Fight Marketing BS

I was looking at boutique tube amp websites, since I’m in that business.  I’m looking to see what other builders’ websites look like, what they’re selling, what their prices are, etc.   I’m often amazed by the amount of marketing lingo, and frankly, total BS that can be found on some of these sites.  I will list a few of these.

Period-Correct Transformers

This one is pure BS. Household voltages in the 1950s were perhaps 10 volts lower than they are in 2017.  Therefore, if you take an amplifier built in the 1950s and run it on today’s power, the test/idle voltages, bias numbers, etc., will all be off.  The high voltage may as much as 30 Volts DC above specification.

However, an amp built today is built with transformers designed for 120V operation, so that negates any need for “period-correct transformers.”  As a matter of fact, if a 1957 amplifier uses a 115/650VAC transformer, and a new amp uses a 125/650 volt transformer, guess what- they both put out 650VAC, it’s just that one does it with a 115V input, and another does it with a 125V input.

While it’s true that if you run are using an old amp from the ’50s today your voltages will be too high, a new amp is designed for today’s higher line voltages.  A “Period-correct transformer” only matters if you’re replacing a power transformer in an old amp.  To that end, some of the new replacement transformers have two primary taps.  One example used in my amps has a 115V primary and a 125V primary.  Bear in mind also, that although 120 VAC is the modern U.S. standard, actual measured voltage is plus or minus 5%.  I usually see 122 Volts in my shop.  When I test my amplifiers, I always use a variable AC transformer to test at 120VAC.

Tube vs. Solid-State Rectifiers

I read on one site about an amp’s tube rectifier having excellent sonics due to a lack of solid-state components.  That’s debatable enough, as many guitarists like the sound of their solid state amps, but then he goes on to say that solid-state rectifiers slam the tubes on power-up causing excess tube wear.  That is simply not true!

Tube-rectified amps generally behave differently than solid-state diode rectified amps.  In general, solid-state diode amps are “tighter” than tube-rectified amps, and tube-rectified amps generally exhibit a bit of voltage “sag” under high loads, leading toward a compressed sustain.  Again, in general.  Some people like solid-state rectified amps, and those amps have excellent sonics.  Amps such as a Twin Reverb® of Vibro-King® have solid-state rectifiers and excellent sonics.  My Texas Tone™ Ranger comes with a solid-state rectifier, and can also use a tube rectifier.

Solid-state rectifiers do not “slam the tubes on power-up.”  In fact, the type of rectifier has nothing at all to due with slamming the tubes on power up!  That particular symptom is a function of the Standby switch.  The Twin Reverb® and Vibro-King® use solid-state rectifiers and a Standby switch.  When a Standby switch is used on startup, waiting 15 seconds between turning on the power switch and switching the standby switch on, then there is no slamming the tubes on power-up, regardless of the type of rectifier.

The whole idea of slamming the tubes on power up is debatable anyway.  Books have been written about it.  The official tube manuals speak of things such as “cathode stripping” and the need for standby switches, but add a qualifier, “except for receiving tubes.”  Tubes used in guitar amplifiers are all receiving tubes.  Some tube rectifiers heat up gradually, and don’t even need a Standby switch.  I like to use a Standby switch, and I isolate them for trouble and noise-free operation.

Cathode-Biased Watts

Some boutique amp builders claim that their cathode-biased 6V6 tube amps produce 18-22 Watts with two 6V6 tubes in a Class AB push-pull configuration.  Um, no.  With 350V plate voltage you might get 13 or 14 watts.  If you’re running 420V B+ you might even be able to get to 16 watts.  By the way. the 1955 GE tube data lists 315 V DC maximum for their 6V6GT tube; a modern JJ 6V6S indicates a 500VDC maximum.  Either way, you’re going to be hard-pressed to get more than 16 Watts from any cathode-biased push-pull 6V6 amp, and that’s running way-above-spec (for anything but a JJ 6V6S) plate voltage (some people call the JJ 6v6S a cross between a 6V6 and 6L6).  I don’t know where they’re getting those 18-22 Watt numbers.  Instantaneous millisecond peaks at the speaker with 50% total harmonic distortion?  I don’t know.  I rate my amps in real, tested Watts.  My cathode-biased 6V6 push-pull amps will output around 14 Watts +/- 2W, depending upon the model.  No BS.

Surface-Mounted Components

One builder claimed a “surface mount capacitor” as the main power supply filtering device.  Huh?  Then he includes a photo and the model of the capacitor.  It’s not a surface-mount capacitor. It’s a multi-section can electrolytic capacitor, the same one used in hundreds of other amplifiers.

These are surface-mount capacitors, not used for power supply filtering in tube amps (they’re tiny, smaller than a dime):

surface-mount

This are multi-section can, of the type used in tube amps (they’re about the size of D cell batteries):

nice

Point-to-Point Wiring

Don’t get me started.  I wrote a whole blog on this.  I do not use “point-to-point’ wiring.  With point-to-point wiring, each component is connected to a tube pin or solder lug or jack.  There are no “boards” whatsoever.  Examples of this style of construction include most old tube hi-fi equipment, 70-era Sunns, and more recently BadCat and Carr.  I sturdily mount all passive components on turret boards or tag boards.  Wires are carefully routed to avoid noise and cross-talk, and I color-code all wiring for easy tracing.

True point-to-point wiring example:

point_to_point_thumb.jpg

Turret board wiring example:

LilDawg12_thumb.jpg

I looked inside one award-winning boutique amplifier advertising 100% true point-to-point wiring.  He is correct, and it’s a mess inside, with gobs of silicone holding everything in place and wires and components everywhere.  On the other hand, I see other builders that seem to be neat-freaks, with wires tied together in bundles, which is a recipe for noise.   Neatness counts, but neatness in correct wire dress, not looks. Substance over flash is one of my values.

It matters not whether an amp uses a PC board, tag board, turret board or true point-to-point wiring.  What matters is whether the components are sturdily mounted and selected for long life, laid out logically, and that signal, power, and heater pathways are routed for low noise and easy troubleshooting, and that you tell the truth about your amps.  Rest assured that all of these criteria are met in Texas Tone™ amps.  In many cases, the hiss is so low that you have to play your guitar to verify that the amp is turned on. It’s why power lights are so important!

Be aware

Don’t fall for marketing BS.  Don’t just buy an amplifier because your guitar hero plays one.  Do you play and sound exactly like your guitar hero?  If not, then using the same guitar and amp won’t make you sound like him.  I can play with a Twin and a 335, and I still don’t sound like BB King, nor if I use a Strat and a Marshall stack will I sound like Hendrix.

If you want a reliable amplifier, with high quality components, low-noise and easy troubleshooting wire routing, and above all great tone with no BS, chose Texas Tone™. Why? Because “Your TONE Matters”.

Your.Tone.Matters.07

I’m not going to lie to you or trick you into buying one of my amps with marketing lingo.

Thanks.

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Inspiration

What does “Inspired By” mean?

Vintage amps sound great, or do they? Unless you’re a professional or collector with the means to pay for one, you’ll probably never know, except when you hear someone else play one. You may never hear one, as people that own them often don’t tour with them, because they’re too valuable, or fragile.

One thing is certain. They’re old. They have outdated grounding schemes that are noisy. They have capacitors that have dried out. They have resistors that have drifted from their original specs. It may sound good, or it may not.

So people buy clones. Sometimes they pay large sums for a factory “reissue.” But, what is it that you really want from a good tube amp?

Before you decide, know what you really want.

Sometimes, the most difficult thing to ascertain when making a decision, is, what is the desired outcome, what is the goal? Is the goal to have a 5E3 Deluxe, a 5F6a Bassman, or a JTM45? Why? Because they’re great amp? They were great amps. They’re iconic. They’re the standard.

Many times, though I hear from guitarist questions or complaints about these designs. Things such as,

  • “How can I get more clean headroom from my tweed Deluxe?”
  • “My Bassman/Marshall clone is too loud for the venues I play. I have to turn it down, and then I don’t get the tone I want.”
  • “The amp is great, but it’s heavy” or “it’s too noisy.”

Inspiration

Texas Tone™ tube guitar amplifiers are inspired by famous designs.

The Texas Tone 30 is inspired by the 5F6a Bassman/Marshall JTM45. But it’s not a clone of either one.

  1. I dispense with the Bright channel, and add a Lead channel. Why? The Bright channel simply had a high-pass capacitor that bypassed high frequencies around the Volume control. My Lead channel actually changes the gain and frequency response of the channel, allowing for both more distortion and a better ability to take pedals.
  2. The resistors are chosen for low-noise, stability, and long life.
  3. Modern grounding techniques allow for less hum and hiss.
  4. I use a phase inverter that is more balanced and still high gain, and a different output transformer, to push the output tubes to optimal performance.
  5. I scale back the Presence control with a more subtle Voicing control.

The results is a loud 30 Watt 12″ combo amp that can play with sweetness or crunch. I call it my BB King amp, because with it, even I can get those sweet tones.

The Texas Tone Ranger is inspired by the Marshall 18W amp, but it’s not a clone, or even close. For starters, it uses a pair of cathode-biased 6L6 output tubes for the full-range tone those tube are famous for, rather than the EL84 tubes of the Marshall. Secondly, I use the ‘normal’ channel as a practice channel, with less volume and a single non-interactive tone control that is a high-pass/low-pass design, rather than a simple treble roll-off. The TMB channel is a rocker.

Inspiring Better Living through Better Tone

It’s my experience that when you have better tone, you’re inspired to play more, to play better. I once told a band mate that if you have the right tone, you can play anything. Think of your favorite guitarists. Chances are, he has a signature style, a signature sound, a signature tone.

Inspire yourself. Go practice. Sound good and be heard.

Cheers.

Please, Not Another Clone!

There are a handful of famous tube guitar amplifiers: Fender tweed Deluxe and Bassman; Marshall JTM45; Vox AC30; Fender Deluxe Reverb and Twin Reverb. They’re considered icons, the best of their breed. I don’t build clones of those amps – who needs another tweed Bassman? Modern solid-state amplifiers make use of modeling or digital technology more on that later and can be made for low-cost overseas and offer a wide variety of features, but none have attained the icon status of the great amps of the 1950s and ’60s.

“Hollow-state” technology is non-linear in its response, i.e. how a preamp tube responds- in frequency response, dynamic range, distortion, and amplification -varies depending upon the instantaneous input signal. When you realize that live electric guitar signals are nothing like the waveform-generated signals of a workbench, you also can visualize why creating a musical signal that can replicate this instantaneous harmonic distortion and non-linear response is quite unrealistic, and must depend upon approximations and false assumptions. A modeling amp can sound “sorta” like a vintage amp, at least until you play it side-by-side with a real vintage amp under real live musical situations.

The tube amplifiers that I build are designed to re-introduce these vintage circuit characteristics and combine them with modern quality components, build techniques, grounding techniques, and electrical principles to produce a guitar amplifier that creates a new sound that still seems “vintage” in quality. While I might base my designs around the tweed amps circuits, compared to them I utilize a preamp that operates under higher clean headroom conditions, which both provides a means of highlighting output distortion and makes my amps very pedal friendly, something that wasn’t even considered in the late 1950s or early ’60s. Changes such as voltage and filtering levels, and a low TSR index create a larger input dynamic ranges, reduced third order harmonics and wider input dynamic range at the phase splitter. The resulting sound is what you expect from a hand-built tube guitar amplifier- sweet, dynamic, touch sensitive tones that make your guitar sing.

While my amps are not clones, they’re certainly inspired by those great amps, but with a few good modern touches, all built by hand in Austin, Texas. Maybe that’s why one happy owner recently replaced his famous British amp with a Texas Tone 12.

TexasToneJSB

Better Living Through Better Tone.

-Texas Tone tube guitar amplifiers.

Guitarlington 2015 – The 4 Amigos Guitar Show in Arlington Texas

Last weekend, I displayed my amps at my first guitar show.  Besides the obvious marketing aspects, I met some great people there.  Although lots of vendors had amps, especially vintage amps, I was surprised that there were only a few other amp vendors there.  There were many choice pieces there, including some ’57-59 tweed Fender Bassman amps.

Daniel manning the Texas Tone booth

Daniel manning the Texas Tone booth

One of the amp vendors was Brown Amplification from McKinney, Texas.  They make heads and speaker cabinets, but not combos.  Since I only make combos, I sent them folks looking for heads and they sent folks to me looking for combos.

The first folks I met were the team from Wathen Audiophile. They make some really choice speakers and amps, but they were mainly displaying their select line of preamp and power amp tubes, all cryogenically treated with their proprietary treatment and selected to their own very strict specifications.  Each individually serialized tube includes its own laboratory test report for Heater vol, Plate vol, Screen vol, Grid vol, Transconductance, Grid Leakage, Plate Current, Plate Resistance and Gain. They were kind enough to supply me with a 12AX7-WCM that I used Sunday afternoon in my Texas 2:10 Special in the V1 preamp stage.  That amp got rave reviews (more on that later).

In the booth next to ours, between us and Warthen, was RBi Music, featuring FRET-King guitars by Trev Wilkinson . I use the Wilkinson compensating brass saddle Tele bridge on my guitar.  I really like those guitars, especially their JD Duncan Jerry Donahue model (my personal favorite) and a beautiful Elise semi-hollow model.  Rick Taylor and I got along well, and I let them test drive guitars on my amps, to our mutual benefit.

I had an interesting conversation about guitar amps and the music scene with Mark Daven of the Guitar Radio Show. Mark’s a great guy, and was nice enough to give me a shout out is his blog about Guitarlington 2015. Lauraine O’Toole from Avalon Multimedia dropped by for a visit and had some nice words for the Texas 2:10 Special.

I also got to meet Kevin Butts at Killer B Guitars.  I had to do this after Mark Daven brought a beautiful Killer B lefty T style guitar over to play through my amps. This guitar not only sounded great, but it was a work of art.  I had to tell the builder how impressed I was with his guitar.

The Texas 2:10 Special

I had three amps at the show – The original Texas Tone 12, the tweed Texas 2-Step, and the Texas 2:10 Special.

Daniel manning the Texas Tone booth

Daniel manning the Texas Tone booth

Although the tube tremolo on the Texas Tone 12 always warms my heart, and gets good response, on Saturday the Texas 2-Step got the most attention.  The ability to go from single-ended Champ to push-pull Deluxe circuits, and easily moving from clean to saturation, brought lots of positive response from listeners.

On Sunday, however, the Texas 2:10 Special was the star of the show.  Two incidents stand out.  A nice lady with a Tone Forge T-Shirt came by to get some brochures, and told me that the Texas 2:10 Special was the best amp in the show.  Late in the day, a very talented Nashville guitarist named Nathan came by, looking for the star amp.  He said he had heard about the amp (Texas 2:10 Special) and had come by to test it out.  He played and played on that amp, covering a variety of styles quite handily, all the while raving about the tone and responsiveness of the Texas 2:10 Special.  Rick from RBi let him play the JDD and Elise, but most of his playing was on my personal Telecaster.  He was most impressed with the amp, and I hope to get in touch with him again when he comes back to Austin.

All in all, it was a great time, and a great showing for my amps.  It’s always good to get feedback from musicians, and it’s extra special to get such positive response from people for whom music is their livelihood.

Bruce

What makes the Texas Tone 12™ different from a Princeton amp?

Recently, I was showing a new amp build to a friend of mine.  After telling him a bit about the amp, a 14W tweed style combo with tremolo, he rightly asked, “What makes your Texas Tone™ amp different from a Fender Princeton amp?”  It’s a good question.

The Princeton wasn’t in mind when I designed this amp, although I used to play through a mid ’70s Princeton (AB1270 with a 5U4 rectifier), in a band with this friend.  I used the Princeton both in the studio and on live gigs. I eventually sold that amp because I couldn’t get loud enough unless I had my Tele wide open on the bridge pickup, and couldn’t get good distortion unless I was using the neck pickup. Now the Tele bridge pickup wide open is not a bad sound, it’s just not appropriate for every song and every situation.

I often play my Tele with both the bridge and neck pickups together, and I often roll the tone control off a bit, no matter what pickup I’m using.  I like the flexibility.  I couldn’t get either the volume or crunch that I wanted. So, I went home, pulled up a Princeton schematic and did a comparison.  What I found is are some interesting thoughts about amp design.

Leo Fender intended the Princeton to be a student amplifier, using in teaching studios and bedrooms.  Of course, I’ve known many people who have used them on gigs and recording sessions, myself included.  In my opinion, it’s fine for not only its intended application, but for use on small gigs, such as coffee houses, and recording, as long as what you want is clean and bright.

So, here’s a synopsis of the differences between my Texas Tone 12™ and the AA964 black-faced Princeton amp. Compared to the AA964 black-faced Princeton, the Texas Tone 12™ has:

  • Cathode biased power tubes vs. fixed bias. The cathode bias I use is somewhat cooler than a 5E3 (the reference for tweed, low wattage, single 12” combo amps for blues and rock), as I find the tone to be much richer that way, and rich tone is what these amps are all about.  Better living through better tone, I say.
  • No negative feedback vs. negative feedback on the Princeton. NFB reduces distortion and gain, while slightly enhancing treble response by attenuating low frequencies. A feedback loop helps create a cleaner signal that goes into cutoff distortion at a much higher volume setting (which ties in with why I wanted to move on from the Princeton). The cleaner sound of NFB is good for clean headroom (a la black-faced Fender amps), great for country, jazz, and Hi-Fi. I find amp headroom in other ways.
  • A 12AU7 cathodyne phase splitter vs. a 12AX7. The single-triode cathodyne phase splitter is slightly-less-than unity gain (about 0.9), meaning there is no voltage gain (actually a slight loss). The 12AX7 tube triode is a voltage amplifier, while the 12AU7 is a current amplifier, and therefore more suitable to cathode follower/cathodyne applications, and can drive more current to the output tubes.
  • The Texas Tone 12™ operates at a higher B+ voltage, and has a beefier output transformer.  Since cathode biased amps tend to have less output power than fixed bias amps, all other things being equal (which they rarely are), the higher voltage level gives me more flexibility to help recover some of that loss while operating at a more reasonable bias than the hot-biased Fender tweed amps. Besides richer tone, the slightly cooler bias leads to longer power tube life. The beefier output transformer has a richer tonal response and more power handling capability.
  • A Jensen speaker that is both higher end and larger (C12Q vs. C10R) than the one on the Princeton. The result is a louder, fuller tone.
  • A subtle and full range discrete Tone control and independent Volume control vs. interactive Volume, Treble, and Bass controls. Easy, full range of tonal coloration and less insertion loss.  It’s not quite as “bright” as a tweed 5E3, although brightness is not lacking.  I get it back in other ways.

Both amps use a grid bias tremolo, although the component values are different and the Princeton acts on fixed bias power tubes while the Texas Tone 12™ acts on cathode biased power tubes. As far as the tremolo goes, everyone who has played or heard this amp raves about the tremolo.

The combination of higher voltages, a 12AU7 PI, reasonable cathode bias, no negative feedback, a beefier output transformer, and a larger, louder, full-range speaker enable the Texas Tone 12™ to be amazingly dynamic and touch responsive, while the single Tone control allows the simple freedom of varying the amount of warmth or sparkle. When the University of Illinois Physics department did an analysis and upgrade of a Weber 5E3 kit, they found that, after their many mods, “the sound of the amp was great, but in many instances the amp without the feedback loop sounded more interesting.” They go on to elaborate. I concur.

Better living through better tone.

Tremolo

I like tremolo.  I like the way it sounds.  It sounds great on a Rhodes piano and it sounds great on a Fender guitar.  It’s a great effect, and used on lots more songs that just Crimson and Clover.

Leo Fender added a tremolo effect to his guitar tube amplifiers in the 1950s with the introduction of the Tremolux and Vibrolux amplifiers.  For some reason, marketing perhaps or a misunderstanding, Leo often called his tremolo effect a vibrato, and he refereed to his vibrato arms on his guitars as a tremolo.

Just to set the record straight, tremolo is the varying of the amplitude, or volume of a sound, while vibrato is variance in pitch.  The “Fender Synchronized Tremolo” on a Stratocaster is a vibrato effect, while the “Vibrato” on Fender blackfaced amps is, in actuality, a tremolo effect.
 
The first guitar tube amp tremolos used what’s variously knows as “bias wiggle”, “bias vary”, or “grid bias” tremolo.  This is what my amps use.  Later amplifiers used different, more complex, or more advanced tremolo circuits
 

Grid Bias Tremolo

A 12AX7 tube triode high gain stage (one triode half of a dual triode 12AX7) is normally used as a low frequency oscillator (LFO), as high gain is a requirement for the LFO to work. (The other half of the 12AX7 is often used as the phase splitter for the push-pull output section.)  To produce the oscillation, the output of the tube is fed back to the input after being processed by a series of capacitor/resistor (RC) taps- three capacitors in series, with a resistor to ground after each one.   Each RC filter produces a phase shift, and cascading them in series causes the gain stage to go into an oscillation.  There is often a footswitch to lift the ground of the circuit, which turns it off.
 
By carefully selecting the value of the resistors and capacitors, the designer can set the speed of the oscillation.  Typically, tube amp LFOs have a base rate of anywhere from 1 to 12 cycles per second.  (A tremolo rate of between 4 and 6 cycles per second seems to be the most pleasing to the ear.)  One of the resistors is usually a potentiometer that is used to vary the speed of the oscillation.  When playing guitar through a tremolo, 1 cps is really slow, whereas anything above 3 cps is pretty fast.  Sometimes you want that really slow, relaxed sound, and sometimes you want that fast warbly sound.  It depends on the style and the song.
 
Once the LFO is built, we have to find a way to use it to vary the volume of the amp.  The “bias wiggle” version takes a tap off the LFO output, runs it through a DC blocking capacitor, and then to a potentiometer that is used as a Depth or Intensity control.  The output of this is fed to the grid bias of the output tubes.  The effect of this oscillation on the output tubes bias voltage is to cause the gain of the tube to fluctuate, and, voila, we have a volume-altering tremolo, where we can control the speed and depth, and click it on or off with the step of a footswitch.
 
This tremolo is lush, warm, and pulsing, a “hypnotic slam effect”. And everything was fine.

Photo-Cell Tremolo

However, Leo was a tinkerer, and always striving to make things better.  If the coupling capacitor were to fail, and high voltage DC was introduced into the grid circuit of the output tubes… well, bad things could happen, like blowing out the tubes or even transformers.  Leo wanted to isolate the LFO from the grid circuit.  He did this by using a lamp and an optocoupler (light-dependent resistor).  The LFO voltage was used to turn a lamp on and off, and the optocoupler then effected the grid bias of the preamp circuit.  This had the desired result of isolating the high voltage from the grid, but it changed the sound of the tremolo.  The optocoupler was more of an on/off switch than a variance, taking away some of the lushness.  Still, many like the deep sound of this tremolo. The parts count and cost was still low, and while it was great for a Princeton or Deluxe, but Leo wanted something better on his higher end professional amplifiers.

Harmonic Vibrato

His solution was a completely new design.  In a 1958 design R. H Dorf patented “a combined tremolo-vibrato system for use in an electronic musical instrument.  Mr. Dorf used an LFO to control the input of his vibrato triode, and the bias of his tremolo triode, and used high- and low- pass filters to prevent sub-audible tones from reaching the power amp, and to keep his effect of the bass notes. 

imageThis design, that “divided signals into components of equal magnitude and opposite phase,” was one influence on what Fender called the “Harmonic Vibrato”. 

This multi-tube circuit split the high frequencies from the lows, and then separate out of phase LFOs for the highs and lows.  The highs were becoming louder while the lows were getting quieter, and vice-versa (see drawing below).  This produced a very rich and lush tremolo that people still argue about- whether or not this effect produces a phase-shifting pitch change, a vibrato. My best answer at this time is that the swirling effect of the highs and lows isn’t a true vibrato, but when it reaches our ears the changes in intensity of the highs versus the lows can be interpreted as an apparent pitch change, when it really isn’t a pitch changing effect.

image

The Digital Age

I have a DigiTech RP-150 multi-effects pedal that I like very much. It uses the modern digital technology – effects on a chip –that’s used in most modeling amps.  I use it with headphones for practicing, often with the built in drum machine.  I connect it via USB to my computer, and play along with music recordings, or I use it to for recording tracks.  I’ve also used it live on numerous occasions.  One of its many effects is tremolo.  I used this to add a tremolo guitar track to a song that we used at my oldest daughter’s wedding for the father-daughter dance.  I bought the mp3 from Amazon, and then used my RP-150 and Audacity to add a tremolo guitar track.  The results were very pleasing.

I also built a transistor tremolo foot pedal to add tremolo to my Palomino V-16 amp for playing live and recording.  It sounds pretty good, and and gives a nice pulsating tremolo tone.  I used it every time we played Bob Dylan’s Everything is Broken.

Sometime after I built my first tube amp, with tremolo, I decided to do an A-B-C comparison.  I had been told by professional guitarists that my old-fashioned grid bias tremolo sounded very good, and wanted to put it up against my other tremolo effects. So, I did.

I hooked everything up, and played them one against each other.  Third place? The digital tremolo.  What sounds great on a PC or in headphones or in a recording environment, is not necessarily what works live.  See my post on why you can’t sound like your favorite guitarist. Second place?  The tremolo effects pedal that uses transistors.  The sound is more organic, more rich.  The clear-cut winner though, was the real tube tremolo.  Oh, my nothing beats the real thing, baby!

There is a richness, a depth, a feel, to tube tremolo that just can’t be gotten any other way.  Just as a good tube amp will be rich with a dynamic touch responsiveness to go from clean to crunch just by varying your right hand on your guitar, tubes give a rich tremolo sound that approaches the swirling sound of a rotating speaker.

This is why I build my amps the old way.

Conclusion

While tremolo was the first on-board guitar amp effect, and went out of favor in the late ‘70s, to be replaced by distortion, it’s still a widely-used effect, that can have a very pleasing effect to the ear on the right song.  Whether a slow ballad or a jazzy up-tempo number, a little tremolo can add a nice touch.