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1 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

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© 2023 PRS Guitars / Photo by Marc Quigley

C LU B -S I Z E D A M E R I C A N R E V E R B
The Sonzera 20 Combo shines with an assertive and lively tone on both of its
independent channels which were inspired by two famous amps, a vintage
American clean and vintage American overdrive. The clean channel is your
pedalboard’s best friend while the gain channel spans the gap between
slight overdrive to great high-gain. The addition of a transparent effects
loop and an analog spring reverb makes the Sonzera 20 a versatile amp at a GUITAR - DIGITAL PRESS
PREMIER ALL ABOUT AMPS VOL. 19 2
very wallet-friendly price. www.prsguitars.com/sonzera_20_combo_2023.
 Telefunken photo courtesy of Telefunken

1 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

 BY DAVE HUNTER
O
f all the tonally tweakable elements in the
extensive chain of components that define
your sound as a guitarist, the tubes tucked
into your amplifier might be the most enigmat-
ic. Working symbiotically with the circuits and
transformers housed alongside them, these tubes
help to determine the way your playing is trans-
lated, from the signal produced at the guitar’s
pickups to the sound waves ultimately pumped
into the air by the speaker and broadcast to lis-
teners’ ears. Given their role in the signal chain,
tubes can greatly influence the feel of your play-
ing, as well as the sound.
Alternative guitar amp options have
threatened to bury tubes for six decades—since
the arrival of solid-state amps in the 1960s to the
proliferation for modeling amps in recent years.
Yet the rumors of the tube amp’s death have been
greatly exaggerated, and they continue to be
used by more pro and hobby players around the
world than any other type of amplifier. Even the
sounds of modeling rigs are based on the tone
and playing feel of myriad classic tube circuits.
Didacts will occasionally argue that tubes
themselves don’t have a sound. Certainly, that’s
true as far as the silence you’ll hear if you unplug
a tube and hold it up to your ear. So, sure, the
design and circuit of the amp in which any tube
is used sets the foundation of its overall tone.
But tubes do very much enhance or define
certain sonic characteristics of amps, which is
something you discover pretty quickly when you
swap one tube type for another (in amps that
allow this)—only to discover a distinct shift in
your amp’s tonal personality.
It’s probably best, therefore, to think of many
classic amps and traditional tube types as working
hand-in-hand to present familiar sonic templates.
For that reason, throughout this guide we’ll nod
to a handful of familiar amplifier makes and
models when referencing many tubes—and
output tubes in particular, since the most common
preamp tubes are often interchangeable between
drastically different amp designs.
Also, while it might be true that a good amp
designer can coax nearly any tone out of any
conventional type of output tube, a survey of
many classic and boutique amps usually reveals
specific tube types enhancing distinct sonic
characteristics time and again. For example,
Dick Denney might have built the most
famous iterations of the Vox AC15 and AC30
around EL84s, because they were plentiful and
affordable, but now that those sounds have been
blueprinted, we know which tubes to turn to for
consistently achieving them.
Let’s start our guide with a look at the main
output tube types used in guitar amps, then
we’ll move on to common preamp tubes. Per-
tube prices quoted are for current or recently
manufactured examples made in Russia, Eastern
Europe, and China, as surveyed at reputable
dealers such as Mojotone, Antique Electronic
Supply, Sweetwater, Tube Doctor, Telefunken,
and the Tube Store. Tags for special or limited
versions of tubes are typically a little higher.
PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 2
 OUTPUT TUBES
Output tubes (also called power tubes) are the larger of
thetube types within your amp and are usually found toward
the opposite end of the chassis from the amp’s input. These
tubes receive the guitar signal that the preamp tubes have
already amplified slightly and amplify it much more, into a
signal that can be pumped through a speaker via an output
transformer. Let’s take a family-by-family look at these tubes.
6L6 Types
Tone Template: Big American
Price: $25 to $50 street
Used in pairs for 35 to 50 watts or quads for 80
to 100 watts, 6L6s are the classic big American
tube, probably best defined by the sound of
the larger, legendary Fender amps of the ’50s
and ’60s: the tweed Bassman, the black-panel
Twin Reverb, the Super Reverb, and more.
This tube has a bold, solid voice with firm
lows and prominent highs. The sound can
almost be strident in loud, clean amps that
were designed for maximum headroom, or
silkier and more rounded in smaller amps—
like many of the tweed era—that allow for
easier and earlier clipping.
Different 6L6s offer varying types of tonal
performance. The 6L6GB and 6L6GC, for
example, are a little softer/rounder and firmer/
bolder, respectively, while the latter is also
capable of handling higher voltages and delivers
later breakup with increased headroom. (Note:
These aren’t better/best distinctions. Either
tube may be preferable according to your sonic
needs, or might be required by your amp’s
specifications.) A “W” designation on either of
these denotes a more rugged tube originally
intended for military use.
3 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19
The original 5881 tubes manufactured in the
U.S. in the ’50s and ’60s are a tougher sibling of
the 6L6. They put out a little less power and break
up a little earlier than the 6L6GC. Currently
manufactured 5881s, however, are usually 6L6
types that have been relabeled, and therefore
don’t vary greatly in their characteristics. If
you’re lucky, you might find some new old stock
(NOS) originals (see sidebar).
In many amps, all of the tubes mentioned
in this 6L6 section can be swapped for each
other, with some caveats. Always refer to
your amp manufacturer’s instructions before
doing so, and be aware that higher-powered
amps designed with 6L6GCs in mind might
run at voltages too high for 6L6GBs or 5881s.
For a further sonic reference point, 6L6
types also appear in many vintage Gibson,
Silvertone, Danelectro, and Valco amps, Photo courtesy of The Tube Doctor
plus early Marshall JTM45s, many Mesa/
Boogie Mark Series models, Dumbles, many
powerful Soldano and Bogner amps, and
boutique favorites like the Carr Rambler and
Dr. Z Z-28 MkII.
 EL34s
Tone Template: British Stack
Price: $23 to $50 street
EL34s, used in pairs for 45 to 60 watts or
quads for 100 to 120 watts, are responsible
for the archetypal 50- and 100-watt tone
from across the Atlantic, as delivered by
the classic Marshall plexi variations. It is
characteristically thick and mid-forward,
with round lows, crispy highs, and a slightly
granular texture overall—and smoothly
compressed and aggressive when driven
hard. The EL34 can also deliver tighter and
bone-crunchingly punchy sounds to arena-
rock stages in amps that can be pushed up
to 120 watts with sets of four tubes, such
as the Hiwatt DR103. That’s thanks to this
tube’s ability to handle
very high plate voltages.
The EL34 is featured in
post-1967 Marshalls like the
JMP50 and JMP100 plexi
and metal-panel amps, later
Master Model 2203s and
2204s, JCM800s, and the
majority of modern models.
These tubes are also used
by (as mentioned) Hiwatt,
Orange, and Sound City, and
in Vox’s AC50 and AC100, as
well as several amps from Selmer and Traynor.
Contemporary makers seeking that Brit-stack
kerrang! at full volume usually turn to EL34s, so
they are also part of the formulation of high-gain-
design builds from Rivera, Bogner, Friedman, and
Mesa/Boogie, as well as the Matchless Clubman,
TopHat Emplexador, and Komet K60.

KT66s This large, imposing Coke-bottle of a tube was Britain’s

Tone Template: Bold British
Price: $45 to $70 street
Top: Photo courtesy of Telefunken Bottom: Photos courtesy of The Tube Doctor
response to the American 6L6. As such, it has broadly similar
characteristics and produces roughly the same wattage in
pairs and quads, although it can handle higher voltages
and adds its own sonic personality to the brew. Given this,
the KT66 can be used in place of 6L6GCs in many amps,
although you should check your manufacturer’s guidelines
just to be safe.

The KT66 is probably best known, in vintage amps, for its

use in many Marshall JTM45s of the early ’60s, which started
with 6L6s and 5881s (following their inspiration of Fender’s
tweed Bassman circuit) before moving to the British-made
tube when the American “valves,” as the Brits call tubes,
became scarce in the U.K. In recent decades, the KT66 has
been rediscovered by many boutique amp makers. It’s the
tube of choice for the Dr. Z Route 66 and the original single-
ended Carr Mercury, among others. Along with its good
balance and clarity throughout the frequency range, the
KT66 generally offers a slightly bolder low end than the 6L6,
and what some players hear as a sweeter, juicier midrange
response—making it something of a good blend of the
6L6GC and the EL34.

PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 4

 6550s and KT88s amps exported to the U.S. because its ruggedness
Tone Template: Punchy, Powerful, and and greater availability eased servicing issues.
Sonically, the 6550 is bold, clear, tight, and well-
Surprisingly Versatile composed, with very little compression when
Price: $50 to $80 street pushed, but an aggressive, muscular crunch
when it does begin to break up. Some makers—
George Alessandro, for one—have cleverly used
it to achieve more nuanced tones, but usually it’s a
tube that’s employed when massive wattage is the
ultimate goal.
Although not identical to the 6550, the KT88 is
a common substitute that presents many of the
same characteristics. Sonically, it leans somewhere
between the 6550 and EL34, but with the tighter
low end and massive output of the former. It can
usually be swapped directly for a 6550, and often
for an EL34, with some slight modifications (as ever,
consult your manufacturer or a good amp tech).
The mighty 200-watt Marshall Major is the best
vintage reference point for this output tube, but it
has also been used more recently in the RedPlate
BluesMachine and Fryette Sig:X, among others—
generally amps seeking either high headroom or
a greater proportion of preamp-tube overdrive to
output-tube distortion.

Left: Photo courtesy of Telefunken Right: Photo courtesy of The Tube Doctor
A big, powerful tube capable of producing massive
wattage in the right circuit, the 6550 has also
been used somewhat against type by a surprising
number of creative boutique amp makers. In the
late ’60s and ’70s, the 6550 was more likely to be
found in bass amps—six of them created the
original Ampeg SVT’s stadium-rumbling tones—
but was also used, for a time, in Marshall guitar

5 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

 6V6GTs
Tone Template: Juicy, Smaller American
Price: $22 to $55 per tube
Originally an American-made tube (though
later produced elsewhere), the 6V6 is often
thought of as the little brother of the 6L6. But,
despite its use in the smaller- to medium-sized
amps made by golden-age American companies
of the ’50s and ’60s—who used 6L6s in their
larger amps—it really has a sonic signature all
its own. A pair will generate around 15 to 18 watts
in a cathode-biased amp (think tweed Deluxe)
or upwards of 22 watts in a fixed-bias circuit
(Deluxe Reverb), and they were also sometimes
Left: Photo courtesy of Telefunken Right: Photo courtesy of Electro-Harmonix
used in quads to produce 30 to 50 watts. Their
sonic personality? Round, rich cleans and a juicy,
relatively mid-forward sound when pushed into
distortion, with notable compression and a hint
of granularity at the core.
In addition to the notable Fender models the
6V6 appeared in, these tubes were also deployed
in the most popular Gibson amps of the ’50s and
have been used in near-countless reissue and
boutique models over the past couple of decades.
The Tone King Imperial, Bogner Goldfinger 45,
Carr Mercury V and Skylark, Divided By 13 CJ 11,
and Victoria Silver Sonic all used 6V6s in their
output stages.
EL84
Tone Template: British Chime
Price: $17 to $38 per tube
In something of a parallel to the American 6V6, the EL84 (originally
a British and European tube) is often talked of as a “junior EL34,”
although, again, it has a personality very much its own. This tube is
notable for being the only 9-pin (noval) tube in our selection (most
tubes are octal, having 8 pins), and it can look much like a taller
preamp tube. The EL84 delivers around 15 to 18 watts in pairs, or
from 30 to 36 watts in quads.
Far and away most famous for its use in the Vox AC15 and AC30,
the EL84 is known for its sweet, bright, chimey clean tones and
succulent, textured, harmonically saturated overdrive. “Shimmer”
and “bloom” are among the adjectives players use to describe
EL84s in the sweet spot, just at the edge of breakup. In addition
to the archetypal original Vox amps and later reissues, the EL84
has been popular with a long list of other companies, including
boutique builders who clearly take their inspiration from the
British classics.
Popular amps like the Matchless Lightning, Spitfire and DC-30;
Dr. Z Carmen Ghia and Maz (the latter has two equivalent 6N14Ns
power tubes); 65amps London and Soho; TopHat Club Royale;
Friedman JJ Junior; Mesa/Boogie Mark Five: 25 and 35; and Fender
Blues Junior and Pro Junior all use this tube.
PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 6
 PREAMP TUBES DUAL-TRIODE

Generally speaking, preamp tubes are less PREAMP TUBES

likely to define the foundational sound of
12AX7s (aka ECC83s),
any given amplifier, although swapping one
for another—even of the same type, but a 5751s, 12AT7s, 12AY7s
variation or a tube from a different maker—can Price: $18 to $35
still impose a noticeable change on your tone.
One reason we think of preamp tubes as less Each of these tube types time, and if you like the
of a defining element in most guitar amps is contains two triode gain results, check with your
because the vast majority of amps use the stages within one bottle— amp’s manufacturer or a
same preamp tube types. The 12AX7 is far and hence, the “dual-triode” good tech before using it
away the most common preamp tube and has name—and they can full-time.)
been since the early ’50s. Again, variations on perform their duties in By the way, here are
makes of 12AX7s can still stamp elements two parts of the preamp the specific gain factor
of their own personality on the sound of any circuit simultaneously ratings—the measures
amp, and swapping one manufacturer’s 12AX7 using each triode. [Each for how much a tube
for another might produce dramatic sonic triode gain stage consists amplifies the input
changes, but not the same sort of tectonic of three electrodes: a signal—for these tubes:
shift in the basic characteristics of any given cathode filament, anode
amp as output tubes. plate, and control grid. 12AX7: 100
If you’re curious about the sonic effects For more background, 5751: 70
of variations in 12AX7s that can be used in check out Dan Formosa’s 12AT7: 60
your amp, it’s worth trying a few to check article “Tube-Amp Basics 12AY7: 40
out the phenomenon for yourself, in order for Beginners,” in the
to select a favorite. Otherwise, it’s probably June 2021 issue, or at The main effect of
more informative to discuss their different premierguitar.com.] In swapping between these
levels of gain available via various preamp theory, any one of these tubes of descending gain
tubes. That will alter the sound and feel of tubes—listed above in factors will be increased
most amps, since the proportions of clean descending gain levels— headroom and a later
and overdriven sound, the point on the volume can be substituted for onset of distortion as
control at which distortion sets in, and other each other with little you run down through
gain-related factors all play a big part in chance of damage to your the ranks. Each comes
shaping what we think of as our tone. amplifier. Technically, with its own nuanced
Each major type of preamp tube exhibits the 12AT7 is usually sonic characteristics,
what we call a “gain factor,” and the relative biased differently than too, which are difficult
comparison of this spec gives us some the others, so might to define when divorced
indication of how hard that tube will drive the not perform optimally from the specific circuit
preamp stage of any amp. To that end, despite in a circuit set up for in which they are used.
the 12AX7’s domination of the market, let’s a 12AX7, but you’re Note, however, that many
also look at a few other tubes, too. (Note: unlikely to damage your players find the 12AT7
We’re only discussing common 9-pin (noval) amp by trying it out. (If (most commonly seen in
preamp tubes here, but the lesser-used, you’re curious, swap it reverb and phase-inverter
octal-based preamp tubes, more common up in for a short period of positions) to be a little
until the early to mid-’50s, are still enjoyed
by some players.)

7 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

 12AX7 5751 12AT7 12AY7

dull or cold-sounding, even as compared to the
lower-gain 12AY7.
The 12AY7 is notable for its use in the first gain
stage of most tweed Fender amps of around 1952
to ’60. Over the years, many players have swapped
these for more common 12AX7s, which delivers
Right and Left: Photos courtesy of The Tube Doctor Middle: Photos courtesy of Electro-Harmonix
earlier breakup and is desirable for some playing
styles. This hotter tube can lead to a somewhat
“fizzier” distortion when pushed hard in this type
of circuit, though, and the 12AY7 is still considered
to deliver the proper tone of classics like the 5E3
Deluxe, 5F4 Super, and 5F6-A Bassman.

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PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 8

 FOLLOW YOUR NOS

As you get deeper into the world of replacement tubes for guitar
amplifiers, and particularly if you fuel your knowledge by perusing
online forums, you’re likely to come across the term “NOS” again
and again, along with the recommendation that those are the tubes The demise of
you need to buy. Short for “new old stock,” NOS tubes are those that
were manufactured many years ago—usually during the golden age the vacuum tube
of American and European tube production—but have never been industry in the U.S.
used. They are old stock, but are essentially new because they have and Europe began
never been installed in an amplifier.
The demise of the vacuum tube industry in the U.S. and Europe in the late 1960s
began in the late 1960s and early ’70s, when transistors took the reins and early ’70s, when
for just about all amplification duties other than those of guitar amps. transistors took the
Production dwindled through the ’70s and all but disappeared after,
although a few tubes were made in the U.S. (the 6550, in particular) reins for just about all
in relatively small numbers right up until 1993. More to our point, amplification duties
though, since the early ’80s all new tubes have been manufactured other than those of
in Eastern Europe and China, particularly because these regions
still needed them for use in military equipment that was slower to guitar amps."
update to new tech. It’s worth remembering that once the technology
in military and consumer electronics moved forward, the guitar-amp
and audiophile markets weren’t enough to sustain the tube industry.
Guitarists have been plundering whatever stocks of NOS tubes
they could find for a good three decades or more. So, there aren’t
a whole lot of genuine NOS tubes left, and those that remain are
very expensive. Beyond this, the bigger issue with acquiring NOS
tubes today revolves around quality and verification: a lot of sub-
par tubes that were rejected during testing over the years have
ended up being recycled as NOS, as have a lot of used tubes pulled
from old amps and polished up. Buying NOS from a reputable
dealer can help mitigate these issues, but, once again, you will
pay a premium. For example, we recently spotted an Amperex
Bugle Boy 12AX7 for sale at $349.95. Is it that much better than a JJ
Electronic 12AX7 for 20 bucks?
No matter how much chat-room pundits rave that you must use

Photo courtesy of the Tube Store

NOS tubes, current (or at least recent) tubes provide good tone
and excellent reliability in the vast majority of guitar amps in use
today. It’s also worth considering the fact that contemporary amp
makers are usually designing and fine-tuning their circuits with
current-manufacture tubes in mind, so while a rare and expensive
NOS substitute might get a little more out of them, that is by no
means guaranteed.

9 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

 PENTODEPREAMP
TUBES
EF86, 5879
Price: $35 to $200
Seen far less often but still beloved by some
players, the pentode preamp tube houses a single
pentode gain stage within a glass envelope that’s
otherwise identical to the 12AX7 and the others
above. As you might guess, pentode tubes have
five electrodes, with screen and suppressor grids
added to the 12AX7 family’s three. These are not,
however, interchangeable for dual-triode tubes,
so don’t even try it!
The most common pentode preamp tube is
the EF86 (aka 6267), found in the classic iteration of
the early ’60s Vox AC15. This tube reputedly has an
even higher gain factor than the 12AX7—although
the exact number is debated—and is characterized by
a fat, rich sound. It’s prone to less self-distortion than
the dual-triodes, too, meaning it passes a full-frequency
signal along to the next stage in the amp without adding
much of its own fizz or sizzle, although it can certainly
contribute to tube overdrive. It also resists collapsing
into mush when hit by an overdrive pedal in front of the
amp. Boutique amps that employ the EF86 include the
Matchless DC-30 (in channel 2, for high gain), the Dr. Z
Left: Photos courtesy of the Tube Store Right: Photo courtesy of The Tube Doctor

Z-28, and the Matchless DC-30.

Another pentode tube is the American-made 5879,
which has similar characteristics to the EF86, although it
also has different internal pin connections and therefore
cannot be used in place of it. Probably best known for its
use in the Gibson GA-40 Les Paul amp of the late ’50s, this
one has most notably been employed in several current
models from Divided By 13.

THE SKINNY

Okay, now you know all the basics about tubes. Use it as
you will—to experiment, to hold your own in debates
with fellow gear nerds, or as another stepping stone on
your path to becoming a tone sensei.

PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 10

 ILLUSTRATION BY KATE KOENIG

PAUL
WRITTEN BY

KOBYLENSKY
 hink about the American and British rock
bands trying to get into the Cold War Soviet
Union to play rock music that Soviets had
never heard—through their British tube
amps, with tubes manufactured in Russia.”
That quote, from Sweetwater Senior
Category Manager for Amps and Effects Darren
Monroe, sums up how much culture and politics can
impact every note you play. And that’s especially true
regarding tubes. Let’s start with some deep background.
A Brief Post-War History of Tubes
Until the mid-1950s, the vacuum tube ruled the world
of electronics. If something needed amplifying, there
were countless high-quality variations to choose from.
They were in TVs, radios, record players, etc. The
world’s armies even got into the game, demanding
military-spec options that continue to be among the
most sought-after tubes today. So, the little glowing
bottles were in high demand, and the industry thrived.
But things were about to change.
Seemingly overnight, the solid-state transistor
became the go-to platform for countless electronic
products we still use today, literally changing the
world. They were cheaper to make, smaller, more
efficient, and more reliable. They also offered pure,
uncolored sound—precisely what you want in a great
stereo system.
The First Tube Shortage
The demand for vacuum
tubes dried up quickly.
Factories that used to
produce thousands
of tubes daily had to
close their doors as
they watched orders
d i s a p p e a r. Tu b e
manufacturers all but
vanished entirely from the
“The EL34 everyone was using was the German Siemens tube. And in ’90
or ’91, those tubes went away. There were no other EL34s being made.”
—Dave Friedman, Friedman
Amplification
13 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19
U.S. Of course, guitarists still wanted their tubes,
but, as Dave Friedman, owner/designer of Friedman
Amplification, explains, there weren’t nearly enough
6-stringers to keep the giant industry afloat.
“The guitar tube market is really small in the scope
of the tube industry,” he says. “Tubes used to be used
in a variety of things, so these huge factories [suddenly]
had no demand. They basically became obsolete.
That’s when Mike stepped in.”
Friedman is referring to Electro-Harmonix Founder
and President Mike Matthews. A legend in the musical
instrument industry, Matthews helped write the
template for many electric guitar effects pedals. His
iconic designs—including the Big Muff, the Memory
Man, the Electric Mistress, and the POG—are still
going strong today. But many guitarists don’t know
that Matthews is a massive presence in the world of
vacuum tubes for guitar amplification, and helped
save the industry.
It all started with the crumbling Soviet Union. “I
took a rock ’n’ roll band to Russia in ’79 for the first
exhibit they opened to companies around the world
for consumer products,” Matthews recalls. “Only two
companies from the U.S.A. went: us and Levi’s. And
when I was there, I started thinking about how I could
buy products from Russia [to import in the U.S.].”
With his background in effects pedals, Matthews
was familiar with integrated circuits (ICs), and dove
head-first into importing Russian versions at 15 cents
each. He says he made “a killing on them!” But it
was only a short time before another trip east, and
a respected friend’s approval, inspired the switch to
importing tubes.
“In ’88, I saw vacuum tubes on the wall at the
Ministry of Electronics [the Soviet Union’s state-run
organization responsible for research, development,
and production of electronic and electrical devices,
from 1965 to 1985]. I took samples to Jess Oliver
[famed amplifier designer and former vice president
of Ampeg], and he said, ‘They’re good!’ So, I got early
 Mike Matthews, the
founder of Electro-
Harmonix, had the
foresight to acquire
tube manufacturers,
starting in the early
1990s, and today
the brand names
Tung-Sol, Electro-
Harmonix, EH Gold,
Genalex Gold Lion,
Mullard, Svetlana,
and Sovtek are all
under the company’s
umbrella.
customers like Peavey, and the
tubes took off!”
But the U.S.S.R. was
failing, and panicked Soviet
authorities demanded he
commit big or leave it all
behind. “Because the Soviet
Union was starting to fall apart,
the companies that made
the tubes defaulted on their
Photo by Mike Chioda
loans,” he explains. “So, the
Russians told me that either
I had to buy the factory for
other tube manufacturers continued to
disappear. It got so bad that many of the
day’s most famous amplifier designers
adapted their amps for whatever tubes
were available.
Friedman remembers, “When I started
in the industry in ’88, Sylvania tubes
were around but coming to an end.
The EL34 everyone was using was the
German Siemens tube. And in ’90 or ’91,
those tubes went away. There were no
other EL34s being made. Mike Matthews
was just starting, so for a short time,
everyone switched to the Sovtek 5881,
which was a Russian military tube. Even
Marshall had 5881s in their amps. EL34s
didn’t exist!”
Thankfully, there was hope. As
Matthews’ tubes were coming online,
Svetlana (who would later be purchased
in 2001 by Matthews under the name
New Sensor Corporation) emerged as
a player in the tube game.
Then came tubes from China. “Slowly,
Svetlana came out, Mike came up, and
then some Chinese EL34s showed
up,” recalls Friedman. Availability
stabilized with the entry of Chinese
mega-manufacturers Shuguang and
Psvane in the international marketplace.
In Russia, Matthews grew to absorb the
$500K or they’d sell to Groove brands Tung-Sol, Mullard, and Sovtek,
Tubes. So, I sorta had to buy too. Also, newcomer JJ Electronic showed
it.” And then he was in the up in the early ’90s. They earned a name
vacuum tube manufacturing for quality and reliable tubes made in
business for good. Czechoslovakia, and, after the division
of that country, Slovakia.
Building Back the Biz The world now had sufficient vacuum
The early ’90s were another tube manufacturers to furnish guitarists,
dark time for the vacuum tube amp builders, and retailers everywhere.
industry. Though Matthews For nearly 30 years, you could get almost
was hard at work building any tube from countless retailers and
his tube operation, he was distributors. That changed in 2020.
far from full strength, and
PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 14
 “It has been a
big deal,” says
Sweetwater’s
Darren Monroe.
“In some cases,
we even had to
take products
off the web.”
The Current Shortfall
If you’ve shopped for new tubes in the
last couple of years, you might have
noticed strikingly few options available,
and even more striking price tags on
some of the ones that were. Yes, the
current tube shortage is real. Guitar
amp builders and retailers haven’t been
able to rebuild their stock of tubes.
Why? The current shortage began
in late 2019/early 2020, when China’s
Shuguang factory—then the world’s
largest tube manufacturer—shut its
doors seemingly overnight. The loss of
Shuguang put the tube industry on its
heels in a big way, plus the pandemic
was looming right around the corner.
“That was big,” acknowledges
Matthews. “At the end of 2019, the
Chinese government told Shuguang,
‘We’re closing you down.’ To make
things worse, I don’t know if they will
15 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19
be able to open again. They lost all of
their skilled workers.”
Very few in the industry know the
real reason Shuguang was shuttered.
Still, with the Chinese government’s
penchant for secrecy, theories abound.
According to Matthews, the Peking
government wanted the factory’s land.
Friedman, though skeptical, heard a
different story. “They had a fire a while
back, but who knows if they were lying,”
he says. “Anyway, their whole process
still isn’t back. Right now, there is only
New Sensor Corporation, JJ, and Psvane.
Those are the only manufacturers
[although their tubes are sold under many Illustration by katekoenig.com/illustration
brand names]. So, all your tubes are only
coming from three sources."
Fast forward to today, and the world
continues to deal with Covid, labor
shortages, international tensions,
and all-out war. Varying government
ideologies snarl and confuse the production of
countless products, and importing and exporting
of many products has ground to a halt.
While the Russia/Ukraine war and its political
ramifications haven’t officially stopped Matthews
and Russian tube production, they have introduced
nearly insurmountable challenges to his ability
to export goods. Matthews believes this explains
the massive price increases, noting, “Western
countries have high tariffs on things from Russia,
so the costs are up.”
“A tube that used to wholesale for $9 now
wholesales for $18,” adds Friedman. “Some
12AX7s are selling at retail for $30 or something!
The wholesale side is not much less than that.
Russian tubes are kinda off the table at this point.”
The two vacuum tube manufacturers that
remained open for business with no limitations
were JJ Electronic and Psvane. But both have
struggled to keep up with demand. It got so bad
that, according to Friedman, “JJ were so back
ordered that they hadn’t taken any new orders
for a couple of years.”
Tube Supply Today
The tube shortage has weighed heavily on the
entire guitar industry for a couple of years now.
Labor shortages and trade tariffs are a major
headache for tube manufacturers, amp builders
can’t finish their products, and guitarists can’t
keep their amps in working shape. Much of
this comes to a head at music retail.
“It has been a big deal,” Sweetwater’s Monroe
says, sighing. “In some cases, we even had to
take products off the web. There was no way
we could deliver. We even explored buying a
container full of tubes and getting our own
tube-matching equipment. But that was such
a huge task that we decided not to do it.”
For large retailers, the problem is twofold.
They must have after-market tubes for their
customers. Plus, they understand the need to
allocate tubes to amp manufacturers, ensuring
the tube shortage doesn’t also become an amp
shortage. If tube amp builders don’t have tubes,
they’re out of business.
“It’s a difficult needle to thread,” Monroe
says. “There are a lot of tube amp users out
there that need to service their existing amp.
We can’t provide that because all the tubes are
going to new amps. Yeah, we want to sell more
amps but, at the same time, we want to take
care of those customers.”
The Cost Factor
Other than JJ Electronic, nearly every vacuum
tube today originates from Russia or China. In the
’70s and ’80s, both were promising markets on the
global stage. But today, both countries have volatile
political climates and have economically distanced
relationships with the U.S. that makes trade, including
the tube trade, much more difficult and expensive.
So, many guitarists in our hemisphere are asking,
“Why not just make tubes here in North America?”
Matthews wades in: “You can’t make them in the
U.S.A. It would cost something like 500 to 600 percent
more. It’s just much too expensive. The environmental
and labor considerations…. It’s a handmade business,
and the costs are just way too high.”
With the U.S. being a no-go, what about other
industrialized countries that manufacture high-
quality products while still keeping costs down?
Could we produce tubes in Mexico, Indonesia, or
Taiwan?
Again, Matthews says no. It’s just too skilled-labor
intensive. “It’s a handmade thing. A machine can’t
just make the whole tube,” he explains. “There are
a lot of different parts that go into one tube. Each
of those parts is made separately; then, the whole
tube is put together. Tubes require people who
have those skills.”
“But it’s a lost art,” Friedman adds. “Almost no
one knows anything about tubes anymore or how
to build them. All the people that did are dead
now. It’s like how houses used to be hand-troweled
plaster. Try and find a plasterer today who can do
that work. They almost don’t exist. Stuff gets lost
over time.”
PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 16
 Emerging Optimism
Just when things are looking very dark,
there is a faint light at the end of the tun-
nel. JJ Electronic is still at it and should
accept new tube orders soon. Matthews’
New Sensor Corporation fully expects to
make it through Russia’s current political
climate. There are even rumors of Chinese
powerhouse Shuguang returning.
“I think things are improving,” Monroe says,
optimistically. “We’re hearing, ‘We’re getting
more tubes in,’ and, ‘We’re going to be able
to supply you with tubes.’ So, hopefully, for
anyone that couldn’t get tubes through us,
we’ll have their tubes in stock soon.”
Also, tubes never entirely went away. Look
at any large retailer and you’ll find a selection
of EL34s, 6L6s, 12AX7s, and more. Your choices
might be limited, and the prices higher, but they’re
there. Why? Because the industry saw this com-
ing, reached out to their suppliers, and prepared
accordingly.
“We started talking to the Psvane company
early,” says Friedman. “We were set up with them
and in a good position when this all happened.”
“Guys like Mike Matthews did tell people early
on, ‘I’m getting shut down. I’m not going to be
able to deliver these,’” says Monroe. “That cre-
ated a bit of a panic at the time. So, we were able
to order ahead and keep sales going.”
Amp Makers Adapt to Survive
Amp builders have been able to adjust to availabil-
ity the same way they always have—by embracing
different tubes and brands. While the name on a
tube might say Sovtek, Mullard, or Mesa/Boogie,
there’s a good chance it was made in the same
factory. And amp builders, unbeknownst to most
guitarists, often jump from one brand to another to
ensure their customers get the best-sounding and
most reliable tubes currently produced.
17 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19
Friedman explains: “Look, tubes have to sound
great, but they also have to be reliable. That’s why
I've changed tube makers several times over the
years—because of reliability issues. So, whatever
amp brand is on a tube [in our amps], it’s just what-
ever tube deemed the most reliable for right now.
And that’s changed a million times over the years.”
While Friedman thinks each tube has its own
magic, he also believes that right now there are better
ways to spend your tone-chasing money. “There’s a
big variety of tubes,” he says. “They have their own
gain levels and tone. They all have a sonic signature,
and you need to find out what you like. But I’m of
the mind, ‘Don’t swap your tubes if they’re working.’
And, if you have an amp you like, figure out what’s
in it and replace them with the same tube. Just look
for a well-tested tube from a reputable source. There
are a lot of great tube matching/screeners out there.
So, know what you’re going for and get a screened
tube that has a warranty.”
The Future of Tube Amps
Although we seem to be emerging from the tube
shortage, if history does repeat itself, this won’t be
the last time it happens. Also, let’s not forget the
rise of digital modeling and the new generation of
solid-state amps that approximate tube tone that
have entered the market in recent years.
This leads to the question, “Is this the end of the
electric-guitar tube amplifier?” Not according to both
Friedman and Monroe. “There is enough of a market
that tubes will continue. There’s still money on the
table,” Friedman says matter-of-factly. “I mean, there
are still a lot of tube amps that are sold. If there’s a
demand, they’ll fill the void. And remember, they
asked the same thing in the early ’90s. It happens
over and over again.”
“Tube amps are as hot as ever,” echoes Monroe.
“I’ve been in purchasing for a long time at Sweetwater,
and there are just too many amps out there. Someone
is going to find a way to keep them going.”
 “I love the Little Walter amplifiers
and highly recommend the ToneSpeak products.”
“I’ve learned a lot from Phil Bradbury at Little Walter Tube Amps. Especially about speakers since being
introduced to him and his amplifiers. In particular, the ToneSpeak speakers we’ve been using in
Phil’s 2x12 cabinets have been a revelation – a refreshing new sound for me.”

– Robben Ford

TM

is proud to be the
speaker of choice for

by

The Return of Authentic Rock and Blues Sound

PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 18

tonespeak.com | little walter tube amps.com | robbenford.com

DIY
Silver and Black: Simple Tube Tricks
for Beginners
JENS MOSBERGVIK
Y ou might guess from the title of this
column that I love Fender amps. And
you’d be right. From a musical and
engineering perspective, I think vintage
Fender blackface amps are the best ever made.
With bright, American-style speakers, they
deliver pure and natural tone. Their channels,
with volume and EQ, are intuitive for any
guitar, bass, or keyboard player. It’s impossible
to not find a decent tone in less than 10
seconds. From a technical perspective, their
handmade tube-based circuits are simple, and
they were built with high-quality components.
And today, there are easily available parts and
schematics, and an abundance of other online
technical information, which makes it possible
for many techs and players—including you—
19 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19
to service these amps.
Classic Fender blackface amps have
been an inspiration for an entire industry.
They’ve appeared on countless stages and
an incredible amount of great albums by
legendary performers. Why? Mostly tone and
clean headroom. So, for this debut column,
let’s discuss what we can do to make those
two factors work best for you via tubes.
Reverb and tremolo were the main
functional innovations in Fender’s blackface
line. The king of blackface amps, the Twin
Reverb, produced 85 watts from four 6L6
tubes and had enormous power and output
transformers, a non-sagging diode rectifier,
and two powerful 12" speakers. The 4x10
dual-6L6 40-watt Super Reverb has half that
power, a softer tube rectifier, and smaller of the amp from right to left. Here are some
transformers. Still, the massive array of tricks:
four 10" speakers is screamingly loud and
sometimes difficult to handle for its weight
(65 pounds), size, and volume. A 4x10 is more
directional and scooped in the low mids
than a 2x12. So a guitar plugged into a Super
Reverb can end up competing with the bass.
Experience is required to tame these amps.
Once you know how to handle them, you
will be rewarded with an overwhelming and
physical sonic experience.
In the blackface world, the 1x12, double-
6V6 22-watt Deluxe Reverb’s advantage is that
it’s small and light, at 42 pounds. It breaks up
earlier than its bigger relatives due to the
less powerful 6V6s, small transformers, and
a small speaker cabinet. Additionally, the
original Oxford 12K6-5 speaker farts out early
and is very weak, although it also delivers
a true signature vintage Fender sound. And
who doesn’t want their amp to break up
easily these days? I have kept the Oxfords
in my Deluxe amps. Before the internet, few
people knew they could replace the 6V6s
with 6L6s and replace the Oxford to double
the Deluxe’s volume.
Via my website, fenderguru.com, I often get
questions about how to achieve different tones in
blackface amps run at lower volumes. The answer
often lies in the tubes. So let me share some
simple tube tricks that will help you develop an
understanding of how tubes function—and how
they can be used to affect changes—in the typical
two-channel AB763 circuit in the Twin, Super
Reverb, Vibroverb, Pro, Vibrolux, and Deluxe
amps of the original blackface era.
The tubes in these circuits are typically
identified as V1 through V10, looking at the back to becoming a Fender guru, too!
• The V1 12AX7 tube in an amp’s normal
channel can be removed for more
preamp gain and reduced headroom
in the vibrato channel. It can also be
replaced by weaker tubes, like 12AY7s
or 5751s, for less volume/gain. I always
pull out this V1 since I use the vibrato
channel and want solid preamp gain,
which the single V2 delivers.
• The V3 12AT7 reverb driver for the
vibrato channel can be replaced with
a 12AU7 for less reverb and improved
reverb knob control.
• If you’re only using the normal channel,
think about removing the V2 through
V5 tubes for the vibrato channel. That
will give you more gain and headroom
in the normal channel. (FYI, the 12AX7
in the V5 position is the tremolo tube.)
• The V6 12AT7 phase inverter tube can
be replaced with a 12AX7 to reduce
headroom in large 6L6 amps.
• Several alternatives to 6L6 power tubes
exist. I mostly use 6L6GCs. In a Twin
Reverb, you can pull either the V7 and
V10 or V8 and V9 tubes for half power
and earlier breakup. Ideally, but not
totally necessary, you should disengage
one speaker to match the impedance
change.
• In a blackface Deluxe, the GZ34 in the
V9 slot is the rectifier tube. If I want
reduced headroom and more sag, I use
a 5U4GB.
And there you have it: You’re on your way
PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 20
DIY

All Hail the Champ!

JENS MOSBERGVIK

T his month, let’s talk about the

black- and silver-panel Fender
Champ, the tiniest of vintage Fend-
er amps. Weighing only 22 pounds, it is
super portable and easy to carry wher-
ever my music takes me. It’s actually so
small that I put it between my kids in
the car’s backseat when we go on vaca-
tions. Before I share what I’ve learned
about the Champ, let’s have a quick look
in the rearview mirror.
Early in the Fender black-panel era,
in 1964, the company reintroduced
the previously tweed Champ with
a new look and debuted the Vibro
Champ. The single 8"-speaker combo
configuration and single-ended
6V6-based power amp section was
continued from the tweed Champ.
These Champs produced only 6
watts, and the minimal control panel
offered volume, treble, and bass—
plus tremolo speed and intensity on
the Vibro Champ. Unlike many other
models, Fender kept these circuits
almost unchanged during the silver-panel
era, through 1982. After that, many popular
and different offspring of the Champ have
been produced, with both transistor and tube-
driven circuits.
My appreciation for the Champ came late
in life. When I was younger, I used my Super
Reverbs for everything and never considered
amps with anything less than one 12" or two
10" speakers. I saw no need for smaller amps
with boxy tones fit for bedroom use only. But
as I started to educate myself on Fender amps,
I needed a Champ to study. I had to play it,
experiment with tubes and mods, and learn
everything about it. So, in 2005, I found a minty
The author
found his
mint-
condition
1966 Vibro
Champ
on eBay,
completely
original
with the
Oxford 8EV
speaker.
1966 Vibro Champ on eBay for $800, completely
original with the Oxford 8EV speaker.
With the Champ, Fender followed their
scooped, black-panel tone-stack recipe with the
0.047 μF, 0.1 μF, and 250 pF tone caps and a
fixed 6.8k mid resistor. As with the big brother
Princeton Reverb, it lacked a mid control,
bright switch, and a bright cap. The tone is
straightforward, natural, and annoyingly modest
and clean. Different from its Fender siblings,
it hardly breaks up when pushed. In fact, the
Champ stays clean all the way up to 10, but with
loose, flabby bass and tinny speaker distortion.
Humbucker guitars are able to get some cranked
tones from Champs due to their hotter output.
When I, for example, want to play Elmore James

21 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

Delta blues stuff, I use my ES-335 with my Vibro
Champ. It thrills me how single strings and soft
picking come out clean, while hard pick attack
and chords sound hairy and cranked.
Over the decades, players and techs have
leaned towards modifications to get more
distortion from the Champ. Personally, I’ve
learned to like the clean and scooped tone,
and I don’t want to lose the original character
of the amp. But I wouldn’t mind a little more
volume and punch, since it would open up a few
important uses—like band practice with a loud
drummer. And when it comes to modifications,
I like easy and reversible mods. So here is
what I have done to my Vibro Champ: First, I
changed the rectifier tube from 5Y3 to GZ34 for
increased plate voltage on the 6V6 power tube,
which gives me a little more clean headroom. (A
solid-state rectifier would also work.) Second, I
replaced the original Oxford 8EV speaker with a
Warehouse G8C. I have never looked back. I like
Warehouse Guitar Speakers because they offer
vintage Fender-style tone for a reasonable price.
The WGS speaker makes the amp significantly
louder, with more attack, firmer bass response,
and without changing the Champ’s character.
As I’ve alluded, my Vibro Champ follows me
wherever I go and is a part of my family. In the
back of the amp, I keep an overdrive pedal, a
reverb pedal, and a tiny 230/12V transformer so
I can plug into one of the car’s 12V sockets. So, I
am always Fender-ready.
PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 22
23 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19
OUR MUCH-LOVED FORMER COLUMNIST JEFF BOBER
EXPLAINS HOW TO CHECK AND RESET THE BIAS
OF YOUR AMP’S OUTPUT TUBES—AND DELIVERS SOME
POTENTIALLY SHOCKING WARNINGS ABOUT A FEW
COMMON BUT DANGEROUS TECHNIQUES.

BY JEFF BOBER

PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 24

 H
ello again, Premier Guitar readers! It’s
your old bud Jeff here, author of the
once popular Ask Amp Man column.
Editorial director Ted Drozdowski asked
me if I would be interested in writing about bias,
and, of course, I said, “Sure, I know a thing or two
about that!” So here I am, temporarily returning
to these pages. Now, let’s get started.
What exactly is bias? Bias is prejudice in favor of
or against … oh wait, wrong kind of bias. I think he
wanted me to write about bias in a tube amplifier,
which is far less polarizing.
Bias, as defined in the RCA Radiotron Designers
Handbook, is “voltage applied to the grid [of a tube]
to obtain a desired operating point.” Well, that is
the most basic explanation, but for the most part
it is good enough and pertains to the majority of
tube output stages in our favorite tube guitar amps.
Besides “applying” a voltage to a vacuum tube,
however, biasing can occur in another way as well.
There are quite a few amplifiers, such as a Vox AC15
and AC30, any of my Budda and EAST designs, and Fig. 1
even most of the early, low-wattage amplifiers of
the tweed era that use what’s known as a “cathode
the voltages that should be expected in that area
bias” design. This is where the current flowing
of the circuit. Setting the bias adjustment controls
through the tube (which attains the aforementioned
to these listed voltages in no way guarantees that
“desired operating point”) is not set by the voltage
your amp is properly biased. Tube bias is also
“applied” to the grid of the tube, but is instead set
dependent on the high voltage (or B+) applied
by the resistor in the cathode leg of the tube. It’s a
to the plate of the output tube, which can vary
bit more complicated than that, but the result is
within tolerances of the transformers as well as
an amplifier whose output stage is “self-biasing.”
in the AC line voltage fed to the amp. (This is why
Most amplification devices, including transistors
amps can sometimes sound better in one room or
and even preamp tubes, need to be “biased” in
club than others.)
order to perform properly, but this type of biasing
But even more important to understand is that
is fixed in the design parameters of the circuit. In
tubes produced in different factories across the
the case of the preamp tubes in your guitar amp,
globe will bias up differently! What I mean by this
bias is based on the value of the cathode resistor,
is, if you properly bias a set of output tubes—let’s
among other things. But that’s enough design
say 6L6s made in Russia—and then you swap them
theory for today. Let’s get back to the core task of
out with a set made in China, in the same amplifier
biasing the output tubes in most guitar amplifiers.
without changing the setting of the bias control,
First, the bias voltages you see listed on many
the end result will almost always be a different
schematics, such as 52V on a black-panel Fender
bias reading. This is why it’s always best to have
Twin Reverb or 51V on a Marshall 100W Super
checked and reset the bias whenever output tubes
Lead schematic, are merely approximations of
are replaced. Now, how do we do that?

25 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

The Preferred Method
There are several different ways to measure output-tube bias
current at idle. The safest method is to use what is commonly
called a bias probe (Fig. 1). This is a device that is inserted
between an output tube and its socket. (I typically make
my own bias probes, but if you simply search “bias probe”
online, you’ll find plenty to choose from. If you already own
a multimeter, you can simply purchase the probes, but there
are also options to purchase a full system with either a digital
or analog meter, should you need it.) This device breaks
the connection between the cathode (which is the metallic
electrode from which electrons are emitted into the tube)

Setting the bias

adjustment controls to
these listed voltages in no
way guarantees that your
amp is properly biased."

of the tube and its ground connection, and inserts a small

value resistor in between. It then allows the voltage across
the resistor to be read. The resistor is typically 1 ohm and
the resulting voltage drop across it is in millivolts (mV), so
no chance of shock here. This provides a true and accurate
measurement of the actual current flowing through one tube.
Then, you set your bias and you’re done!
Ah, but wait! How do you set your bias? Let’s learn a bit
more. Most tube amplifiers, if they are not cathode-biased
designs, have some way to adjust the output-tube bias. One
longstanding exception to this are most Mesa/Boogie amps.
The bias voltage in these amps is not adjustable, which is why
Mesa suggests only purchasing their tubes for their amps,
because they are designed to fall within the acceptable bias
range for their amps. This adds a certain degree of confidence
for owner servicing, although, of course, it limits your options.
Let’s take a look, however, at a typical Fender or Marshall
bias control. Most older Fenders have a pot with a slot for a
screwdriver mounted to the chassis in the area of the power
or mains transformer, while most older Marshalls have their
bias pot mounted on the circuit board. (You might want to Fig. 2

PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 26

 go online to look at schematics
for your amp to help you find it.)
Either way, this is where you’ll
make your adjustment.
To get started, you’ll most likely
need to pull the chassis and place
it in a stable work environment.
Insert the bias probe device
between one of the tubes and
the socket (Fig. 2). Make sure
all the volume controls are set
to zero, turn the amp on, and
let the tubes warm up. It’s also
good to try to have a load on the
speaker jack—whether a speaker
or an appropriate resistor or
load box. This is not 100 percent
necessary for just setting the bias
to a particular number, but sound
checking is one of the ways I like
to make the final adjustments, so
being able to connect the speaker
to the chassis while it’s on the
bench is certainly a necessity
for me.
Now, where to set the numbers?
There are certainly more than
a few opinions floating around
on the interwebs about what it’s a bit different. (In the most what the optimal bias current
optimal bias settings are. basic terms, maximum plate will be. Below are the average
Some engineering types will dissipation is the amount of ranges for some typical octal
tout 50 percent maximum power the plate of the tube is output tubes:
plate dissipation or 70 percent designed to deliver.)
maximum dissipation, and while Different types of output tubes • 6L6: 25–35 mA
it may look good or make sense have their own acceptable range • EL34: 30–40 mA
on paper, I’ve heard the result of of bias current. There are so many • 6V6: 18–25 mA
guitar amplifiers designed by the variables at play that there is • 6550: 35–45 mA
book to optimal specifications no “correct” number. The plate • KT66: 30–40 mA
… and to me they sound, well, voltage in the amplifier, the
less than optimal. It may work output transformer’s primary These should be the ranges in
in the hi-fi world, where perfect impedance, and the country of which these tubes will perform
sound reproduction is the goal, origin of a tube all factor into and sound the best, and they can
but guitar amplifiers are in the how it interacts with the voltage be accurately measured with a
sound production business, so and output transformer to define digital multimeter. The best way

27 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

for you to decide what setting is
best for you is a combination of
the reading on the meter and your
ears! Using the bias control, set the
bias to somewhere in the ranges
given above (Fig. 3) and play the
amp. Note: Some amps will act
funny and develop horrible noises
(parasitic oscillations) when a bias
probe is in place while the amp
is being played. If this is the case,
you’ll need to remove the bias
probe each time you play the amp.
Move the setting a couple mA
in one direction or the other and
play again. Don’t expect extreme
changes; that’s not what we’re look- Proper biasing will allow
ing for. Listen for subtle differences.
the two halves to interact correctly.
Is one setting a little more or less
harsh? Is the bottom end too soft It’s like a nice firm handshake
or flubby? Is the amp as clean as between both halves."
you want it? Sometimes these little
subtleties are what make one amp at full output is what works best. Beware These Old-School
sound and feel better than another! Fig. 4 is what that looks like on Methods
Also, you should be doing this the oscilloscope. This keeps the Let’s look at a couple popular
at the volume you would typically amp very clean and makes most methods that I do not recommend,
use onstage or in the studio. You pedal users happy. but are worth discussing because
may not notice much change if By the way, here’s a mini they are, nonetheless, common.
your volume is at 1, but you want primer in crossover distor- The first is: With the amp off and
to optimize the amp for the way tion. In a push-pull output output tubes removed, use a multi-
you will be using it. stage, which is found in most meter to measure the resistance of
amplifiers with two or more each half of the primary side of the
Eyes Wide Open output tubes, each tube (or output transformer. This would
Knowing the ballpark bias num- pair of tubes) is responsible typically be from the center tap to
bers is good, and adding your ears for amplifying at least half of each side of the primary winding.
is even better, but I also like to the audio signal. If the tubes In the most basic terms, a trans-
see what I’m hearing, so I always are not biased properly, one former is a bunch of wire wound
incorporate an oscilloscope when tube (or pair) will stop ampli- around a steel core. On the primary
I’m setting the bias on an amp. fying before the other tube (or side of an output transformer, the
I mentioned crossover distor- pair) start amplifying. This will center tap is the electrical “middle”
tion above, and when it comes create crossover distortion. of this long length of wire. This is
to setting up amps for today’s Proper biasing will allow the typically where the high voltage
pedal-hungry players, I find that two halves to interact correctly. is applied. The ends of this length
setting the bias to where there is It’s like a nice firm handshake of wire are connected to the plates
just a hint of crossover distortion between both halves. of the tube, thereby applying the

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 You’re probing around 2) they’re dangerous! You’re probing around inside
the high voltage area of the amp, and one slip will
inside the high voltage either take out a fuse, take out a tube, take out your
area of the amp, and one meter, or, worse case, let you know exactly what 450V
slip will either take out DC feels like! So, although these methods are used,
let’s just say no here.
a fuse, take out a tube,
take out your meter, Some Personal Insights
or, worse case, let you I’d also like to add a little personal experience to
this procedure, based on decades in the biz. Back
know exactly what in the day, when I began servicing and modifying
450V DC feels like!" gear, guitarists were regularly playing 50- and 100-
watt amps. (Everybody looked at me like I had three
high voltage to the tubes. As an example, typically heads when I came out with the 18-watt Budda
in most Fender amps, the center tap is red, and the Twinmaster, but that’s a whole other story.) There
ends of the primary windings are blue and brown. were some overdrive and distortion pedals around
Next, install the output tubes, turn the amp on, (now all vintage), but certainly not the pedal prolif-
and measure the voltage drop across each half of the eration we have now, so players were pretty much
output transformer with the amp at idle in opera- guitar, cable, amp … go! In these situations, I would
tional mode (Fig. 5). Voltage divided by resistance most times run the tubes with a pretty hot bias so
will give you the DC current through the tubes. For the amp would be fatter and overdrive a bit earlier
example, 1.17V / 15.8R = 0.074, or 74 mA. The numbers and easier, as a decent percentage of the overdrive
I used here were actual measurements in one side was developed by pushing the output tubes. As time
(one half) of a 100W amp using four output tubes went on, output attenuators became more popular,
(two per side). So, divide the 74 mA by two, and you so amps could be pushed hard, but at more manage-
get an average of 37 mA per tube. able volume levels. That was still a good scenario
Next, you can try the shunt method. This requires for a hotter bias of the output tubes in high-power
a multimeter that can read DC current in milliamps amps. Eventually, players started playing lower-
(mA). Connect one meter lead to the center tap of power amps, so they could open them up and get
the output transformer and the other lead to the great output-tube distortion at lesser volumes. The
output transformer’s primary side. Typically, in problem is that hotter-biased low-power amps tend
most amps using octal tubes (6L6, 6V6, EL34, 6550, to get mushy and have less definition when pushed
KT88, etc.), this will be pin 3 on any output tube hard, so a more moderate bias setting is preferred
socket. Turn the amp on and, in operating mode here—just enough so there is no crossover distor-
at idle (i.e., volume off), measure the current across tion. Move up to today’s scenario and you’ll find that
that half of the output transformer. For example, if almost all overdrive and/or distortion is typically
your measurement is 72 mA and it’s an amp that coming from a pedal. In that case, an amp is noth-
utilizes four output tubes, the current measured is ing more than an amplification device for pedals.
for two of those tubes, so once again divide by two So, that’s what I’ve learned about tube-biasing
to arrive at 36 mA per tube. from my decades of experience. But the bottom line
Both of those methods are very old school and is, there is no absolute right or wrong settings when
still in practice, but I wouldn’t use either for two it comes to biasing an amp. Keep your ears open and
reasons: 1) I don’t believe they’re very accurate, and go with what sounds best to you.

29 PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19

 THE SUBVERSIVE
GUITARIST
BY JOE GORE

TAB
AND AUDIO
EXAMPLES
INCLUDED!

PREMIER GUITAR - DIGITAL PRESS ALL ABOUT AMPS VOL. 19 30

Digital Press