Posts Tagged ‘KT88’

TubeSync Fitted To A Mesa Boogie F-50

Thursday, June 9th, 2011

Sensational blues guitarist Mitch Laddie has been out touring with the product fitted to his Mesa/Boogie F-50, which he said sounds “incredible”. “I had totally fallen out of love with this particular amp before Tubesync was fitted but the difference in sound is more than substantial.The response and tone have been improved ten-fold. Very tight, very fat and all round punchier, especially in the low to mid frequencies.”

Mitch & His Mesa F50“I believe the product is very interesting and definitely nothing like anything I’ve seen or used before. The main advantages of the product are that not only does it give you a valve maintenance feature by displaying a light if a fault is found within a valve, but it manages your valves to run at an equal number of milliamps. This means that each valve is working at an equal rate which in theory gives you optimum amp performance.

F50

Above : TubeSync fitted to a Mesa Boogie F-50

TubeSync Facebook Friends Are Now 2,000+

Wednesday, February 16th, 2011

Due to the growing demand TubeSync has now over 2,000 friends on Facebook!

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Click on the link above if you would like to join the TubeSync Revolution

Dennis Marshall’s Amp Repair Shop Scotland Becomes An Approved TubeSync Service Point

Thursday, September 2nd, 2010

Over the last 40 years Dennis Marshall has worked with many people in the music business. Some famous, some to become famous, but mostly just plain ordinary musicians. Dennis has gained a reputation throughout the UK for his work and contribution to the music business and the latest news is……is that Dennis has recently signed up as the exclusive Scottish installer of TubesSync.

‘’TubeSync is a new product and is the new ‘wheel’ for guitar tube amps’’ states Dennis, ‘’ No need to match output valves in your amp. Drop in any combination of makes OR EVEN TYPES!!! (EL34, KT77, KT88, 6L6 etc).’’

‘’ TubeSync will automatically sense and adjust the output bias of each tube independently to balance the amp. Imagine what new tones you can create from those limitless output tube combinations!’’

Dennis has an amp in his workshop with Tubesync installed – so anybody is welcome to come in and try it out!!

You can reach Dennis directly on…………..

Telephone 01383 881761

Email tech@dennismarshall.co.uk

Or Mail or in person at

6 Main Street, Newmills

Dunfermline, Fife, KY12 8SR

Bias_Engine

Every person who goes into Dennis’s workshop is equally important and will always get the same high standard of service. Dennis is an approved Mesa Boogie engineer and has worked with a number of high profile bands including:

Deacon Blue, The Proclaimers, Roger Nichols, Texas, George Michael band, Nine Inch Nails, Wasp, Uriah Heep, The Hazey Janes, Pete Caban, Glasvegas, Katie Melua, Dave Valentine, Ona, Mark DeNeys, Fiesty Piranhas, Ally McErlaine, Bobby Bandiera, Stapleton, Southside Johnny and the Asbury Jukes, Dougie MacLean, The Eels, Joe Gore, Joe Gormal, The Searchers, Jon Solish, Ray Wilson, Idlewild, Lionel Richie, Paul Buchanan, Stuart McCredie, The Eagles, Ron Sexsmith, Tam White, Lauri Anderson, Willie Logan, Bobbie Heatley, Steve Adey, Robbie Gladwell, Frank Macbeth, Sons and Daughters, Hamish McGregor, Miguel Orgel, Pilot, John Goldie , Marcus Ford, Echo and the Bunnymen, Athol Fraser, Mats Nermark, Bobby Carlos, Craig Oxley, Steuart Smith, The Jam, Healthy Minds Collapse, Avast, Adrian Clark, Nick Guppy, Sergeant, Tango in the Attic, Mike Walker, NYJOS, One Night of Queen, Davie Brockett, Runrig, Glasshouse Project, Kevin Brown, Ocean Colour Scene, Tony ‘Doggen’ Foster, Midas Fall, Mayhew….

Leaky Tubes / Valves Can Blow the HT Fuse In Guitar Amps, TubeSync Can Avoid This!

Thursday, July 1st, 2010

An interesting phenomenon that some ‘leaky’ tubes, removed from conventionally biased amps, appear to improve when run with TubeSync. The reason may be that when the tube gets hot, g1/cathode leak causes a current increase, but it is automatically biased ‘back’ to compensate, which allows the tube to cool down again and thus reduce leakage et al. After a while the leak sometimes reduces or disappears completely – we surmise that the getter  gets a chance to mop up stray gas molecules or the metallic deposit gets ‘boiled off’ the mica supports.  This type of fault in a conventional amp would normally blow the HT fuse, however TubeSync can avoid is and rectify the problem! Cool eh?

TubeSync_250

Electro Harmonix Guitar Valve / Tubes EL34 s etc..

Tuesday, March 30th, 2010

Electro-Harmonix is a New York based company that makes electronic sound processors. The company was founded by Mike Matthews in 1968. They are most famous for a series of popular guitar effects pedals introduced in the 1970s and 1990s.

EL34EH Electro-Harmonix

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Electro-Harmonix was founded by Mike Matthews in October 1968 in NYC, USA.

Himself an R&B keyboard player, he had traded his passion of music for a job as a salesman for IBM in 1967. Shortly afterwards he realized that his job at IBM no longer suited him, and he was interested in trying once again to make career for himself as a keyboard player. Concerned he may not be able to support his (now ex) wife while being unemployed, he aspired to save some money to support her before embarking on his journey to stardom. Partnering with an acquaintance of his, Bill Berko, an audio repairman who claimed to have his own custom circuit for a fuzz pedal, they jobbed construction of their new pedal to a contracting house, and began distributing the pedals under a deal with the Guild Guitar Company Fuzzboxes were in demand following a trail of hits involving their sound, including “(I Can’t Get No) Satisfaction ” by The Rolling Stones two years prior, and recent popularization of Jimi Hendrix. The latter connection resulted in the pedals being branded the ‘Foxey Lady’.

Following the unexplained departure of his partner, Matthews was introduced to inventor and electric engineer Robert Myer through IBM colleagues.

Together the two began conceptualizing a circuit designed to emulate Jimi Hendrix’s use of a distortion-free sustain. While testing a prototype of the Distortion-Free Sustainer pedal, which Matthews did by simply plucking the strings of an electric guitar, as he did not play guitar, he noticed another small box connected to the prototype. When asked, Myer explained this box was a line booster, designed to boost the guitar’s passive signal to an appropriate level for the prototype. Matthews listened as the guitar’s volume increased greatly as the booster was turned on, and asked Myer what was involved in manufacturing the pedal. The pedal consisted of a simple circuit and used just one transistor (This would later become know as the Linear Power Booster (LPB-1), a pedal still manufactured today.Shortly afterwards, Matthews founded Electro-Harmonix to produce this and other pedal designs throughout 1960s, 70s and early 80s.

The first Electro-Harmonix product was the Axis fuzz pedal, which was also sold under the name “Foxey Lady” for the Guild guitar company. While working with Bob Myer on the early Big Muff design, Mike Matthews used a booster circuit Myer had incorporated into the design and marketed it as the LPB-1 or Linear Power Booster in 1969. This massively boosted a guitar signal to provide gain by clipping the signal, dramatically changing the sound. The new device provided a raw distorted sound, full of sustain and harmonics.

Several similar devices followed such as the Treble Booster and Bass Booster. The new devices were extremely popular with guitarists.

Electro-Harmonix stopped making pedals in the mid-1980s, and in the early 1990s started selling vacuum tubes re-branded with their name for guitar amplifiers, which they had also been making since the 1970s. However due to demand, and the high prices guitarists were paying for old 1970s pedals on the vintage market, they reissued the more popular old pedals in the mid-1990s, the Big Muff Pi and Small Clone included. In 2002 they started designing new pedals to add to their range. Company policy is that all reissued effects remain as close as possible to the original, vintage designs. This means however that casings, knobs and especially the old-fashioned mini-jack power plug are not up to modern-day standards. This all changed in 2006 with their smaller and more standardized “micro” and “nano” effect lines.

JJ Electronic Tubes / Valves

Monday, March 29th, 2010

All materials used in the JJ tube  manufacturing process must comply with the most stringent quality requirements. In tube manufacturing, the fundamental requisite for the best production results is to maintain as high mechanical precision for assembly as possible. JJ Electronic uses assembly precision of no more than ± 0.02 mm.

Before tubes are assembled, they are thoroughly cleaned using such methods as the ultrasonic bath, chemical cleaning or annealing in an inert gas atmosphere (hydrogen, nitrogen).

JJ EL34

JJ EL34

A thorough inspection is performed on every component of the tube internal system before assembly. Assembled systems are then sent to sealing in a glass envelope. During the sealing procedure, the temperature of the glass pass-through joints must be controlled and joints are gradually tempered to relieve the inherent thermal stress.

Next, the assembled glass envelopes are evacuated by mechanical and diffusion vacuum pumps. During this process, the cathode emission coating is activated. All internal parts are heated by a high frequency heater and any spurious dust particles are evacuated. Finally, the getter rings are activated, while they absorb any residual gas inside the glass envelope of the tube.

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Every tube is then electrically tested for all parameters which are the key to a flawless operation and a great sound. Specifically, these parameters include: leakage characteristics, internal vacuum level, cathode emission capability, filament voltage and current, anode current saturation level, microphony and others.

Every month, random samples are taken from the production line in order to perform a life time test of 5000 hours under nominal conditions or 1000 hours at maximum specified ratings.

Tube Types

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Guitar Amp Tubes / Valves The History Of .. EL34 s etc

Thursday, March 18th, 2010

Until the introduction of the germanium transistor in the late 1950’s, there was no alternative form of high quality audio amplification to the thermionic valve (American terminology was always ‘Tube’). The 1960’s, 70’s and 80’s saw a steep decline in the usage of valves for all purposes except audio amplifiers, to the point that, with a few exceptions, they were almost entirely replaced by transistors and integrated circuits. However, since the late 1980’s, valve amplifiers have experienced a renaissance which has, in the last decade grown rapidly year on year.

The unique character of the ‘Tube Sound’ has once again attracted both amateur and professional interest in the areas of High Fidelity (HiFi) amplification, Musical Instrument (MI) amplification (notably the electric guitar) and Audio amplification. The dominance of digital technology now, means that the valve amplifier is seen as new to younger people and as nostalgic to the older generation. Please note it is estimated, that the electric guitar amplification market consume as many as three out of four of the world’s production of audio tubes.

EL34 Valve

EL34 Valve

Many arguments have been put forward as to why tube amplification ‘sounds’ better than digital. Some differences can be proved using measuring instruments, whilst others are down to the nuances of the human ear. Whatever the reason, evidence shows more and more listeners appear to prefer the sound of a tube amplifier.

The demand for tube amplifiers is rapidly growing, with products ranging from a few hundred pounds to several thousand pounds, depending on quality and output power, with tube sales worldwide currently standing at over $100,000,000. Today vacuum-thermionic devices hold sway over the US $100 million worldwide guitar amp business. One rough estimate shows a 10-percent-per-year growth in demand for tubes used in MI instrument amplifiers and high-end audio since the late 1980s, with no apparent slackening.

However, the problems with existing tube amplifier technology is that the circuits used are based on ‘classic’ designs developed in the 1940’s and 50’s and, although more modern technology has occasionally been applied, this is usually confined to regulating the power supplies. One of the principle disadvantages of existing tube amplifiers is that they are very inefficient in converting electrical power into audio power. This is largely due to the ‘classic’ methods of controlling them. All analogue high power amplifiers require a system known as ‘Biasing’ to be applied to them. This controls the output devices and prevents them from ‘Thermal’ overload and eventual destruction. It does, however, incur a heavy cost in loss of output power and increased heat dissipation. In addition valves also need to be used in ‘Matched’ pairs, in order to control distortion of the output signal. This process is time consuming and expensive when carried out on a commercial basis.

THE SOLUTION IS ……..

EL34

EL34