Big Big Triodes ... Sound!

Total Page:16

File Type:pdf, Size:1020Kb

Big Big Triodes ... Sound! ( h�lJet :I Puhihh,d CJ!Jwi'Jfly :JP/Jll;} J :lrJij p/;.;!;! J!J.OO Big Triodes ... Big Sound! 300 Watts of Badass Bass Great Tube Sound on a Budget Restoration of an A.tee 287W I'll'. EDITOR.S P AGE AND INDUSTRY NEW S El Nino washed OUl the vimage elec­ vrvIn The News - Again! tronics flea market on Saturday, a crowd As a result of our Tube Enthusiast's VTV Issue # 9 of almost 500 new and familiar tube enthusiasts showed up or our tube Weekend, most of the editors were Table of Contents: f vrv trade show and display show. We also interviewed by the Sa" Frallcisco presented Tube School III with John ChTOllic'� newspaper for a major article Anvood, vrvTech Editor, as class that appeared in rhe February 7, 1998 Legacy of the 50 Watter•..... 3 leader and Evan Aurand wilh Terry Business Section. VI"V's "lech Ediror, Buddingh handling rhe Guitar Amp John Anvood, was pictured on the front TransmittingTube Test Amp •• 7 School. page of the article . o : Business Week Mag'J.zine also gOt into Dumpster: 2CS 1/5670........ 1 0 New York Tube Sch ol FaJl1998 the act and was interested in the �tube If we get at least 50 pre-regis[(�red listening to SE 211/8455 .... 11 audio� phenomenon. They interviewed sign-ups (by 8/15/98), will present vrv yours truly and lOok a picture of me sit­ Practical Tube Audio School in the ting in the'.VTV test lab. The final arti­ Ampeg SVT History••••••••••••• 13 New York area during September or cle was three pages in the subscriber edi­ October 1998. This is an intensive tion of the March 30 issue. The Firs. Tube PCs ••••••••••••••• 18 eight hour class covering the basics of tube electronics, tube amp circuit th eo­ for Articles caU Winter 1998 CES Report ..... 21 ry, tube testing and grading, repair & VTV is always seeking quality articles troubleshooting techniques, equipment on audio and electronics histor y, good Vintage Audio in Japan •..•.. 22 mods & upgrades and listening tesrs. sounding mbe hi-fi projects, pro-audio Tubr School is d�signrdfor attrndm at history a d related subjens. We accept Distortion Analyzers ••••••••25 rhl' bl'gimll:r to imum�diau kv�' ofskifL n 11 articles only in simple text format on will also present a four hour vrv 3-112 inch floppies. Any photos should Altec 287W Giant Amp••••••• 28 Guitar Amp School in the afternoon, be clear and sharp. Schematics should again, if there are at least 30 sign-ups. be clearly drawn with all component Bargain Tube Hi-Fi•••••••••••••• 30 John Atwaod, MSE£ and vrv values listed. We do pay authors for their work if it is pu lished in VI\/, Metallic Rectifiers ............... 32 Technical Editor, is Tube School class b leader. John has over 20 years experi­ Share your knowledge and passion ence in vacuum mbe amp design and about tubes with the world communiry Advertiser Section ••••••••••••••35 of tube enthusiasts-wrire for repair. Additional speakers will include; vrv. Pugliesi, The Fisher Docror; Charles Al vrv Subscription Price Increase Kittleson, vrv Editor and other nOta­ Tube School Update bles in the field of tube electronics. Due to increased rents, postage and has presented twO Tube Schools priming COSts, vrv is raising the sub­ vrv The cost for Tube School is $149 pre­ since last November. We presented scription COSt and per-issue COSt of the paid (before August 15, 1998) and Tube School 11 in Tempe, Ariwna wilh maga7.ine . Current issue news scand and $179 at the door. Price includes all the assistance of Antique Electronic diStribulOr COSt is $9.00/issuc, US sub­ class marerials in a binder plus coffee Supply. For the first time we included a scription Tate is now $36/yr-four issues, and tea in the AM. To guarantee that four hour presentation on guitar ampli­ $43/Canada, $56/Europe and $66 Asia this event will occur, please send or FAX fiers taught by Evan Aurand. In addi­ and world. This price increase is effec­ us your name, address, tele hone num­ tion, Ritchie Fle gler, of Marketing p tive with #9. i VP ber, whether you want the hi -fi or guitar vrv for Fender Musical Instruments, gave a amp class and credit card information to Changes in VIV ralk on the state of tube guitar amps at #9 reserve your seat in class. IfW� d() flOt Fender Musical Instruments. Due to space constraints Part 2 of the gn the rl'quirl'd numbtr ofciass sign lipS Bruce Moore interview and the 572-3 byAll ust 15, 1998, YOUT paymmt wiii be In February, VTV sponsored the first g push-pull amplifier project will nOt be annual Bay Area Tube Enthusiast's rl'fimded promptly. in this issue. They will be in vrv #10. Weekend. Even though the rains of EDI'FORrAL STAFF Vacuum Tube Volley is publi h d quarter­ Copyright 1998 s e Vacuum Tube Valley'" ond Big Tone'to ly for electronic enthusiosts interested in the Charles Kittleson • Edi r and Publisher of this publicotion may ep i colorful past, present ond of vacuum to No port be r r nted future or otherwi!>e reproduced without written tube electronics. ohn Technical Editor of the pvbli�her. J Atwood permi�sion Subscription US$36.00/year (4 issuesl Eric Borbour -Staff Edi or Send t circulation and editorial $43/Canoda and $66/Asia, $56 Europe to: Terry Buddingh . Guitar Editor correspondence Cosh, Bonk Check, or Credit Cords Vacuum Tube Valley us Sieve Parr - Art Director are accepted for payment 1095 E. Duone Ave., Suite 106 Julie P. Werner - Copy Editor Sunnyvale, CA 94086 USA phone - (650) 654 • 2065 e·mail [email protected] FAX • (650) 654 • 2065 Website . www.vocuumtube.com # 1095-4805 155N VACUUM TUBE VALLEY ISSUE 9 • LEGACY THE WATTER o F 5 0 Not many other types were so widely "p;,d,nd mod;fi,d. A,m"",;ng ofm- L egacy 0 f Ih e 5 0 Wa IIer: sians include the 203H for medical diathermy, with plate and grid caps; 303A P was the United Electronics version; ', Tarlor's T-125 was a 150w version with 211 & 845 __ mu of20 and plate and grid caps; laylar's By Eric Barbour 303C/HD203A had a piate cap and mu G fi of25;29 5A was the Western Elec[fic ver- 4AZ ©��1��9�8�A�I9 �I �R�; g�h:"�R:"�':�:.d::: sion from 19 33: T-203Z was a Taylor ver- __ � sion with mu of 85; and there were coo I large transmitting cubes in mass produc- lntro ____,-:-_ ____--===== ==-:-_� many other versions from other firms to I- rion. The plain- tungsten 203 , was also " liH here. This helped cement the 4-pin As usual, we have a Story for you that made under various proprietary numbers, jumbo base as a major industry standard doesn't unfold in a rational way. Once , such as PG 132 again, a tube family in common use today and HWI5. sprang from a line of industrial triodes, and became audio gold by sheer accident Unlike most and random chance. other power rubes of thc era, History it was equipped It begins with an experimental triode with a standard from 1917. General Electric had devel­ base for easy oped the "Type U PliotTon" for use in change-out; . Navy radio transmitters; it was called CG- preVIOUS power 1144 when it was PUt into radios aboard triodes were seaplanes during World War I. After the usually mount­ war, the Type U became the UV-203. ed on framcs Introduced in March 1921 by RCA and and attached to made by GE, for use in AM radio rrans­ theiT circuits mittc�Ts, it had a mu of25 and a pure with flying tungsten filament.In short, it was primi­ leads. This large tive. Yet the 203 was one of the earliest bayonet-lock base with 4 in the very early days of radio broadcast­ stubby pins, originally ing. Note: WE's203 series of tubes were developed by Western much smaller than industry-standard203 Electric and often called rypes and not compatible. the �jtlmbo," became a standard for power tri­ Eventually this led to the2 I 1. It was odcs. developed by Western Electric from their experimental series G, with the first ver­ Thorium was a big sion21 1Acompleted in late 1921 , then improvement. The UV- copied in lare 1923 by Westinghouse, and 203A, introduced in marketed by them and by RCA. With a June 1923 by RCA and mu of 12.5, it was intended for RF dielec­ Westin house, was one g tric hearing and audio modulators. A dull of the first powcr mbes and pedestrian tube for dull everyday to be introduced with a jobs. (If a radio engineer of the 1920s moriated filament. Its lived to sec what old 21 Is are selling for dissipation, rated at today, he would probably die laughing.) lOOW, made it popular. 21 1 rypes were widely made by otber Later it was doned by firms, as they caught on in mundane Amperex, Deforest, GE, industrial and medical applications. Sylvania and Taylor. 1921 RG4 VACUUM TUB E VALLEY ISSUE 9 LEGACY THE 5 0 WATTER o F with a plate cap; 211 H was Amperex ver­ sion with a plate cap; United made a 311 series (311CH with plate cap), mainly for RF heating; RCA's 835 of 1937 was a Iow-capacitance version for the Iow end of the VHF band; and RCA's 838 was a variabIe-high-mu version for zero-hias Class B use.
Recommended publications
  • Tube Condenser Microphone T-47 &
    Condenser Microphones TUBE CONDENSER MICROPHONE T-47 & T-1 Vacuum Tube Condenser Microphone Professional, large-diaphragm, tube condenser microphone for unsurpassed audio quality Hand-selected 12AX7 vacuum tube for exceptional warmth and vintage sound The Ultimate Recording Mic? Classic Tube Sound Ideal as main and support microphone for studio and Since the early days of recording, The sound of tubes is undeniably live applications sound engineers have been searching rich and smooth. At the heart of for the best-sounding mics for each of these mics is a hand-selected Cardioid pickup pattern for recording acoustic instruments and 12AX7 tube, which has been specifically outstanding sound source separation the human voice. The resounding designed to give these microphones and feedback rejection choice of professional recordists their incredible sonic character. around the globe has been the tube One advantage tube condensers have Pressure-gradient transducer with condenser microphone. Why? Because over their solid-state counterparts is they shock-mounted capsule nothing compares to the sound captured are not subject to the rapid rise of odd- Perfect for vocals and by a good tube condenser microphone order harmonics, which the ear perceives acoustic instruments — so open, warm and full of character. as highly unmusical. Even when subjected to high sound pressure levels, Switchable low-frequency roll-off But tube mics can wipe out a the T-1 and T-47 mics react in much the home-recording budget faster than same way the human ear does. 20 dB input attenuation (T-1 only) you can say “phantom power supply”. That’s why we’re so very proud to present T-1 and T-47 Have a Sensitive Side External power supply with 30 ft.
    [Show full text]
  • GUITARS at AUCTION FEBRUARY 27 Dear Guitar Collector
    GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an GUITARS additional 82 lots of collectible amps, music awards and other related items all being sold on Saturday, February 27. The Auction is being divided into two sessions AT AUCTION FEBRUARY 27 starting at 2pm and 6pm (all East Coast time.) Session I, contains an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 The event is being held “live” at New York City’s Bohemian National Hall, a great Session I – 2pm: Commencing with Lot #200 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, Session II – 6pm: Commencing with Lot #400 the event is being conducted on two “bidding platforms”… liveauctioneers. com and invaluable.com. For those who so wish, telephone bidding can easily PUBLIC PREVIEW February 25 & 26 be arranged by contacting us. All the auction items will be on preview display Noon to 8pm (each day) Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. LOCATION Bohemian National Hall 321 East 73rd Street Please note that this disc only contains photographic images of the items along New York, NY with their lot headings. For example, the heading for Lot 422 is 1936 D’Angelico ONLINE BIDDING Liveauctioneers.com Style A. Descriptions, condition reports and estimates do not appear on this disc.
    [Show full text]
  • Layout 1 (Page 1)
    OWNER’S MANUAL 1550-07 GUS © 2007 Gibson Guitar Corp. To the new Gibson owner: Congratulations on the purchase of your new Gibson electric guitar—the world’s most famous electric guitar from the leader of fretted instruments. Please take a few minutes to acquaint yourself with the information in this booklet regarding materials, electronics, “how to,” care, maintenance, and more about your guitar. And then begin enjoying a lifetime of music with your new Gibson. The Components of the Solidbody Electric Guitar 4 Gibson Innovations 6 The History of Gibson Electric Guitars 8 DESIGN AND CONSTRUCTION Body 13 Neck and Headstock 13 Pickups 14 Controls 15 Bridge 17 Tailpiece 18 CARE AND MAINTENANCE Finish 19 Your Guitar on the Road 19 Things to Avoid 20 Strings 21 Install Your Strings Correctly 22 String Gauge 23 Brand of Strings 23 NEW TECHNOLOGY The Gibson Robot Guitar 24 64 Strap Stopbar Tune-o-matic Three-way 12th Fret Button Tailpiece Bridge Pickups Toggle Switch Marker/Inlay Neck Fret Fingerboard Nut Headstock The Components of the Solidbody Electric Guitar Featuring a Les Paul Standard in Heritage Cherry Sunburst Input Jack Tone Volume Binding Body Single Truss Machine Tuning Controls Controls Cutaway Rod Heads Keys Cover 57 Strap Stopbar Tune-o-matic 12th Fret Button Body Tailpiece Bridge Pickups Neck Marker/Inlay Fret Fingerboard Nut Headstock Three-way Toggle Switch The Components of the Solidbody Electric Guitar Featuring a V-Factor Faded in Worn Cherry Input Jack Tone Volume Pickguard Truss Machine Tuning Control Controls Rod Heads Keys Cover 6 Here are just a few of the Gibson innovations that have reshaped the guitar world: 1894 – First archtop guitar 1922 – First ƒ-hole archtop, the L-5 1936 – First professional quality electric guitar, the ES-150 1947 – P-90 single-coil pickup introduced 1948 – First dual-pickup Gibson, the ES-300 1949 – First three-pickup electric, the ES-5 1949 – First hollowbody electric with pointed cutaway, the ES-175 1952 – First Les Paul guitar 1954 – Les Paul Custom and Les Paul Jr.
    [Show full text]
  • The Tube Sound and Tube Emulators
    ERIC K. PRITCHARD The Tube Sound and Tube Emulators $0 RE TUBES MAGIC? IS THERE really a difference be- tween tubes and tran- I ea sistors? Some hear the warmthA and appreciate the full body of the tube sound, and others deride the thought. Is the magic of I. I. - the tube sound more than mere / ea nostalgia? A recording engineer, ....„1 .4,Aa. e1 00 14 •111 Russell 0. Hamm, could hear the Relative lame Level itoletive ler.a Level difference. Determined to find and Figure 1.Distortion components explain the difference, he began Figure 3.Distortion components for two-stage triode amplifier. testing microphone preamplifiers for multi-stage capacitor-coupled of various technologies. His fa- transistor amplifier. mous paper, "Tubes Versus Tran- sistors—Is There an Audible Dif- ference?" [1], shows that the 10 harmonic structures in overdrive 3 re N I 3 r• conditions for different technolo- gies are quite different, almost like 20 10 fingerprints. I. -___.......i..4_7" More recently, an electronics en- 14 ea gineer, Eric Pritchard, started Relative brat Level - 14 down the circuitous path to bring Retellv• tepee Leve1 Figure 2..Distortion components the two worlds together and to give Figure 4.Distortion components for two-stage pentode amplifier.. solid state the character of tubes. for multistage transformer- The elusive tube sound has finally coupled transistor amplifier. succumbed to an intensive re- search and development program TUBES AND THE TUBE that has produced solid-state tube SOUND emulators and tube emulator cir- In retrospect, the tube has many cuits [2]. The effort began nearly 3 re f technically superior aspects, it is seven years ago with the search for fairly linear, its operational pa- / a solid state guitar amplifier that rameters do not vary badly, at least / sounded like tubes.
    [Show full text]
  • Cutting Edge
    CuttingTHE Edge Electronically reprinted from December 2007 MASTERPIECE! Audio Research 610T Monoblock Power Amplifier Jonathan Valin t is a little sobering to look back to 1973 and the first pieces of Audio Research gear II heard—the SP-3 preamp and D75 amp powering Magneplanar I-Us in a stereo demo that, for me, has never been bettered or forgotten— and then to consider how consistently and naturally all the subsequent ARC gear I’ve heard, and I’ve heard a lot, has been voiced. From the start, ARC components had a sound that was uniquely, indelibly, addictively “right.” ARC’s designer and founder William Zane Johnson called this sound “high definition,” a trademark that still appears on the faceplate of each and every ARC component. And even in 1973 his creations were astonishingly high in definition; indeed, their standard-setting resolution, lifelike size, bloom, and airy brightness, and exceptionally low levels of tube-like coloration were a large part of what set them apart from the darker, thicker, blatantly euphonic sound of the tube preamps and amps that preceded them. Not that everyone preferred high definition tube sound. There were those, then, and are those, now, who thought and think that tubes should invariably make music sweet, round, and rosy, that prettifying sources is the vacuum tube’s job in life—the very thing that sets it apart from the crisp, clean, “neutral” presentation of the transistor. Johnson never bought into this model. Indeed, it was the superior accuracy and neutrality of transistor electronics—which in the late 60s and early 70s were even more in the ascendant than they are today—that inspired him to outdo solid-state at its own game.
    [Show full text]
  • Genuine Sound
    www.lewitt-audio.com EMPHASIZE THE GENUINE IN YOUR SOUND. LCT 940 LCT 940 Introduction Thank you that you have opted for a LEWITT product. In this operating manual you will learn more about your LEWITT microphone, its handling and its proper usage. With the LCT Authentica Series, LEWITT introduces a new generation of highly versatile wired condenser microphones that all aim for setting new benchmarks of technology, sound quality and user-friendliness in both professional studio recording and onstage use. The microphones of the LCT Authentica Series stand for unaltered sound and innovative features: llluminated Settings, Noiseless Push Buttons, Automatic Attenuation with Clip Detection and History all ensure error-free sonic perfection and peerless ease of use for today’s demanding recording artists and engineers. Day after day, be it for live acts, in home studios or in professional studio productions. LEWITT wishes you a lot of fun and success with this product! 02 LCT 940 The product Sound professionals naturally rely on a set of different high-end microphones in order to get the best out of their sound. But changing microphones and adjusting settings takes valuable time, the creative flow of a session is interrupted. With its new Authentica series flagship LCT 940, LEWITT now introduces a microphone that will revolutionize modern studio recording procedures and help engineers and artists to react more quickly to a desired change of style and sound. The LCT 940 combines the specific characteristics of a premium large-diaphragm FET condenser microphone and a top-notch tube microphone in one housing. Basically, users can choose between the two main settings "FET" and "Tube".
    [Show full text]
  • A History of Mandolin Construction
    1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago.
    [Show full text]
  • '.!0 Ccnls Per Copy $2.00 Pt•R Y
    '.!0 Ccn ls Per Copy P UBLUllf.0 BY ff, F, 001!.LL CO~IPAS\ ' $2.00 Pt•r Ycar COl' \ 'RICIIT 19:8-ALL RIGHTS IU.St:ll.\l '.11 ENTER l,D AS UCONO Cl.A ll MAITER JUSE 9, 19()9, AT TUE POSI' OFFICE AT 8051 0S, M ...SS ACII USE1T$, LSI>~~ "'l'l M ' M\ lll'll j, 18:q ·Th, CRESCENDO ' \Vu~LIIZE~Offers this ~'I)) . HOWARD Tenor Banjo Outfit s49complet,Ja Requlars75~~ Value-for Only ?'-~~~q9:..... l v- It ~ "'\.~lo' Here's your oppo rtunity to buy thi s won• powe r w ith a br illiant, resonan t tone. derful \Vurlitz er Howard Tenor Banjo Only \Vurlitzcr, the world's largest mu sic ou tfit at a price that make s it the greatest house, can offer yqu such money saving of all banjo values. Guarante ed 100% valu es. If th ere were a better banj o value by Wurlitzer . Think of it-o nly $49.00 th an chis we wou ld have it . If a lowe r buys chis fine tenor banjo outfit complete price were po ssible, we wo uld make it. with accesso ries, inclu ding '.resonator, fin• \Ve will ship chis outfit to you on tri al est grade Keratol covered, velvet lined for thr ee day s, th ereby giving you an op# ca se, in struction book, extra stri ngs, portuniry to sec what a really wonderfu l tun er, wrench and pick . Nothing else value it is. Write today for complete to buy.
    [Show full text]
  • Ted Nugent Ted Love the One You’Re With… How Optimizing the Guitars “I Am Classic Rock Revisited
    Mountainview Publishing, LLC INSIDE the Mambo Son’s guitarist Tom Guerra takes a journey to the center of The Player’s Guide to Ultimate Tone TM the mind $10.00 US, September 2010/VOL.11 NO.11 Report of the Byrdland blaster, Ted Nugent Ted Love the One You’re With… How optimizing the guitars “I am Classic Rock Revisited. I revisit it every waking moment of my life because it has the spirit you already and the attitude and the fire and the middle finger. I am Rosa Parks with a Gibson guitar.” own provides cheap – Ted Nugent relief in tough times… Who among us has played 7 more than six thousand RS Guitarwork’s shows, sold 30 million Roy Bowen records, arrived at the peak on replacement of their career bankrupt, pots, tone caps, rebounded with a vengeance refins, repairs and is still throwing down and the variable nature of loud and proud thirty years nickel-silver hence? Uh-huh. Ted. In case you hadn’t noticed, the state Optimizing Junior… of Michigan, and the city of Common sense Detroit in particular, have tips for safely turned out some very inter- replacing esting human beings… Bill pots, caps Haley, Del Shannon, Jim & pickup covers McCarty, Bob Seger, Alice Cooper, Iggy Pop, Marshall 14 Crenshaw, Wilson Pickett, Primal Scream! Little Willie John, Smokey Robinson, Aretha Franklin, Chasing Madonna, Don Was, Jack tone with Wolfetone’s White, and Stevie Wonder, MarshallHead among others. hi-octane humbuckers Then there are the bands… MC5, Mitch Ryder and the plus… Detroit Wheels, Iggy Pop and Wolfe’s the Stooges, Cactus, George ‘meaner’ Clinton and Funkadelic, P90s Grand Funk Railroad, Brownsville Station, ? Mark 17 and the Mysterians, Rare The Eastman T185 MX A truly superior, Earth, the mighty, mighty Motown stable, and The White Stripes.
    [Show full text]
  • LINER NOTES Recorded Anthology of American Music, Inc
    ALL THE RAGE: New World Records 80544 Nashville Mandolin Ensemble At the turn of the twentieth century, a sound lilted through the air of American music like nothing that had ever been heard before. It inspired one writer to call it “the true soul of music.” It inspired thousands of Americans to pick up instruments and form groups to create this sound for themselves. It was the sound of the mandolin orchestra, a sound that the Nashville Mandolin Orchestra recreates on All the Rage, a sound as fresh and new today as it was in its heyday. The late nineteenth century was an exciting time for American music lovers. The invention of the phonograph had brought music into the home, and the increased exposure and competition brought out the best in musicians. John Philip Sousa’s band perfected the sound of the brass band, and the Peerless Quartet took four-part vocal performance to a level of perfection. But these were stylistic accomplishments with familiar, existing sounds—brass instruments and human vocal cords. The sound of the mandolin orchestra carried an extra edge of excitement because most Americans had never even heard a mandolin, much less the sound of mandolin-family instruments played in an orchestral setting. The mandolin alone had a distinct, unique sound. When a mandolinist plucked a single-note run, nothing could match its crispness of attack and delicacy of tone. And when a group of mandolin-family instruments launched into an ensemble tremolo, the listener was bathed in wave after wave of the most beautiful sound imaginable.
    [Show full text]
  • Something Completely Different…
    Something completely different… Jerry Whitaker, ATSC, and old radio guy 1 The Tube Sound: Fact or Fiction? 2 Scope of This Presentation The latest trend in audio is actually a very old trend Tubes > transistors > integrated circuits > digital > tubes? We will revisit the attributes of vacuum tubes for audio applications Attempt to answer the question—are vacuum tube amplifiers better or just different? What about source material, in particular vinyl records? Tubes and vinyl—the ultimate audio pairing for high-fidelity listening? 3 Observation #1 Vacuum tubes have been around for a very long time. Appreciated for their distinctive sound, amplifiers built around tubes have found a permanent home with audio enthusiasts and experimenters alike. You don’t need to be an “audiophile” to appreciate them. Tube-based systems can coexist nicely in today’s digital-based environment. 4 Preferences The differences make it interesting 5 Preferences Audio is all about preferences and real-life experiences • Certain fundamental reference points exist • Loudness, frequency response, noise, distortion, etc. Audio has another dimension as well—perception • The artist has a wide and varied pallet with which to paint • There are few absolutes when it comes to audio perception • With video, absolutes abound • Viewers know that the grass should be green and the sky should be blue and people should look like…people 6 Appointment Listening: Gone for Good? Consumer listening habits have changed dramatically in the last decade • Portable playback devices abound • Convenience is the key product motivator • Listening typically done while doing something else The heyday of appointment listening now well in the past • Circa 1965—console stereo in the family room, LPs on the turntable • Circa 1945—radio in the living room, family gathered around 7 Observation #2 Appointment listening is making a comeback and doing it with tubes and vinyl.
    [Show full text]
  • Vacuum Tube Amplifier Modeling with Dynamic Convolution
    Vacuum Tube Amplifier Modeling with Dynamic Convolution Jason Traub Department of Electrical and Computer Engineering, University of Florida Though nearly obsolete within electronics, vacuum tubes remain in high demand for musical amplification [1]; and particularly for electric guitar. This research discusses reasons for the observed preference and assesses its validity. Furthermore, amplifier electronic circuits are studied and comparisons are made between vacuum tubes and bipolar junction and metal oxide field effect transistors; the latter two have replaced vacuum tubes in nearly every application, and are responsible for the advancement of the digital computer. Undoubtedly, there exists extreme cost effectiveness in obtaining a computer processing technique to mimic the sound that is applied by a vacuum tube amplifier. Thus, many modeling techniques have been developed and used in commercially successful products. This research discusses several of these methods and ultimately attempts to mimic a vacuum tube amplifier using the dynamic convolution method, proposed by Kemp [2]. Introduction: Light Bulbs, Valves, and Transistors acuum tubes, or “valves”, as the British call them, were the first electronic component to be able to V function as an amplifier. To give a historical perspective: Thomas Edison invented and patented the light bulb in 1879 [3]; J.J. Thompson’s experiments led to the discovery of the electron in 1897 [4]; and the work of John Fleming and Lee de Forest ultimately led to the vacuum tube triode in 1906 [5]. This three terminal device allows us to amplify the current and/or voltage of an input signal. A vacuum tube triode consists of two electrodes, the plate (anode) and cathode, separated by a short distance in an Figure 1.
    [Show full text]