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Post subject: Re: Help with my HRD tone...
Posted: Sun Oct 19, 2014 6:44 pm
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Aspiring Musician
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Joined: Tue Nov 27, 2012 9:07 pm
Posts: 604
For the pre amp tubes the closest one to the power tubes should be a balanced tube. I use JJ Gold Pin ECC83S's, usually a little hotter than colder. And they mark the balanced tube box so you can install it in the socket closest to the 6L6's I also put the Eurotubes anti rattle rings on the 6L6's, and not a single tube rattle has been emitted by this amp in several years, they work.

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Post subject: Re: Help with my HRD tone...
Posted: Mon Oct 20, 2014 3:07 am
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Joined: Tue Jul 12, 2011 6:44 am
Posts: 198
February 16, 2012) -- The 12AY7/6072A EH is a small signal, twin triode tube. Almost all Fender Tweed-Era amplifiers used the 12AY7 in their first preamp stage. Tone aficionados know and revere the distinctive “Tweed” sound and the 12AY7, with its very linear characteristics and minimal microphonics, is an integral part of that magic.

If you own a later model Fender with a 12AX7 in the first preamp stage, you can replace it with the 12AY7 EH to capture some of the signature tone of a Tweed-Era Fender.

The lower mu factor of the 12AY7/6072A EH also spreads the sweep of the gain and volume controls making it easier to find the perfect sweet spot. The higher transconductance and linearity of the tube make the response very touch sensitive and expressive.

The 12AY7/6072A EH can also be used in later model Marshall amplifers to lower the background noise of the preamp and get the gain structure closer to Plexi and early 1970s Marshalls. In fact, changing the first tube to a 12AY7 EH IN ANY guitar amp will create a warmer vintage tone.



The 12AY7/6072A EH is available for $14.

For more information:
ehx.com

his excerpt is taken from PremierGuitar......

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Post subject: Re: Help with my HRD tone...
Posted: Mon Oct 20, 2014 3:18 am
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Joined: Tue Jul 12, 2011 6:44 am
Posts: 198
The first thing you need to know is that the ubiquitous 12AX7 dual triode is just one member of a family of tubes that have different amounts of gain. The 12AX7 has the most, and is rated at 100. Here are the ratings of its siblings:

12AX7 12AT7 12AY7 12AV7 12AU7
(100) (60) (45) (41) (20) ..gain factor ratings.

So the 12AV7 has less than half the gain of a 12AX7, while a 12AU7 has only one-fifth the gain. The 5751 is also in the family, and is supposedly between a 12AX7 and a 12AT7. I tried several, and couldn't find any difference between them and a 12AX7 in this test. There's also a weird cousin, the 12DW7, which has non-identical triodes. One has the gain of a 12AX7, while the other has the gain of a 12AU7. The actual amount of gain in the circuit is determined by the voltages applied and the components selected by the circuit designer. That stuff is hard to change without a soldering iron--and some serious knowledge of what you're doing. But anybody can change tubes.


12AT7s are almost indistinguishable from the stock 12AX7s. You can go a notch or so higher in clean volume, but they sound just like the 12AX7s in breakup. The 12AV7s and 12AY7s are much more noticeable in terms of availability of clean headroom, but the 12AY7 is the better choice because its higher internal impedance doesn't dull the tone as much as the 12AV7. All of the tones you get with the lower-gain tubes are available with the 12AX7s too, but over a much narrower range. Where the stock tubes will play clean when you play soft and go into touch-sensitive breakup when you play louder, the lower-gain tubes will stay clean through a much broader range of playing. The lower-gain tube will also give you more control, so you can stay at a fat, edge-of-breakup level more easily.

My favorite combination for clean playing was a 12AY7 in V1 and a 12AT7 in V3. This combo has an extended clean range, but also has some clipping available from the output stage should you need it. Both tubes have somewhat darker tone than the 12AX7s they replace, which gives a very nice jazz tone.


..some more information taken from the Billm site...

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