, Line 6’s top of the line
products are “conventional” vacuum tube based electric guitar amplifiers equipped
with either the EL34, EL84 and 6L6 output tubes – as opposed to solid-state
based electric guitar amps with a physical modeling DSP tube emulation based
preamplifier stage. Tone wise, it seems that all physical modeling DSP based
solid-state electric guitar amps I’ve tested so far is stuck in the early 1990s
– only the ergonomics and ease of desktop PC recording connectivity had
improved which explains why high fidelity solid state integrated amplifier
manufacturers still had never used these physical modeling DSP chips into the
preamplifier sections of their amps so far. </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com5tag:blogger.com,1999:blog-2506799271388439141.post-54881798213591638292015-05-27T20:11:00.001-07:002015-05-27T20:11:52.048-07:00Farewell BB King.....<div class="MsoNormal">
Anyone wanting to be as good as BB King has pretty big shoes
to fill, but will there be ever be another BB King?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Like most wannabe guitar player who became aware of blues
based music’s life changing – especially in the financial front – effects
during the 1970s and the 1980s, it is quite hard to live in a world deprived of
one of the greatest bluesman who ever lived named BB King who, sadly, passed
away in May 14, 2015. Born back in September 16, 1925 in Berclair, Mississippi
to parents who were sharecroppers in the pre Civil Rights era south and like
most African American music enthusiasts at the time, the segregated church is
mainly the only means to learn the rudiments of musicianship via Gospel. But
during his teens as a guitarist with above average abilities, the young BB King
soon found out that playing the blues pays better than playing Gospel in
church. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
His big break for all intents and purposes came in 1969 when
he opened for the Rolling Stone’s American tour and thus acquired an
international fanbase that even his favourite Gibson semi-hollow electric
guitar in which he christened “Lucille” became inextricably linked with his
avant garde and yet likable style of blues. I mean his signature fast vibrato
has influenced generations of musicians who first heard of him during the
latter half of the 1960s. And let’s not forget that BB King will be
immortalized in the pantheon of African American music gods when he played with
James Brown during the Rumble of the Jungle’s musical festivities. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Younger fans probably knew BB King during his Rattle and Hum
sessions with U2 during the latter half of the 1980s. And as a hallmark of his
guitar playing skill, BB King managed to make a solid-state guitar amplifier
that was well-known as a “bargain-basement” product during the 1970s – i.e. the
now legendary solid-state Gibson Lab Series guitar amplifiers sound like a full
blown vacuum tube gear that made every guitar enthusiasts wanting to emulate
his tone and technique assumed for years that BB King had always played the 6L6
vacuum tube equipped 1965 Fender Twin. The musical world will be a sadder place
without him.</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-61160715862432922052015-04-29T05:33:00.001-07:002015-04-29T05:33:32.791-07:00Electronic Guitars: The Future of Electric Guitars?<div class="MsoNormal">
Purists may scoff at the concept but are electronic guitars,
with their 9-volt PP3 batteries and solid-state IC op-amps, the future of
electric guitars?</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By Ringo Bones <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It all probably started with the 1998 era EMG DG-20, a prewired
pickguard with onboard preamplifier and two active tone control circuits which
back then costs 350 US dollars. It was marketed as the same set-up allegedly
used by Pink Floyd guitarist David Gilmour and was squarely aimed at the modern
guitar player who wants single coil pickups / Stratocaster-based sounds but
isn’t afraid to forgo tradition in the interests of technology. Strange on how
David Gilmour would use such a set-up given that he was busy hoarding pricy NOS
Mullard EL34 vacuum tubes during the Ronald Reagan era vacuum tube shortage all
the way through the 1990s. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Short of using a 1980s era “keytar” – i.e. keyboard guitar –
one of the main advantage of using a 9-volt PP3 powered electronic guitar is
the elimination of the need of string grounding for 60-cycle hum avoidance and
thus no more nasty shocks onstage when you opt to play barefoot like Cindy
Lauper. In contrast to the traditional passive roll-off low-to-high single-knob
tone control, an electronic guitar’s two active EQ circuits let you boost
predetermined frequencies. One lets you punch the midrange, while the second
simultaneously increases the lows and highs for a huge, scooped tone. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Peculiar to this model, the EMG DG-20’s SA pickups have a
flat bar magnet, so you can raise them close to your strings for an
in-your-face sound. With their rod-magnet pole-pieces – and stronger magnetic
field – standard Stratocaster pickups create damping and intonation problems
when raised too close to the strings. This particular topic on Strat pole-pieces
adjustment was discussed by Eric Clapton during his Guitar Player and Guitar
World interviews during the late 1980s and early 1990s. Other obvious advantage
of the electronic guitar set-up is the buffered preamplifier – powered by the
9-volt PP3 battery – removes electric guitar cord capacitance from the tone
equation which allows you to run a 50-foot electric guitar cable with impunity.
Sadly, electronic guitars, with their solid-state and integrated circuit (IC)
op-amp based circuits are scoffed at by purist. Maybe EMG will make one with
12AX7 vacuum tubes or nuvistors powered by a beefy pack-of-gum-sized lithium-ion
battery.</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com2tag:blogger.com,1999:blog-2506799271388439141.post-26668131098015265752015-03-29T02:49:00.000-07:002015-03-29T02:49:16.553-07:00The 6V6 Vacuum Tube: For Guitarists Only? <!--[if gte mso 9]><xml>
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Have you ever wondered why there are no commercially
produced hi-fi audio power amplifiers using the 6V6 output vacuum tubes despite
its widespread use in electric guitar amplifiers? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Despite its widespread use in the “guitar world”, the 6V6
vacuum tube is probably the only widely available vacuum tube – there’s even an
excellent sounding version in current production by Electro-Harmonix – that no
commercially produced hi-fi audio power amplifier uses as its output power
tube. While its closest equivalent – the older venerable 6L6 is widely used in
both electric guitar and hi-fi amps, the 6V6 seems to have stuck in the “guitar
world” despite the existence of DIY hi-fi literature dating from the 1950s -
i.e. 1950s era RCA application notes - with circuit diagrams of audio power
amps using the 6V6 vacuum tube. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The 6V6 is a beam power tetrode that was introduced by RCA
back in mid 1937 and still in current use, especially in electric guitar
amplifiers. Similar to its predecessor – the 6L6 which was introduced back in
1936 – the 6V6 was far more widely used during its heyday – i.e. from 1945 to
the early 1970s when solid-state transistor became reliable and commercially
viable enough for household audio amplification purposes. In comparison, the
6L6 produced more output power than required by general use consumer electronic
devices right after World War II with corresponding power and circuit
requirements. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The lower powered 6V6 was better suited for the average home
use and became common in the audio output stage of “farmhouse” table top radios
(Stromberg Carlson?) where power pentodes such as the 6F6 had previously been
used. The 6V6 requires less heater power and produced less distortion than the
6F6 while yielding a higher output in both single-ended and push-pull
configurations. Additionally, before the transistor era, the 6V6 has
applications in the automotive and portable radio market. In an audio output
stage, a single 6V6 can be used to produce 5-watts continuous power and a
push-pull pair for about 14-watts with the higher output requiring a larger,
more expensive output power transformer with grain oriented core laminations
for better efficiency. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The 6V6 was first introduced in both metal and shouldered glass
tubes. RCA was promoting the superiority of their metal tube designs during the
second half of the 1930s and this tube having been introduced during that
period was produced in large quantities in this format. Other vacuum tube
manufacturers also produced the 6V6 in glass tubes which were commonly found in
radios not made by RCA. By 1940, the 6V6 was mostly being produced in smaller
“GT” glass envelope and later the 6V6GTA was introduced which has a controlled
warm-up period. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Generally speaking, 6V6 output power vacuum tubes are sturdy
and can be operated beyond their published specifications. The 6P6S – which has
poor tolerance for out-of-spec operation versus most American and Western
European made 6V6 variants – is an exception. Because of this, the 6V became
very popular for use in consumer market musical instrument amplifiers
particularly combo style electric guitar amps such as the Fender Champ which
uses the 6V6 in a single-ended configuration. While the Gibson GA-40 and the
Fender Princeton Reverb and the Fender Deluxe Reverb amps which run a push-pull
pair of 6V6s at 410-VDC plus on the plates. This market allows Mainland
Chinese, Slovak and Russian vacuum tube factories to keep the 6V6 in production
to this day. Because of the relative similarity in voltage and other
characteristics between the 6V6 and the "more popular" EL84 / 6BQ5 power pentode
vacuum tube, several electronics and musical instrument companies have
developed adapters to allow an amplifier with 6V6 octal sockets to accept the
miniature noval pinned EL84. However no reverse adapter has been made or
developed to be commercially available to allow an EL84 tubed amp to accept 6V6
output power vacuum tubes. </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-21438368511942785802015-02-08T04:39:00.000-08:002015-02-08T04:39:45.899-08:00Gibson Lab Series Guitar Amplifiers: The Best Solid State Electric Guitar Amplifier? <!--[if gte mso 9]><xml>
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Thanks to King’s X Ty Tabor’s “secretive” use of such amps
during the late 1980s, but is the Gibson Lab Series guitar amplifiers the best
sold-state electric guitar amplifier ever marketed? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Forget the Peavey Bandit, those Marshall Valvestate
solid-state amps or those solid-state Crate electric guitar amplifiers endorsed
by Lita Ford back in 1990, never mind those dry-sounding Carlsbro solid-state
electric guitar amplifiers of the early 1990s or those "modelling" digital signal processing based solid-state guitar amps that came in later – the best solid-state electric
guitar amplifier of all time is the Gibson Lab Series electric guitar
amplifiers. But does the Gibson lab Series’ claim-to-fame live up to the hype? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We make have to thank King’s X guitarist Ty Tabor for the
mystique surrounding the Gibson Lab Series because his “secretive” use of the
famed solid-state electric guitar amp got many – as in other guitarists not in
the know - to start wondering if Ty Tabor’s current set-up during the late 1980s
early 1990s era King’s X were hyper-modified vintage Fender or Marshall vacuum
tube amps. Believe it or not, B.B. King used one too – in the form of the Gibson
Lad Series L5, a 100-watt combo amp design equipped with two 12-inch speakers.
Weirder still, I though B.B. King’s trusty amp is a 1965 Fender Twin because
I’ve always resorted to using one in replicating his solos during his
collaboration with U2 in When Love Comes To Town during the 1988 Rattle And Hum
sessions. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Historically, Gibson Lab Series electric guitar amplifiers
are Moog designed electric guitar amplifiers – i.e. Moog the famed electric
organ maker of the 1960s – were very well made and quite dependable but
probably often misunderstood for its time. Lots of different settings were available
which made most guitarists during the latter half of the 1960s feel a bit
overwhelmed when performing in hastily set-up gigs. Veteran electric organ
designer Bob Moog did not realize that he was a few years (maybe 25 years?)
ahead of his time – as in this was before the amp tweaking rack friendly era of
late 1980s hair metal. Originally made by Robert Moog’s company which was
bought out by Norlin – who also owned the Gibson brand at the time, in
consequence, the amps were marketed through Gibson outlets, which is where the
Gibson association comes from. But the Lab Series amps weren’t actually made by
Gibson.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoNormal">
Most of the Gibson Lab Series amps on the second hand market
were manufactured by Gibson via Gibson’s subsidiary Norlin in the late 1970s to
the 1980s. The onboard effects and preamplifier was manufactured by keyboard
maker Moog and has their name on it. The Gibson Lab Series 2 was made by Garnet
round the 1970s. The input and tone control sections’ active devices were
standard integrated circuit (I.C.) circuits of that time and the power amp’s
output stage consisted of 10 TO-3 packaged NPN transistors in a
quasi-complementary push-pull configuration which was deemed an “inferior”
design in comparison to high end solid state high fidelity audio amplifiers at
the time boasting a full complementary NPN-PNP output stages. Was the use of
quasi-complementary output configuration the secret of the Gibson Lab Series
amp’s tone? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My favorite of the Gibson Lab Series – due to its tonal
flexibility – was the L9 model, especially when connected to an external JBL
15-inch guitar speaker in an open back cabinet with a whizzer cone. Most of
them had great reverb too and could easily be mistaken for a 6L6 vacuum tube
equipped 1965 Fender Twin when everything is working in its favor. And it’s not
just B.B. King who found his own sound in the Gibson Lab Series L5, various
funk groups of the 1970s had been using its excellent onboard compressor to
great effect. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Gibson Lab Series amps are known for their vintage Fender
amp like tone. The Lab Series’ master volume is actually useable and you can
get a nice right-at-breakup vacuum tube tone at most any volume. At 100 watts
true RMS, the Lab Series amps can get louder and offer more clean headroom than
most vintage Fenders and unlike a lot of vintage Fender amps, all of the Gibson
Lab Series controls actually do a lot; as in be prepared to do a little more knob-twiddling
and knob-tweaking than with an old “plug-and-play” vintage Fender amp. And in a
Gibson Lab Series amp, be prepared to trade your tremolo for optical
compression. </div>
<div class="MsoNormal">
These days, most used Gibson Lab Series amps in good to
pristine condition retail for around US$300 or a bit less, while a “working”
vintage Fender Blackface Super Reverb with a power supply hum problem and a
background crackling sound suggesting that its 6V6 output vacuum tubes might be
on its last legs retails for US$1,500!!! And believe-it-or-not, Gibson Lab
Series amps were praised for their B.B. King like tone, as he used one himself
and managed to make it sound like a 6L6 vacuum tube equipped 1965 Fender
Twin.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span></div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com9tag:blogger.com,1999:blog-2506799271388439141.post-84204756803963685532015-01-26T04:31:00.002-08:002015-01-26T04:31:49.329-08:005 Inch Diameter Loudspeakers: The Ideal Acoustic Guitar Loudspeakers? <!--[if gte mso 9]><xml>
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<![endif]-->Even though amplified acoustic guitars inevitably ends up
sounding like an electric guitar, could 5-inch diameter loudspeakers provide a
solution?<br />
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<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s face it, any attempt to amplify the acoustic guitar
sound output since the days of Lee De Forrest’s Audion vacuum tube inevitably –
then and now – end up making the acoustic guitar sound like an electric guitar.
Fortunately, the R&D team at Trace Elliot had discovered a novel solution
to this perennial problem back in the late 1980s. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
More than an interesting design concept, it seems that the
R&D team at Trace Elliot had discovered that five-inch speakers are ideally
suited to the acoustic guitar’s frequency range since using them as speakers in
acoustic guitar amplifiers tend to lessen the resulting amplified acoustic
guitar sound’s tendency to sound like an electric guitar. The mono version of
Trace Elliot’s acoustic guitar amplifier – the TA 100 – has four 5-inch speakers
and the stereo version – the TA 200S – has eight 5-inch speakers. The
amplifier’s controls (control panels) are located at the center of the front
grille area of both models. Both Trace Elliot acoustic guitar amplifiers look
like a “modern” circa 1990 version of those classic Stromberg Carlson radios
from the 1930s. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There’s a “Dynamic Correction” scheme that optimizes the
speaker movement for reproduction / reproducing acoustic guitar frequencies. An
Alesis reverb chip comes built in the stereo model of the Trace Elliot acoustic
guitar amplifier while you get the mono model with or without the chip. Not
quite a “budget product” it is perceived to be given that stand alone /
discrete Alesis digital reverb units at the time retailed for around 3,000 US
dollars each. <span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoNormal">
Was there already a perfect version of “Dynamic Correction”?
Models that are domestic friendly enough were bought in droves by audiophiles
during the late 1980s by with mixed results. Dynamic Correction via motional
feedback used in Velodyne’s high-gain servo subwoofers origins date back to the
1970s where Graham Bank of hi-fi loudspeaker manufacturer Celestron had
documented his own “trials and tribulations” on making motional feedback
speakers more consumer and domestic friendly. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Motional feedback in a nutshell senses loudspeaker cone
movement and applies correction in a similar fashion to negative feedback.
During its early days of development, a lack of a position reference resulted
in an enormous crack from the loudspeaker cone as it attempted to leave the
loudspeaker chassis during musical peaks. Each time it did this, the connecting
braids carrying the signal from the loudspeaker frame to the voice coil broke,
even though they were long enough to cope with the movement. It appeared that they
fractured under the enormous acceleration involved. Once perfected though, it
became the working principle behind Velodyne’s F-Series subwoofers during the
1990s. </div>
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<span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span><br />
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Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-6047737077733624052015-01-02T02:06:00.000-08:002015-01-02T02:06:33.051-08:00Remembering Leo Fender<div class="MsoNormal">
Even though he never managed to learn how to play the
guitar, does Leo Fender’s skills are rather reserved for making great guitars
and associated gear?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Even though the idea of Leo Fender never even bothered to
check out a Mel Bay chord-book in order to allow him to better play the iconic
inventions and innovations he produced over the decades, the very idea can be
disconcerting given that the Fender Stratocaster electric guitar – probably his
best innovations – is played by almost all of the world’s greatest guitarists
of all time. Sadly, he passed away back in March 21, 1991 and still I wonder if
he ever knew that what he created 50 years ago will stand the test of time and
will be imprinted on the minds of most of the Earth’s population whenever they
are asked to describe what a great electric guitar looks like. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Not only the Fender Stratocaster - which celebrated its 60th Birthday back in 2014, but also the Fender Champ and
scores of other vacuum tube equipped electric guitar amplifiers has since
became the bread and butter of electric guitar based music making all over the
planet. Even though a certain touring guitarist will play Marshall stacks in a
“stadium rock” setting – when it comes to recording studio work or strumming
for inspirations for the next big hit at home, he or she inevitably choose one
of Leo Fender’s vacuum tube electric guitar amplifiers designed and first
released during the 1950s. </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-55867319733891741272014-12-26T07:16:00.000-08:002014-12-27T10:06:00.851-08:00Can The Blue Input Captain Micro-Transformer Be Used As An Electric Bass Guitar Pickup?<div class="MsoNormal">
Even though the last time I saw it being done was back in
1989, can the blue input captain micro-transformer be used as an electric bass
guitar pickup?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Blue input captain micro-transformers, as they are known by
their “trade-name” here in Cebu, Philippines, are usually more synonymous with
tweaking the AN214 integrated circuit audio amplifier than being used in the
musical performance field. But those fortunate enough – and old enough – to had
experienced this “black-art” back around 1989 to 1992, can the blue input
captain micro-transformers be used – if they even work at all – as an electric
bass guitar pickup? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Even though I’ve only seen it actually done less than five
times as a “secret electric bass guitar tweak” back in 1989, using some
balanced-unbalanced blue-color-coded microphone transformers intended for impedance matching of either balanced and unbalanced microphones to be used in ether balanced or unbalanced circuits – as they are
properly known – does indeed work as an electric bass guitar pickup. Even
though orientation to optimize for the loudest bass signal is about as tricky
as fixing a P-90 type electric guitar pickup with faded polarity and terminal
indicators, it did manage to generate a very strong bass signal with a bit too
much sub-sonic / infrasound harmonics that it necessitated the placing of a
0.1-microfarad 50-volt Mylar capacitor in series with its output terminals in
order to filter out the excess sub-sonic / infrasonic garbage from overloading the
cones of your electric bass amplifier’s loudspeaker. Note that those tiny red
dots on the bobbin of the blue input captain micro-transformers are polarity
indicators. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The resulting tone – using a late 1970s early 1980s Japanese
made Fender bass copy – is reminiscent that of the hair metal band Poison’s
bass player Bobby Dall’s tone during the Flesh and Blood and Swallow This Live
period of the band. Even though this “characterless 1980s era synthesizer keyboard
like bass tones” is not going to be of everyone’s taste, it does make an
interesting tweak to one’s “auxiliary electric bass guitar” to those wanting to
sound like Poison’s bass player Bobby Dall during the hair metal band’s Flesh
and Blood and Swallow This Live period or those currently working in a Poison
tribute band wanting for some more “tonal authenticity”.</div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com5tag:blogger.com,1999:blog-2506799271388439141.post-44954441088205617842014-11-05T03:16:00.000-08:002014-11-05T03:16:21.451-08:00Ernie Ball Cobalt Electric Guitar Strings: The Future of Electric Guitar Strings? <!--[if gte mso 9]><xml>
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<![endif]-->Claiming to be 22 percent more magnetization that nickel based
electric guitar strings, does the Ernie Ball Cobalt electric guitar string
represent the future development of electric guitar strings?<br />
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<br /></div>
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By: Ringo Bones </div>
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Endorsed by both seasoned guitarists Slash and Dream Theater
founder John Petrucci, it seems that Ernie Ball is really serious about
promoting their new line of electric guitar strings and getting the word out
there that it is not only represent the future of electric guitar string
development, but also it is able to cater the needs of musicians with very
particular needs. Given the nature of contemporary pop music in comparison to
late 1980s hair metal and older Blues-based rock, I started to wonder – when I
first saw the advert more than a year ago – if the “tone” of the Ernie Ball
Cobalt electric guitar strings maybe just “too radical” for old school
guitarist that I grew up with – i.e. Slash and John Petrucci. So, I’ve waited a
guitar playing friend of mine to test it out given her old strings are starting
to get a bit frayed a few months ago. </div>
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<br /></div>
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If your weary of electric guitar products produced during
the last 20 years that tended to sound “too radical” when you use them for
relatively clean toned classic rock and 1950s era Blues. But then again, I’ve
kept an open mind when I and my friend auditioned the Ernie Ball Cobalt
electric guitar strings. The “claimed” 22 percent more magnetization means this
string will play louder than more conventional counterparts on the same guitar
amp gain setting. This also means it will distort sooner than its conventional
counterpart at the same gain setting which it did by a few decibels. Sound wise
– the Ernie Ball Cobalt Electric Guitar strings tend to make your “vintage 1950s
or 1960s era” electric guitar and electric guitar amp set-up sound as if it was
an early 1980s era MTV direct to the mixing desk rock guitar recording or
something in that direction timbre-wise. <span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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But if your playing style tends toward old school stuff –
i.e. early B.B. King and John Lee Hooker – I advise you to carefully audition
the Ernie Ball Cobalt electric guitar string because the inherent tone it
produces, while richer than its conventional nickel alloy based counterparts,
the rich wideband tone may not be to your liking when playing B.B. King’s
Lucille on a NOS Sylvania 6L6 vacuum tube equipped 1965 Fender Twin Reverb
guitar amp via a Gibson ES 335. The Ernie Ball Cobalt electric guitar strings,
especially when paired with the EMG DG-20 David Gilmour set-up – just sounds
too modern when playing vintage tones. But its relatively high output means it
is advantageous when playing in an electrically noisy environment without
resorting to humbucker pickups like doing hard-disk recording sessions with
your electric guitar near old style computer monitors. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com2tag:blogger.com,1999:blog-2506799271388439141.post-18609933467821733812014-11-04T03:56:00.000-08:002014-11-04T03:56:43.023-08:00Boutique Electric Guitar Amplifiers: Unknown Tone?<!--[if gte mso 9]><xml>
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A trend started around the early 1980s to find worthy
replacement to hard-to-find tone worthy amps like the Fender Champ, has the
boutique guitar amplifier scene – then and now – a still largely undiscovered
country? </div>
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By: Ringo Bones </div>
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It is somewhat weird and disconcerting while Ronald Reagan
was calling on Americans to return to “old values”, any electronic equipment –
especially vacuum tube electric guitar amplifiers – from that era Ronald Reagan
wants Americans to return to were getting scarcer and scarcer the longer he
stayed in power. Tone-worthy electric guitar amplifiers, like the 1958 Fender
Champ, were not only acquiring hyper inflated second hand prices, but were also
increasingly getting scarce that by the mid 1980s, A “battered” 1958 Fender
Champ with a hum problem that gave it a signal to noise ratio of around 40
decibels were selling for nearly 1,000 US dollars on the second-hand market.
Given the dilemma, electric guitar amplifier manufacturers quickly exploited
the need, but sadly, the boutique amplifier scene is still largely an
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During the early 1990s, the increasing scarcity of 1950s era
Fender Champs finally started an industry that sets to replace them with modern
built equivalents that not only sound as good but also as good as the built
quality of the original at prices reasonable enough to avoid you from
questioning your own sanity once you’ve decided to buy one upon hearing how
great it sounds after a few choice chords. Even though every high powered
Marshall amps “secretly” wants to sound like a Fender Champ while still being
able to play at loud arena-filling labels, modern boutique amps now have their
raison d’être near the end of the 20<sup>th</sup> Century as a recording
session amp in a space restricted home studio. </div>
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Around the early 1990s, the Kendrick 2410 Electric Guitar
Amplifier got the rave reviews It deserves for delivering what it claims to be
able to – and even more. The claim of raw tone and rich harmonics at your
fingertips was entirely justified at the time. It might be the “Holy Grail of
guitar amps” says guitarist Tery Oubre, but it can be hard to open and check
inside when compared to other boutique amps. Interested parties could check out
their catalog at Kendrick Amplifiers, PO Box 160 Pflugerville, Tx. 78660. </div>
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<br /></div>
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While I’m more inclined to use and own the Belov Dragster
not only because it is easier to open in order to check out the circuit during
vacuum tube replacement time even though the circuit doesn’t run its output
tubes at the very inch of their lives thus they tend to last longer than most
but also its parallel single ended circuit configuration that uses either 6L6
and EL34 output tubes makes it closer in tone to the original 6V6 output tube
equipped Fender Champ. Even though the parallel single-ended output circuit
configuration of the Belov Dragster is more at home at Hi-Fi World that at
Guitar World, the Belov Dragster electric guitar amp has something to offer to
both the guitarist and the hi-fi enthusiast. </div>
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<span style="mso-spacerun: yes;"> </span></div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com3tag:blogger.com,1999:blog-2506799271388439141.post-89558283078133934032014-05-12T07:33:00.000-07:002014-05-12T07:33:52.481-07:00Can Potentiometers Affect Your Electric Guitar’s Tone? <!--[if gte mso 9]><xml>
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<div class="MsoNormal">
Even though typical electric guitar owners consider changing
the stock pickups of their guitar as the most cost effective way to upgrade to
a better tone, would changing the pots or potentiometers be the more
cost-effective option? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whenever they are dissatisfied with the sound of their
electric guitar and they have some money burning a serious hole in their
pocket, most electric guitar owners resort to upgrading the stock pickups of their
electric guitars as a “cost effective way of upgrading their electric guitar
sound. After all, there are well-reviewed DiMarzio humbuckers and Lace Sensor
single-coil pickups that can be bought for less than 500-US dollars that would
readily transform that 500-US dollar electric guitar given to you as a gift
last Christmas into something that sounds similar to a one used by a famous
rock guitar god. But what if I told you that there’s a far more cost effective
– i.e. cheaper – alternative way to upgrade the existing tone of your electric
guitar. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Consider changing potentiometer values of your electric
guitar, a reliable potentiometer brand often used by top electric guitar
manufacturers like Fender or Gibson seldom sells more than 50-US dollars each.
And if you’re soldering and electronic DIY skills are as good as your guitar
playing, you could save a bundle in labor costs – given that they are
relatively easy to install and swap around. From an electronic engineer’s
perspective and from the electric guitarists “point-of-hearing”, volume pots or
potentiometers act as a tone filter – given that a typical classic Fender Strat
or Gibson Les Paul uses internal shielded / Faraday caged wiring<span style="mso-spacerun: yes;"> </span>to connect its pickups with the output socket
via wires with a 30 picofarad per foot capacitance ala JAN (joint Army-Navy)
RG-58 shielded cables. The higher the potentiometer’s value, the more treble
you hear. With a little DIY experimenting, you might find out that your
electric guitar’s stock pickups can be made to sound like the one used by Eric
Clapton during his Cream days just by swapping the pots and a few minutes worth
of DIY soldering. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When it comes to single-coil pickups, stock Fender Stratocaster
/ Telecaster guitars or Fender type clone electric guitars that use single-coil
pickups typically use 250-kiloohm (250-K) potentiometers, substituting it with
a 500-K potentiometer will brighten single-coils, whether they are of
Stratocaster-style lipstick or the much older soapbar (pre 1955 era) style
pickups. For an airy sounding Strat, try a 1-megaohm (1-Meg) potentiometer. The
trick here is to find a value that provides clarity of tone without introducing
too much harshness or noise. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When it comes to humbucker pickup use and installation, most
manufacturers follow Gibson’s lead and use 500-Kiloohm (500-K) potentiometers
for humbucker pickups. If your humbucker pickup equipped electric guitar sound
too bright, too shrill or too tonally thin, try mellowing its tone by changing
to a lower value potentiometer – typically 300-K or 250-K. Conversely, you can
add more presence to a humbucker by switching to a 1-Meg volume control. Just
remember that in a dual-volume Les Paul style rig, you can mix volume controls
say like brightening only the neck pickup or darkening the bridge pickup of
your Les Paul type electric guitar for greater tonal flexibility usually very
useful for country music or old school electric Blues styles. </div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com1tag:blogger.com,1999:blog-2506799271388439141.post-76754010612307988672013-10-02T04:54:00.003-07:002013-10-02T04:54:58.828-07:00Weak 9 Volt Batteries: Secret to a Great Fuzz Pedal Tone?<!--[if gte mso 9]><xml>
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<![endif]-->Even though batteries for wireless units and guitar tuners
should always put-out full 9-volts when tested on a voltmeter, can weak 9-volt
batteries in your Fuzz or distortion stompbox give you great tone?<br />
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<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
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<br /></div>
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I might be the last person to know about this electric
guitar “tone tweaking” trick during my amateur metal band days back in the late
1980s, but it has been empirically proven by guitar gods and guitar techs since
the days of Woodstock that a weak 9-volt battery that only puts out between 5.5
to 7.5 volts when connected to a voltmeter can actually result in a pleasing
tone when used to power your Fuzz or other distortion type stompbox effect
pedal. Famed guitar legend Duane Allman reportedly preferred weak batteries in
his Dallas Arbiter Fuzz Face, though any voltage reading lower than 5.5-volts –
and depending whether your distortion pedal is IC op-amp or germanium
transistor based – it could be the difference between “death metal tones” to a dead
as a doornail silent stompbox. But why do weak 9-volt or PP-3 batteries produce
a pleasing tone when used to power your Fuzz Face / distortion type stompbox
effects pedals? <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The “subjectively pleasing tone” one gets when using weak
9-volt PP-3 batteries on their distortion pedals is probably a holdover from
the days before the invention of more efficient solid-state silicon rectifiers.
Where electric guitar tube amplifiers still use vacuum tube power supply
rectifier and / or selenium rectifier based power supplies when a hard-struck
power chord usually causes power supply voltage sag and the accompanying warm
fuzzy distortion tone – and unlike your typical hi-fi vacuum tube amplifier,
this “fuzz tone” is usually in the 200 to 300 percent total harmonic distortion
range. Though there are some electric guitar vacuum tube amplifiers like use
both vacuum tube and solid-state rectifiers – Mesa Boogie for example – for reasons
of tone. This makes the GZ34 vacuum tube rectifiers, especially the NOS Mullard
types, are now highly sought after by vintage guitar amp enthusiasts. If only
Mullard made reliable versions of those pesky selenium rectifiers used in the
Fisher 500 C Receiver. </div>
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<span style="mso-spacerun: yes;"> </span></div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com0tag:blogger.com,1999:blog-2506799271388439141.post-46491749729506279222013-09-03T04:38:00.000-07:002013-09-03T04:38:10.593-07:00The 7591 Vacuum Tube: The Jazz Guitarists' Vacuum Tube? <!--[if gte mso 9]><xml>
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Even though it was the preferred vacuum tube for Jazz
guitarists near the end of the 1960s due to its use in the 1966 Ampeg GS-12R guitar
amp, is the 7591 vacuum tube deserve the acclaim as the Jazz guitarists’ vacuum
tube? </div>
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<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sometimes I wonder whatever compelled the Russian vacuum
tube manufacturer Sovtek – via their Electro Harmonix arm – to remanufacture
the 7591 pentode output power vacuum tube during the first few years of the 21<sup>st</sup>
Century given that it became virtually extinct around the time when Ronald
Reagan ruled the free world. Was the Fisher 500-C and Hermon Hosmer Scott’s
receivers a runaway success during the height of the Cold War? Or was it that
the 1966 Ampeg GS-12R amp, oft used by Jazz guitarist on this side of the Iron
Curtain near the end of the 1960s, was also a runaway success for “underground”
Jazz guitarists in the then Soviet Union and the rest of the then Eastern Block
countries? Anyway, both guitarists and hi-fi enthusiasts are very eternally
grateful for Sovtek / Electro Harmonix for remanufacturing the 7591 vacuum tube
– not just for the still functioning 1966 Ampeg GS-12R amps the world over but
also the still working Fisher and Scott receivers needing fresh 7591 vacuum
tubes around the world. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The 7591 gained credence as the “Jazz guitarists’ preferred
vacuum tube” probably around the time of the Reagan presidency where NOS and
even (gasp!!!) used but still functional 7591 vacuum tubes were desperately
scrounged by discriminating Jazz guitarists and owners of Fisher and Scott
receivers in desperate need of fresh – or at least working - 7591 tubes. And
the 1966 Ampeg GS-12 guitar amp gained a reputation as a clean Jazz guitarists’
amp when it was introduced in the late 1960s even though it can rock when
pressed. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During the virtual extinction of the 7591 vacuum tube in the
middle of the 1980s, many 1966 Ampeg GS-12 guitar amp owners – as well as
Fisher and HH Scott receiver owners were experimenting ways to shoehorn the 6V6
vacuum tube – in the Ampeg – and the 6L6 vacuum tube – in the Fisher and Scott
receivers with various degree of success. It might have involved serious “brain
surgery” in rearranging the wiring and the biasing resistors and coupling
capacitors of their Ampeg amps and Fisher and Scott receivers since the 6V6 and
6L6 vacuum tubes are beam tetrodes while the 7591 tube is a pentode. Though 6V6
vacuum tubes that had been “successfully” transplanted into a 1966 Ampeg GS-12R
guitar amp did manage to produce a very interesting tone that make them now
highly collectible, sadly, less skilled thermionic electronic tinkerers irreparably
damaged their Ampegs in such endeavors. </div>
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<br /></div>
<div class="MsoNormal">
Historically, the 7591 pentode output vacuum tube was
introduced in 1958 and registered with the EIA in 1960 via Westinghouse’s
receiving tube factory in Bath, New York. Given that Dr. Harvey C. Rentschler
used to be the director of research for the Westinghouse Lamp Division, every
vacuum tube enthusiast is now wondering how instrumental Dr. Rentschler was in
the development of the famed 7591 pentode output vacuum tube. And by the way,
the 1962 Westinghouse 7591 vacuum tube is the best NOS type for this kind of
tube. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com2tag:blogger.com,1999:blog-2506799271388439141.post-791438150295963932013-07-31T00:36:00.000-07:002013-07-31T00:36:25.245-07:00Leslie Organ Speaker: The Ultimate Electric Guitar Speaker? <!--[if gte mso 9]><xml>
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<![endif]-->Even though the product is primarily intended to be used in
early electric church organs, is the Leslie Organ Speaker the ultimate electric
guitar speaker?<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By: Ringo Bones </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Maybe it is its built-in paper coned woofer that is the
primary reason for its sweet as honey sounds, or the rotating horn being
rotated by a surprisingly silent motor system, or maybe the built-in vacuum
tube based amplifier – which resembles like either a Leak TL12 Point One or a
Quad II – that makes it the ultimate electric guitar speaker and amplifier.
Either way, why can’t today’s electric guitar amplifier / speaker manufacturers
offer something similar or even something better than the original Leslie Organ
Speaker? </div>
<div class="MsoNormal">
The often used model of the Leslie Organ Speaker by electric
guitar players is the Leslie Model 145 Organ Speaker. It was used as a
recording session electric guitar amplifier when the late guitar legend Jimi
Hendrix recorded the studio version of Little Wing during the late 1960s. And
despite his preference of using Fender guitars an Marshall amplifiers during
his live performances, Jimi Hendrix prefer to use low-powered 1950s era Fender
tweed amplifiers connected to dual cone / whizzer cone equipped 15-inch musical
instrument speakers and Mosrite electric guitars with Bigsby tremolo bars. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All guitarists have the US Navy researcher Donald Leslie (any relation to John Leslie?) to
be eternally grateful to because it was he who designed the first generation of
Leslie Organ Speakers equipped with a silent motor system to rotate the middle
frequency-high frequency horn speaker to make its sound to fill a rather large
church space despite its built in vacuum tube based amplifier is only capable
of producing 12 watts or so. The good thing about the Leslie Model 145 Organ
Speaker is that its built in vacuum tube amplifier can easily be modified –
with just as easily as equipping it with a ¼-inch electric guitar input jack –
to be able to accept and play an electric guitar. And by the way, other famous
legendary guitarists who use the Leslie Organ Speakers when playing and
recording electric guitar were Stevie Ray Vaughan and Pink Floyd’s David Gilmour.<span style="mso-spacerun: yes;"> </span></div>
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Even though there are digital guitar effects processors
today that allow you to be able to replicate the sound of a classic Leslie
Organ Speaker, they usually fall short in replicating the sweetness and the
sound-staging capabilities of the real thing – like the iconic Leslie Model 145
Organ Speaker if one wants to mimic Hendrix’s Little Wing riff as he originally
recorded it. Sadly, most Leslie Organ Speakers – especially the Leslie Model
145 Organ Speaker – is too low powered sound wise to be used in live stadium
rock settings.</div>
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As a “solution” to the Leslie Organ Speaker’s inability to
play loud enough in stadium rock concert settings, Pink Floyd guitarist David
Gilmour tried using Maestro Rover units. Even though they are clearly much
louder than the Leslies in studio recording session settings, the Maestro Rover
revolving / rotating full range electric guitar speakers were still deemed not
loud enough for stadium rock concert application settings. Then Phil Taylor and Paul Leader
designed something that provided Gilmour with that distinctive “Leslie” effect
that was adequately loud enough for stadium rock concert use – thus the
Doppolas were born.<span style="mso-spacerun: yes;"> </span>The Doppolas are
rotating speakers - la Leslie Model 145 Organ Speaker - except that the
Doppolas are equipped with two six inch 100-watt drivers making them loud
enough for live stadium rock concert use. Looks like today’s digital audio
processing modeling technology for electric guitar effects processing use is
still not advanced enough to replicate that rotating and whooshing Leslie Organ
Speaker tone. </div>
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Ringohttp://www.blogger.com/profile/09506068154852505840noreply@blogger.com0