Tube amps...why?

As a synthesist, it’s interesting how much of this explanation dovetails with the creation of sounds on a synthesizer. You have a waveform that in its simplest form is an oscillator (think of the oscillations on a guitar string, for example) that feeds filters, modulators, and other modifiers, the most important of which is the filter that adds a resonant peak where you decide to put it, and thereby generates overtones for the oscillator, plus LFOs, ADSR envelopes to control attacks sustain, decay and release, etc.

He’s right when he says that the basic oscillator - the string - isn’t very complex (though in my opinion the wood and metal choices and pickup act as modifiers to the oscillating tone of the string, as the wooden parts do on an acoustic guitar, where the hollow guitar body is a big acoustic resonant filter). But the main thing that affects what we think of as electric guitar tone is the amp.

I’ve said this before, but a what we’d call a clean tube amp generates harmonics even when it’s not clipping. These old circuits cruise at 10-20% harmonic distortion, meaning they’re adding harmonics to the sound coming into the amp, and creating that familiar tone. It’s a tone that’s inherently more complex than it would be without the harmonic distortion that the circuit adds, even clean.

Increase the gain into the circuit, and it gradually starts to break up as it delivers more harmonic distortion, compression, and saturation.

Regardless of where you come down on the tubes vs modelers question - my view that yes, you can model distortion, but not in the same way, being infamous around here - you have to admire the devices that make the electric guitar so endlessly fascinating, regardless of how they operate on the signal to make the sound.

There's my Tone Yoda! I love this stuff! Explain it so I understand, you do...:D
 
I like tone
And I like pie
I really have them both
But I don't know why

I guess it's cuz
I've lived my life
Always looking for the new things
That satisfy

But you can say
I'm full of crap
I've only fallen into
The latest trap

It's your opinion
And I don't care
Cuz you're happy with your tone
And we're both... already... there!

"Cue crescendo with backup singers wailing the final note".:)
 
That video was an extreme example to demonstrate how tube amplifiers overdrive. The beauty of a tube power section lies in what Pat was calling the step that forms at the zero crossing as the input signal increases in size. That step is known as a crossover "notch." That notch produces crossover distortion. It is the result of the amp shifting from class AB operation to class B operation. Push-pull tube audio amplifiers are biased such that they operate in class A, class AB, or class B. In class A operation, both halves of the push-pull circuit conduct current for 360 degrees (i.e., they are always on). In class AB operation, each tube conducts current for more than 180 degrees, but less than 360 degrees. In class B operation, each tube conducts current for 180 degrees. The important thing to remember is that the halves of the push-pull circuit are 180 degrees out of phase. This phase difference is made possible by a circuit known as a phase inverter, which produces a signal in phase with the input signal and a signal 180 degrees out of phase with the input signal. By operating in class B, each half of the power section only has to amplify one-half of the signal, that is, each half of the power section is on only on for half of the time, which results in significantly more power being sent to the speaker instead of being wasted as heat.

As an aside, a post-phase inverter master volume works by progressively summing the two output phases until the output is zero (or darn near it). Two signals of the same amplitude that are 180 degrees out of phase with each other sum to zero.

Anyway, the magic of an amp that can shift from class AB to class B under heavy load is that allows a player to punch through the mix when bearing down hard on the guitar during a solo because an output section is more efficient in class B than it is in class AB (most long-time tube amp players complain about not being able to punch through the mix with a solid-state amp because most solid-state amps remain in their operating class under heavy load). When pushed harder into class B, the amp draws more power than the power supply can provide, which results in the power supply sagging, lowering the plate voltage, resulting in sustain while the power supply recovers. This phenomenon is responsible for the fluidity of a cranked tube amp when playing single notes.

As far as the dissonance problem with non-perfect intervals, that is the result of intermodulation distortion, which more common in high-gain solid-state circuits than tube power amps. Intermodulation distortion which is the result of harmonics mixing, w produces sum and difference frequencies that are not multiples of the original frequency. Intermodulation distortion is very common in two-guitar bands where both guitarists play with a highly distorted guitar signal. Intermodulation distortion is responsible for muddy sounding mixes.

By the way, I challenge you to say that "Cliffs of Dover" lacks clarity. It was recorded using an Echoplex, Butler Tube Driver, and a cranked Marshall.


A lot of the harshness in the Pat Quilter video is due to the JCM 800 being voiced much brighter than previous Marshalls. The amp needed to be in the era of synth-heavy music that was the 80s.

One last thing, while I still own one of the tube amps that I designed and built in the mid-90s, I am not a tube snob. I own a Tech 21 Trademark 60 and a Quilter MicroPro Mach 2. I appreciate both technologies, but tube amps own playing dynamics. I really wanted to like the Blues Cube because it is allegedly modeled after the 5F6-A Tweed Bassman, which is the amp circuit from which almost all Marshall amps were derived. While the Artist does not sound bad, it does not remotely sound or feel like a Tweed Bassman, regardless of the hype. Joe Bonamassa is playing straight into two high-power Tweed Twins and two Tweed Bassmen in this video:
Hmmmn....
First off, the Dover piece CLEARLY contains top notch playing. No question there! However, after about the 3 minute mark, I really dislike the sound of his tone (not talking about his playing). In the other clip, I really like neither tone or playing. But I don’t want to get into criticizing a player. Just not my thing.

More to the point, however, the “intermodulation distortion” that you mentioned (I’ll have to research the phenomenon) is definitely something I experience on tube amps. I bought a TK imperial a few months back. It does a few things that I LOVE. None of them involve driving it very far. On that amp, for example, if I play the simple progression below, with anything greater than a slight overdrive to the amp, it just sounds like a mess. The motions loses all power and clarity of direction. This is just a simple example. Please forgive my appalling manuscript!
XAlCTb1.jpg

Now, I can’t speak very highly of my playing. I may be the most dire guitarist alive, or very close. Still, my playing has lots of stuff of similar degrees of dissonance and similar voicing. And I guess what I’m learning is that the thing that people love tube amps for just doesn’t work for me
 
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It depends on what one is seeking tone-wise. I think that both of those guys have very good clean and distorted tone.

By the way, is the first chord Gmadd11/Bb (i.e., the first inversion of Gmadd11)?
 
It depends on what one is seeking tone-wise. I think that both of those guys have very good clean and distorted tone.

By the way, is the first chord Gmadd11/Bb (i.e., the first inversion of Gmadd11)?
Well, on its own you could certainly be correct hearing it that way. However, I took it out of a larger context, where there is an Eflat in the bass. See the highly simplified example below. Also, for a bit more context, the D is a non harmonic tone of retardation, which resolves to the E flat of the next chord (there’s music before that first sound.)
bp728zz.jpg
 
I like tone

Poetry always gets me verklempt.

Here’s the thing: I really think everyone should make themselves happy with amps. Whatever that is, it is. Tubes, modelers, whatever.

I think perhaps I give the impression that I have something against modern stuff. Actually, I do a lot of things for humorous reasons.

I go a little overboard to stimulate conversation, too. Does that make me a jerk? Probably! ;)

“Les, you’re a jerk.”

“I’m glad you noticed. While I do like tubes, I also like attention. Please talk to my psychiatrist, Dr. Freud.”

“What’s up with this guy, Dr. Freud?”

“He’s nuts.”

“Thanks.”
 
Poetry always gets me verklempt.

Here’s the thing: I really think everyone should make themselves happy with amps. Whatever that is, it is. Tubes, modelers, whatever.

I think perhaps I give the impression that I have something against modern stuff. Actually, I do a lot of things for humorous reasons.

I go a little overboard to stimulate conversation, too. Does that make me a jerk? Probably! ;)

“Les, you’re a jerk.”

“I’m glad you noticed. While I do like tubes, I also like attention. Please talk to my psychiatrist, Dr. Freud.”

“What’s up with this guy, Dr. Freud?”

“He’s nuts.”

“Thanks.”

Are you going to the modern Dr. Freud? I heard he is Japanese and leading a tribute band called Pink Freud.
 
Definitely. Everyone and his brother has a $30K CD player, so really, it isn’t much of a big deal.

But if they made EL34s or KT77s, I’d want a pair for my HXDA. Because I’m looking forward to this conversation at the pearly gates...

“I see from your file that you were L Schefman, is that correct?”

“Yes.”

“Says here you spent $850 on a pair of tubes for your guitar amp.”

“That’s true.”

“Shut up! Really?”

“Oh yeah. Amps were a thing for me when I was alive.”

“I’m trying to put that into a category. Let’s see...hmmm...it’s not gluttony...and if you’re blowing the money on tubes it’s not avarice...well, I’m just going to put it down as ‘random deadly sin’, because I can’t find a better category for it, and...oh are you kidding? My computer’s down!”

“How can that happen here? Isn’t everything supposed to be magical and perfect? Why do you even need a computer, can’t you just think stuff and it automatically happens?”

“That’s only in heaven. This is limbo. We kind of get the short end of the metaphysical budget here. Just a sec. Hey, Isaiah, can you come here for a minute and help me out? My computer’s on the fritz again...Well I guess I don’t need my computer to figure out where you’re going.” (Takes out a big red rubber stamp, and slams it onto the file, WHOMP!). “Take this folder over to the guy with the horns at the counter, tell him you’ve been interviewed and you need a donkey to take you to hell. Next!”

“Wait, uh...first answer one question. Was it the tubes?”

“Sort of. Crazy people like you who’d blow that kind of money on tubes aren’t really allowed into heaven. Next!”

“Hang on a sec...do they have music in hell?”

“Yes, Polkas, played with accordions. You have your choice of instrument when you enter the mouth of hell. You can get a red accordion, or a sparkle silver accordion. OK? Next!!”

“I like accordions. I can play Polkas.”

“Oh geez, another one! You like accordions. That means hell will be enjoyable for you. I have to reclassify you now. Let’s see...likes accordions....no, that’s aardvarks...yes there it is, likes accordions. (Puts file in a new folder, stamps the cover with a different big stamp. Whomp!). OK, take this folder to the angel in the next cubicle, and she’ll open the pearly gates for you.”

“I’m going to heaven?”

“We have no other place to put you. But you won’t like the music, so for you, heaven will be hell. Next!”

“What’s the music like?”

“Herman’s Hermits, Patti Page, Pat Boone; you know, happy music. God likes happy, clean music. 24/7. Next!!”

“What? No Stairway?”
This is like some contemporary George Bernard Shaw dialogue
 
http://www.tonestack.net/articles/guitar-amps/tube-vs-solid-state.html

I don’t know nearly enough about the topic to effectively verify or dispute what’s written. Moreover, I lack the equipment to do any such testing. It does, however, state some things that I’ve suspected and wondered about. The most basic of which is the general target audience, and resulting build/component differences.
Curious to read what those with more knowledge than I think
 
.

At the end of the day ... I have no desire to own or play on tube amps due to their fragility and maintenance demands (tube replacements and every decade cap replacements due to the higher voltages required by the tubes). Even the majority of players feed their amps a raft-full of pedals where their tone has nothing to do with the amp and everything to do with the pedals. So I avoid all that and just stick with solid state amps that can famously "take pedals well!" and I'm ok with that.

Tube amp circuits and the parts in them are actually more simple and should be less expensive than solid state but the market craves the tube circuits and because of that they can command the buyers to pay a higher price for them. How many products exist out there where the customers are clamoring for 'yestertech' rather than the latest and greatest upgrades? Do you want to drive this 50s car with no seat belts, no airbags, lance-like steering columns, and only an am radio or this latest one with seatbelts, airbags, anti-lock brakes, and the capability to sync with your phone to play all your mp3 songs?

.
 
Of course, you probably already guessed that their lead guitarist is David Gearmore.......

Another winner! You’ll be here all week right? :)

I can’t think of anything funnier than this to top ya. I bow to your sense of humor, sir!!
 
.
Even the majority of players feed their amps a raft-full of pedals where their tone has nothing to do with the amp and everything to do with the pedals.
.

Nothing wrong with your choice of amp types, that’s a personal thing; however, the fact is that running pedals through a tube amp has a LOT to do with the amp, and here’s why:

Just as a tube amp colors the sound of a guitar without pedals that’s run through it, it colors the sound of the guitar with pedals that run into it, both in front of the amp, and in the loop.

When you consider that even “clean”, most tube amps have 10-20% total harmonic distortion - that is, the tubes are adding harmonic overtones in addition to the signal, and these overtones add color - you can see that when not even addressing the issue of pedals overdriving the tubes, you get plenty of tube processing of a pedal signal.

Of course, overdrive pedals are designed to overdrive the amplifier. Which, used as intended, they do. The amp adds another layer of compression and grit, and colors the overdriven signal.

A purely solid state (not modeling) amp distorts differently, which is why solid state amps sound different from tube amps. Instead of predominantly second order harmonic distortion, you get predominantly third order harmonic distortion, which often sounds harsh, because the intervals don’t work the way second-order harmonics do; second-order harmonics are kinder to the ear.

If you run a solid state pedal into a tube amp, yes, you get the sound of the tube amp on top of the pedal. Lots of players think that’s harmonious, and it’s why so many recording players have played tubes, despite the fact that very nice solid state amps were available on the market from about 1965 on (Vox, Kustom, Standel and numerous others all offered them).

I’m not arguing that you should switch from solid state to tubes - far from it! You should play what you like. But it’s good to understand what happens when a signal runs into a tube amp, be that from a pedal, a guitar straight in, or what-have-you. :)
 
Strangely enough, I do get it, but I sometimes wonder if you're not just recycling old material. Kind of the same way the Earth works, but on a smaller scale. o_O

You don’t get it.

But yes, humor recycles old themes all the time. That’s not a bad thing.
 
I’d like to expand on my solid state vs tubes post a little, because one of the things jvin248 said was that he doesn’t understand why a tube amp should cost more than a solid state amp. Here the answer is pretty simple:

A transistor amp doesn’t need output transformers The input transformer on a SS amp is also a different beast. Tube amps generally have chokes made for tube amps.

These are important to the sound of a tube amp, and they cost.

A set of quality Mercury Magnetics transformers and choke costs about $500-600 from an electronics supply house if you want to buy them. Replacing transformers is an expensive proposition!

Because the chassis of a tube amp needs to be able to support the weight of the heavy transformers, the chassis needs to be more robust. While some amps support the output tubes on a circuit board - which has to be heavier to support the tubes and tube sockets and the force needed to install and remove the tubes - the circuit boards have to be supported better and are often thicker.

The better amps have the output tubes mounted to the chassis, and in many cases, the preamp tube sockets are chassis mounted as well. Hand-wired tube amps take more time to build. Hand-populated circuit boards take more time to build, Not all tube amps are built this way, but many are.

Solid state amps are more likely to have circuit board mounted knobs for control; tube amps are more likely to employ leads from the circuit to chassis-mounted controls, which is a stronger way to do things.

Because of the heavy output transformers, tube amps weigh more, and cost more to ship.

In any case, you can see that the differences in cost between solid state and tube amps have more to do with factors that most folks aren’t aware of. This is why money-saving, inexpensive amps at the low end of a manufacturer’s product line (Fender is a good example) are usually solid state.

OK, so why would anyone put up with the extra maintenance and cost of a tube amp? Well, they sound different, they react differently to player input, and lots of people like that difference and are willing to pay for it. Speaking only for myself, I’ve never owned a solid state instrument amp in 48 years of playing. It’s not because I’m a traditionalist - I could care less about that. It’s because that’s the sound I prefer. YMMV, and that’s absolutely all right!
 
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